Objectives

• Analyse how Miller uses non-linear dramatic form and stage directions to present Willy Loman's psychological collapse in Act I.
• Explain how Miller constructs the Boston hotel flashback to dramatise the moment of Biff's disillusionment and its consequences for the father–son relationship.
• Evaluate how Miller uses the Howard Wagner scene in Act II to critique the American Dream's promise of reward for loyalty and hard work.
• Analyse how Miller shapes Biff's climactic confrontation with Willy in Act II to present competing versions of identity and self-knowledge.
• Write a full evidenced analytical essay arguing a position on whether Willy Loman is a tragic hero, using close reference to language, form, and structure across all three chapters.

The sequence

1. Lesson 1: A Man Out of Time: Form, Memory and Willy's Collapse in Act I

   60 min · ch. 1

   Do now

   Read the opening stage direction of Act I — 'A melody is heard, played upon a flute… the air of the dream clings to the place, a dream rising out of reality.' Write two observations: what does Miller's choice of a flute suggest about Willy's world, and what does the phrase 'dream rising out of reality' foreshadow for the events in this play?

   Teacher input

   Model a close reading of the moment in Act I when Willy's dialogue unexpectedly shifts from the present—'The car kept going off onto the shoulder, y'know?'—to the first flashback, where teenage Biff shines the car and Willy affectionately calls him 'a prince.' Help students understand how Miller conveys this transition without a scene break, transitioning from Linda's voice to Biff's younger voice, and using the stage direction 'Music insinuates itself' to indicate that, for Willy, past and present blend together. Show how to craft a sentence that identifies the technique, incorporates the relevant word or phrase, and discusses its impact on the reader or audience.

   Independent task

   Students are tasked with writing two analytical paragraphs in response to this question: How does Miller use the structure of Act I's opening sequence — from Willy's return home to the first flashback of Biff polishing the car — to show that Willy Loman is a man whose hold on the present is slipping? Each paragraph should begin with a clear analytical statement, include at least one exact quotation from Act I, and conclude with a sentence explaining what Miller aims for the audience to grasp about Willy's psychological state. Students should write in their exercise books and underline all quotations.

   Exit ticket

   In one sentence, explain why Miller chooses to move into Willy's first flashback without a scene break or blackout — what does that formal choice tell the audience about the nature of Willy's memory?

2. Lesson 2: The Boston Secret: Betrayal, Flashback and the Destruction of Biff's Faith

   60 min · ch. 1, 2

   Do now

   Without looking at the text, jot down everything you know or can guess about why Biff lost faith in his father. Then, turn to Act I and find the moment when Willy snaps at Linda — 'Will you stop mending stockings? At least while I'm here!' — and write a single sentence explaining why seeing Linda darning stockings infuriates Willy.

   Teacher input

   Model a close reading of the Boston hotel flashback in Act II — specifically, the stage direction 'The Woman laughs' and Willy's desperate line, 'She's nothing to me, Biff. I was lonely, I was terribly lonely.' Focus on Miller's word choice: the repetition of 'lonely' emphasizes Willy's isolation, while the Woman's laughter disrupts Willy's authority, acting as a sound that resonates throughout the scene. Biff’s shocked response — 'You — you gave her Mama's stockings!' connects to the stockings motif introduced in Act I. This moment serves as crucial evidence of Miller's structural patterns. Demonstrate to students how to analyze these elements of form and structure alongside the language used.

   Independent task

   Students are tasked with writing three analytical paragraphs to answer the question: How does Miller use the Boston hotel flashback in Act II to depict the moment that fractures Biff's relationship with his father? In the first paragraph, students should analyze Miller's use of the stockings motif throughout Act I and Act II. The second paragraph should concentrate on Willy's words in the lines "She's nothing to me, Biff. I was lonely, I was terribly lonely," focusing on word choice and repetition. The third paragraph must clarify what Miller intends for the audience to grasp regarding the contrast between Willy's self-image and the reality that Biff now perceives. Students are expected to quote from both Act I and Act II, annotating their quotations in the margin with the technique being analyzed.

   Exit ticket

   Write one sentence explaining how the stockings motif connects Act I and Act II, and one sentence explaining what that connection reveals about Miller's method as a playwright.

3. Lesson 3: The System Eats Its Own: Willy, Howard Wagner and the American Dream in Act II

   60 min · ch. 2

   Do now

   Read the stage direction that opens the Howard Wagner scene in Act II: 'On a table at left is a small wire recorder.' What are two questions you would ask about that wire recorder before the scene starts? Consider what it might symbolize and why Miller would choose to position it prominently before Howard even says a word.

   Teacher input

   Model a close reading of the moment in Act II when Howard plays the wire recorder — featuring his young daughter's voice, his son's voice, and his own whistling 'Roll Out the Barrel' — and then responds to Willy's request for a desk job with the line, 'Kid, I can't take blood from a stone.' Show students how Miller uses the wire recorder as a symbol of the new, impersonal, technological America that doesn't accommodate Willy's handshake-and-personality salesmanship. Illustrate the concept of dramatic irony: the audience is aware that Willy named Howard at his birth, yet Howard is unable to offer him a desk. Frame this as a structural argument about Miller's critique of capitalism.

   Independent task

   Students are tasked with writing three analytical paragraphs that respond to the following question: How does Miller use the Howard Wagner scene in Act II to argue that the American Dream is a lie that ultimately harms those who believe in it most? In the first paragraph, students should analyze the wire recorder as a symbol, incorporating quotes from the stage directions and Howard's dialogue. The second paragraph must examine Howard's line, "Kid, I can't take blood from a stone," in contrast to Willy's earlier assertion in Act I that "personality always wins the day." Students should explain what this contrast reveals. Finally, the third paragraph should evaluate whether Miller depicts Howard as a villain or as a reflection of a larger system, supported by at least two quotations from Act II.

   Exit ticket

   In two sentences, explain what the wire recorder symbolises in the Howard Wagner scene and why Miller places it on stage before Willy even begins to speak.

4. Lesson 4: Facing the Lie: Biff's Confrontation with Willy and the Question of Identity in Act II

   60 min · ch. 2

   Do now

   Biff is asserting that he doesn't possess the qualities of a leader, just as he believes Willy lacks them. He claims Willy has always been just another hard worker who ultimately ended up failing, like everyone else.

   Teacher input

   Model a close reading of the dramatic exchange in Act II where Biff confronts Willy by holding up the rubber pipe, asking, "What is this? Do you think I don't know what this is?" He then breaks down in tears, pleading with Willy: "Will you take that phony dream and burn it before something happens?" Pay close attention to Miller's stage directions during this moment: "Biff breaks down, sobbing, holding on to Willy, who dumbly fumbles for Biff's face." Highlight how Miller uses physical actions — like Willy's fumbling and Biff's desperate grip — to illustrate that Willy struggles to recognize Biff's love as genuine affection; instead, he sees it merely as a sign that Biff might succeed. Demonstrate how to analyze the disconnect between a character's words and what another character perceives as an important structural technique.

   Independent task

   Students are tasked with writing three analytical paragraphs in response to the question: How does Miller portray the confrontation between Biff and Willy in Act II as a conflict between self-awareness and self-deception? In the first paragraph, analyze Biff's statement starting with 'I am not a leader of men,' paying particular attention to his use of direct address and the term 'drummer.' Explain what Biff realizes about himself that Willy struggles to accept. The second paragraph should examine the stage direction 'Biff breaks down, sobbing, holding on to Willy, who dumbly fumbles for Biff's face.' Discuss how Miller employs physical staging to illustrate Willy's inability to accept Biff's love as it is. In the third paragraph, argue whether Miller depicts Biff's breakdown as a moment of defeat or liberation, using at least two quotations from Act II to support your argument.

   Exit ticket

   Write one sentence explaining what Willy believes Biff's tears prove, and one sentence explaining what Biff actually intends his tears to communicate — then explain in a third sentence why that gap is the tragedy of the play.

5. Lesson 5: Nobody Dast Blame This Man: The Requiem, Tragic Status and the Full Essay

   60 min · ch. 1, 2, 3

   Do now

   Charley means that dreaming is an inherent part of being a salesman, suggesting that it's expected and unavoidable. I believe this speech asks the audience to understand Willy rather than forgive or pity him, as it emphasizes the complexity of his struggles and aspirations rather than seeking sympathy for his failures.

   Teacher input

   Here's a model for crafting an essay introduction and the first body paragraph in response to the question: 'Miller presents Willy Loman as a man destroyed by a dream he was sold, not one he invented.' How far do you agree?

   Start with a clear, contestable thesis: Arthur Miller portrays Willy Loman as a tragic figure, shaped more by societal expectations than by his own aspirations. Through Linda's speech in Act I — "He's not the finest character that ever lived. But he's a human being, and a terrible thing is happening to him" — Miller emphasizes the complexity of Willy's character and the harsh realities he faces. This introduction outlines Miller's purpose to evoke empathy and challenge the audience’s perceptions of success and failure in the American Dream while establishing the dramatic form of a tragedy.

   In the body paragraph, analyze Linda's syntax, particularly her use of the concessive "But," which highlights the tension between her acknowledgement of Willy's flaws and her deep-seated love for him. Her choice of the phrase "terrible thing" evokes a sense of urgency and despair, compelling the audience to confront the emotional weight of Willy's struggles. At this moment, Miller aims for the audience to feel a mixture of sympathy and sorrow, recognizing Willy as a victim of a relentless societal system rather than merely a failed man.

   This approach ensures that the introduction clearly states the argument's direction while remaining concise and focused.

   Independent task

   Write a full essay of about 600–800 words in response to the question: 'Miller presents Willy Loman as a man destroyed by a dream he was sold, not one he invented.' How far do you agree? Your essay should include: a four-sentence introduction that clearly states a contestable thesis and identifies Miller's dramatic method; at least three body paragraphs, each focused on a different moment in the play — you must analyze at least one moment from Act I (like Willy's first flashback or Linda's speech that begins with 'He's not the finest character'), at least one moment from Act II (such as Howard Wagner's dismissal or the confrontation with Biff), and at least one moment from the Requiem (like Charley's eulogy or Linda's final speech starting with 'We're free'); each body paragraph must contain at least two embedded quotations with analysis of specific words or phrases; and a conclusion of two to three sentences that delivers a final judgment on the question. Avoid summarizing the plot, and ensure that every claim is backed by a quotation from the text.

   Exit ticket

   Write one sentence stating your final judgement on whether Willy Loman is a tragic hero in the classical sense, one sentence identifying the single strongest piece of evidence from the play that supports your view, and one sentence acknowledging the strongest counter-argument a reader might make against your position.

Activities

Assessment

• Lesson 1 exit ticket: checks whether students can articulate why Miller's formal choice — the absence of a scene break at the first flashback — is meaningful, not merely descriptive.
• Lesson 2 exit ticket: checks whether students can trace the stockings motif across two acts and connect structural patterning to authorial intention.
• Lesson 3 exit ticket: checks whether students can explain a symbol (the wire recorder) in relation to Miller's broader critique of capitalism, not just as a plot detail.
• Lesson 4 exit ticket: checks whether students can hold two contradictory readings of the same moment simultaneously — Willy's misreading of Biff's tears and Biff's actual intention — and name the gap between them as the play's central tragedy.
• Lesson 2 independent task margin annotations: checks whether students can identify and name specific literary techniques (repetition, motif, dramatic irony) rather than writing about 'language' in general.

Standards covered

Common Core 11 12

• RL.11-12.1 — Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
• RL.11-12.3 — Analyse the impact of the author's choices regarding how to develop and relate elements of a story or drama, including where a story is set, how the action is ordered, and how the characters are introduced and developed.
• RL.11-12.5 — Analyse how an author's choices concerning how to structure specific parts of a text contribute to its overall structure and meaning as well as its aesthetic impact.
• W.11-12.1 — Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

AP Literature

• Literary Argumentation (LAN-1) — Develop a thesis that interprets a literary text and defend it with evidence.
• Figurative Language (FIG-1) — Explain the function of figurative language in a literary text.
• Structure (STR-1) — Explain the function of structure in a literary text, including how an author sequences and paces events.
• Character (CHR-1) — Explain the function of a character, including their relationship to other characters and their role in advancing the narrative.
• Narrator and Speaker (NAR-1) — Explain the function of point of view and narrative perspective in shaping meaning.

AQA

• AO1 — Read, understand and respond to texts; maintain a critical style and develop an informed personal response; use textual references, including quotations, to support and illustrate interpretations.
• AO2 — Analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology where appropriate.
• AO3 — Show understanding of the relationships between texts and the contexts in which they were produced and received.
• AO5 (for written tasks) — Communicate clearly, effectively and imaginatively, selecting and adapting tone, style and register for different forms, purposes and audiences.

Edexcel

• AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression.
• AO2 — Analyse ways in which meanings are shaped in literary texts, with reference to language, form, structure and context.
• AO3 — Demonstrate understanding of the significance and influence of the contexts in which literary texts are produced and received.
• AO4 — Explore connections across literary texts, including links between Death of a Salesman and wider reading in American literature and tragedy.

IB Lit

• Criterion A — Knowledge, understanding and interpretation: demonstrate detailed knowledge of Death of a Salesman and construct a supported interpretation of Miller's dramatic intentions.
• Criterion B — Analysis and evaluation: analyse how Miller's use of non-linear structure, motif and stage direction creates meaning and evaluate the effectiveness of these choices.
• Criterion C — Focus and organisation: develop a sustained, well-organised argument that addresses the question across all three chapters of the play.