It is important, therefore, to consider the theme of the lost father as a fixed idea Miller couldn’t shake by externalizing it in a play-in more than one play if we consider the nuances of lost patrimony in All My Sons, and even in The Crucible and The Misfits, where lost fathers are implied-and Miller’s distance from Daniel, who grew up to be a wonderful man by all accounts, as evidence of that deep irony. This imputation, of course, threatens to shadow our experience of the profound moral consciousness of Miller’s plays just when we most need their clarity. And like Willy, Daniel seems to have made his way without his father’s mentoring. We know only that Daniel Miller was born to Arthur Miller and Inge Morath in 1962, and that following the era’s protocol, they placed him in Southbury, an institution in a pastoral setting a few miles from their home and still some years away from serious overcrowding, not unlike baby Willy’s being left in a pastoral setting on the cusp of change as his father walks away in Death of a Salesman. The depth of Miller’s abandonment of Daniel, uncertain given the September 2007 Vanity Fair’s unnamed informers and snide photographic blurbs, remains vague. Recent revelations about Arthur Miller’s estrangement from his Down Syndrome son, Daniel, rebound like a prophecy Miller himself made early in his career when, in Death of a Salesman, he wrestled with but failed to subdue the legacy of the lost father.