A View from the Bridge - detailed commentry on the play

Marco and Rodolpho arrive. Marco speaks simply of the poverty at home while Rodolpho, whose blond hair arouses surprise and amused comment, is exuberant in his stories of his singing and his plan to buy a motorbike. Rodolpho's singing of Paper Doll delights Catherine, who is already obviously attracted to him. Eddie sees with regret that Catherine is already slipping from him. The singing is the most obvious theatrical feature in this episode. Eddie's objection to it is really the expression of his fear of losing Catherine. Within minutes of the cousins' arrival Eddie begins "more and more to address Marco only". He asks Catherine: "What happened to the coffee?" (to remind her of her duty; but her reply, " got it on", annoys him, as she continues to hang on Rodolpho's words). Eddie objects to Catherine's high heels, so she changes her shoes, but he cannot object as she "pours a spoonful of sugar" into Rodolpho's cup: we are reminded of her attentions in the previous scene to Eddie.

Eddie and Beatrice argue about Rodolpho; Eddie continually shifts his ground: when Beatrice reminds him of "Whitey Balso", Eddie attacks Rodolpho's singing; when Beatrice says this may be normal in Italy, Eddie illogically asks why Marco does not sing. When Beatrice asks Eddie "when am I gonna be a wife again?" we realize the strength of his desire for Catherine.

Mike and Louis joke about Rodolpho to Eddie. They are amused by his unconventional manner but do not agree quite with Eddie's defensive claim that he is funny. It seems to Eddie that Mike and Louis share his idea of Rodolpho's effeminacy but dare not say so directly. As the lovers return, Eddie insists on speaking alone with Catherine, trying to persuade her that Rodolpho is just "bowin' to his passport". Though her instincts tell her to trust Rodolpho her respect for Eddie makes this hard.

When Eddie leaves her with Beatrice to "straighten her out", Beatrice does just this, but not in the way he hopes, as she explains to Catherine the need to become independent of Eddie, an idea later echoed by Rodolpho (Act Two) in his metaphor of the "little bird". It is here that Beatrice tells us how Catherine still behaves as she did when a child, walking around in her slip, entering the bathroom when Eddie is shaving, throwing herself at him when he comes home. Beatrice is not jealous by temperament but is mature enough to see the effect this has on a man. In theatrical terms we should note how movement into the street and back, as well as natural exits and entrances, allows Miller to achieve different groupings of characters to suit the dialogue, which dominates the episode.

This takes place in Alfieri's office; Eddie is less at ease in neutral territory. Eddie explains his case to Alfieri, who tries gently to suggest that his conclusions are far from reasonable. Alfieri tells Eddie of the only law which can help him, but he is not (yet) desperate enough to do so. Finally, Alfieri points out that Catherine "wants to get married" but cannot marry him. This is the second time (coming after Beatrice's "troubles") that Eddie has been given a hint of his improper desire. Again, he seems offended and puzzled, but dare not consider the idea further, as we can tell from the pause which follows Alfieri's ultimatum: "I gave you my advice...That's it".

This episode leads to the climax with which the first act ends. Eddie feels he has lost face. He tries to hit back by his sarcastic comment about the "surprises" which meet returning immigrant workers. Without taking offence, Marco politely points out that this does not happen. But Rodolpho's "It's not so free" attracts a sarcastic response from Eddie. It is Catherine, not Rodolpho who takes offence, and puts on Paper Doll and insists that Rodolpho dance. This leads in turn to the boxing lesson and Marco's trick with the chair.

In this episode, the action dominates the dialogue. The three stages of action - dancing, boxing, chair-lifting - and the way in which Eddie, Catherine and Marco all see and react to what is going on in the scene make this a very theatrical episode. Eddie sees Rodolpho dancing away with his beloved; he tries to win her back with manly action while humiliating Rodolpho, but is in turn made ridiculous by Marco's action. Marco, who will not allow any harm to his family, neutralizes the one tactic (physical violence) Eddie can use on Rodolpho. The chair held "like a weapon" over Eddie's head symbolizes his impending judgment and punishment, and anticipates the way in which Marco, rather than Rodolpho, is to become Eddie's chief adversary.

Act 2

Alfieri's remark about the whisky prepares us for the appearance of the drunken Eddie. The set design allows us to see him before his confrontation with Catherine and Rodolpho. It prepares us for some outrage, but not perhaps of such an extreme character as occurs. Before it we see the only extended episode of tenderness and romantic love in the play (we know Catherine has spent time with Rodolpho but we have not seen them alone together, and this is the first time they have been together in the house).

From this mood of delicacy and tenderness (true love) we move to a shocking and violent parody of love, with overtones of incest and homosexual rape. Eddie's kissing Catherine and Rodolpho shocks a modern audience; in 1955 it was electrifying. The playwright's sense of theatre is shown in this use of contrast and action. The dialogue before Eddie's arrival confirms Rodolpho's maturity and love for Catherine. We learn of Catherine's near telepathic understanding of Eddie but cannot agree with her criticism of Beatrice.

Eddie's drunkenness might appear to mitigate his actions but does not really do so; rather, his loss of control enables him to show how he truly feels. And what we see disgusts us as much as it does Catherine. Perhaps he has drunk to summon up the bravado for what he is about to do. We might wonder why Marco does not do anything about the treatment of Rodolpho, but it seems he is not told of it (ALFIERI: "I guess they didn't tell him"...EDDIE:"I don't know..."). Eddie crows over the beaten Rodolpho, but his is a hollow and pathetic victory. In this episode the stage directions are of the greatest importance, even in little details such as Eddie's seeing "pattern and cloth" on a table or Catherine's adjusting her dress "under his gaze". Even as Eddie laughs at Rodolpho, the young man stands "with tears rolling down his face".

In this brief episode, Alfieri counsels Eddie to no avail. Alfieri does not repeat his earlier comment on the only law which can help Eddie, but sees that desperation will lead him to betray Marco and Rodolpho, and repeatedly warns him against it. The "darkness" into which he follows Eddie may symbolize Eddie's being in the dark morally and psychologically. The glowing of the phone booth clearly indicates in visual theatrical terms how the idea first occurs to Eddie, then becomes irresistible.

We do not know if Louis and Mike notice where Eddie has been. They might wonder what reason he has to use the phone. But after the arrest, the timing of the call should seem much more sinister, and will be circumstantial evidence to support Marco's accusation.

As Beatrice and Eddie argue about Eddie's conduct, we note that the audience shares with Eddie the knowledge that the immigration officers are about to arrive. Beatrice, ignorant of this, bitterly points out, but takes no pleasure in it, that Eddie has now "got [his] respect". When Eddie says, "I done what to him?" he may betray what he has just done by his reaction. Beatrice means the kiss, of course, but Eddie may think for a split second that she has guessed what he has since done to Rodolpho.

Eddie seems relaxed until he learns of Mrs. Dondero's other lodgers, Lipari's relatives. He is made anxious by a fear that he will be responsible for the betrayal of another family (as if he could be excused the treachery to his own, actually his wife's) and at the same time sees a way to throw off suspicion by alleging that Lipari has enemies who will betray him and thus land Marco and Rodolpho in trouble. He at once insists on moving these men out.

The set design again allows the audience to see how futile this is, as the immigration officers are already entering the building. We feel revulsion as Eddie invites Catherine to consider whether or not he has ever told her anything that was for her good. He has done this, for honourable motives, in the past, but he is now appealing to the trust he has so horribly betrayed.

Marco twice breaks free from the arresting officers: the first time, he faces Eddie and spits at him; the second time, in the street, he cries out his accusation of Eddie. The stage directions indicate the response of those around; one by one, they turn their backs on Eddie, thereby showing their readiness to believe the accusation. Eddie is left to shout defiant threats to Marco. We know that the accusation is fair, that Marco will not "take that back", and that Eddie will not kill him.

In this brief episode, Alfieri counsels Marco. Though Eddie would die for such a betrayal in Sicily, Alfieri will only put up bail for Marco if he gives his word not to harm him. Unlike Eddie, Marco is "an honourable man", who will keep his word. Although certain to be deported, Marco has the chance to work for five or six weeks, and Rodolpho, by marrying Catherine, will be able to stay. This makes the betrayal utterly futile. Moreover, the threat of deportation ensures that the marriage takes place at once. Marco agrees to Alfieri's request, in order to be able to attend his brother's wedding. He is reminded that strong though his hand is, it "is not God" and "only God makes justice".

Beatrice is torn between loyalty to Catherine, whose wedding she feels a duty to attend, and to Eddie. She wishes to stand by Eddie, as all others have deserted him. Catherine calls him a "rat", who bites and poisons and belongs in the garbage, but she is weeping as she says it. Rodolpho comes to warn Eddie of his brother's approach and vengeful intention, and also to propose a settlement. Moved by generosity (and perhaps an understanding that his bride still loves Eddie) Rodolpho proposes a solution. He apologizes to Eddie and suggests that Marco may be placated if he can believe that Eddie and Rodolpho are friends now.

But Eddie has no interest in this offer. He calls Rodolpho "a punk" and "kid". What he wants is his name, and only Marco, who has taken it, can return it. What he is asking is an impossibility. Earlier, speaking of Vinny Bolzano, Eddie has said that you can more easily retrieve a million dollars "that was stole than a word that you gave away".

Now Beatrice suggests that what Eddie really wants is something quite different, but just as obviously unattainable: "You want somethin' else...and you can never have her!" Eddie cannot admit this, but is driven by Beatrice's remark to a display of defiance. He demands that Marco retract his accusation and restore to him his good name and status in the community, without which his life is of no value. Marco calls Eddie an "animal" and strikes him, at which Eddie pulls a knife on him. Marco seizes Eddie's arm as he lunges with the knife, and turns it back on him.

In this short episode we see the whole play recapitulated in some ways, as Eddie confronts in turn Beatrice, Catherine, Rodolpho, Beatrice again and Marco. Eddie is supported by the two women as he dies. He is killed by his own hand, an obvious metaphor for his self-destruction. All that remains is for Alfieri to explain how Eddie "allowed himself to be wholly known".