After the tense play-fighting duel, the development of a chair-lifting contest between Eddie and Marco, created a much more extreme atmosphere, compared to the mockery of a fight that was previously mentioned. Marco was a protective, civilised and supportive brother, who couldn’t therefore, stand by and watch Eddie mock, belittle and humiliate his brother. He set out to show Eddie who the genuine alpha male was. Marco places a chair before Eddie and says ‘Can you lift this chair?’ Eddie questions Marco, who demonstrates lifting the chair with impeccable ease. Yet, Eddie fails to lift the chair after several attempts. All characters in the background had now stopped abruptly, to emphasize the importance of this battle of manliness. Marco lifts the chair with a ‘glare of warning that transforms into a smile’ of accomplishment. The ‘smile’ emphasizes triumph, as Marco ridicules Eddie, this creates a tension that is thick enough to slice. ‘Eddie’s grin vanishes…’ Displaying that he had been defeated with a fatal concealed sign of warning, greatly noticeable from the given facial expression. This event portrayed two men battling each other, leaving one with a ruined ego, reputation, and sense of self. Eddie. It represented the love of two brothers defending each other, and the heights a match of self-esteem, masculinity and triumph could lead to.
In comparison to the chair-lifting occurrence, the next event could be specified as more of an awkward atmosphere rather than intense. A subtle hint was placed within the text, leading up to the incident. ‘He is leading her towards the bedrooms’. When ‘bedroom’ is mentioned, the reader can immediately assume that sex had taken place. Rodolfo had been leading a vulnerable Catherine into the room. A further hint is given ‘Catherine enters from bedroom…she adjusts her dress.’ However, due to Eddie being fairly drunk, as he enters the apartment, he is unable to piece together what has occurred. Then Rodolfo appears from the bedroom doorway. ‘Eddie’s arm jerks slightly in shock’ this depicts a gradual realisation, creating an effect of building fury, about to erupt. It also displays that Eddie has put together, what has been taking place, whilst he wasn’t there. A sexual tension arouses. ‘Rodolfo nods to him testingly’ Rodolfo is again teasing and mocking Eddie as he ‘nods.’ This makes Eddie snap. The dramatic devices applied here, reveal an awkward and uncomfortable series of events. This then turns into rage, fury and anger, as Eddie looks on taken aback.
The next dramatic and unjustifiable event follows on, immediately after the one mentioned above. After recovering from his shock, Eddie abruptly demands that Rodolfo leaves immediately. Catherine objects, whilst sobbing out of pity and love for Eddie; she says she will have to leave too. Eddie disagrees and as Catherine protests further, ‘…he draws her to him…he kisses her on the mouth.’ This unjust behaviour doesn’t end here. As Rodolfo warns Eddie off ‘Eddie pins his arms laughing, and suddenly kisses him.’ Eddie’s ‘laughing’ creates the impression that he does not care in the slightest, towards the inexcusable gesture that he has committed. The behaviour displayed by Eddie has several individual interpretations and perspectives. The kiss by Eddie may have been a mafia associated ‘kiss of death,’ a full on warning to back away. However, it may have been an Italian kiss, from cheek to cheek, which was, and still is a fairly common gesture. Yet, it may have also been a goodbye kiss, or a kiss to attempt to prove to Catherine, that Rodolfo was gay. Nevertheless, each version concluded on an unjustifiable, awkward and disturbing atmosphere from any perspective. This action was a much more effective way of displaying emotions, through actions, rather than dialogue. It managed to grasp the reader’s attention and achieve a variety of perceptions. All of which, could have been as acceptable as the next.
Directly pursuing the disturbing actions committed, a situation now took place, where both parties performed unforgivable deeds. Eddie Carbone had revealed all to the immigration bureau, telling them that, two illegal immigrants were living under his roof. Marco was utterly furious as he saw the two officers entering the apartment. He realised instantly, what Eddie had done. His realisation could be distinguishable from the actions performed in this dialogue. ‘Marco suddenly breaks from the group and dashes into the room and faces Eddie.’ A viewpoint that could be construed from this quote, was that, Marco was bursting with irrepressible rage, as he ‘dashes into the room’. Then, as Beatrice and the first officer rush in, Marco spits into Eddie’s face. The whole neighbourhood is watching in horror, as Eddie’s precious reputation is disgraced. Marco had belittled Eddie in the ultimate way. Atmospheric tension, anger and anguish built, as Eddie ‘lunged towards Marco.’ Marco further ruined Eddie’s reputation, by rampaging on about Eddie stealing food from his children’s mouths. Marco had introduced an Italian injustice. This particular event strongly supports the dialogue, as each action is in correspondence with the words being spoken.
The following and final atmospheric event, displayed in the play, is probably the most dramatic and intense of the lot. The actions demonstrate a brutal battle of masculinity, between Marco and Eddie. After endless threats and accusations, both of their reputations collide and cascade into a finale of pride, contempt and vanity. ‘He gradually comes to address the people’ Eddie reels in the atmosphere and enjoys the thrill of everyone’s gawping eyes, as he ‘addresses’ the people, like this could be construed as some sort of performance. He demands for an apology. ‘ He has his arms spread and Marco is spreading his.’ At this exact point in time, an immense amount of pressure is building between the two foes. Suddenly, Eddie lunges for Marco, as the crowd watch on awe-struck. ‘Marco strikes Eddie beside the neck’ insulting Eddie whilst doing so. Eddie knows he is a mere mortal compared to Marco, and therefore takes out a knife. ‘…Marco grabs his arm, turning the blade inwards and pressing it home…’ This quote can be interpreted as a victorious defeat, where the best man won, which is perceived from the words, ‘…pressing it home.’ As if this was all just a mere competition of baseball. The dramatic devices used within this particular dialogue, give the notion of a long awaited victory, in an imaginary contest. Eddie dies in Beatrice’s arms, and the mood becomes mournful and hushed, compared to the vigorous and intense atmosphere, leading up to the kill.
Throughout this essay, I have analysed individual dramatic devices, each one supporting or contrasting the dialogue. Although, Arthur Miller’s dialogue could be described as basic, he managed to portray a realistic support of the actions, to create remarkable effects. Each dramatic device used, helps display a variety of diverse atmospheres, for the audience to envisage and bestow separate, yet acceptable perspectives. Only a single infamous author could create this vivid, impressive and enrapturing assembly of dialogue and atmosphere. Arthur Miller.
