Explore the role of Alfieri in Miller's 'A View from the Bridge.'

However some critics see 'A View from the bridge' as a melodrama because of its violent ending. Miller has characterized his writing which relies on sensational happenings, violent action and improbable happenings. Matthew Conordin, a popular cloumnist for 'Los Angeles Times' commented on the performance (1963 Washington-Queens Theatre) as being 'a productive, melodramatic performance...successful in its aims.'

Miller originally saw this play as being modelled on a Greek tragedy. The most striking feature of that is his use of a chorus. This is defined as "a character who represents ordinary people in their attitudes to the action which they witness as bystanders and on which they comment" (Penguin Dictionary.) In Greek tragedy a group of people informed the audience of events throughout the performance, narrated off-stage happenings, commented on the characters, told the audience what to think and even what was going to happen. This is the role played by Alfieri in 'A view from the Bridge' and much of his speaking takes the form of soliloquies. His descriptions of the people within the play and narration at the beginning of each scene helps to distinguish the different sections of the play. Alfieri is fairly unimportant in the action of the play in general, but he more importantly frames the play as a form of a modern story. Like the chorus of the Greek Theatre he is powerless to effect events. It is unusual for a dramatic performance to have a character like this within it. However, when the 'Crucible' was performed, Miller was very disappointed with the criticism wrote towards it. He felt "that not a single one had captured the real inner theme of the play" (Time Bends.) When he came to write 'A View from the Bridge' he decided that he needed to find a way of making the themes of the play more explicit and clear. This is why he decided to include Alfieri, whom he calls the engaged narrator.

Stage directions refer not only to exits and entrances but to the light going down or coming up on characters i.e. Alfieri at his desk. As we switch from the extended bouts of action (flashbacks) to the interludes which allow Alfieri to comment, to move forward in time, and give brief indications of circumstantial detail, such as the source of the whisky Eddie brings home at the start of Act II.

The play's title is very interesting: it is about the world as seen from the shadow of Brooklyn Bridge between old Europe and the New World - and Alfieri's commentary comes from that Bridge. We see him as the bridge between the two communities, the two main characters and the American laws and ethnic laws together. It may also suggest however, the connection between the middle 20th Century and today's contemporary society. We see this through Millers characterisation of Rudolfo and Alfieri's comment on page 49 when he states "and I see it happening more commonly" which may evoke Miller's view and beliefs on the future society.

Alfieri acts as a foil in the play because his education, wealth and prosperity makes obvious the informal, conversational dialogue and struggle of the longshoremen. Foil is a dramatic technique purposely used by a dramatist where a character's behaviour and values contrast with those of another character in order to "highlight the distinctive temperament of that individual" (Penguin Dictionary.) He uses very poetic, eloquent speech and a formal, controlled dialogue, which segregates him from the general characters in the play such as the protagonist, Eddie who Miller forces to use very direct and blunt wording because of their unlearned tongue. Eddie and the community are unsophisticated and there language betray a colloquialism that is powerful but often hides more than it reveals.

It is apparent to the audience that this difference between the ways in which the characters speak also affects the way they display their emotions and convey powerful thought. Through being an educated man Alfieri is able to delicately and subtly put his point across to a character: "To promise not to kill, is not dishonourable." Apart from displaying Alfieri's intelligence it also gives his words a scale of importance. For example when he uses words that have just flown from his mind he employs delicate similes and clever turns of phrase that he is infamous for, however when he is forcing a point that has been repeated continuously in his mind he is much more forceful and blunt. It is then that his language becomes similar to the other characters in the play and Miller uses this to add climax and an importance to his events. Alfieri acts, therefore, more than a character than a Greek chorus which adds to the tension. He is able to do this because the psychology behind this is that when you are so desperate and urgent that the recipient should understand and believe in what you are saying, it is automatic that you say it in the simplest form possible, so that there is no chance it is not understood.

The language of Alfieri is meditative and helps the audience to think about the issues which Miller feels are important. His leisurely style draws the audience into his story and helps to maintain a relationship with them throughout the play. In his opening lines he uses the pronoun 'you' to indicate that he is talking directly to us. The use of the second person also shows that he is the link between the audience and the characters which also gives us the ability to trust him. This is because much of his commentary is fact and so we are forced to believe the part which is opinion.

In connection with this, we also trust Alfieri because he is professionally detached as a lawyer which implies that he will give an unbiased viewpoint on the situation and will be a good judge of character and to be rational: this helps him to gain the audience's trust. However as the play progresses he gets emotionally involved he becomes not quite detached anymore meaning that his opinions may become biased. He helps the situation by having a lack of interludes towards the end so that he won't sway the audiences opinions on the situation once he has become involved. We also trust Alfieri because of the way he is presented to the audience. We are told that he is "turning grey, smartly dressed" and so therefore (if the production shows him in a suit) we are lead to belief him due to the contrast in clothes of the other characters. We see that his appearance commands respect and that his age ("a layer in his fifties") gives us more evidence of his reliability and honesty. This is because it is known to 'trust the elderly' as they have more experience - as Alfieri does, and to 'respect your elders' and as he is in this position the audience feel right when listening to him.

Miller uses Alfieri nine times in the performance where his main roles are to: act to as a commentary, to explain the themes, to expand on the characters, to give background information about the time and place, to make sure the audience is clear about Miller's message, to participate as a character in the action and to act as a dramatic device. His main function is to give general information to the audience and for them to reflect on their own life experiences as the performance progresses.

As his opening speech beings Alfieri directly relates the audience to the drama by telling them "something amusing has happened", this allows the audience to listen to Alfieri more as they now know that it is his past that he is describing to them.

Occasionally there is a huge sweep to the language used by Alfieri particularly at the beginning of Act I when he says:

"...every few years there is still a case, and as the parties tell me what the trouble is, the flat air in my office suddenly washes in with green scent of the sea" (Act I, page 12) and he goes to link this case with another in Italy and Greece two thousand years before and therefore Miller is using reference as in the same way as he adapted their methods: "Every word was done in the same way the Greeks did." (Time Bends) i.e. he uses a chorus used by authors in Greece 2000 years ago. We feel that there is a timeless quality about this story because of this paragraph: The struggle for justice, in his opinion, was observed by a lawyer two years ago. We are drawn to this point when he comments that "there lies three thousand years of distrust." Also by using colourful locations e.g. 'Calabria' and 'Syracuse' he gives the scene an important and relevance that indicates that the events are timeless that have no respecters or boundaries.

He tells the audience that his practice is "entirely unromantic, "that his clients are prepared to "settle for half," but the words "and yet..." in the final paragraph prepare us for something different. In a deliberately awkward and twisted sentence he invokes the past to tell us that the story will be tragic-and then introduces Eddie and so expands on the characters of the performance. He immediately creates the atmosphere - the atmosphere of Red Hook where crime was once set into the very fabric of the neighbourhood. Red Hook is the slum area in New York in which the play is set.

The social context of this place is of a poor community as Alfieri describes it as "the slum that faces the bay seaward side of Brooklyn Bridge." He comments on that the area "lacks elegance and glamour." and uses phrases such as "the petty troubles of the poor." We are also told in the introduction that it consists of tenement buildings which are considered to be old and overcrowded that were rented off the council. This as a result contributes to the image of this deprived area of being a place populated by citizens who lack money. It also implies, because the block of flats are small that everybody knows everyone, therefore, loyalty is very important. Alfieri states that Eddie is "a longshoreman working on the docks" ; a harbour labourer, employed by the day. This is hard manual labour which the audience will see as an occupation which only employed men who were desperate for money. In connection with this, Red Hook is also a place where crime takes place which also suggests poverty:

"Frankie Yale himself was cut precisely by a machine gun on the corner of Union street, two blocks away. Oh, there were many here who were justly shot by unjust men" which is a result of the different views on justice and the law of America and Sicily. Alfieri tells the audience about the importance of justice but, he says, justice is often administrated outside rather than inside the law in this particular community. Al Capone, Frankie Yale and Caesar are all present in his comments which signify that the present case he is about to handle may not be very different from many of the "bloody course[s]" (page 12) that have occurred throughout history. This area is dominated by different communities where it is very important to fully support that community and by no means betray their cultural beliefs and values. With this, if one community is betrayed by another member or different community then "justice is very important". Herewith, Alfieri means that revenge on others is significant and this fits in with their cultural values as the communities are made up mostly of Sicilian members where in their homeland seeking revenge and justice is important. He is also stating that the conflict, like all the others is beyond the power of anybody to stop it. Miller instantly begins to associate him with trouble when Alfieri explains, "We're only thought of in connection with disasters."

Also he expands on the community and gives background information of Sicily. He gives the impression that family honour and respect are important with the Sicilian community and that there is a great distrust of the American law. Miller has underlined the significance of honour and justice by saying, "Justice is very important here." As an audience member you realise that this is potentially a key aspect of the play. It subtly creates apprehension about what will inevitably happen. Therefore, Miller has purposely used Alfieri in order to create dramatic irony here where the audience is in possession of more information than other characters on stage. This makes the audience more involved within the production and thus more interested which is the sole aim of all playwrights. Miller slowly engages the audience with Alfieri's dramatic introduction and makes them feel anxious.

Finally, Alfieri concludes his introduction by saying, "and I sat there as powerless as I, and watched it run its bloody course," which makes the audience expect a tragic outcome to be resolved in blood. This specific phrase, together with "bloody course" shows that Alfieri is predicting the play which indicates his importance in it as a narrator. The audience shares this perspective which heightens their sympathy for the other characters of the play as their story is told in what is in a series of flashbacks. Despite Alfieri's help however, the events that follow are inevitable and significant of the characters' homeland, Italy. Here therefore throughout Alfieri's introduction there is a sense of theatrical tension.

In his second appearance on page 15 he tells the audience that time has passed. He also, in three sentences, gives an ominous edge to this meeting. Miller uses him to give warning to the audience of the problems ahead, "after they ate, the cousins came," and to link the two different scenes together, therefore to provide a structural function.

He expands on the character of Eddie and gives more description to his working life. Moreover he explains the themes of manliness and the family values of the community as Eddie "bought home his pay" which was considered of a typical male in post-war America.

Alfieri's speech, both vocabulary and sentence construction, is almost biblical to its simplicity. His language is similar to that of the bible (e.g. John 12:1-3) as both use large sentences which give heavy detail in place and time:

Alfieri -"He worked on the piers when there was work, he brought home his pay, and he lived," and John - "six days after, he went to Bethany, served her food and left." The word "And" to start a sentence in 'A view from the Bridge' is also comparable because the Bible contains many sentences in this same style which begin with connectives such as 'but' and 'then.' Here therefore, Miller uses Alfieri's speech so the audience can believe and trust him as a moral standard making them more engaged within the story.

On page 31-35, Alfieri takes part in the drama as a normal character, but does not abandon his chorus role. He introduces Eddie with a brief speech and links up to the next section with another of his soliloquies. His certainty of disaster communicates itself to the audience.

Alfieri describes Eddie's appearance at their first meeting and almost seems to fear Eddie as a paranormal beast, a remnant of the great Greek or Roman tragedy. He truly believes that Eddie was possessed with "passion that has moved into his body, like a stranger," and was unable to control him. The passion that Alfieri describes is the passion for his niece Catherine. The passion, unreleased and suppressed in his unconscious was a stranger to Eddie's conscious self that actively denied any thoughts of incest or otherwise:

"His eyes were like tunnels; my first thought was that he had committed a crime, but soon I saw it was only a passion that had moved into his body, like a stranger." This quote also reveals the style of Alfieri who tells the tale of Eddie Carbone as if he is a legend. Eddie here is described with dramatic descriptions that are unusual in this form. The striking simile used suggests tragedy and the theme of fate and destiny; that Eddie cannot escape the 'inevitable' and that he is on a one-way track.

Alfieri's key words and ideas throughout the scene are repeated continuously which includes, "law", "legal[ly]", "proof/provable" and "nothing." Eddie, on the other hand, uses such phrases as "I know", "I see, "I mean an "Right?." We see therefore that they are talking about two different types of evidence and there is no way that the law can solve Eddie's problem - natural justice and justice from the statute book. Alfieri is sympathetic but the idea that there is no law for what Eddie talks about shocks him. Consequently, Miller's message is conveyed through the engaged narrator as he explains that the law inadequate to meet everyone's needs:

"There's only one legal question here. Otherwise, there's nothing else." When we analyse Eddie's response to the "only one" legal question we see that he does not finish his sentence, "I mean there must be some kinda law which -" and "It's breakin' ma heart, y'know. I -." This suggests

He expands on the themes of the play - law, justice, paternalism and manliness. For example he comments "there is too much love for that" which hints to the audience the relationship between Eddie and Catherine. The image of manliness is also evoked as Eddie simply describes Rodolfo as "weird". He goes further than he has done so far in specifying Rodolfo's effeminacy.

Alfieri is a dramatic device in this scene because he heightens the tragedy and the theme of fate (even though he is powerless to prevent the tragic outcome) which creates tension and suspense because the audience anticipate to know what will occur in the subsequent scenes:

"I could see every step coming, step after step." It depends on the audience's knowledge that these things will happen and that witnessing them becomes a purging of the emotions, almost like a ceremony. Alfieri uses a dramatic convention to do this by 'foreshadowing' where he uses verbal hints that suggest what is to come later.

Act II begins with an announcement from the chorus who sets the scene precisely for the important events that are imminent. The solid information given to the audience is that the date is "the twenty-third of that December," the whisky is Scotch, the pier it was being unloaded from is number forty one, and that the weather is cold, without snow. This formal announcement is then humanised at the end by Alfieri's reference to a later conversation with Catherine.

In this scene Alfieri chronologically establishes the setting because for these momentous events, the audience must have precise indications. He does this by giving background information about the community, time and place. Here his structural function by Miller is to frame the scene and to show significantly the contrast of the previous and the following scene (if we consider the setting and the actions of act I, part three) by decrease the tension. He slows down the pace and portrays a calm atmosphere in a good-humoured manner. Miller initially wrote the play "in one long line, with an explosion at the end" (Time Bends) but because he changed this to a full-length prose he would have needed Alfieri, to introduce the second act and to generally comment on the time passed between them. His role here is also to remind the audience that the play is done in a series of flashbacks as Catherine told him "later that this was the first time they had been alone together in the house."

When Eddie visits Alfieri for a second time we see Alfieri participating as a character again. Alfieri can hardly remember the conversation, so he only gives us a bit of it. What he can remember is the impression that Eddie made: the "dark room" and the "eyes like tunnels." Before this brief scene starts, the audience know everything: Alfieri's powerlessness, Eddie's destiny and the unreality of the whole story. The impact of this scene depends on all that has gone before, so the telephone calls becomes an inevitable consequence. It also depends on the actor playing Eddie because he must be required to convey a driven intensity from Alfieri's description so the audience can clearly see the points of action within the scene.

Through Alfieri, the themes of justice and the law are employed in the duologue as he emphasises that the law has not been broken. He explains these themes by giving extra information about the different communities and by exploring their different cultural perceptions. Eddie must accept the situation as it is and let fate take its course and if he does not, Alfieri insists, then he will become the tragic hero. He questions momentarily, but we know that the law has nothing to offer Eddie. His most important speech therefore spells out natural moral law by:

"I'm warning you - The law is nature. The law is only a word for what has a right to happen." He knows, despite its boundaries, that it must be upheld . However, he is also aware of the dissatisfaction of the law to dispense total justice. He feels that he cannot intervene when Eddie in the play decides to find total justice in his own way - outside the law.

The events in this scene are fated as Alfieri knows why he waited so long at the office. He is unable to break the grip of fate: "almost transfixed" and "had lost my strength." He recognises the terrible change that has come over Eddie and the emptiness of his spirit. He knows, because of the inevitability of the tragedy that is about to happen, that he should do something to prevent it but he feels powerless to do so. The unavoidability of the tragedy is expressed in the feeling that he wants to call the police, although nothing has happened.

The stage directions and the movement of Alfieri in this scene also suggests this. When "Alfieri rises with new anxiety" with "a tougher tone...calling desperately" it implies that no matter what he does or say, he is still helpless in stopping the outcome of Eddie's hamartia even if he does lower his tone to drop vocal hints. In the 1987 production in New York the theatre presented him using a heavy use of facial expression, hand movement where the actor constantly moved across the stage and even enclosed Eddie to make the audience see that Eddie will not take note and that it is fate which will control his destiny.

With a hint of a dream, Eddie is lured towards the telephone as light rises on the booth and Alfieri's frantic, anguished calls fade into the background. His representation is that of God and of Eddie's conscience because he shows good as he is the person who upholds the American Law and tells Eddie not to ring the Immigration Bureau. Because he is shown representing God we see that Eddie has to choose between 'good' and 'evil' which suggests the theme of "settling for half." This is evident as Eddie can only chose one of the two and so his decision will consequently decide his fate. His voice is also used to balance up the temptation of Eddie with the glowing telephone box. Alfieri's dramatic appeal is very strong here because of his position when the "phone booth begins to glow in the corner of the stage." He acts as a dramatic device because he heightens the tragedy by creating suspense and the dramatic irony of the foreseeable end of Eddie's destiny.

The lighting techniques here is also very cleverly used by Miller as a theatrical device to show Alfieri's role. The white lights "go down, as they rise on Alfieri" whereas, on the other side of the stage "a phone booth begins to glow...a faint, lonely blue" which contrasts largely with the colour white. It glows brighter and brighter, signalling Eddie's idea, then determination and temptation, to call the immigration officials. This shows the idea of tragedy as Eddie is poised between them where symbolism is used to suggest the difference in heaven (white which is associated with angels but may suggest rightness and therefore the theme of the law) and hell. This highlights Alfieri's function that he is there not to only retell the story with an unbiased viewpoint but to show again that he cannot help in stopping the tragedy and that despise his position. It hints to the audience that he is a neutral character and a mediator, there only to help explain the themes of law and justice to Eddie.

Alfieri is again involved as the mediator on page 58-60 participating within the action. It shows the passage of time from the last scene and offers a brief rest from the passion and violence. It also reminds the audience, in a more calm approach, of the essential themes of the play.

Alfieri explains themes such as honour and manliness where Marco cannot adjust from his old Sicilian codes of respect. As with the scenes with Eddie, this scene begins in mid-conversation where Alfieri is asking a question which is about Marco's sense of honour. Marco wishes to be bailed, but to be bailed he must give a promise not to harm Eddie: "You're an honourable man, I will believe your promise" says Alfieri. Marco believes he is going against his culture and beliefs as it more honourable to seek justice and to be more manly than to allow Eddie to escape from betraying him and Rodolfo. Marco sees it as his family duty to take revenge however he is being dishonourable and less manly by promising something he knows he is not able to keep.This promise he says is "dishonourable" as Eddie has degraded "his blood"- It will also be dishonourable if he were to go against his Italian culture.He is not seeking financial compensation, but a restoration of family respect: like Eddie later, he deceives himself into thinking his enemy may wish to apologize. Therefore the idea of tragedy is evoked as it is clear that it will result in a clash between two the perceptions of law / justice:

"Everybody knows that you spit in his face, that's enough, isn't it?" The question asked here is rhetoric which makes the audience form questions which in turn makes them more engaged within the performance. It hints that a further climax; a tragic outcome will be reached.

Alfieri explains themes of law and justice. Alfieri acts as the negotiator when he attempts to persuade Marco that he must not take revenge / justice. Marco is appealing to a justice that is above and beyond the law. Marco says:

"The law? All the law is not in a book...He degraded my brother." Alfieri points out that it is only God who delivers ultimate justice. Alfieri argues that he can, at least work for six weeks before the trial. Alfieri expands on this theme of law and justice as Marco can not accept the law in America as Alfieri fails totally to convince him "there is no other law" outside the statute book. He fails to relate Alfieri's law to their concept of justice.

Alfieri voices Miller's message that it is better to settle for half as you cannot deliver ultimate justice and that the law Is unable to satisfy everybody. He does this by portraying Marco as a character who cannot get absolute justice and as a character who is not prepared to settle for half between his own Italian culture and the American law. Alfieri's role in this scene is also to expand on the characters. He gives information on Rodolfo and how he has already adjusted to "settling for half" and, with Catherine, puts forward practical reasons for Marco to promise not to harm Eddie - they both want him at the wedding. The opportunity to work is also mentioned, giving Alfieri the chance to confirm that the hearing is a formality; Marco will be deported. Alfieri also gives background information on Rodolfo and confirms that, after the wedding, he "can start to become an American." By this Alfieri expands on Marco and that the law is useless to him and direct "justice" is much more effective.

Alfieri acts as a strong dramatic device because he heightens the tragedy by creating suspense and tension while joining in the action. Despite his efforts though Marco is still intent upon revenge for his betrayal. Miller uses Alfieri's "processional tread" to indicate the tragic end to come as the audience are reminded of funeral processions or marriage; perhaps that of Rodolfo and Catherine.

Alfieri's epitaph on page 63 brings a close to his dramatic story. He gives his personal account to the viewers as "he turned out to the audience" from a crowed extracting himself from the poignant ending which may suggest, through movement, that he is closer to the audience than the characters on stage. Within this epilogue, it is Eddie who is portrayed to be the hero as his 'memory' may not be good but this is a man that was "purely" himself throughout, as he did what was best. This is why everybody "will love him" although he did commit a wrongful doing his "death was useless." The themes of justice and the law are reintroduced here as Alfieri tells us there is a penalty to pay for total justice - a penalty that people are not prepared to pay: "And yet, it is better to settle for half, it must be!" It is Alfieri he who is able to reflect on the concluding events, who recognises that the death of Eddie Carbone should serve as a reminder to the characters and to the audience. However, he says this shows a compromise of people's sense of justice who ultimately he regards with "alarm."

Alfieri's words are equal to a funeral sermon - an eulogy as if he were a vicar or a priest; "holy" and "purely." Miller may be highlighting here the theme of respect and death (tragedy) as we associate funerals to 'paying your last respects.' His role here is to remind us that his message provides a moral context which connects strongly with the function of a cleric - to give honest information, to serve the spiritual needs of the community and to act as a

messenger for God. We have seen throughout the play when his speech is similar to that of the Bible. If we consider the 'Confession Box' we recognise that Alfieri represents the role of the priest while Eddie and Marco symbolize the sinner.

Miller purposely uses Alfieri as a mouthpiece in order to voice his themes of justice, the law and fate. Throughout the play there is an emphasis on impartiality, but as Alfieri tells us there is a price to pay for total justice -a price that most people, most of the time, are not prepared to pay e.g. death and prison sentences. This is why the majority of the audience feel that if people always abide by the law then they will have to "settle for half" (Act II, page 63.) Miller here seems to be saying that the law is incapable to satisfying everyone therefore different cultures and societies must compromise and adapt to each others' values in order to prevent the path of tragedy. He portrays this through Alfieri in the epitaph and the separate scenes involving Eddie and Marco by suggesting that extremes are dangerous. Miller evokes the theme of compromising and how cultures must adjust to that of others. He uses Alfieri to complement his viewpoint as he explains that he "no longer has to keep a pistle in his cupboard" which suggests that if different communities are tolerant there will be less conflict and tension.

The audience are left when the performance is complete of viewing and forming an opinion on their own community and how the story is still relevant in today's modern society. For example, terrorism and discrimination against others can be avoided through tolerance and cooperation which connects closely with the performance. The 9/11 attacks on the World Trade Centres in 2001 was a result of conflict between the Middle East and the Modern World; where both cultures were in disagreement on the opposing communities beliefs and values. The terrorists were willing to pay the 'ultimate price' in achieving their aim as they were devoted to what they believed in. We can relate this with 'A view from the Bridge' as Eddie "want[ed] his name" (Act II page 62) and must therefore fall upon the tragedy to do so.

Also extreme, hidden emotions can lead to controversy as in the play Eddie dismisses the idea of "too much love" for Catherine when Alfieri fails to hint the theme of paternalism. This links to contemporary society because it contributes to war and confrontation. The Vietnam War was the consequence of lack of communication and so the more powerful, dominant country - America lost the war which can connect with 'A view from the Bridge' through manliness: that Rodolfo turned out, in a way, to be more masculine than Eddie as they did not communicate. To outline, Miller's intention when writing the play was to show that it has happened throughout history and that it will continue to do so. This is probably the reason why critics in the 1940's and 50's called him a "forward dramatist."

I agree with Arthur Miller's message and believe that the law cannot satisfy everybody needs which causes people to use natural justice instead that of the statute book. I also agree with his message of fate because someone or something must control and 'map-out' our existence. Our lives experience many coincidences through a series of events which we are powerless to stop. I feel that If one believes in their culture so much the result or consequence is destined to happen.

To conclude Miller uses Alfieri, to explain the themes of justice, the law, loyalty and tragedy; to ensure the audiences understanding and their enjoyment of the play, and to act as a dramatic device which are seen as his role within the 'A View from the Bridge.' Arthur Miller has not drawn Alfieri as a 'full' character even though there are times when we sympathize for his predicament of being powerless to stop the events in the tragedy. Alfieri's role is to oversee the action and remains objective throughout. The audience can see, at the end of the play, that Alfieri does have sympathy for Eddie and even soon admiration for him because "he has allowed himself to be wholly known." And there finally, we have Alfieri's most important role. He offers the audience universal concepts to think about as they leave the theatre.

Bibliography:

'Time Bends' by Arthur Miller, Methuen, 1987

'A View from the Bridge' introduction, Tim Bezant, Heinemann, 1995

'Penguin Dictionary', Penguin, 1995