In Arthur Miller's A View from the Bridge, Eddie's death is made even more tragic because it stems from the his inability to understand – let alone articulate – his feelings. The work describes the fall and death of a decent man due to a fatal flaw. While Eddie's incestuous desire for Catherine is the impetus for his downfall and Rodolpho's threat the catalyst, what ultimately causes his destruction is his inherent inability to understand or express what he feels. As a result Eddie suffers from confusion and inner turmoil which leads to extreme overprotection of his niece, intense hatred for Rodolpho, and problems within his own married life. All of these problems stem from Eddie's inability to understand or express his feelings and ultimately culminate in his death. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The show is carefully crafted so that the audience gradually becomes aware of Eddie's feelings for Catherine, initially accepting her protection as a natural paternal concern, then growing increasingly uncomfortable as hints of a deeper and more inappropriate attraction, until at the conclusion of the first act there is no doubt in the audience's mind that Eddie has found himself consumed by a forbidden desire. The interaction between Eddie and Catherine at the beginning of the play emanates subtle undercurrents of unease: without actually being lovers, they share many moments of mild flirtation and affection beyond the normal levels of intimacy commonly shared between uncle and nephew. Catherine flatters Eddie, "walking him to his chair," "taking his arm," and lighting his cigar, an action that, while perhaps lost on a modern audience, would have a more uncomfortable effect on a 1950s audience. , as in films of this period such a gesture was used to distinctly convey sexual attraction, and, although the audience never sees it, Beatrice's speech reveals that Catherine often walks in her slip in front of Eddie, or sits and talks with him while he shaves in his underwear. The captions often indicate the obsession that Eddie himself cannot express on his own: despite how upset he is, he "can't help but smile at the sight of her" and whenever Catherine is not present his gaze drops or distracts. At one point, when Catherine leaves the room, Eddie “stops for a moment to look towards the kitchen,” his gaze lingers behind her, and he is “pleased, and therefore shy” at the attention his niece gives him. These little clues accumulate to establish an awareness of the truth in the audience's consciousness, which is then emphasized by the statements of both Alfieri and Beatrice, who can also intuit what Eddie cannot. Alfieri tries to gently advise Eddie that "every man has someone he loves, but sometimes there's too much... there's too much and it goes where it shouldn't", and urges him to abandon his possessive hold on Catherine. Later, she challenges him more brazenly: “He wants to get married. He can't marry you, can he?" but, instead of absorbing this suggestion, Eddie's frustration explodes into anger, shouting "I don't know what the hell you're talking about!" Similarly, Beatrice's speech often reveals an awareness of Eddie's feelings that he misses. He warns Catherine to behave appropriately for her age ("You're a grown woman and you live in the same house with a grown man. So you're going to act differently now, huh?"), suggesting that she is aware of the effect that the behaviorCatherine's overly affectionate attitude is having on Eddie. He gives a "quiet, sad laugh" as he comments ironically that Catherine should have considered Beatrice's jealousy sooner. He becomes impatient with Eddie, snapping at him “I want you to stop now, do you hear me? I don't like!" but Eddie dismisses it coldly, refusing to even contemplate the deeper cause of his feelings. Eddie knows that something is wrong in his life, that there is something that is distressing him and causing such a confusing spectrum of emotions, but he can't decipher the cause of those feelings. Because he lacks the ability to reflect insightfully on his emotions and figure out what the problem is, he transfers the real problem to whatever else he can. Initially, his repressed desire manifests itself in Catherine's intense overprotectiveness, worried about the dangers of her new job. He complains that the place isn't safe, blurting out "I don't like that neighborhood over there," and warning that "near the Navy Yard a lot can happen in a block and a half," concluding that he wants her to be "with a different types of people." While his concern for his safety is certainly genuine, Eddie deludes himself into thinking that this is the root cause of his panic. Indeed, it is more likely that his desperation stems from a desire to keep Catherine in his sights, worried that she might escape him, both physically (“Where is she going?” and “Then you're leaving”) and emotionally. (“Why didn't you ask me before accepting a job?”). Similarly, she complains that Catherine is "out on the streets at midnight at night" and even resorts to waiting outside for her and Rodolpho to return from the cinema, believing that her distress over her being out with another man is simply concern for your safety. The arrival of Rodolpho and Marco stimulates a new outlet for Eddie's projected feelings, and as Catherine becomes increasingly "fascinated" by Rodolpho's eccentric appearance and exuberant personality, Eddie arrives "more and more to turn only to Marco" . His initial “hidden suspicion” towards the young man soon turns into an intense and irrational hatred that Eddie justifies through a series of different accusations and insults to his character. In his first campaign against Rodolpho, he disparages what he perceives as overly effeminate qualities, suspicious of his blond hair, slight build, and talent for singing, cooking, and making clothes. “He's like a weirdo,” he scorns, unable to clearly articulate what he means, explaining simply that “the guy's not right.” Second, he becomes convinced, and tries to convince Catherine, that Rodolpho is "only bowing to his passport," using it to gain the right to be an American. When these verbal attempts fail, Eddie resorts to articulating his feelings through action, attempting to humiliate Rodolpho by "slightly staggering" him in a seemingly playful boxing game and later, in a drunken rage, kissing him to "show [Catherine ] what it is.” Ultimately, the “passion that had moved into his body like a stranger” pushes Eddie to commit the final betrayal, reporting Marco and Rodolpho to Immigration. Likewise, Eddie transfers his frustration onto Beatrice, periodically blaming her for being “angry with [him] lately” and victimizing him, interpreting his dramatic change in character as a change in Beatrice. “You were different… you had a completely different way,” he complains, and claims to be continually attacked by her arbitrary reproaches, arguing that "here is a shooting gallery and I am the pigeon". Beatrice's lament “When will I be a wife again?” reveals the extent to which Eddie's desire for.