The motivation of Eddie Carbone’s character seems to be provoked by justice, masculinity, jealously and love. Coming from a Sicilian background Eddie believed that the man should be the leader of the household and that everything goes by him first concerning his family and that he should stand up for those close to him. You can see that he believes this by the way he talks to Catherine, ‘why didn't you ask me before you took a job?' this shows that he wants Catherine to ask for his permission before accepting the job in order for him to feel like he is the boss and as he was not consulted first he feels threatened. This is one thing that in the end leads to Eddie’s downfall because he was trying to be so manly it was unjust to show emotion.
Eddie’s avuncular approach towards Catherine motivates him a great deal in a way that he is so protective of her that he does not allow her to go out wearing revealing clothes , ‘I think it's too short.’ This proves to the audience that he is jealous over what other men might think of Catherine and wants to keep her for himself.
In ‘A View form the Bridge’ language is a vital part of how the themes are expressed. There is much difference between the linguistics of Alfieri and Eddie. Eddie says ‘Y’undertsand me’ and he’s stayin,’ where as Alfieri takes a more formal approach to the way he speaks, this shows the audience the difference in social classes between the lawyer and the longshore man. Miller uses the language that Eddie speaks in, in such a way, that it is obvious to the audience of Alfieri’s position above in society.
When Eddie insults Rodolfo, they are based on the femininity of Rodolfo, ‘He sings, he cooks, he could make dresses…’ Eddie implies this to make Eddie himself appear more masculine than him. He also comments on Rodolfo in such away in hope and desperation that Catherine will realise it is unnatural for a masculine man to carry out such tasks.
After the cousins arrive at the flat, Alfieri speaks about Eddie having a ‘future, there was a trouble that would not go away’ this image implies to the audience that there is a trouble for Eddie, something which will hold him back in his life.
Alfieri is not completely removed from the happenings of the play, he takes an active part in the play as well as providing the 'chorus´ character of the Greek format that Miller used. He is part of the American culture, but also part of the Italian culture, he also knew the family "I had represented his father in an accident case some years before, and I was acquainted with the family in a casual way." Perhaps this is why he is able to give a balanced opinion and to counsel Eddie (though his advice is unheeded). The fact that Alfieri is both involved within action and out of it is key to the audience, ‘justice is very important here.’ He highlights the themes by stepping out of his role in the play and commenting on them to the audience.
In the stage directions noted in the script, Miller creates high tension, ‘Marco is face to face with Eddie, a strained tension gripping his eyes and jaw.’ Miller adds depth to the play, beyond the words to show the seriousness beneath the words and how Eddies relationship with Catherine has gone to a more serious extent.
Many hundreds of years ago, the ancient Greeks first produced theatre; the stories were told using various narrative figures known as a ‘chorus’. The chorus would comment on the action of the play, but also they would divide the scenes and link them together by covering any action the audience did not see during the time gap. Arthur Miller imbued this characteristic upon Alfieri. He divides each part into ‘unofficial scenes’ and informs the audience on any action of the play which has been missed, as not it is not necessary to include everything in a play.
Overall, it is clear that Miller uses a wide range of language and dramatic devices to make the themes of the play more explicit, he is able to express the themes through character and other aspects, allowing the audience to have a firm understanding of the themes within the play.
