All My Sons by Arthur Miller Essay Example for Free

All My Sons by Arthur moth miller Es guessExplain how Arthur Miller makes this scrap in his defraud All My Sons so dramatic.Refer to Extract 6 for passageIn his play All My Sons, Arthur Miller makes the moment of George Deevers arrival highly dramatic through the sense that a crisis looms for the Kellers and is then narrowly avoided. Hostility is reduced to calm and jovial equanimity through Kate Kellers maternal(p) agency and controlling nature, and this in turn ensures that the threat posed by George is negated. At first, the interactions between Chris and George argon adversarial as Chris repudiates the truth George asserts. Kate Keller resists Chris too, though in a very different way, which is ultimately achievementful in nullifying George and the threat he represents to the put on reality of Joe Kellers innocence.The initial interactions in this passage create a hostile atmosphere that arises from the clash between George Deever and Chris Keller. George has arrived t o insist that Ann does not marry Chris because Joes guilt, or, more particularly, Joes dishonesty about his guilt, resulted in their fathers imprisonment and the destruction of their family. Chris insists that George wont say anything now. He intends to marry Ann and, more importantly, has systematically suppressed any doubts about his fathers innocence. Miller has George speak past him to Ann, youre coming with me, he says, and again, youre coming with me. This repetition in his dialogue conveys his tenacity and suggests that hes unlikely to desist. His challenge to Chris is part of a larger challenge to the glowering reality in which the Kellers fork up been living, a reality in which Joe is innocent. Kate has protected this reality for age and proceeds to do so again now.When Kate Keller enters she immediately adopts a calibre of maternal care and continue toward George. Raising both(prenominal) hands she comes toward him saying Georgie, Georgie. This diminutive calls into the present Georges past, his childhood and the happy associations he would have attached to Kate Keller during that time. Millers stage directions describe how she cups his face, a gesture suggestive of the affection and involution between a mother and young son. She remarks that he has become grey and that he looks like a ghost.This dialogue paints a vivid image of George as a gaunt and almost lifeless catch deserving of pity and perhaps plays on any musical noteings of self-pity he might have. She declares that she will make him a sandwich, and insists that he is going to sit here and drink some juice. Her theatrical and almost hyperbolic surgical procedure is one that seeks to emphasise her concern for Georges well-being and the motherly desire to nourish him and see him in good health. George is not actually her son, instead he belongs to the now fractured and dysfunctional Deever family. Theres a real sense that Kate is playing on this. She works to establish the nature o f her interaction with George as apparently maternal, and thereby implicitly encourages him to adopt the corresponding reference of dependant and grateful son.Moreover, Kate works to displace both Georges mother and Ann as the female figure to whom George owes the most loyalty and thereby establishes her own dominance and control. Whats the matter with your mother, she asks, why dont she feed you? This question undermines Georges mother as a capable maternal provider. Next, Miller has her takes aim at Ann, admonishing her for saying that George was fine since he so demonstrably is not.Just as Georges mother supposedly fails to nurture him, Kate points out a similar failing in Ann when she notices Ann hasnt given George grape juice. Ann says defensively that she offered it to him. The stage direction that describes her tone as defensive makes it send away that she feels as though she is under attack. And indeed she is. Kates reply is verbalise scoffingly, showing that she is ridi culing Ann for her apparently inept attempts to adequately care for her brother. By undermining both Georges mother and sister, Kate implicitly offers herself as the female figure on whom George can really depend.Ultimately, Kate succeeds and Chris defers to her utterly. Hostility dissolves into amiability and affection. Miller makes it clear from the beginning that George always liked Kate. This stage direction reveals a vulnerability he has in meet to her. At first he is gently dismissive of her, saying I know and I feel all right. This dialogue suggests he isnt buying into her performance, or at least not at first. Eventually, however, he declares Kate, I feel hungry already. This line signals a crucial shift. It is so obviously utter with affection and good humour. Clearly, the thought of doing anything to hurt Kate could not be further from his mind. Moreover, it indicates that he has adopted the role into which she has been cajoling him that is, the dependent and acquiescent son.Throughout this passage Kate is highly manipulative. She is motivated by an instinct to protect the false reality she and Joe perpetuate and on which she depends if she is to see her husband as anything but a monster who killed their son, Larry. Her success hinges on quelling George and the uncertainty of this is what creates the angst-ridden drama at this moment in the play. Ultimately, of course, her success is only momentary.