Abstract

The impetus for The Ride Down Mt. Morgan issues from Miller's divided subjectivity in the fifties. Timebends portrays its author responding to social rejection by temporarily living for self, immersed in the instinctive life of libido. Lyman Felt grows out of that memory of inexorable, excessive passion. Lyman represents the Nietzschean Superman, living beyond good and evil. While most interpreters criticize Lyman's duplicity, a consensus identifies with Lyman's refusal to conform to the strictures of conventional society. Adopting various strategies of paradox, ambiguity, or undecidability, interpreters find Ride to diverge from Miller's earlier works in suspending judgment and celebrating openness. I do not. Ride is driven as relentlessly as Miller's early plays by Ibsen's law of causality. Innate within this dramatic theory of temporal justice lies a critique in which Ride judges Lyman as intently as Salesman judges Willy for a betrayal of those who deserved but were denied love.

You do not currently have access to this content.