AMS Superquotes Act 1

“I woke up and looked out. She was standing right here when it cracked”​ - Chris p.14

-dynamic phrasal verb​

- symbolise the lack of sleep ​

-represent guilt and nightmares that haunt Kate​

- Peace has been destroyed permanently as a consequence of Joes actions.​

-the idea that she potentially cracked the tree her self​

-so she can blame joe for something else​

-metaphorically getting justice for her son, Larry, bygoing against the man who she knows killed her son​

-‘standing’ emphasises her passivity and inability to move on from the past ​

- She forces the whole family to remain in this state with her.​

- dynamic verb symbolises the status of the family now that Larry is gone and deep down they all know he is gone.​

-in an attempt of getting the ‘American Dream’ Joe has broken his family ​

-consequence of his greed which is ultimately the cause of his hamartia​

“Larry was born in august. He’d be twenty seven this month. And his tree blows down.” ​Frank, p.7

​

-The contraction here is of “he would be” which a hypothetical form showing that joe knows he is dead.​

-The fact that his memorial tree blows down shows that he is actually dead. The verb form of “blows” lacks a subject which could be interpreted as Keller’s avoidance of accountability he ignores the cause of things as he has caused so much harm through his hamartia.​

[She Points To Tree] Kate, p.22​

• During Kate arguing with Keller that Larry will come back.​

• Kinesics ‘points’ shows Kate constantly referring back to the tree as it is the foundation of her argument that Larry will return and she is sure of that. Pointing also has connotations of accusation which could be interpreted as Kate knowing that Keller is guilty which shows her part in the play as the ‘nemesis’. ​

• This also builds the metatheatrical importance of the tree as miller has characters constantly draw attention to this central metaphor of loss in the text​

‘it never occurred to me that you’d… I mean the shoes are all shined’ Ann, p.26​

• Context- Ann and Mother talking about Larry​

• Pause is implying that Ann is trying to change the subject as the conversation is getting awkward. She is also surprised that Kate hasn’t moved on​

• ​

‘I ignore what I gotta ignore’ Keller, p.16

Repetition of ignore, he’s looking past his morally incorrect actions to push away responsibility

Colloquial language –presenting himself as ignorant and uneducated which is a diversionary performance to avoid suspicion ​

‘That's an arresting gun!​’ Keller, p.13

Exclamative (Keller is shouting)​

Chekhov's gun-Every prop must be used in the play (Foreshadowing Keller's suicide)​

Proleptic determiners​

Unmitigated declarative​

‘There's a jail in the basement.​’ Keller, p.13

Prolepsis (Foreshadows Joes eternal entrapment in the basement)​

Biblical Illusion (The basement is under-ground which relates to the biblical depiction of hell)​

Power of time (Keller's sins will inevitably catch up with him)​

‘The whole shootin-match is for you!​’ Keller, p.17

Chekhovs gun-Foreshadows Keller shooting himself (Motif)​

Exclamative​

Prolepsis (Foreshadowing/emotional blackmail/sacrifice)​

Shooting match between Steve and Keller​

‘A heavy man of stolid mind and build , a business man these many years with the imprint of the machine shop worker and boss still upon him’​ stage directions (Keller), p.5-6

No matter how rich he is he cant escape his working class background due to class based society​

‘Stolid’- emotionally unoccupied, lack of morality and empathy​

‘On my word of honour, theres a jail in the basement’​ Keller, p.14

The house is built upon the ‘jail’ and the psychological prison he’s built with the secret​

Idea of justice +dramatic irony – he dies in the basement​

He is a liar as shown due to his ‘word of honour’

‘The only one that still talks about it is my wife’​ Keller, p.29

Kate doesn’t let him forget bc she resents him and wants to punish him for it​

She feels guilt due to her ‘failure’ in her maternal role - wants to remember him​

‘All the ones that yelled murderer takin’ my money now’​ Keller, p.30

Money = Power​, Materialistic society​

Morality<Wealth​

The power others have over him due to secret- A form of punishment itself​

‘I never believed in crucifying people’​ Keller, p.31

Denies morality of religion​

Self referential – he believes he doesn’t deserve punishment​

Crucifiction = sacrifice – this positions Joe as Jesus so here he seems to argue he cannot be held accountable and 'crucified' for the sins of the American people in WW2.​

“I know. Sue hates you.”​ - Ann, p.23

The verb “hates” is very strong, suggesting Ann is beginning to realise that the Keller family's reputation is not as positive as Chris believes (proleptic of when it comes out that keller was actually responsible).​

“I’m not afraid of anything.”​ Ann, p.23

Miller presents Ann as someone who is willing to face the truth, even when it is uncomfortable.This also contrasts with characters such as Joe, who tries to avoid confronting the truth about his actions.​

'It's wrong to pity a man likethat. Father or no father'​ Ann p.31

Unusually black-and-white view of situation, giving off an impression of masculine expectations in American society in 1947.​

Unmitigated- she is absolute in what she is saying. Unnerving confidence for a woman of this time.​

Lacks sympathy for situation and perhaps says this to Keller to reinforce his guilt, as she's showing that although he may be her father she still thinks he's a monster, harming Kellers false sense of security of family loyalty.​

stage direction says that she is 'a little ashamed, but determined' when announcing that she has 'never written to him'. At that point her shame and embarrassment stems from her apparent lack of conformity with her total lack of sympathy that is expected of her as a woman. Her determination at this point is masked with her overarching shame, however when she says that 'It's wrong to pity a man like that. Father or no father' her determination and independent thinking solidifies.​

Challenges feminine expectations with her seemingly emotionless perspective.​

Stage direction: [ANN simply stares at him]​ p.31

When Keller is speaking about her father , Anns lack of reaction to what he is saying was perhaps used as an early indicator of her lack of sympathy for her father.​

Following up from this stage direction, Keller uses the interrogative 'You hear me?'. This reaction to Ann's 'simply' staring comes  across as both patronising and infantilizing, giving the audience an insight to Kellers perspective on women.​

The use of the adverb 'simply' has many connotations. It makes it seem as though Ann may not have a lot of thought, and this could be an insight to Miller's perception of women - "I didn't understand girls too well" - and may reflect the patriarchal ideas regarding women and their intelligence.​

"All I've done is sit and wonder.."​ Ann, p.35

This signifies that Ann has been written to be an incredibly male centred character. Her world revolves around Chris.​

Ann was in New York. She had opportunities to embrace her future and independence, could've furthered her career and made something of herself. ​

Ann doesn’t do anything. The determiner 'All' shows that she has no life of her own outside of male relationships.​

Miller cannot comprehend that a woman has more purpose and value than to solely devote themselves to a man.​

“Boy, the poplars got thick, didn’t they?”​ Ann, p.?

“Boy” – This is informal , showing Ann’s excitement and familiarity with the Keller home. It makes her sound nostalgic, as she is remembering her childhood.​

“didn’t they?” – The interrogative tells the other characters to share her memory. It suggests that Ann is trying to reconnect with the Keller family and the past.​

“the poplars got thick” – The poplar trees have grown while Ann has been away. The trees therefore symbolise the passing of time. They also symbolise how the lies of the people in town grow and grow, causing them to become more trapped by their lives as time goes on.​

The trees also create a sense of separation and secrecy because the stage directions describe them as creating a secluded atmosphere. This becomes important because Ann is returning to a family with hidden secrets, particularly Joe Keller's involvement in the faulty aircraft parts.​

“You have to be prepared to leave your family.”​ Ann, p.31

The phrase “have to” makes Ann sound determined and certain​

Miller uses Ann to go against the idea that family should always come before doing what is right.​

She believes that moral responsibility can be more important than family loyalty.​

This is important because Joe has protected himself and his family rather than accepting responsibility for the deaths of the pilots.​

“Like Larry’s brother. Do it like you, Chris.”​ Ann, p.35

Syntactic Parallelism​

She refuses conformity and orders a man, breaking the patriarchy.​

Encouraging Chris to forget about Larry Be his own person instead of trying to be Larry​

“There’s nothing wrong in your money… You should be proud.”​ Ann, p.36

Ann (possibly) knows the secret yet insists the money is clean.​

Uses unmitigated declarative, shows that Ann is certain and definite in her responses, indicating that she is a strong person that does not fall under the stereotypes of women being “uncertain” and “timid”.​

Could indicate that Ann never loved Chris but wanted to be compensated for losing Larry + Hatred for Joe living a peaceful life after her father was framed​

Brings back to the whole play of everyone associated with Joe Keller in desiring money  criticizes the “American Dream” and Capitalism for making Americans money-hungry.

“What’ll I do with a fortune . . .?”​ Ann, p.36

“What’ll” Non-Standard English) contraction, indicates that Ann uses non-standard English like Joe Keller ​

Theme of money comes back, could possibly be more evidence of Ann only wanting Chris for the Keller’s family money.​

Could be suggested that she’s asking herself the question, possibly thinking of the luxuries she could have after obtaining it.​

“[affectionately] He’s so subtle!”​ Ann, p.37

Primary context: Talking about Keller’s sudden appearance and his jokes​

Secondary Context: She could possibly be talking about how subtle Joe is in general, and how he’s trying to be difficult to be understood so no one understands or gets to know what he really did.​

‘Ive been a good son too long, a good sucker. I'm through with it.’ Chris, p.17

The declarative syntax I'm through with it' is deliberately abrupt. The short, declarative syntax conveys determination and suggests that Chris believes he is finally rejecting his father's expectations.​

'good' - syntactic parallelism, it uses conformity not referring to the moral meaning. ​

Miller wrote the play in the aftermath of  WW II, when questions about individual responsibility and obligations to the wider community were particularly significant.​

Can be seen as an implicit threat to Joe. ​

The colloquial noun of 'sucker' reveals that what he has previously considered loyalty to Joe has actually made him vulnerable to manipulation

"One of these days, they’ll all come in here and beat your brains out."​ Chris, p.14

Miller initially introduces the police game with Bert and Keller as comical and lighthearted, but this reveals darker ideas of Kellers past​

Superlative quantifier- intensifying the scale of anger felt towards him by others. Chris is aware of what his father has done but is repressing it/leaving it in the past.​

This is proleptic of Kellers  confrontation and 'exposure' of his lie by his family, that leads to his suicide. ​

Plosive alliteration- conveys repressed fustration towards his father. ​​

Hyperbolic language- warning his father the neighbourhood has not forgotten the past of the scandal and eventually may avenge.​​

'They didn't die: they killed themselves for each other...a little more selfish and they'd've been here today.'​ Chris, p.35

Chris is presented in Act 1 as a manifestation of idealism and socialist progressive attitudes.​

 For this reason the audience is encouraged to perceive him as one of Joe Keller's moral foils and furthermore a beacon of morality and hope for the integrity of future generations in post-war American society. ​

Therefore, when Chris mirrors his father's colloquial contraction ('they'd've' ) it reflects on the humanity behind wartime mistakes. Keller utilised informal/colloquial dialogue to make himself appear uneducated and unaware in order to alleviate suspicion and escape responsibility for his actions. The fact that even a moral advocate like Chris mirrors his father when discussing his failures during the war proves that no action during this time was completely without casualties. ​

'die' as a passive action in juxtaposition to an active decision 'they killed themselves' proving that morality and responsibility requires conscious decision making. This act of martyrdom highlights the immorality behind Joe's passivity regarding the faulty aeroplane parts – evading a decision is a decision in itself. 'They killed themselves for eachother' is proleptic of Joe's ultimate suicide when he realises the true significant of his choices. He kills himself to atone for the 21 pilots ( and inadvertently his son) who lost their lives in order for him to continue his comfortable lifestyle.​

​Survivor's guilt – Chris feels selfish for experiencing and benefitting from post-war society. This is Miller's social commentary towards the audience in 1947 (and the years following) as they are all reaping the rewards of the mass economic growth afforded by unethical transactors such as Joe Keller. Miller is inviting the audience to reflect on the hypocrisy of their judgements on Keller and appreciate that an issue which was so widely faced could never be as simple as black and white.​

​

'Sure lets have some fun. (to mother) You'll start with this aspirin.’ - Chris, p.21​

Chris is medicalising Kate, he's offering her aspirin to stop her from brining the mood down by talking about Larry. Which shows how concerns about women's health in this era was not important or a concern for their husbands. ​

Chris talks with an imperitive towards Kate, offering her an asprin makes it seem like he's concerned about her health when in reality he's basically just told how to shut up. This is repeated multiple times through out the play and it represents how a lot of women's basic needs in the 1940s were overlooked.​

Dysphemism is also used in this quote, because chris is being very blunt and making a point which is made clear with the proxemic stage direction ' (to mother)'. This makes the imperitive forceful. ​

This quote also reflects American women in society at the time, and how they were seen from external perspectives. Miller stated that he 'didn’t know much about women', so Kate's character is based off of stereotypical house wife's, which shows that their opinion was seen as a nuisance and not worth the husbands time ​

[Mother appears on porch. She is in her early fifties, a woman of uncontrolled inspiration and an overwhelming capacity for love] - A character description of Mother, p.18

she is first known

as “MOTHER” which can show how she is being devalued to her role. Her “uncontrolled

inspirations” foreshadows her psychological breakdown later on, and her “Overwhelming

capacity for love” might foreshadow the unwillingness to let Larry to turn into a past memory

and how she treats George like her own son later on- acting like her role in society.

“will you do me a favour Joe? Don’t be helpful.” - Mother, p.18

undermining Keller’s achievements

and work. “Don’t be helpful.” her firm tone is like she is trying to hurt his pride that he has for

his work

“...It’s cleaner than your teeth.” - Mother, p.18

This could show her distain toward Keller and how she is

implying that he is dirty- like with his money or actions. Comparative adjective “Cleaner” as a

moral combat.

“It’s her day off, what are you crabbing about?”- Mother, p.18

- She is again devaluing his work by refusing

to acknowledge the privilege of using their maid. “crabbing” : colloquial lexis - she uses very

unformal language towards Keller to show the lack of respect she has for him and of that time

she is being more disrespected as a wife to her husband, which further emphasises this point

“Can I get you some aspirin” - Mother, p.19

Aspirin- medicating mother as excuse for behavior- medicalisation of women. Temporary fix

and won’t fix emotional and mental pain of losing son

“Everything that happened seemed to be coming back” - Mother, p.19

Strong belief that Larry is coming back.Shows desperation for him to be alive seeing all

coincidences as signs-link to horoscope.

“I think her nose got longer” - Mother, p.19

Longer: About Ann-link Pinocchio nose grows longer when you lie-dad in prison for crime, ironic as her husband is the liar and should be in prison

Think: mitigated, stative

“I’m just so glad she came, so you can see I’m not completely out of my mind” - Mother, p.19

Completely:knows she is acting crazy to still be saying Larry is alive-doubting herself

Only reason she’s happy Ann’s here is to prover herself right - selfish

‘That’s the way I saw him. Only high

up. Way, way up where the clouds

are. He was so real I could reach out

and touch him. And suddenly he

started to fall. And crying to me...

Mom, Mom!’ - Mother, p.20

Nightmarish; Larry is beyond reach and she cannot

save him. This illustrates her guilt at letting her own

son go (as so many mothers did during the war).

Depicts her emotional instability and after losing

her child.

This euthamistic language

suggests Larry is in heaven and

she knows that he is dead.

Her belief that he is in heaven

could be a comfort to

herself that Larry is in a better

place.

The continuous use of elipsis through

her soliliquoy depicts her lonlieness

and isolation, almost like an echo and

she is trapped in an enclosed place.

Nobody is supporting her with her grief

She feels as if she let her son down,

therefore failing her role as a woman.

She feels helpless and lost because in

patriarchal American society a woman’s role

was soley to be a mother and protect their

children.

“Because if he’s not coming back, then I’ll kill myself!” - Mother, p.22

Prolepsis towards Keller’s suicide at

the end of the play. May be

interpreted as Mother trying to

force guilt towards Keller to make

him regret what he has done,

potentially she feels malice

towards him.

Despite the interpretation that she

is just trying to guilt Keller, we can

also argue that Mother genuinely

feels that if Larry is dead she has no

choice but to take her life. This

would imply that, as we know Larry

is dead, it is destined that Keller’s

karma will come back somehow

“There’s no jail here! I want you to stop

that jail business!” - Mother, p.23

Proleptic language. Mother’s attempt

to keep Keller quiet about the court

case. Mother is trying to preserve her

false normality and convince herself

everything is fine (similar to how she

convinces herself Larry is alive)

the phrase

“jail business” could

be her directly calling Keller’s

business, and previous actions

leading to his hamartia, as corrupt

and deserving of arrest

“She’s not his girl, Joe; she knows she’s not.” - Mother, p.22

Historical context: While Mother is

not directly saying that Ann belongs

to Larry as most women were

property of their husbands in the

1900's, she is implying that Ann is

under the ownership of Larry

Mother does not refer to Ann by her

name, and instead uses pronouns.

This further belittles Ann’s place in society, watering her down to

nothing but Larry’s property even in death.

‘And the trouble is that you believe in anything’ Jim - p.8

microcosm for the post war illusion that crumbles

under the weight of humanity crimes

wilful ignorance

moral realist

rejects the idea of the American dream-working

for the money when he's broke

foil to humanity

stative verbs shows his

delusion and lack of

clarity in post America

syntactic parallelism - conjunction weaponises Frank’s own words

against him, flips franks meaning into a critique of delusion

‘I would love to help humanity on a Warner Brothers Salary.’ - Jim, p.9

The theme of sacrifice and compromise is shown here highlighting the difference between wealth and personal morals. Something that Keller (+rest of American society) had to choose from.

Abstract noun - the juxtaposition between these two nouns show his repression between the idealism and realism in society.

The reference to a highly monetarily valued company

suggest the unbalanced nature of the American Dream.

Concrete noun - represents the reality of

life, having to work for money rather than

joy (Chris doesn’t believe in this way of

thinking)

aspires to idealism yet is constrained by capitalism in the patriarchy to a hollow materialism

Stative verb - suggests his repression - the modal “would” shows it is desire but not achievable

‘wheres your tobacco?’ - Jim, p.6

The community is complicit in and accepts Joe’s denial in exchange for a share of his material gains through his wealth (represented by ‘tobacco’, ‘parsley’ ‘poker’)

The first line being a request from keller portrays the idea of bribery

leads to the theme of secrecy.

Because of this we see how many people profited from Joes actions, here jim

profits from joes act of shame. He knew of joes guilt and let steve rot inside of cell, we know that he deserved to be there but not alone, because of this the community has enabled Joe to thrive