However, unlike Greek myths about King’s and royal family members, such as the Oedipus story, this play conveys the same stories in the state of affairs of ‘average people’. This spreads the message that these circumstances arise in all classes of people.
Constantly throughout the closing scene of the play we experience the women wailing, referred to in the stage directions as ‘keening’. This is generally associated with the ancient Greek story of tragedy. By the ending of the play it is apparent that Eddie’s fatal flaw was the reason of his inevitable murder. Pride was Eddie’s fatal flaw, and if he had not been proud and adamant on safeguarding his honour, the ending would have been entirely different. There wouldn’t have been this tension between Eddie and Marco if Eddie wasn’t so proud. Eddie was persistent on keeping his name; so much that he was willing to die with his name as opposed to live without it.
The final scene is overlooked by the colossal bridge connecting the slums to the rest of Manhattan. The bridge is also a metaphorical method that the slums have to link with the rich people of Manhattan, who are otherwise blocked by a barrier of upper class and lower class. Alfieri undoubtedly symbolises the bridge in this play, and it is also probable that he watches the final scene from the bridge, observing the people below, making the title have more impact to the play.
Alfieri’s opening speech is one of the last sentences that he says. “…sat there as powerless as I, and watched it run its bloody course…” This gives the audience insights early into the play; and the sentence and the words ‘bloody course’ are Alfieri’s ways of foreshadowing the events that are later to unfold. Now the audience are prepared for the conflict ahead and this again adds more tension to build up to the last scene.
Early on Arthur Miller shows us there is a happy family living in a close knit community. Beatrice clarifies this in a conversation with Eddie and Catherine:
Beatrice: - (there are tears in her eyes; she turns to Catherine) you see what he is? (She turns and grabs Eddie’s face in her hands.) Mmm! You’re an angel! God’ll bless you. (He is gratefully smiling.) You’ll see, you’ll get a blessing for this!
Nevertheless this happy family starts to deteriorate as everyday life passes, ‘cracks’ start to appear.
“…who’s mad…I’m not mad…you’re the one who’s mad…” This quote shows that even before Rodolfo and Marco arrive there is still tension among the family members; this is then increased when they both arrive. More of this is yet to come when Marco and Rodolfo have their make-shift ‘boxing match’ which reminds the audience back to the words ‘bloody course’ that will be taking place.
The ending of the play continues when Beatrice says, “You want something else, Eddie, and you can never have her!” Alfieri has been the only one to confront Eddie with his true feelings so this is a shocking and unexpected line. Alfieri has only hinted, “let her go…and bless her…somebody had to come for her sooner or later…” These words have also confirmed what the audience might possibly have suspected as Beatrice says the unsay-able.
There is another reference to blood as Beatrice says, “the truth is not as bad as blood Eddie! I’m tellin’ you the truth – tell her good-bye forever!” This brings in all of the family ties between Marco and Rodolfo, and Eddie, Catherine and Beatrice. This also reminds Eddie of their family honour. Regardless of Eddie’s way in which he breaks the strong code of family honour by going to the immigration, he still acted legally. Beatrice tries to warn Eddie that the Italian community will dishonour him as they all look after each other. The strong catholic identity establishes this within the community as well. She also implies that no matter how the bad the situation there is always a compromise that can recuperate the situation but however, if someone is killed, the situation is completely irreparable.
By now Miller has got the audience in to believing there is chaos to come. Marco approaches the house and he yells …”Eddie Carbone!” When Marco calls Eddie by his full name, this shows that Marco has disowned Eddie and does not consider him as family anymore. He uses nothing but speech and tone of voice to let his feelings be broadcasted, extending his pride and honour. By shouting Eddie’s full name Marco has given Eddie his pride back but not the respect that Eddie sought after. This is Marco’s way of showing everyone that it was Eddie who betrayed the ‘Carbone’ name not Marco or Rodolfo.
Rodolfo is adamant to prevent any fighting and he shows this in his stage direction, “Rodolfo streaks up and out past him and runs to Marco.” Rodolfo responds to all of these recent accusations responds by trying to prevent Marco from hurting Eddie. “No Marco please!” he then goes on to say to Eddie, “…Eddie please he has children! You will kill a family!” These words are so shocking for the audience because Rodolfo is foreshadowing a death, and up until now, it might have only been a fight. The audience are now told clearly by the implications of the scene that the murder is going to happen before long. Marco is fighting for Rodolfo because apart from the evident physical advantage, Rodolfo has still got the vision of having a successful future in America because of his engagement to Catherine. Marco however has already lost all of his future because of Eddie’s betrayal.
Later on Eddie addresses himself to the community to try to prove to himself and to try to regain some of his lost honour. “his eyes are murderous” This shows the audience that he is not thinking straight but eager to battle. He wants his name back. Eddie’s sense of reasoning is lost because he would rather die with his name than live without it!
The climax of the play has all been building up for this one moment…the fight! Eddie makes the first move on Marco. “He lunges for Marco” Now Marco has no choice and defends himself. “Strikes Eddie beside the neck” this simple yet effective move enlightens the audience and we now have an idea to whom is superior to the other. Marco knows what he is doing! Now the audience are favouring Marco to conquer Eddie and Eddie being on the floor there can only be one winner.
Eddie: - (he comes to the chair, kneels, grasps the led, raises the chair one inch, but it leans over to the floor.) Gee that’s hard…
Marco: - here. (He kneels, grasps, and with some strain slowly raises the chair higher and higher…
We are then told Eddie has a knife ,”Eddie goes down with the Marco starts to raise a foot to stomp him when Eddie springs a knife into his hand and Marco steps back…” The fact that Eddie had a knife in the first place evidently shows his passion to win this fight. Interestingly Miller puts Marco higher up on stage than Eddie, this could signify the morale levels of the two and who appears to be the most ruling.
As Eddie had the knife the community look down on his in disgust as it was dirty and deceitful. Louis rushes to Eddie and screams, “Eddie for Christ sake” Eddie now realises even his best friend disapproves.
To finalise the play Alfieri makes a speech, the lights go down, indicating the end. There is a sense of fate and inevitability as the play has now come to a full circle. Alfieri comments about Eddie, “for he allowed himself to be wholly known and for that I think I will love him more that all my sensible clients…and so I mourn him – I admit it – with a certain…alarm.” This final speech acts like a chorus commenting on the effects of Eddie’s death. All the creative techniques Miller used to build up tension were effective and gave the play such a feel in which you didn’t want to put it down. A great read.
