Note- This is an ideal question for ‘AVFTB’ as due to the arrival of the brothers, Eddie feels threatened which leads to a series of events, resulting in his eventual death.
SUPPORT:
Climax of the play is Eddie’s desperate attempt to regain his authority and control by betraying Marco and Rodolpho to the Immigration Bureau. Climax is vital as it shows just how far a man can go to defend his name. Climax is the key point of betrayal – in a tragedy, there is always some form of betrayal and this marks the point of no return for Eddie. He is destined to suffer from this point. (useful point for intros)
Points you can make:
1. How Miller builds to a climax by showing how threatened Eddie is – use of Dramatic Tension (chair scene)
2. This threat leads to a desperate attempt to regain power (kissing scene). We see just how lost and confused Eddie is. He has totally lost his influence over Catherine – the next step is his betrayal, as he sees no other way.
3. This threat and his jealousy leads to Eddie betraying his family – the climax of the play. Immigration Bureau. The climax is the high point of betrayal, which results in Eddie’s loss of reputation and being ostracised from the community.
4. This then leads to his death as he desperately tries to claim back his reputation. This would not have come to pass if not for the climactic scene where Eddie betrays his family and loses his name.
Good quotes to use:
1. Chair scene – Now, watch out, here I come, Danish! (Lands with his right. It mildly staggers Rodolpho) – Eddie
‘A strained tension gripping his eyes and jaw, his neck stiff, the chair raised like a weapon over Eddie’s head… Eddie’s grin vanishes as he absorbs his look.’
2. ‘He kisses her on the mouth…Eddie pins his arms, laughing, and suddenly kisses him.’
3. ‘Marco spits into Eddie’s face’ or ‘That one! I accuse that one…he killed my children’ – Marco
‘Lipari, the butcher, turns…Louis barely turns, then walks off’
4. Wipin’ the neighbourhood with my name like a dirty rag! I want my name, Marco!’ – Eddie
Eddie lunges with the knife. Marco grabs his arm, turning the blade inward and pressing it home.’
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