Then the scene changes. We are with Eddie, who has obviously upset and distracted, verging on mad, “[Eddie is alone in the rocker, rocking back and forth in little surges]” As seen earlier on in the play, Eddie rocks when he is in a particularly unstable mental state, and last time, he hit Rodolpho just afterwards. This already tells the audience that something bad’s going to happen, but that’s not all; there’s also the way in which he rocks. The word “surges” suggests that every so often, he pushes quite hard, venting his anger. It shows how furious he is inside, but he doesn’t know how to let it out without resorting to violence, which also helps build tension with the audience. Beatrice knows how mad he is, “[with fear, going to Eddie]. The word “fear” tells us that we should watch out, as she probably isn’t afraid for nothing. She knows him really well, and if she’s afraid, it means he’s going to do something.
Eddie is trying to keep control of his family, even after all that happened, “Didn’t you hear what I told you? You walk out that door to that wedding you ain’t coming back here, Beatrice.” We notice the “I told you”. He still thinks that he is in control of his family, like he always had been. He doesn’t realise how bad what he did was, and what implications it will have. We, as the audience now know how Catherine feels about him, but Eddie doesn’t. This dramatic irony helps build up more tension, as we don’t know what Eddie will do when Catherine doesn’t do what he tells her to.
To add to the anticipation of what will happen, we learn how important respect is to Eddie, “I want my respect”. He still seems to think that people will still respect him, and doesn’t realise that nobody does, or, seeing what happened to Vinny earlier on, ever will again. This creates tension, as we want (yet at the same time, dread) what will happen when he realises this).
Then, Catherine goes and defies him, “It’s after three; we’re supposed to be there already, Beatrice. The priest won’t wait.” She is totally ignoring Eddie, just talking to Beatrice. Also, she is subtly belittling him when she says, “ the priest won’t wait”, as she’s making the priest out to be more important to her than Eddie.
Eddie, not realising this, still thinks he’s in charge, and thinks that Catherine will still obey him, “He’s gonna come here and apologize to me or nobody from this house is goin’ to the church today. Now if that’s more to you than I am, then go. But don’t come back. You be on my side or their side, that’s all.” The way he says “nobody from this house” that in his mind, he rules the house and everyone in it. It is his kingdom and they are his servants. If they do not obey him, then they are betraying him, and should be kicked out. He is being rather babyish, seeing it as a “them and us” situation, with no possible middle ground. This speech also tells us that he thinks that he’s in the right, and that it should be Marco who comes to apologise to him, but as we have already seen, Marco thinks he’s in the right and wants Eddie to apologise to him. They are both very similar, and both just as stubborn, which creates tension, as we know that neither will give in and apologise; yet both expect the other to.
Catherine has finally had enough of Eddie’s primitive behaviour, and openly rebels for the first time, the most interesting part being her extended metaphor, “He’s a rat, he belongs in the sewer! [Beatrice]: Stop it! [Catherine][Weeping]: He bites people when they sleep! He comes when nobody’s looking and poisons decent people. In the garbage he belongs!” First of all, we discover to what point Catherine despises him. Calling him a rat removes any human nature from him, so she doesn’t even consider him a human. Then there are the things he does. For example, “he bites people when they sleep” probably refers to the boxing incident, when he hit Rodolpho hard, while Rodolpho trusted him and wasn’t prepared for it (like when you sleep). Then he “comes when nobody’s looking”, which could refer to the calling of the immigration officers, and “poisons decent people”, which almost certainly means the way in which he made “decent” Marco want to kill him. With so much hatred, also comes tension, as the audience wonder how Eddie will respond to having his authority undermined by one who he thinks respects him.
The result of the rebellion, which makes Eddie realise she no longer respects or obeys him, is that he nearly attacks her, “[Eddie seems about to pick up the table and fling it at her]”. This is a very tense moment, and shows just how distraught and desperate Eddie is. He loves Catherine more than anything else (perhaps too much), and the reason all this happened was because of how he cared for her and loved her. If now he is prepared to physically harm her, it’s that he is emotionally at breaking point. Over the last few days, his life has fallen apart, and we know he can’t stop now.
Luckily Beatrice is there to calm him down, and she decided to take his side, “Now go, go to your wedding Katie, I’ll stay home. Go. God bless you, God bless your children” suggest that she’ll never see her again, or her children, making this a very emotional sentence.
Then, in comes Rodolpho paving the way for a final showdown, “Marco is coming Eddie. [Pause. Beatrice raises her hands in terror] He’s praying in the church. You understand? [Pause. Rodolpho advances in the room]. Catherine, I think it is better we go.” This speech can have two meanings, depending on how the director asks the actor to say it. The actor could make out that Marco wants to come and kill Eddie, and Rodolpho has come to watch Eddie squirm, or alternatively, could make out that Marco is coming to apologise. I personally think that Miller intended it to be the former, as he has set the scene for revenge on Rodolpho’s part earlier, when, after being punched, Rodolpho responds with “[a certain gleam and a smile]”. This smile suggests that he knows what’s going on, and will get him back. I also believe that Marco is coming to kill Eddie, because in the previous scene, Alfieri kept telling Marco “ only God makes justice”. Maybe Marco paid attention to this, and is praying for justice. Beatrice has obviously also come to the same conclusion as we can see from her reaction, and her next line, “let’s go someplace […] I don’t want you to be here when he comes”. If he were coming to apologise, she would want him to be there. Eddie on the other hand may, blinded by his emotions, think he has come to apologise, which could be fatal.
Even with Beatrice’s pleading, Eddie won’t be moved. He’s already had too much, “Where am I goin’? This is my house”. So at least Eddie’s not kidding himself; he agrees with Beatrice, and thinks that he’s coming for revenge, but because of his pride, he refuses to leave. He also possibly doesn’t realise how dire the consequences could be. He wants to defend his honour and his territory, and wants to punish Marco for insulting him so badly. We realise that no amount of persuasion from anyone will make him change his mind. This helps create quite a bit of tension, as we know that there will be a climatic fight.
Even Rodolpho changes his mind and doesn’t want a fight anymore. He says, “[Quite suddenly, stepping up to Eddie]: It is my fault Eddie. Everything. I wish to apologize […] I kiss your hand [He reaches for Eddie’s hand, but Eddie snaps it away from him]” On first inspection, this redeems Rodolpho. The words “quite suddenly” suggest that seeing how distraught Beatrice was, he changed his mind. He is willing to forget all the insults and other bad things Eddie has done to him, which makes the audience trust him again. But rereading it, it seems that he is possibly just trying to get Beatrice and Catherine to think that he’s a very good man. The proof for this is that he says it only after Eddie has made it clear that he won’t change his mind, so he knows it won’t have any effect on Eddie, just on the others present. Eddie’s symbolically rejects the apology, signing, in doing so, his death warrant.
The persuasion goes on and on, with the effect of hyping up Marco’s coming, telling the audience that it will be grandiose and possibly fatal. It also has the effect of making the others seem nicer, as they all (even Catherine) plead with him not to stay. But Eddie won’t listen, “I want my name! He didn’t take my name; he’s only a punk. Marco’s got my name [To Rodolpho] and you can run tell him kid, that he’s gonna give it back to me in front of this neighbourhood, or we have it out. [Hoisting his pants]”. Eddie is taking this honour and respect thing very seriously, which is why he won’t accept Rodolpho’s apology. To him, Rodolpho is just a stupid kid with dyed hair (in other words a punk). His lack of intellect is shown by the fact that he doesn’t realise that he’s lost his respect and no-one can give it back. All he understands is physical action, so he hoists his pants, showing that he is ready for action, and is prepared to fight for his honour if Marco doesn’t apologise. We all know this won’t happen, so the tension starts building.
Beatrice, in a desperate attempt to stop him, breaks down in front of Eddie, “[barring his way to the stairs] what’s gonna mean something? Eddie, listen to me. […] Listen to me, I love you, I’m talking to you, I love you.” First of all, we can tell that she’s getting very desperate, as she bars his way; something that would take a great deal of courage, and despair gives you that courage. In addition, she speaks in short sentences, which makes it seem as though she’s trying to grab his attention. She repeats, “Listen to me”, which would suggest that Eddie is ignoring her. She also repeats, “I love you” to try and make him realise what harm he could to those who love him, and to tell him that he’s not yet totally alone. To emphasise this last point, she also says, “I’m talking to you”. This could be just to make him listen, but it might also be to tell him that she, unlike everyone else in the community, still respects him.
Since Eddie still won’t listen, Beatrice finally says what she, Alfieri and the audience have known for a long time, but remained unspoken for fear of Eddie’s reaction; that he loves Catherine more than he should, “You want somethin’ else, Eddie, and you can’t have her!” These are the words that Eddie didn’t want to hear, as we can see from his reaction, “[Shocked, horrified, his fists clenching]” We notice that again, since Eddie doesn’t have the intellect to know what to do, so he reacts physically. Catherine’s also shocked, “[In horror]”. What Beatrice said certainly stopped Eddie, but also created tension so thick you could cut it with a knife. From the fact that Eddie and Catherine only say one word, and are both horrified, shows just how serious what was just said was. You can imagine the stage, with everyone transfixed and unable to speak or move.
Then, as if things weren’t bad enough, along comes Marco, “[Marco appears outside, walking towards the door from a distant point]”. The fact that he comes from a “distant point” only adds to the tension/anticipation building up, because it lasts longer, and keeps the audience waiting on the edge of our seats.
Unaware of Marco, Eddie finally loses it completely. He can’t believe what his wife just said. For him, he has lost everything, which makes a violent confrontation with Marco almost certain, [Crying out in agony] […] [His fists clench his head as though it will burst]”. The word “agony” is an extremely powerful one, and serves to demonstrate just how painful it is to him. Then it says, “as though it will burst”. This helps show how much is going on inside Eddie’s head, and doesn’t know how to deal with it all. He must be very confused and in pain, which usually makes people/animals very violent.
Marco calls, challenging Eddie, breaking off his insanity. The tension rises as we wait to see what Eddie does, “Eddie Carbone, [Eddie swerves about; all stand transfixed for an instant. People appear outside]”. The fact that Marco says Eddie’s name is very dramatic. It’s like God calling Eddie to his final judgement. The way everything stops when he shouts it creates a lot of suspense.
In response, Eddie shouts out his name, as though proud of it, which makes the fight practically sealed. Rodolpho and Beatrice try desperately to stop it from happening,”[Rodolpho]: No, Marco, please! Eddie, please, he has children! You will kill a family!” We don’t know to whom he is speaking this last section, as it could apply to both of them, but this line just helps to show that if they fight, whoever wins will have destroyed a family, which, for Sicilians is the most important thing in the world.
It doesn’t work, and Eddie tries to engage in repartee with Marco, “[He gradually comes to address the people] Maybe he come to apologize to me. Heh Marco? For what you said about me in front of the neighbourhood? [He is incensing himself and little bits of laughter even escape him as his eyes are murderous and he cracks his knuckles in his hands with a strange sort of relaxation] He knows that ain’t right” He is doing two things here. One, he is taunting Marco, and trying to provoke him to give him an excuse to fight, and two, he is trying to convince the neighbourhood to take his side. The way he “gradually comes to address the people” and says, “He knows that ain’t right” makes it sound as though he’s a lawyer presenting his case to the jury. Again, we see the way in which in their minds, justice and law aren’t always the same thing. There, the people make the law, and the punishment is exclusion from the community. We also see that Eddie is getting slightly hysterical (“ little bits of laughter even escape him”). This is no surprise seeing what just happened, but it means that he is in no fit state to fight. We also see his intention (“ his eyes are murderous and he cracks his knuckles with a strange sort of relaxation”). The word relaxation shows that he is finally in his element. Throughout the play, he has been confronted with issues that he had to think about, which isn’t what he’s good at. Now he finally has a chance to do what he does best, react with violence. He would also b a bit more relaxed, because it takes his mind off what Beatrice just said.
He also uses strong imagery to show how hurt he is, “ Wipin’ the neighbourhood with my name like a dirty rag”. This helps us see why he’s so mad. To him, his name is very important, as it represents his place in society, and people respect it. But Marco is just treating it as tough it was filth. To him, this is the worst possible insult, and it tells us that he’s not going to back down.
The playwright creates a lot of drama by showing the two men sizing up to each other while they’re talking, “[He has his arms spread and Marco is spreading his]” The way they spread their arms makes them seem like animals trying to scare off the other. It shows how ready they are to fight, but also how animal-like they’re being; obeying primal feelings and fighting, instead of suppressing them and talking it through, as humans should.
During the fight, Beatrice is “keening”. The word is a good one to create drama, as it’s what women do when they’re mourning their dead loved ones.
Marco, knowing how much honour means to Eddie, tries to get rid of whatever scraps he has left, “Animal! You go on your knees to me!” He wants Eddie to not only kneel down before him, but also in doing so to admit he’s an animal; unworthy of respect. He is bullying Eddie.
Eddie shows how angry and crazy he has become by drawing a knife, and turning not only on his enemy, but also his friend, “[Louis rushes in towards Eddie][…][Eddie raises the knife and Louis halts and steps back]” Eddie is so crazy that he raises his knife over an old friend. He is so blinded by anger that anyone who gets in his way should be killed. He has turned into the animal that Marco said he was.
Marco then sums up Eddie in one climatic word, “Anima-a-a-l”. The way he drags the word out shows that he is taunting Eddie, trying to get him so mad he’ll make a mistake. The word animal is a good one, as it sums up Eddie perfectly; He used to be the leader of the pack and the dominant male, but then a new one came and challenged his authority, so he had to fight to defend his power and honour. Eddie is an animal in the way he thinks and acts. We feel as though all the tension that has been building up in the last couple of scenes is finally released in this one word.
The way in which Eddie falls when he’s stabbed is also very significant, “falls to his knees before Marco”. It shows that he has lost, and has submitted to Marco. T’s a device used by Miller to tell us that it’s finally over; that Marco has won and Eddie has lost.
Finally, to add to the drama, and so as not to end on a climax, Miller redeems Eddie by reconciling him with Beatrice, “ My B.! [He dies in her arms, and Beatrice covers him with her body]. Miller does this to show how tragic the situation is and to redeem Eddie. The fact that Beatrice covers him with her body shows how much she loves him. She’s using her own body to prevent people from desecrating the corpse. It is a very emotional and dramatic way to end.
In conclusion, the playwright Arthur Miller uses many different techniques to create drama. He uses the contrast between people’s thoughts, as they grow older; he builds up tension using stage direction and speech until it reaches melting point, then releases it in a terrible climax. He also uses imagery a lot, to help us see what characters are thinking, and lets us predict what they’re going to do. There is also the way in which he builds up relationships, and then takes them apart. All of these things he does, often very subtly so as to work with our subconscious, to successfully create scenes full of drama, yet which seem almost real.
