It seems that far from offering a secure, reassuring nest the family also reverberates the tensions of society at large in the 1950s. Precisely in Death of a Salesman spectators are given privileged access into the private sphere of a family and occasionally turned into voyeurs. Yet, there is every reason to believe that Dave Singleman, as his patronymic shows, is a bachelor, when the foundation of the much-vaunted American ideal remains the nuclear family: the nuclear family as an agent of socialization and as a stabilizing influence.

In Death of a Salesman, the dream of social success cannot be disentangled from the idyllic vision of society as a large, tightly-knit family.

Making of the outside world a home would imply being РІР‚Сљwell-likedРІР‚Сњ: managing to turn anonymous, business relations into close family ties РІР‚вЂњ that is to say being able, like Dave Singleman, РІР‚Сљto goРІР‚В¦ into twenty or thirty different cities, and pick up a phone, and be remembered and loved and helped by so many different people?РІР‚Сњ (p.63). In an article entitled The Family in Modern Drama, Arthur Miller insisted that all РІР‚Сљgreat playsРІР‚Сњ finally grapple with one central issue: РІР‚Сљhow may a man make of the outside world a home?РІР‚Сњ.

Death of a salesman dave singleman