As a result, Willy moved from the condition of stasis to one created by a confusion of the present and of its fragmented paradise. Before Biff realized Willy's projected future, however, he lost faith in Willy's dreams, left the state of mind or paradise Willy had created, and destroyed its coherence. He believed that Biff, who was already "divine" as a football player, would become more so as a businessman. Expressing his enthusiasm for Biff's divine condition, Willy ironically incorporated the concept of progress, time's movement, into his changeless paradise. Willy's paradise, which he identifies with the time in which Biff and Happy were growing up in Brooklyn, was also synonymous with his and his sons' exclusive society in which they expressed, reflected, and validated his belief in their virtual divinity. An Eden-like paradise which lies at the center of his neurosis, it is characterized by the paradoxical union of reality and his delusory fulfillment of his grandiose dreams of omnipotence. Much of the play takes place in a psychological construct which Willy creates.
Miller's system of onomastic and numerical images and echoes forms a complex network which delineates Willy's insanity and its effects on his family and job.
(1) To achieve the depths of tragedy, Miller expands the ordinarily limited expressive capabilities of demotic English by exploiting the sounds and multiple meanings of simple verbal, visual, and numerical images. In Death of a Salesman, Miller's poetic use of demotic English, the level of language which characters speak and which describes their actions and environment, creates the play's tragic dimension.
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