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.indd 695/3/07 12:52:18 PM70 The Archbishop’s Ceilingprotect themselves or others, or from a desire forsimply be another novelist.” We never learn whatpolitical or personal gain.They are all aware thatthe topic of Sigmund’s novel is, which emphasizeseveryone plays a part; Marcus even describes thethat it is not the content that is important but thesecret police officer who tells him to warn Sigmundexistence of the work itself.Maya describes it asto leave as though he were “putting on an act.” It istelling “All we ever lived,” and later, it becomesunderstandable that Sigmund begins to doubt theclear that it contains a central female characterpolice officer’s existence.The ideal seems to be tobased on Maya.In this light, Maya becomes a sym-be able to control your own role as Sigmund strivesbol of the nation itself, with all of its insecurities,to do, despite the damage that might cause.fears, evasions, and hopes.Throughout the plot’s twists and turns, theSigmund sees the central difference between theaudience is consistently kept uncertain regardingUnited States and his own country in the way theythe actuality of the ceiling microphones, Marcus’seach engender the hope that he feels is essential toallegiances and aims, what the government hasthe survival of all.Americans find hope in takingplanned for Sigmund, and more.What we observea gamble, as with a slot machine.Sigmund and hisis how people react when they have the feelingcountrymen are not gamblers, but they find hope inthat they might be under constant observation andtelling lies, lies that are not really meant to deceivewhen they are faced with unending uncertainty.but are part of an act: “We must lie, it is our onlyIt becomes more comforting to believe that thefreedom.To lie is our slot-machine—we know wemicrophones exist, for that allows them a role tocannot win but it gives us the feeling of hope.play.Disbelief would strip their lives of significance, Our country is now a theater, where no one iswhile belief offers them a sense of importance.permitted to walk out, and everyone is obliged toThus, the microphones simultaneously become aapplaud.” Now Sigmund is being asked to walk out,violation and confirmation of their existence.Ulti-but he refuses.He is as confused as the othersmately, it matters little if the bugs are in the ceiling about what to believe, but he holds onto one truthor not; it is sufficient that the characters believethat he feels is certain—his patriotism.It is thisthat they are, as it is that belief that directs theirthat grounds him and gives him the stability andbehavior.the stature the others seek.The play consistently provokes questions ratherEach character has created a world from his orthan answer them, showing the indeterminacyher personal perspective, formed by the lies thatof life.One question is whether or not Marcuseach decides to accept and the realities that eachadmires Sigmund and is trying to help or Marcuschooses to recognize.Thus, Sigmund sees tanks;is jealous of Sigmund’s popularity and is ensuringMaya and Marcus do not.Adrian sees society ashis downfall.Sigmund suspects jealousy, but thatmade up of isolated individuals, but Marcus canmay just reflect his own feelings of self-importance.only see a collective community in which individu-Both Maya and Adrian insist that Marcus admiresality is impossible.While each maintains his or herSigmund and is willing to sacrifice himself to saveown separate reality, each remains isolated.Whathim; as Maya explains more than once, Marcus didthey need—and what Sigmund finally provides—isnot have to return from London and could havea fiction on which they can agree.His popularitystayed there.We never learn for sure the literalis based on his ability to create memories for themtruth about Marcus, and Miller’s point may be thatall: He is a kind of head liar whose art offers aboth views are simultaneously valid.Marcus is avision to provide them all with hope and belief.Wecomplex human being and cannot be reduced to asee this when Maya talks of his writing, recalling,single interpretation.“A story full of colors, like a painting.It wasIn some ways, Sigmund’s persecution is partlya miracle—such prose from a field of beets.Thatnecessary to create his stature as a writer; asmorning—for half an hour—I believed Socialism.”Adrian suggests, his opposition provides him withSigmund uses the piano to fire the gun to asserta distinct identity: “If they ignored him, he wouldthe potential truth of fiction and by this act takes023-354_Miller-p2.indd 705/3/07 12:52:19 PMThe Archbishop’s Ceiling 71control.He hands the gun to Marcus as he real-the casting and the theater space he was given,izes that he does not need it to exert his power;Miller also felt the premiere production had beenhis strength lies in his integrity as a writer.In hisbotched.refusal to leave the country, he becomes a fixedThe 1977 production met fierce disapprovalentity in a chaotic and constantly changing worldfrom William Glover and David Richardson.Rich-and becomes a beacon by which the others can beard Coe, wondering if Miller had been pressuredguided and made to feel secure.into putting it on before it was ready, suggestedSigmund needs his roots to be effective in thethat the play was in need of more work, beingworld at large.He may be trapped in the nationlong-winded and lacking in pace.R.H.Gardnerin which he lives, but it is also his home; he drawsdescribed it as “less a play than a polemic, thoughstrength from that, as much as the strength thatwhat its argument is remains unclear,” and Ger-he draws from honest contact with other people.ald Weales found the characters complex but ulti-Maya, finally, gives Sigmund what he wants—anmately limited and the whole lacking in humanity
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