A VIEW FROM THE BRIDGE Explore the dramatic significance of Act One (pages 22 to 24) and the effect it might have on the audience

Alfieri opens the scene, acting similarly to the chorus in a Greek tragedy. He comments upon the action whilst also instilling ideas into the audience’s mind. Being a lawyer, the audience regard him as a good judge of character. This is illustrated when he ends his speech with, “Now, as the weeks passed, there was a future, there was a trouble that would not go away.”(P22) Hence the audience will be awaiting the scene, hoping to find out what more danger lies ahead for this disillusioned protagonist, Eddie Carbone. Being the Chorus, Alfieri never leaves the stage, the lights dim or come up at his desk but he remains as judge over Eddie’s actions.

The only other characters on the stage are Eddie and Beatrice. At the start of the scene, Eddie is standing at the doorway of the house anxiously waiting for Catherine and Rodolfo to return home from the cinema. Beatrice enters from the street, she is about to enter the house when Eddie talks to her. Miller gives many stage directions at this point as he knows exactly how he wants the scene to play out. The tension in which this scene begins is indicative of what is about to happen. Miller employs Eddie, his  tragic hero, in this scene. It becomes obvious as to what his fatal flaw is. The role of Eddie is directed to be aggressive in order to attempt to conceal his inner anguish. Eddie “looks away” from Beatrice several times during their encounter, suggesting that he is ashamed of his feelings and obsession. His actions also reflect his growing disinterest in Beatrice, his wife, which mixed with his expanding interest in their niece creates a highly complex and dangerous situation.

     Nonetheless, Beatrice acts as the good wife and “smiles” at him when she catches sight of him. Despite this, Eddie looks away which emphasizes tension as it illuminates that there is some unease on Eddie’s part. Beatrice then continues to try and keep the mood light whilst avoiding the words she would have liked to say about her husband’s inappropriate affections. Miller directs her role to be more assertive causing the tension to rise further as what she is saying puts Eddie in a increasingly awkward state.

• Miller’s range of language devices in the play effectively bring out both character and theme. Alfieri’s language includes the dialogue spoken by an educated man critically aware of the tragic situation that is unraveling: “Who can ever know what will be discovered?” Miller thereby creates curiosity in the audience through his use of interrogative as well as a sympathetic response to Eddie who by now no longer can control his emotions. That said, Beatrice and Eddie speak in the simple dialect of the Italian American community, “You crazy or sump’m?” Beatrice (P23). Suggesting that she does not have the capacity to articulate her worries.
•      In this section, Eddie refers to Rodolfo as ‘That’ several times; the absence of pronouns suggest that Eddie does not see Rodolfo as a person, more of a problem or obstacle which he has to overcome to save Catherine. The derogative language also implies sub-human, a reference to an animal, ergo proving that he deems Rodolfo as inadequate and displaying his hostility towards him. Ultimately, Eddie craves to convince Beatrice that Rodolfo is homosexual through facts like Rodolfo blonde and that male singers lack masculinity. Beatrice recognizes Eddie’s suggestions. In the stage directions, Miller writes that, ‘She realizes … a campaign solidified in him.’ and as a result she takes a stand telling him, “Ain’t gonna start nothin’ here.” (P23) Her anger behind Eddie’s innuendos come from her realization of his jealousy as well as the fact that Eddie has not, as was case in 1940’s, fully understood what it is to be homosexual.
•      Eddie’s unfriendliness in telling Beatrice that he’s surprised at her not seeing things the way he does, potentially describing her to be ignorant causes Beatrice to be intimidated. Consequently she expresses that she is unhappy when she contradicts his argument that everything is great with her by telling him, “No, everything ain’t great with me.” (P24) and then challenging him further. Eddie’s loss of interest in Beatrice is demonstrated when she asks, “When am I gonna be a wife again.” His response, “I ain’t been feelin’ good,” is heard with much irony from the audience. This conversation leads Eddie to lose his composure, “I can’t talk about it,” perhaps showing that he doesn’t even know himself. Still, the audience realizes that perhaps Beatrice knows that Eddie is heading for a terrible fall. His feelings are totally misplaced and his obsession for Catherine blurs reality. She tells Eddie angrily that she wants him to “Cut it out now” and come inside however he is too obsessed with Catherine and unable to redirect his actions or feelings.  
• To conclude, this scene is important as it subtly reveals Eddie’s emotional determination whilst disclosing the gap forming between the characters and is the first time Eddie’s obsession is mentioned explicitly. The audience’s sympathies lie with all the characters in this drama as they are all affected by Eddie’s fatal flaw, especifically Beatrice and her angst as a consequence of Eddie’s fixation.