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I think the tragic feeling is invoked in us when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing -- his sense of personal dignity.

Arthur Miller

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Arthur Miller
Age: 89 †
Born: 1915
Born: October 17
Died: 2005
Died: February 10
Author
Essayist
Journalist
Novelist
Playwright
Prosaist
Screenwriter
Writer
New York City
New York
Arthur Asher Miller
Thing
Personal
Think
Ready
Thinking
Feeling
Invoked
Life
Sense
Tragic
Feelings
Lays
Character
Secure
Need
Presence
Needs
Dignity

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The theater is so endlessly fascinating because it's so accidental. It's so much like life.
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He have his goodness now. God forbid I take it from him!
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Now hell and heaven grapple on our backs and all our old pretense is ripped away. Aye, and God's icy wind will blow.
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Whoever is writing in the United States is using the American Dream as an ironical pole of his story. People elsewhere tend to accept, to a far greater degree anyway, that the conditions of life are hostile to mans pretensions.
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A good newspaper, I suppose, is a nation talking to itself.
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The apple cannot be stuck back on the Tree of Knowledge once we begin to see, we are doomed and challenged to seek the strength to see more, not less.
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There is a kind of perverse unity forming among us, born, I think, of the discontent of all classes of people with the endless frustration of life.
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. . usually, the biggest problems of adapting plays into screenplays is that they stick too close to the play, and I think film is a completely different medium. I think a novel is much closer to a film.
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The camera has its own kind of consciousness in the lens the Garden of Eden itself would become ever so slightly too perfect.
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Everybody likes a kidder, but nobody lends him money.
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A play is made by sensing how the forces in life simulate ignorance-you set free the concealed irony, the deadly joke.
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Controlled hysteria is what's required. To exist constantly in a state of controlled hysteria. It's agony. But everyone has agony. The difference is that I try to take my agony home and teach it to sing.
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A little man makes a mistake and they hang him by the thumbs the big ones become ambassadors.
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A lot of my work goes to the center of where we belong--if there is any root to life -because nowadays the family is broken up, and people don't live in the same place for very long.
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The famous are balloons far up in the sky, to be envied for their quiet freedom or shot down as enemies.
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After all the highways, and the trains, and the appointments, and the years, you end up worth more dead than alive.
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The Crucible became by far my most frequently produced play, both abroad and at home. Its meaning is somewhat different in different places and moments. I can almost tell what the political situation in a country is when the play is suddenly a hit there it is either a warning of tyranny on the way or a reminder of tyranny just past.
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... so many tremendous decisions in life are made because it is five o'clock.
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Part of knowing who we are is knowing we are not someone else. And Jew is only the name we give to that stranger, the agony we cannot feel, the death we look at like a cold abstraction. Each man has his Jew it is the other.
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That is a very good question. I don't know the answer. But can you tell me the name of a classical Greek shoemaker?
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