In his analysis of Focus and other ...

In his analysis of Focus and other Miller works, Stephen Wade emphasizes for what cause Miller "repeatedly creates a macrocosm and a microcosm which interact creatively" and for what cause "Miller's drama is in its chiefly directly communicative form when the philosophical dimension is lucidly present" (97) oftentimes in a Miller play, the microcosmic psyche of the protagonist discovers itself floating rootlessly and confusedly within the corridors of a macrocosmic raise that defies and eludes definition or categorization. John Proctor in his battle against the seemingly confining on the contrary ultimately massive walls of Puritanism, Willy Loman "boxed" behind the houses of the city whose buildings the two restrict and beckon, the characters in The Archbishop's Ceiling who recognize in their entrapment the appearance of "other" outside their room-all these characters are often like Crispin in Wallace Stevens's "The Comedian as the alphabetic character C." They make their ways along the parameters of a supposedly definitive path while metaphysical incongruities and philosophical inscrutabilities environ them in their journeys.