السبت، 31 أغسطس 2013

كيف تزيد من نجاحك ؟؟؟؟

أمور تزيدالإنتاجية والفاعلية للفرد 

حدد أهدافك.ا


قوي علاقتك مع الآخرين ,أكسب الأصدقاء.ا

قوي من أدائك لعملك وراجعه.ا

نظم وقتك.ا

كن متفائلا.اً

كن صبوراً ولا تستعجل النجاح.ا

لا تيأس من الفشل في المرة الأولى بل ثابر وابحث عن النجاح.ا


هل الفشل أساس النجاح ؟؟؟



 هل الإخفاق أساس النجاح ؟؟؟

!!!!!سؤال يستحق التأمل

ليس سقوط المرء فشلاً وإنما الفشل أن يبقى حيث سقظ

أسوا من الفاشل من لا يحاول النجاح

إذا عرفنا كيف فشلنا نفهم كيف ننجح

من يكتب يقرأ مرتين

السرعة والندم شقيقان

إذا أردت النجاح فلا تضيع الفرص

الحكمة في الكلام كالملح في الطعام

ليس كل ما يلمع ذهبا

الطمع كالبحر زد منه شرباً تزداد عطشاً

الأعمال أعلى صوتاً من الكلمات

قناعتك نصف سعادتك

من يكسب بسهوله يضيع بسهوله

لا تملئ فمك مرة آخرى قبل أن تبتلع ما فيه

الإبداع لا وطن له ولا حدود
خير مرآه ترى فيها نفسك هي عملك أسعد الناس أقلهم أنشغالاً بالناس


نصائح بسيطه تقودك الي النجاح........

                             ........خطوات  تقودك الي النجاح والقمه
  •        أحذر التشاؤم , وكن متفائلاً .
  1. ·      كن منظم وأحذر الفوضى .

    ·      كن واثق بنفسك .

    ·      أستمر ولا تنقطع حى الوصول لهدفك .

    ·      أبتعد عن التردد .

    ·      ضاعف جهودك حتى تقطف ثمار عملك .

    ·      تعرف على الشخصيات الناجحة وأقرا عنها .

    ·      نظم وقتك .

    ·      فليكن عندك روح المبادرة إلى الإبتكار والإبداع .

كيف تكون ناجحاً؟؟


ما هو النجاح ؟ وكيف تكون ناجحاً؟؟
  


النجاح هو تحقيق أحلامك ..هو استغلالك الأمثل لطاقاتك..هو العلاقات الطيبة هو تحقيق ما تريده وتوده.. هو التعلم من الماضي والاستفادة منه.. أو هو نتيجة فشل متكرر أو هو التغلب على العادات السلبية..هو أن تكتشف ذلك.
إن تعريف أو ماهية النجاح مختلف من شخص إلي أخر فحدد ما هو النجاح بالنسبة لك.. أعرف طريقك وإلي أين أنت سائر؟ ماذا تريد بالضبط؟

حدد ماذا تريد من نفسك من علاقاتك من ربك من مهنتك.. ماذا تريد من الحياة ..أعرف إلي أين أنت ذاهب وإلا ذهبت لمكان مظلم وأنت في وسط المحيط فوجه السفينة وإلا بقيت تصارع الأمواج.


  • سامح..


لا يوجد شخص عظيم إلا وتجده متسامحاً.. وأفضل وسيلة للانتقام هي النجاح والتسامح.. سامح نفسك وأطلب من الله أن يسامحك وأسأله قلباً متسامحاً ، سامح الواقع سامح والديك وأهلك وإخوانك ومدرسيك وأطلب منهم أن يسامحوك ، سامحهم وستكون في أول سلم النجاح.


  • تقبل..


تقبل الماضي والحاضر وتقبل نفسك كما هي، تقبل جسدك كما هو.. إذا كان لا يعجبك تقبله كما هو تقبل الناس كما هم.. تقبل والديك وأصدقاءك وأهلك، تقبل الحياة والأحداث كما هي.. ارض بالوقت الحاضر والماضي الرضا التام وسلم الأمور للخالق، تكن إنساناً إيجابياً تلقائياً ينطلق نحو النجاح والتغيير الذي يريده.


  • أكتب أهدافك...


بوضوح أكتبها .. لونها.. تخيلها.. علقها.. أكتب على الحائط .. استخدم فن الخريطة ..وتفنن فيها.. أخبر أحباءك عن أهدافك القريبة وأنك قررت تحقيقها ولتكن أهدافك حلمك الذي يداعب أجفانك الذي ترغب يوما في تحقيه.


  • الإدراك..


أن تدرك يعني أنك تبدأ التغيير الحقيقي في حياتك وتبدأ النجاح .. أدرك أخطاءك واعترف بها أمام نفسك وأمام الآخرين..أعترف لنفسك أنك مخطئ وأطلب من ربك المغفرة.. وما لم تدرك أخطاءك يعني أنك ستتركها مرة أخرى.. إذا أخطأت في حق إنسان اذهب إليه وأخبره بأنك أخطأت وأنك أسف.


  • أحسم...


أحسم أمورك أولاً بأول.. لا تدع مشكلة تفوت عليك من دون حسم.. قرر حتى ولو كان خطأ أحسم حتى لو أخطأت لأنك ستتعلم أن تحسم وتخطئ وهذا أفضل من أن لا تحسم ، رتب الأرفف التي تحتاج لترتيب.. اقرأ الكتب التي أجلت قراءتها.. إذا كان لديك ملابس لا تريدها فتصدق بها وإذا كان لديك كتاب لم تقرأه من مدة فإما أن تقرأه أو تهديه لمن تحب.


  • الهدف والأمنية...



الهدف هو رغبة صادقة ضمن إمكاناتك مكتوبة محددة بوقت مجزأة بمهام تنتظر تحقيقها أما الأمنية فهي لا يمكنك أن تعمل لها ولو شيئاً بسيطاً إذا كان حلمك هدفاً أعمل على تحقيقه أما إذا كان أمنية فلا تتعب نفسك بكتابنها لأنها تتعبك وتضيع من طاقاتك اليومية ولتكن أحلامك هي أهدافك..

الخميس، 29 أغسطس 2013

Waiting for Godot and absurd drama



  Their work expressed the belief that human existence has no meaning or purpose and therefore all communication breaks down. Logical construction and argument gives way to irrational and illogical speech and to its ultimate conclusion, silence.
Beckett is considered to be an important figure among the French Absurdists. “Waiting for Godot” is one of the masterpieces of Absurdist literature. Elements of Absurdity for making this play are so engaging and lively. Beckett combats the traditional notions of Time. It attacks the two main ingredients of the traditional views of Time, i.e. Habit and Memory. We find Estragon in the main story and Pozzo in the episode, combating the conventional notions of Time and Memory. For Pozzo, particularly, one day is just like another, the day we are born indistinguishable from the day we shall die.

 It is very clear from the very word “Absurd” that it means nonsensical, opposed to reason, something silly, foolish, senseless, ridiculous and topsy-turvy. So, a drama having a cock and bull story would be called an absurd play. Moreover, a play having loosely constructed plot, unrecognizable characters, metaphysical called an absurd play. Actually the ‘Absurd Theatre’ believes that humanity’s plight is purposeless in an existence, which is out of harmony with its surroundings.

 This thing i.e. the awareness about the lack of purpose produces a state of metaphysical anguish which is the central theme of the Absurd Theatre. On an absurd play logical construction, rational ideas and intellectually viable arguments are abandoned and instead of these the irrationality for experience is acted out on the stage. 

The above mentioned discussion allows us to call “Waiting for Godot” as an absurd play for not only its plot is loose but its characters are also just mechanical puppets with their incoherent colloquy. And above than all, its theme is unexplained. “Waiting for Godot” is an absurd play for it is devoid of characterization and motivation. Though characters are present but are not recognizable for whatever they do and whatever they present is purposeless. So far as its dialogue technique is concerned, it is purely absurd as there is no witty repartee and pointed dialogue. What a reader or spectator hears is simply the incoherent babbling which does not have any clear and meaningful ideas. So far as the action and theme is concerned, it kisses the level of Absurd Theatre. After the study of this play we come to know that nothing special happens in the play nor we observe any significant change in setting. Though a change occurs but it is only that now the tree has sprouted out four or five leaves.

 “Nothing happens, nobody comes … nobody goes, it’s awful!”

 The beginning, middle and end of the play do not rise up to the level of a good play, so absurd. Though its theme is logical and rational yet it lies in umbrage. Moreover, “Waiting for Godot” can also be regarded as an absurd play because it is different from “poetic theatre”. Neither it makes a considerable use of dream and fantasy nor does it employ conscious poetic language. The situation almost remains unchanged and an enigmatic vein runs throughout the play. The mixture of comedy and near tragedy proves baffling. In act-I we are not sure as to what attitude we should adopt towards the different phases of its non-action. The ways, of which the two tramps pass their time, seems as if they were passing their lives in a transparent deception. Godot remains a mystery and curiosity still holds a sway. Here we know that their endless waiting seems to be absurd. Though the fact is that they are conscious of this absurdity, yet is seems to imply that the rest of the world is waiting for the things, which are more absurd and also uncertain.

 “Waiting for Godot” is an absurd play for there is no female character. Characters are there but they are devoid of identity. These two Estragon and Vladimir are old acquaintances, but they are not sure of their identity. Though they breathe, their life is an endless rain of blows. They wait for the ultimate extinction, but in a frustrated way. This thing produces meaninglessness, thus makes the play absurd. Moreover, what makes the play absurd is its ending. We note that the ending of the play is not a conclusion in the usual sense. The wait continues; the human contacts remain unsolved; the problem of existence remains meaningless, futile and purposeless. The conversation between the two tramps remain a jargon, really a humbug and bunkum speech. So all this makes the play an absurd play.
Absurd Theatre is a term applies to a group of dramatist in the 1950’s. Martin Esslin was the first to use this term ‘Absurd’ in his book “The Theatre of the Absurd”. Eugene Lonesco, Arthur Admor, Harold Pinter and Jean Garret are the writers who belong to this category. 

الثلاثاء، 13 أغسطس 2013

Death of a Salesman Characters



Character List

Willy Loman
A sixty year old salesman living in Brooklyn, Willy Loman is a gregarious, mercurial man with powerful aspirations to success. However, after thirty-five years working as a traveling salesman throughout New England, Willy Loman feels defeated by his lack of success and difficult family life. Although he has a dutiful wife, his relationship with his oldest son, Biff, is strained by Biff's continual failures. As a salesman, Willy Loman focuses on personal details over actual measures of success, believing that it is personality and not high returns that garner success in the business world.
Biff Loman
The thirty-four year old son of Willy Loman, Biff was once a star high school athlete with a scholarship to UVA. But he never attended college nor graduated from high school, after refusing to attend summer school to make up a flunked math class. He did this primarily out of spite after finding out that his father was having an affair with a woman in Boston. Since then, Biff has been a continual failure, stealing at every job and even spending time in jail. Despite his failures and anger toward his father, Biff still has great concern for what his father thinks of him, and the conflict between the two characters drives the narrative of the play.
Linda Loman
The dutiful, obedient wife to Willy and mother of Biff and Happy, Linda Loman is the one person who supports Willy Loman, despite his often reprehensible treatment of her. She is a woman who has aged greatly because of her difficult life with her husband, whose hallucinations and erratic behavior she contends with alone. She is the moral center of the play, occasionally stern and not afraid to confront her sons about their poor treatment of their father.
Happy Loman
The younger of the two Loman sons, Happy Loman is seemingly content and successful, with a steady career and none of the obvious marks of failure that his older brother displays. Happy, however, is not content with his more stable life, because he has never risked failure or striven for any real measure of success. Happy is a compulsive womanizer who treats women purely as sex objects and has little respect for the many women whom he seduces.
Charley
The Lomans' next door neighbor and father of Bernard, Charley is a good businessman, exemplifying the success that Willy is unable to achieve. Although Willy claims that Charley is a man who is "liked, but not well-liked," he owns his own business and is respected and admired. He and Willy have a contentious relationship, but Charley is nevertheless Willy's only friend.
Bernard
Bernard is Charley's only son. He is intelligent and industrious but lacks the gregarious personality of either of the Loman sons. It is this absence of spirit that makes Willy believe that Bernard will never be a true success in the business world, but Bernard proves himself to be far more successful than Willy imagined. As a grown-up, he is a lawyer preparing to argue a case in front of the Supreme Court.
Ben
Willy's older brother, Ben left home at seventeen to find their father in Alaska, but ended up in Africa, where he found diamond mines and came out of the jungle at twenty-one an incredibly rich man. Although Ben died several weeks before the time at which the play is set, he often appears in Willy's hallucinations, carrying a valise and umbrella. Ben represents the fantastic success for which Willy has always hoped but can never seem to achieve.
Howard Wagner
The thirty-six year old son of Frank Wagner, Willy Loman's former boss, Howard now occupies the same position as his late father. Although Willy was the one who named Howard, Howard is forced to fire Willy for his erratic behavior. Howard is preoccupied with technology; when Willy meets with his new boss, he spends most of the meeting demonstrating his new wire recorder.
Stanley
Stanley is the waiter at the restaurant where Willy meets his sons. He helps Willy home after Biff and Happy leave their father there.
The Woman
An assistant in a company in Boston with which Willy does business, this nameless character has a continuing affair with Willy. The Woman claims that Willy ruined her and did not live up to his promises to her. When Biff finds the Woman in Willy's hotel room, he begins his course of self-destructive behavior.
Miss Forsythe
An attractive young woman at the restaurant, who serves the play by allowing Happy to demonstrate his womanizing and seduction habits.

Death of a Salesman Summary



Willy Loman, a mercurial sixty-year old salesman with calluses on his hands, returns home tired and confused. His wife Linda greets him, but worries that he has smashed the car. He reassures her that nothing has happened, but tells her that he only got as far as Yonkers and does not remember all of the details of his trip; he kept swerving onto the shoulder of the road, and had to drive slowly to return home. Linda tells him that he needs to rest his mind, and that he should work in New York, but he feels that he is not needed there. He thinks that if Frank Wagner were alive he would be in charge of New York, but his son, Howard, does not appreciate him as much. Linda tells him how Happy, his younger son, took Biff, his eldest son, out on a double-date, and it was nice to see them both at home. She reminds Willy not to lose his temper with Biff, but Willy feels that there is an undercurrent of resentment in Biff. Linda says that Biff is crestfallen and admires Willy. They argue about whether or not Biff is lazy, and Willy believes that Biff is a person who will get started later in life, like Edison or B.F. Goodrich.
Biff Loman, at thirty-four, is well-built but not at all self-assured. Happy, two years younger, is equally tall and powerful, but is confused because he has never risked failure. The two brothers discuss their father, thinking that his condition is deteriorating. Biff wonders why his father mocks him, but Happy says that he merely wants Biff to live up to his potential. Biff claims he has had twenty or thirty different jobs since he left home before the war, but has been fired from each. He reminisces about herding cattle and wistfully remembers working outdoors. Biff worries that he is still merely a boy, while Happy says that despite the fact that he has his own car, apartment, and plenty of women he is still unfulfilled. Happy believes that he should not have to take orders at work from men over whom he is physically superior. He also talks about how he has no respect for the women he seduces, and really wants a woman with character, such as their mother. Biff thinks that he may try again to work for Bill Oliver, for whom he worked years ago but quit after stealing a carton of basketballs from him.
The play shifts in time to the Loman house years before, when Biff and Happy were teenagers. Willy reminds the teenage Biff not to make promises to any girls, because they will always believe what you tell them and he is too young to consider them seriously. Happy brags that he is losing weight, while Biff shows Willy a football he took from the locker room. Willy claims that someday he'll have his own business like Charley, their next door neighbor. His business will be bigger than Charley's, because Charley is "liked, but not well-liked." Willy brags about meeting the mayor of Providence and knowing the finest people in New England. Bernard, Charley's son, enters and tells Willy that he is worried that Biff will fail math class and not be able to attend UVA. Willy tells Bernard not to be a pest and to leave. After Bernard leaves, Willy tells his sons that Bernard, like Charley, is liked but not well-liked. Willy claims that, although Bernard gets the best grades in school, in the business world it is personality that matters and that his sons will succeed. After the boys leave, Linda enters and Willy discusses his worry that people don't respect him. Linda reassures him and points out that his sons idolize him.
Miller returns to the more recent past past for a short scene that takes place in a hotel room in Boston. A nameless woman puts on a scarf and Willy tells her that he gets lonely and worries about his business. The woman claims that she picked Willy for his sense of humor, and Willy promises to see her the next time he is in Boston.
Willy, back in the kitchen with Linda, scolds her for mending her own stocking, claiming that she should not have to do such menial things. He goes out on the porch, where he tells Bernard to give Biff the answers to the Regents exam. Bernard refuses because it is a State exam. Linda tells Willy that Biff is too rough with the girls, while Bernard says that Biff is driving without a license and will flunk math. Willy, who hears the voice of the woman from the hotel room, screams at Linda that there is nothing wrong with Biff, and asks her if she wants her son to be a worm like Bernard. Linda, in tears, exits into the living room.
The play returns to the present, where Willy tells Happy how he nearly drove into a kid in Yonkers, and wonders why he didn't go to Alaska with his brother Ben, who ended up with diamond mines and came out of the jungle rich at the age of twenty-one. Happy tells his father that he will enable him to retire. Charley enters, and he and Willy play cards. Charley offers Willy a job, which insults him, and they argue over the ceiling that Willy put up in his living room. Willy tells Charley that Ben died several weeks ago in Africa. Willy hallucinates that Ben enters, carrying a valise and umbrella, and asks about their mother. Charley becomes unnerved by Willy's hallucination and leaves.
The play returns to the past, where Willy introduces his sons to Ben, whom he calls a great man. Ben in turn boasts that his father was a great man and inventor. Willy shows off his sons to Ben, who tells them never to fight fair with a stranger, for they will never get out of the jungle that way. Charley reprimands Willy for letting his sons steal from the nearby construction site, but Willy says that his kids are a couple of "fearless characters." While Charley says that the jails are full of fearless characters, Ben says that so is the stock exchange.
The play returns to the present, where Happy and Biff ask Linda how long Willy has been talking to himself. Linda claims that this has been going on for years, and she would have told Biff if she had had an address at which she could contact him. She confronts Biff about his animosity toward Willy, but Biff claims that he is trying to change his behavior. He tells Linda that she should dye her hair again, for he doesn't want his mother to look old. Linda asks Biff if he cares about Willy; if he does not, he cannot care about her. Finally, she tells her sons that Willy has attempted suicide by trying to drive his car off a bridge, and by hooking a tube up to the gas heater in the basement. She says that Willy is not a great man, but is a human being and "attention must be paid" to him. Biff relents and promises not to fight with his father. He tells his parents that he will go to see Bill Oliver to talk about a sporting goods business he could start with Happy. Willy claims that if Biff had stayed with Oliver he would be on top by now.
The next day, Willy sits in the kitchen, feeling rested for the first time in months. Linda claims that Biff has a new, hopeful attitude, and the two dream of buying a little place in the country. Willy says that he will talk to Howard Wagner today and ask to be taken off the road. As soon as Willy leaves, Linda gets a phone call from Biff. She tells him that the pipe Willy connected to the gas heater is gone.
At the office of Howard Wagner, Willy's boss, Howard shows Willy his new wire recorder as Willy attempts to ask for a job in New York. Howard insists that Willy is a road man, but Willy claims that it is time for him to be more settled. He has the right to it because he has been in the firm since Howard was a child, and even named him. Willy claims that there is no room for personality or friendship in the salesman position anymore, and begs for any sort of salary, giving lower and lower figures. Willy insists that Howard's father made promises to him. Howard leaves, and Willy leans on his desk, turning on the wire recorder. This frightens Willy, who shouts for Howard. Howard returns, exasperated, and fires Willy, telling him that he needs a good, long rest and should rely on his sons instead of working.
Willy hallucinates that Ben enters and Linda, as a young woman, tells Willy that he should stay in New York. Not everybody has to conquer the world and Frank Wagner promised that Willy will someday be a member of the firm. Willy tells the younger versions of Biff and Happy that it's "who you know" that matters. Bernard arrives, and begs Biff to let him carry his helmet to the big game at Ebbets Field, while Willy becomes insulted that Charley may have forgotten about the game.
The play returns to the present day, where the adult Bernard sits in his father's office. His father's secretary, Jenny, enters and tells Bernard that Willy is shouting in the hallway. Willy talks to Bernard who will argue a case in Washington soon and whose wife has just given birth to their second son. Willy wonders why Biff's life ended after the Ebbets Field game, and Bernard asks why Willy didn't make Biff to go summer school so that he could go to UVA. Bernard pinpoints the timing of Biff's failures to his visit to his father in New England, after which Biff burned his UVA sneakers. He wonders what happened during that visit. Charley enters, and tells Willy that Bernard will argue a case in front of the Supreme Court. Charley offers Willy a job, which he refuses out of pride. Charley criticizes Willy for thinking that personality is the only thing that matters in business. Willy remarks that a person is worth more dead than alive, and tells Charley that, even though they dislike one another, Charley is the only friend he has.
At the restaurant where Willy is to meet his sons, Happy flirts with a woman and tells her that Biff is a quarterback with the New York giants. Biff admits to Happy that he did a terrible thing during his meeting with Bill Oliver. Bill did not remember Biff, who pocketed his fountain pen before he left. Biff insists that they tell their father about this tonight. Willy arrives and tells his sons that he was fired. Although Biff tries to lie to Willy about his meeting, Biff and Willy fight. Biff finally gives up and tries to explain. As this occurs, Willy hallucinates about arguing with the younger version of Biff. Miss Forsythe, the woman with whom Happy was flirting, returns with another woman and prepares to go out on a double date with Happy and Biff. Happy denies that Willy is their father.
Willy imagines being back in the hotel room in Boston with the woman. The teenage Biff arrives at the hotel and tells Willy that he failed math class, and begs his father to talk to Mr. Birnbaum. Biff hears the woman, who is hiding in the bathroom. Willy lies to Biff, telling him that the woman is merely there to take a shower because she is staying in the next room and her shower is broken. Biff realizes what is going on. Willy throws the woman out, and she yells at him for breaking the promises he made to her. Willy admits the affair to Biff, but promises that the woman meant nothing to him and that he was lonely.
At the restaurant, the waiter helps Willy and tells him that his sons left with two women. Willy insists on finding a seed store so that he can do some planting. When Biff and Happy return home, they give their mother flowers. She asks them if they care whether their father lives or dies, and says that they would not even abandon a stranger at the restaurant as they did their father. Willy is planting in the garden. He imagines talking to Ben about his funeral, and claims that people will come from all over the country to his funeral, because he is well known. Ben says that Willy will be a coward if he commits suicide. Willy tells Biff that he cut his life down for spite, and refuses to take the blame for Biff's failure. Biff confronts him about the rubber tube attached to the gas heater, and tells his mother that it was he, not Willy, who took it away. Biff also admits that his parents could not contact him because he was in jail for three months. Biff insists that men like he and Willy are a dime a dozen, but Willy claims otherwise. Biff cries for his father, asking him to give up his dreams, but Willy is merely amazed that he would cry for his father. Happy vows to get married and settle down, while everybody but Willy goes to sleep. Willy talks to Ben, then rushes out of the house and speeds out away in his car. Happy and Biff come downstairs in jackets, while Linda walks out in mourning clothes and places flowers on Willy's grave.
Only his wife, sons, and Charley attend Willy's funeral. Linda wonders where everybody else is, and says that they have made their final house payment and are free and clear after thirty-five years. Biff claims that Willy had the wrong dreams, but Charley says that a salesman must dream, and that for a salesman there is no rock bottom in life. Biff asks Happy to leave the city with him, but Happy vows to stay in New York and prove that his father did not die in vain. Everybody leaves but Linda, who remains at the grave and talks about how she made the final house payment.

All My Sons Themes



Major Themes

Relatedness
Arthur Miller stated that the issue of relatedness is the main one in All My Sons. The play introduces questions that involve an individual's obligation to society, personal responsibility, and the distinction between private and public matters. Keller can live with his actions during the war because he sees himself as answerable only to himself and his family, not to society as a whole. Miller criticizes Keller's myopic worldview, which allows him to discount his crimes because they were done "for the family." The principal contention is that Keller is wrong in his claim that there is nothing greater than the family, since there is a whole world to which Keller is connected. To cut yourself off from your relationships with society at large is to invite tragedy of a nature both public (regarding the pilots) and private (regarding the suicides).
The Nuclear Family
The reverse side of Miller's relatedness argument is his downplaying of the family as the nucleus of society. Somehow people are to feel a more general caring for others that is not drawn off by family obligations. What, then, is the place of the family in the larger social system? Discussions of the family serve mostly to contrast characters' opinions about an individual's responsibilities to the family versus society at large. The family is also presented as a unit that can be corrupted and damaged by the actions and denials of its individuals, a small-scale example of the way individual actions can corrupt society.
The Past
All My Sons is a play about the past. It is inescapable--but how exactly does it affect the present and shape the future? Can crimes ever be ignored or forgotten? Most of the dialogue involves various characters discovering various secrets about the recent history of the Keller family. Miller shows how these past secrets have affected those who have kept them. The revelation of the secrets is presented as unavoidable--they were going to come out at some point, no matter what, and it is through Miller's manipulation of the catalysts that the truths are all revealed on the same day. Whilte the revelations are unavoidable, so are their fatal consequences.
Denial and Self-Deception
How do we deceive ourselves and others? We select things to focus on in life, but do we also need to deny certain things in order to live well? What toll does denial take on the psyche, the family, and society? Two main facts about the Keller family history must be confronted. One is Larry's death, and the other is Keller's responsibility for the shipment of defective parts. Mother denies the first while accepting the second, and Keller accepts the first while denying the second. The result is that both characters live in a state of self-deception, willfully ignoring one of the truths so that the family can continue to function in acceptable ways.
Idealism
Chris is described by other characters as an idealist, although we do not see this trait in action aside from his angry response to the wartime profiteering. Yet the others define him by his idealism, setting him apart as a man of scruples. Chris decides that he must abandon these scruples to the cause of practicality when he is faced with the prospect of sending his father to jail. Is idealism sustainable in a fallen, complex world? If ideals must be sacrificed, is there any supervening ideal or principle to help us decide which ideals should be sacrificed in which circumstances?
Business
Keller argues that his actions during the war were defensible ass requirements of good business practice. He also frequently defines himself as an uneducated man, taking pride in his commercial success without traditional book learning. Yet, his sound business sense actually leads to his downfall. This failure is connected with Miller's leftist politics and the play's overall criticisms (shared by some conservatives) of a capitalist system that encourages individuals to value their business sense over their moral sense. How could rules that govern business be exempt from the moral norms and laws governing the rest of society?
Blame
Each character in the play has a different experience of blame. Joe Keller tries to blame anyone and everyone for crimes during the war, first by letting his partner go to jail. Later, when he is confronted with the truth, he blames business practice and the U.S. Army and everyone he can think of--except himself. When he finally does accept blame, after learning how Larry had taken the blame and shame on himself, Keller kills himself. Chris, meanwhile, feels guilty for surviving the war and for having money, but when the crimes are revealed, he places the blame squarely on his father's shoulders. He even blames his father for his own inability to send his father to prison. These are just a few examples of the many instances of deflected blame in this story, and this very human impulse is used to great effect by Miller to demonstrate the true relationships and power plays between characters as they try to maintain self-respect as well as personal and family honor.
The American Dream
Miller points out the flaw with a merely economic interpretation of the American Dream as business success alone. Keller sacrifices other parts of the American Dream for simple economic success. Has he given up part of his basic human decency (consider the pilots) and a successful family life--does he sacrifice Steve or Larry? Miller suggests the flaws of a capitalist who has no grounding in cultural or social morals. While Keller accepted the idea that a good businessman like himself should patch over the flawed shipment, Miller critiques a system that would encourage profit and greed at the expense of human life and happiness. The challenge is to recover the full American Dream of healthy communities with thriving families, whether or not capitalism is the economic system that leads to this happy life. Economic mobility alone can be detrimental--consider George's abandonment of his hometown for big city success. There is a rift in the Bayliss marriage over Dr. Bayliss's desire to do unprofitable research, because his wife wants him to make more money instead of do what he enjoys and what will help others.

All My Sons Characters



Character List

Joe Keller
Middle aged and prosperous, Joe Keller is a family man whose world does not extend beyond the borders of his front yard or the gate around his factory. He is not a greedy, conniving caricature of capitalism, but rather a good-natured and loving man of little education, whose myopic perspective on his world stems from a devotion to his family and an education in a society that encourages generally antisocial behavior. American rugged individualism alienated Keller, whose past misdeeds haunt the future of his family.
Kate Keller (Mother)
Though she has a successful husband and a loving son, Mother cannot abandon the memory of her other son, who was lost in the war. Her delusions about Larry's disappearance and her vehement self-denial are symptomatic of greater issues than just a grief-stricken mother's inability to cope with the loss of a child. Nervous and suspicious, Mother has taken on the burden of her husband's secret while he presents the face of an untroubled conscience to the world, while she suffers from headaches and nightmares. Her fantasies about Larry are constructed from a sense of self-preservation, and the flimsy basis for her hopes is threatened any time someone who loved Larry intimates that he or she may not share Kate's confidence in his return.
Chris Keller
Returning from the war as a hero, Chris found the day-to-day provincialism of his old life stifling. But Chris is a family man, and he is devoted to his parents. He is uncomfortable with the success his father's business found during the war, when so many of his comrades died pointlessly. He redirects his discomfort into an idealism and an attitude of social awareness that is foreign to his family environment. Others perceive Chris's idealism as oppressive, asking sacrifices of others that Chris himself does not make as he lives comfortably (if guiltily) on his father's dime.
Larry Keller
Although he has been dead for some years by the start of the play, Larry is as much a character in the play as anyone who actually appears on stage. His disappearance haunts his family through his mother's superstitious belief in his return, as well as through his brother's wary but measured rejection of Larry's claim on his childhood sweetheart. Larry is constantly compared to Chris throughout the play, ostensibly for the purpose of better defining the character of Chris, but in the end we learn that Larry's own character had quite an effect on the story. Larry is portrayed by his father as the more sensible and practical of his sons, the one with a head for business who would understand his father's arguments. Larry, not Chris, possessed the stronger sense of honor and connectedness, and Larry sacrificed himself in penance for his father's misdeeds.
Ann Deever
The beautiful Ann has not become attached to a new man since her beau Larry died in the war, but this is not through lack of suitors. Ann is mired in the past, though she has not been waiting for Larry to return. Rather, she has waited for his brother Chris to step forward and take Larry's place in her heart. She is an honest, down-to-earth girl, and she is emboldened by the strength of certain of her convictions. Sharing Chris's idealism and righteousness, she has shunned her father for his crimes during the war, and she fully understands his assertion that if he had any suspicions of his own father, he could not live with himself. Ann and her brother work to establish "appropriate" reactions to a father's wartime racketeering.
George Deever
George serves a mostly functional role in the story of the Keller family. His arrival in the second act is a catalyst for a situation that was on edge from long-established tensions. His disdain is for the crime, not for the man, and now that he has been newly convinced of his father's innocence, he is here to rescue his sister from entering the family of the man he believes is actually guilty. Yet George is easily disarmed by Keller's good humor, and his own convictions about his father's innocence are almost undermined by his awareness of his father's other faults and weaknesses.
Dr. Jim Bayliss
The neighborhood doctor, Jim is a good man who believes in the duty of one man to help another, but he at the same time acknowledges a man's responsibility to his family. He is interested in medicine not for the money but to help people. This point is dramatized by his reluctance to bother with a hypochondriac. He once left his wife to do medical research, but he eventually went home, putting his responsibility to his family ahead of his responsibility to the world.
Sue Bayliss
Jim's wife Sue put her husband through medical school, and she expects more than gratitude in return. She blames Chris's infectious, insinuating idealism for her husband's interest in the fiscally unrewarding field of medical research.
Frank Lubey
A simple neighbor, Frank has an interest in astrology. Mother asked him before the start of the play to prepare a horoscope for Larry in order to determine his "favorable day."
Lydia Lubey
Now married to Frank, Lydia is a former sweetheart of George's, but she did not wait for him to return from the war. Seeing Lydia makes George wistful about the simpler life he could have had, if he had not left home for the greater world of New York.
Bert
Bert is a neighborhood boy who plays cop-and-robber games with Joe Keller, to Mother's chagrin. Keller has allowed Bert and the other children to get the story of his jail time wrong and to believe that he is a chief of police with a jail in his basement. Mother is made very anxious by these games.