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A View From The Bridge - There are those who believe that Marco is innocent, and those who believe that he is guilty. Does Miller intend to show him as both, as partially innocent and partially guilty? I think he does.

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Introduction

A View From The Bridge There are those who believe that Marco is innocent, and those who believe that he is guilty. Does Miller intend to show him as both, as partially innocent and partially guilty? I think he does. Initially, Miller illustrates Marco as an illegal immigrant, who is a true family man with "three children" and a wife back in Sicily, who he loves and cares about. They are practically dying of starvation, and to add to his problems, his children have "tuberculosis." Yes, you heard correctly, "tuberculosis!" It is Marco's duty and responsibility as a loving father to provide for his family, which he comes to do in the U.S.A., as Miller informs the audience. Rodolfo and Marco "work hard" which confirms that they are there to earn a living. Miller shows Marco as an intelligent man, thus he understands that illegal immigration is wrong, but he considers it necessary for the sake of his family. Tell me, wouldn't you emigrate to work for your family? I would. But, Miller demonstrates how Eddie "mocks" Marco's "work." Thus, Miller wants the audience to know that Eddie is asking for trouble. I mean, "Marco never hurt anybody" so would he kill Eddie for no reason?! Miller lets the audience know that Eddie is "honoured to lend" Marco and Rodolfo a place to sleep, displaying his generosity. He takes "the blankets off" his own "bed" for them. And what is "all the thanks" he gets, his murder. Eddie "was as good a man as he had to be," it was Marco and Rodolfo who had to change. Miller presents Eddie's polite greeting of Marco and Rodolfo into the house, and demonstrates all the aggravation Eddie receives. Miller also portrays Marco's aggressive character as the play progresses. Marco asks Eddie if he can "lift" the "chair," and Miller wants the audience to be clear who the dominant character is, in this case undoubtedly Marco. ...read more.

Middle

This leads to Eddie telling Rodolfo to get his "stuff" and himself "outa" the house. As Catherine attempts to leave, Eddie "kisses her on the mouth" and "she strives to free herself." Miller clearly wants to show the audience how strong Eddie's feelings are towards Catherine. Rodolfo then "pulls on Eddie's arm." He tells Eddie to "have some respect," and Miller intentionally illustrates Rodolfo as a loving and caring man. Eddie provokes Rodolfo into flying "at him in attack." Miller displays Eddie as a strong man, and thus Eddie sees the "attack" coming and quickly "pins his arms" and "suddenly kisses him." Miller hints at Eddie's intention, which is to prove Rodolfo's homosexuality to Catherine, but instead he makes things worse. Miller could intend this stage direction to be a factor displaying Eddie's guilt. However, some of the audience may think differently, that Eddie kisses Catherine to show her that she is wanted, and kisses Rodolfo to keep Catherine in the house. Another important item, in the stage directions of Miller's play is the "telephone booth. This is not used until the last scenes" when Eddie phones the Immigration Bureau. He reports against his relatives, Marco and Rodolfo, and refers to them as "illegal immigrants." Miller makes obvious that this is done out of jealousy towards Rodolfo. However, Eddie seems to have second thoughts when Immigration officers arrive at his door. He warns Catherine to get them out of the "apartment" that the "stairway leads" to. Catherine moved them there because Eddie wanted them out of his apartment. Miller's intentions are again confusing. Maybe he implies that Eddie is falsely trying to look blameless by warning Catherine that it is too dangerous for them to stay. Perhaps Miller wants Eddie to look innocent at this point, as he has just tried to warn Rodolfo and Marco. Thus, Marco is innocent, as he has done nothing, but Eddie may be innocent or guilty thanks to Miller's ambiguity. ...read more.

Conclusion

Eddie also "springs a knife into his hand," and obviously has the objective of fatally hurting Marco. Eddie "lunges with the knife", but ends up getting stabbed himself, a situation which Miller purposely makes controversial. However, Miller shows another side to characters. Firstly, Marco does not "promise" not to kill as he considers it as "dishonourable." Therefore, Miller aims to inform the audience that Marco intends to kill Eddie, which makes him a guilty man. Secondly, when Eddie is at his house, Marco yells "Eddie Carbone" challengingly. Again Miller portrays Marco as in the wrong, leaving Eddie innocent. "Marco strikes Eddie beside the neck." Miller makes visible Marco's aggressive and culpable character when he hits Eddie, and when he shouts "Anima-a-a-l!" Marco also demands Eddie to go on his "knees", showing a lack of respect for the man who put a "roof over" his "head." Miller shows earlier on why Marco is so livid with Eddie, thus Marco's actions are explicable at this particular stage. However, he is still found guilty in front of the audience, as he is not in control of his anger. Another act of Marco, which makes him culpable, is when Eddie tries to merely cut him, and Marco presses "the blade" "home" into Eddie. Maybe Miller wants us to think it is in self-defence. But he does it in front of his cousin Beatrice. He hurts her for nothing. Does Miller not show Marco as guilty and Eddie as innocent? I think he does at this particular stage of the play. Eddie is dead, thus the audience blame Marco as an automatic response in sympathy of Eddie as the leading character of the play. But does their tenderness show them both sides of the story? Is Marco really responsible for Eddie's death? I believe that Miller intended both Marco and Eddie to be seen as partially responsible. But who is more culpable, Eddie or Marco? That is the question that Miller wants the audience to think about after reading "A View From the Bridge." ...read more.

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