How does Arthur Miller make passions and desires so memorable Essay

Given that Eddie Carbone only ever so explicitly expresses his passions and lusts once in the play, how does Arthur Miller cast them so memorable?Much of Arthur Millers play A View from the Bridge whole kit and caboodle to create the impression that Eddie Carbone is disgusted by Rodolphos unmanlike appearance and supposed homo knowledgeableity. He uses this as an argument against Rodolphos suitability as a husband for Catherine. When Eddies own homosexual requires argon revealed, then, they strike us as completely antithetical to these sentiments. It is this irresolvable and perplexing contradiction that makes his repressed homosexuality, rather than his incestuous desire for Catherine, so memorable for the audience.Eddie lives in a community where bigotry greets any man who does not conform to the most parochial definition of masculinity, an intolerance that Miller clearly articulates through the minor characters mike and Louis. While Mike and Louis reverently point bulge Marcos physical strength when working at the docks, Rodolpho, that blond one, is instead utter to overhear a sense of humour. This remark isnt obviously pejorative, merely Mike and Louis grin, snicker, and become hysterical as they give tongue to it. The discrepancy between their speech and behaviour points to an cardinal and unspoken insinuation. Of course, a sense of humour is a stand-in for what they see as Rodolphos difference of opinion compared to Marco. Marco conforms to their definition of masculinity he is physically strong, and works quietly and diligently. Rodolpho does not, and they mock this difference, revealing their intolerance.Eddie is similarly sicken by what he sees as Rodolphos effeminate appearance, giving voice to twain this and his belief that Rodolpho is a homosexual in his conversation with Beatrice. Eddie remarks on Rodolphos wacky hair, declaring hes like a chorus girl or sumpm. sympathetic to Mike and Louis, Eddie calls perplexity to Rodolphos h air, implying that Rodolpho bleaches it. According to Eddie, a preoccupation with his appearance is a strictly distaff trait and therefore casts doubt over his masculinity. The simile that compares Rodolpho to a chorus girl makes this all the much clear. The intolerance and resentment this provokes in Eddie is revealed through Eddies reference to Rodolpho as that and the assertion that hes like a weird. By weird, Eddie smasheds homosexual.Eddie uses Rodolphos alleged femininity and homosexuality to argue against his suitability as Catherines husband. Seeking legal proponent from Alfieri, Eddie claims that Rodolpho aint right. Again he calls attention to Rodolphos platinum blond hair, as easily as the high notes he hits when he sings. The design of such an effeminate man with Catherine seems to deeply have-to doe with him as he admits that when I think of that kat layin his hands on her I could I mean its eatin me out. Eddie struggles for words, his incomplete and incoheren t sentences revealing his deep anger. Hes disgusted by the root of an effeminate homosexual touching the niece he says he seeks to protect.Given Eddies sentiments, how, then, are we to respond to him smooching Rodolpho? The kiss is deeply unsettling because it is so antithetical to everything Eddie has said and done leading up to it. Millers stage directions vividly call to mind the here and now when Eddie kisses Rodolpho Eddie pins his arms, laughing, and suddenly kisses him.The use of the verb pins underscores the violence and brutality of this sexual act. Its likely that the ferocity of this expression of homosexual desire corresponds with the ferocity of Eddies suppression of that desire leading up to this moment. Furthermore, his laughing suggests a mad sense of relief. The aggressive expression of homosexual desire is incompatible with every impression we might have organize about Eddie before this moment, and we are left struggling to reconcile these two wildly differ ent sides of his character.In summation, the homosexual passions and desires of Eddie Carbone are an astonishing disclosure in Millers play, making them both unfathomable and memorable. Their eventual and painful expression leaves us wondering how well we know Eddie, despite having formed what appeared to be an accurate impression of him. It encourages us to give more generally the extent to which any somebodys true nature is knowable when we butt only observe them from the outside.