Conflict between Idealism and Realism - Essay Example

Consider any two of the text studied in terms of their representations of the conflict between idealism and realism  Submission The integration of philosophy and literature which occurred in the progression of nineteenth-centuries works inspired the birth of idealism as a “literary and aesthetic aspect” in the advancement of European literature (Eldridge 2009, p. 273). The identification of idealism as an integral aesthetic source in the works which have been published in the nineteenth-century and beyond is comprehensive such that authors, in their quest to incorporate idealistic views and perceptions have been granted with the liberty to mould the notion as per their requirements or desires. For instance, works which have emerged from the minds of German writers have focused upon the poetics of idealism and the manner in which this element can be utilized to declare reverence to the creator (Eldridge 2009, p. 276). Accordingly, the concept of idealism has also trailed on the path of romanticism through the emotions, representations and words of Trotsky only to be embodied in nature and being by several others who came after him. However, perhaps the most vivid representation of idealism has surfaced in the projection of Schiller who first let humankind spread its wings through the utopian exaltation of what is known as ‘freedom’ (Eldridge 2009, p. 276). It is in such profound and intriguing elements that idealism supposedly thrives and transcends the boundaries of norms to capture the core aestheticism in literature. Contrary to the aura which idealism exudes and possesses, the notion of realism in literature strives to deliver a spell of ‘truth’ however, this does not imply that the philosophical association of this aspect stands invalidated or misconstrued. In fact, Eldridge (2009, p. 224) asserts that the purpose of realism is to explore the justification of declarations which are forwarded in a philosophical light through the mode of literature. Indeed, if literary works venture into the discovery of reality or even a infinitesimal portion of it, then can be rightly stated that literature shares an association with the manifestation of reality and this linkage is what is explored through the concept of realism (Eldridge 2009, p. 224). As stated by Wellek (1961, p. 2), the debate on the literary notion of eternal realism poses “...the whole fundamental epistemological problem of the relation of art to reality”. Given the contrasting nature of idealism and realism it is inevitable that these concepts, as primary thematic elements within literature have emerged as conflicting notions in a wide spectrum of literary works which transcend both geographical and cultural boundaries. In this paper the representations of the conflict between idealism and realism are explored as portrayed in the American drama scripts – Awake and Sing! by Clifford Odets and Death of a Salesman by Arthur Miller. The beginning of Miller’s work – Death of a Salesman, evokes such feelings and perceptions where the playwright continually transports the narrative between illusion and reality. The representation of this critical depiction is essentially rooted in what has occurred in the protagonist, Willy’s past and how these seemingly negligible elements seem to impact the character’s present. Miller’s illusion and portrayal of an idea emerges from the simple notion of a dream and that dream is to succeed. In their analysis of the core aspects which have been crafted by Miller in his profound work, Sterling and Sterling (2008, p. 40) associate Willy’s ultimate dream of attaining success to the foundations of idealism and the romanticism which first flourished in the nineteenth-century. The notions which were taught and promoted through the literary works of the era declared freedom as the definitive achievement, magnanimous and unrestrained, as a limitless opportunity and as Willy’s ideas are gradually unravelled by Miller it becomes evident that his only dream is what drives his belief in the power of freedom which allows an individual to reach new heights and taste triumph. In his examination of Willy’s aspirations, Schiach (2000) recounts the emergence of the ‘American Dream’ and its subsequent foray in the cultural projections within the mass media. The dream in this scenario is for all American citizens to be able to attain a status where their standard of living reaches a desired, equitable and overall better position. The beauty and even the unfortunate constraint of this dream is that it aims to achieve a comparable status for individuals regardless of their previous rank and the pursuit of this realization is something which is defined by relentless struggle and even failure. The examination of idealism in Miller’s Death of a Salesman is rooted in understanding and comprehending the central inspiration of American society, as described by Schiach (2000) societies and communities tend to utilize several varying sources as a mode of self-identification and the common factor in these modes is that they represent an element of reality if not the entirety of reality. However, unlike other societies the American system of self-identification is novel – because it does not exist in reality. This view asserts that American ideals, messages and perceptions have been driven by a shared imagination which establishes the foundations of how its citizens observe society and what they define as success. According to Sterling and Sterling (2008, p. 70) a vivid portrayal of the inevitable conflict between idealism and realism surfaces in Miller’s work by focusing upon the reality of Willy’s economic position and his profession as a salesman. At the age of sixty-three, Willy is not the desired candidate to continue to be a part of the capitalist machine of America, a machine which seems to reject its input, the manual labour of hardworking citizens like Willy as soon as they are not able to perform as per the required standards. In essence, the economic reality of America operates on the principle that “business is business”. However, Sterling an Sterling (2008, p. 70) understand that while, Miller maintains this principles throughout the course of this work as it continues to strive as a reality of Willy’s life, the playwright does not possess any inhibitions with regard to challenging this reality even if this decision comes across as idealistic. For instance, in Willy’s words the case for dismissing capitalist ethics and the treatment of labour under the economic regime is reflected in the following statement, “you can’t eat the orange and throw the peel away – a man is not a piece of fruit” (Miller 1949, p. 82). According to Sterling and Sterling’s (2008, p. 70) examination of the symbolism in Willy’s words, this dialogue is reflective of the idealism which gained popularity across the nation during the first half of the twentieth century when the value of labour was recognized and their contributions to the system were appreciated. However, the unfortunate realization in this exchange is that the conflict between realism and idealism only reiterates that the truth cannot be mended yet, the power of idealism remains in the concept’s ability to challenge and later redefine rigid norms and standards which have come to be accepted by society simply because no one has taken the brave step back for a while, observe and then question them. It is evident that regardless of the core theme of the drama script, Miller weaves a web where expressionism is depicted in the character’s reflections of what their reality could have been. Yet, the sensitivity of the issue is what captures it into a phase of dramatic realism. Sterling and Sterling (2008, p. 106) comment that the development of characterisation in the text promotes the notion of projecting reality as it exists for the culture, community and society. For example, the manner in which the character of Linda has been formulated sparks a similarity to the blocks of American society and the manner in which the role has been integrated within the wider frame. In the narrative of Death of a Salesman, Willy’s battle with modern society is incorporated with somewhat cautiousness such that the character in certain scenarios is unable to suggest what he intends to classify as the ideal situation for himself. For instance, Willy’s cursing of the machines in his life and which surround his house is conducted by referring to their brand names, thus, in a world of his own the protagonist wishes to show his disapproval of the capitalist owner who is responsible for reducing them however, the efforts to meet this objective always remain futile. Ultimately, the conflict between idealism and realism is also apparent in the conquest for becoming human or at least being classified as one by the bourgeoisie capitalists. In extended discussions of what has become a highly mechanized world, Linda and Willy seem to strive to discover the place of a man’s existence amongst his worldly possessions (Sterling and Sterling 2008, p. 113). However, the critical question at this stage aims to address whether this quest in itself is justified or is the surrounding paranoia simply a product of Willy’s frustrated and disillusioned psyche which is gradually beginning to question his very existence, the existence which has remained untouched, unchallenged and unchanged for the past sixty-three years as a salesman. The mention of social constructs and their subsequent impact on the notion of reality has been a critical element in the works of Arthur Miller, as noted by Williams (1959, p. 35) the crux of the playwright’s social analysis lies in comprehending the roots of purely Marxist ideological shades which aim to define and highlight the issues with the existing economic setup. Even though, it is apparent that Miller opts not to explicitly integrate the concepts and ideological beliefs of Marx in his works, it is still possible to identify the terminologies which the playwright is referring to or which shades of the belief system he deems as most relevant and appropriate with regard to the present context. In Death of a Salesman, Willy’s battle with the reality of his existence and the so-called ‘what could have been’ is outlined through the notion of alienation (Williams 1959, p. 35). The concept of alienation derives itself from a state of society where mechanization and economic motivations have surpassed and transcended the significance of man and this identification is indicative of an approval of current circumstances and how they adversely impact human life. A profound element of realism which runs deeper than Miller’s mention of the ‘American Dream’ in his play is rooted in the interlacing of familial relationships. The comparable notion in this work to that of the playwright’s previous works, discusses how the reality of the father-son relationships has been shaped in the modern era. Laden with expectations, hopes and dreams Willy’s life has been dedicated to his sons. He wishes to see them prosper and flourish yet the response from his sons does not meet the expectations of their father (William 1959, p. 35). The acceptance of how family ties can too fall prey to over-dependence and innumerable expectations shapes the reality for Willy and eventually determines his fate however; the idealism in this sphere is still associated with the same notion. Followed by this aspect of the analysis, Williams (1959, p. 36) still strives to maintain that despite of its evident reference towards the reality of the existing social construct and economic setup, the backdrop of Miller’s work as a result of his own public declaration and acknowledgement of the same is inspired by the finesse of German expressionism. This view intriguingly asserts that as a protestor of the present lifestyles, alienation and treatment of employees in the social reality, Willy, by succumbing to a fate of fatality symbolizes commoditization as something which is discarded in death if not through consumption (Williams 1959, p. 36). The crux of this point is rooted in understanding and acknowledging that Willy’s death is a representation of a human being’s demise yet the salesman continues to live on. In such circumstances idealism constantly comes in conflict with the reality of Willy’s death – how can Willy the salesman continue to define the protagonists’ sixty-three year existence when Willy the man is no more. The conflict between realism and idealism in Awake and Sing! by Clifford Odets defines the socioeconomic spectrum of the American life and highlights “...the gap between aspiration and reality of the American middle class society during the 1930s” (Visalam and Kulalmolial 2013, p. 10). Odet’s middle class family, the Bergers and their socioeconomic status amidst a struggling American system formulates the foundation of defining and driving the narrative which has been crafted by the playwright with much finesse and assurance. The plot itself remarks the initiation of a journey which only descends in a scenario of desperation and depression when the struggle to achieve pictured dreams only emerges as a constant failure and a reminder of the efforts which have been executed in the process of achieving them. According to Visalam and Kulalmolial (2013, p. 10), the idealism in Awake and Sing! prevails in an individualistic manner because each of the characters possesses an aspiration which remains unfulfilled because of reasons that seem beyond their own control. In her assessment of the strong willed, Bessie’s characterization Brown (2013) comments that it becomes known to the audiences and the readers alike that the character’s present demeanour is motivated by the fact that she so helplessly clings on to the ideals which she managed to develop at an impressionable age. Even though, some would comment that Bessie’s actions as seen in her plot to mastermind pregnant Henny’s marriage to a gullible man reflect towards the notion that she possesses a streak of realism, it is still evident that her character fights with her inner conflicts. Generational progressions come across as a striking element in Awake and Sing! as Odets appears to deliberately weave characters that are comparable yet so distinguished from each other. The predominant aspect in this regard is the sheer audacity of the Berger’s new generation which strives to destroy the very definition of reality which has been gifted to them by their parents (Visalam and Kulalmolial 2013, p. 11). What is intriguing to note about Odets’ narrative is that the playwright despite of granting his characters with obvious weaknesses equips them with a trait that maybe able to surpass and mend their inherent flaws and inconsistencies. Defiance is what aptly defines this characteristic, even though, as circumstances would have it the Berger’s do not possess a likely possibility of ever meeting their desired fates it is still apparent that they refuse to accept this notion as the ultimate realization of their fate as well as their future. In the context of Jewish communities which first settled in America amidst a challenging and chaotic scenario, Odets has prepared the character of Myron to defy the traditional portrayals of the supposed head of the household. Visalam and Kulalmolial (2013, p. 11) assert that out of all the characters which feature in Awake and Sing! Myron is an individual who believes in his dreams or perhaps clings on his dreams a little too much for his own disadvantage. The conception of Myron is rooted in his celebration of the days gone by and the recounting of glories which perhaps would not come to life again. For Krasner (2006, p. 3) the crown of idealism is worn by Bessie’s father Jacob whose yearning for Marxist ideologies only certifies the depth of his beliefs and presumptions. Odets appears to have incorporated the foundations of idealism largely in the creation of Jacob’s character to later explore the continued conflict between the first, second and third generation who maintain strikingly different ideals and beliefs on the varying notions of success and life itself. For instance, Jacob is highly critical of the American society and defines it openly as a society which blindly follows capitalist ethics at the expense of its citizens. Therefore, in the eyes of Jacob, his household is prepared for a future doom because it is run under the principles which Marx strongly opposed as a theorist and philosopher (Krasner 2006, p. 9). However, Krasner (2006, p. 9) adds a different and intriguing shade to the story of Jacob by commenting that his existing inclinations and morals are a manifestation of his life as an individual who could have achieved something but failed to do so because of his own choices and personal decisions. Thus, by suggesting this facet of Jacob’s character Krasner (2006, p. 9) understands that it is likely that Odets may have used the notion of idealism as a source of escapism for Jacob who ends his life under mystifying circumstances in a possible suicide. Kransner (2009, p. 9) states that acknowledging Jacob’s ideals as a source of escapism is not merely conjecture because a striking conversation between Jacob and Ralph appears to suggest that the former was in fact remorseful about the choices he made, or did not make. This exchange defines that realism and idealism essentially conflict when an individual reflects upon the life gone by and realizes that ideals and sheer optimism regarding a stark turn of events was only not transformed into reality because the individual himself did not choose to do so. Hence, the analysis of this view suggests that realism and idealism shall only pose a conflict unless ideals are not let go off to accept reality because the coexistence of each under parallel circumstances and scenarios is not possible. Moreover, an exploration into the past of the sole member of the Berger’s first generation suggests that his life experience as an immigrant greatly impacted his prospects and reduced his opportunities to change the reality for Jacob and his family. Thus by living under the ideals of what could have been, Krasner (2006, p. 9) understands that the character of Jacob only appears to regain his sense of self and his source of contentment which was perhaps misplaced in the process of adjustment and then readjustment. Visalam and Kulalmolial (2013, p. 12) claim that in the case of Odets’ characters and especially, Ralph it appears as if the characters’ dreams and idealistic perceptions of the world around them have hampered their ability to face reality and mould their circumstances to design their own fate even when the prospects and opportunities appear to work in their favour for a change. For an instance, in an exchange between Bessie and Ralph, his mother tries to convince him to utilize the opportunities and resources which have been granted to him to promote his own circumstances and also improve the lives of those who are around him. However, Visalam and Kulalmolial (2013, p. 12) claim that time and again, Ralph demonstrates cowardice and idealism in his decision making which transpires into negative outcomes for himself and especially his love interest, Blanche. Even though, Bessie may cling to her ideals and delve into a complex thought process regarding the aspirations of her youth, her acceptance of reality suggests that unlike the members of her family she has been able to transcend idealism and enter the sphere of realism. While, Hennie herself initially enters a bond of marriage with a man she does not love, her ultimate decision to leave her settled life for Moe appears to be a courageous and unintelligent at the same time, because her new life partner is not in love with her either (Visalam and Kulalmolial 2013, p. 12). However, Hennie’s motivation for settling with Moe is even more undefined and complex than the fact that she shared a prior union with Sam to maintain her family’s respectability. If Hennie had chosen her life partner on the basis of idealistic patterns then it is likely that she would have chosen not to settle at all, however, her acceptance of Moe only reiterates that Odets women demonstrate a greater acceptance of reality than his male characters that succumb to idealism and let them define their lives. Literary works in their representation of the conflict between idealism and realism have transcended social and geographic boundaries to reflect that this eternal mêlée has remained an integral part of literature regardless of the selected mode of expression and writing. However, the comparable facets in Odets’ Awake and Sing! and Miller’s Death of a Salesman is that they promote the conflict and transport it to another level by delving into the socioeconomic aspects of idealism and realism. This notion suggests that the possibility of exploring society through the lens of reality and the lens ideals only produces conflicting outcomes yet it is difficult to establish whether one notion holds superiority over the other in literary works. Nonetheless, the profound insight into the conflict provides a vivid representation of the human psyche by adopting a distinct philosophical and realist approach. Odets’ comprehension of the American idealism and Miller’s conception of the American Dream is the epitome of profound representations and commentary on social and economic issues which seized the nation during the nineteenth-century. The analysis of literary works from this period provides an insight into the minds of the citizens who were subjected to the situation and whether they were able to emerge victorious. References Brown, R. K (2013). AWAKE AND SING at SCTC: Idealism vs Realism – Odets Style. Stage Magazine. Accessed from: http://www.stagemagazine.org/2013/02/awake-and-sing-at-sctc-idealism-vs-realism-odets-style/ [4th June, 2014] Eldridge, R. T. (Ed.). (2009). The oxford handbook of philosophy and literature. Oxford Handbooks Online. Krasner, J. B. (2006). The Interwar Family and American Jewish Identity in Clifford Odetss Awake and Sing!. Jewish Social Studies, 13(1), 2-30. Miller, Arthur. Death of a Salesman. Eds. Natsuo Shumuta, and Teiji Kitagawa. Educational Dimensions, 1949. Odets, C. (1935). Awake and sing. New York: Covici-Friede. Shiach, D. (2000). American drama, 1900-1990. Cambridge, UK: Cambridge University Press. Sterling, E., & Sterling, E. J. (Eds.). (2008). Arthur Millers Death of a Salesman(Vol. 3). Rodopi. Visalam, M. G., & Kulalmolial, P. (2013). GAPS IDENTIFIED BETWEEN ASPIRATION AND REALITY BY THE CHARACTERS OF CLIFFORD ODETS IN THE PLAYS “AWAKE AND SING!” AND “PARADISE LOST”. International Journal on English Language and English Literature, 1(1), 10-15. Wellek, R. (1961). The concept of realism in literary scholarship. Neophilologus,45(1), 1-20. Williams, R. (1959). The Realism of Arthur Miller. Critical Quarterly, 1(2), 140-149. Read More