Marco (Rodolpho’s companion) feels a different sense of justice. His way is the Italian way and he sees no other. This means personal vendetta (solved only by bloodshed), family loyalty, honour. Eddie is similar in intention. However, his case is more confused. He is less constant to these ideals. Despite condemning Vinny Bolzano for betraying his family, Eddie later does the same. This is characteristic of Eddie’s contradictory nature; in action he goes against all his principles.
Love influences the events significantly. The relationships which the author creates are both diverse and complex.
Ironically, the least complex affair, of Rodolpho and Catherine, sparks the most trouble. This is a relatively simple situation. Catherine is young. It is probable that Rodolpho is the first man she has ever been with. However, this could just be a coincidence, ‘love at first sight’. It seems as though Rodolpho is equally besotted. Eddie’s claims that his intentions are tinted with hopes of a Green Card are, I believe, improbable when the endurance and determination of Rodolpho are accounted for.
The relationship between Eddie and Catherine is far more difficult. Eddie’s main motivation in all his actions is his love for his foster-daughter, who he vowed to care for. He wants the best for her and believes his rules and attitudes are only for her protection. These good intentions, despite their disastrous results, are what inspire empathy in the reader.
Catherine also loves Eddie deeply. However, she cannot remain a child. Her attempts to break free seem contemptuous and uncaring but underneath she is full of admiration for her uncle. Tragically, this is something Eddie does not realise until the end of the play when it is too late to remedy the past.
The state of affairs between Eddie and his wife Beatrice almost adds comic relief to the play. Their situation, though also potholed, is never uncertain or in danger. Beatrice, though she may criticise and nag her husband, would never leave him, having accepted his faults. This is most apparent in the stage directions: on sensing that Eddie has done something very destructive, she approaches him with open arms. Even when Eddie threatens never to allow her back into the house, we know from her calmness that this would never happen. I say ‘comic relief’ for two reasons. Firstly, the sense of security means this is never tragic. Secondly, the nature of their discussions is petty and humourous in language. For example, Beatrice protests, “When you gonna make me a wife again, Eddie?” There is also an underlying possibility that Eddie is attracted to Catherine. Beatrice eventually mentions this to Eddie, much to his horror and embarrassment.
‘A View from a Bridge’ plays with the idea of masculinity. Being written in the 1950s it is possible that traditional attitudes on ‘what it takes to be a man’ were beginning to change.
Eddie believes himself to be the archetypal male. He protects his home, earns the daily bread, demands respect, defends himself with his “two fists” and never indulges in effeminate activity (cooking).
Rodolpho is the opposite, and this constitutes most of Eddie’s disdain for him. He cooks, sings, has blond hair, spends money on luxuries, is very talkative and does not work hard. Eddie even believes he may be homosexual.
Marco is similar to Eddie, which is why Eddie respects him. However, Marco’s concept of masculinity is far darker, sincere and terrifying. His allegiance to his principles is proved brutally in his murder of Eddie in the final moments of the play. A loss of respect and insult between the two characters means vengeance, in their respective worldviews.
The Language of the play lends authenticity. The author, we must assume, uses the speech of working-class people of Brooklyn. This serves two purposes. Firstly, it suggests that the characters are uneducated; thus they are distinguished from the educated Alfieri, who is shown to ‘know best’. Secondly, it adds comedy. Many idioms and phrases of Eddie, Beatrice and Catherine are light-heartedly comical to those readers/audiences who speak differently.
The stage directions are crucial to the author’s style. There is much explicitly told about the actions of the characters and the stage setting. It could be said that there are equal amounts of meaning to be found in these directions as in the speech. This particularly suits characters of Italian extraction, who by their generalisation rely on gestures for much of their expression. This feature is characteristic to Arthur Miller.
This is a tragedy, of two short acts. However, given the time provided, the author’s creation contains extraordinary depth and meaning. The characters are very well developed, though each unique and different. The chain of events is original, yet totally organic and natural. The tension is extreme, due to the unfortunate events, but also because the author’s success in evoking empathy in every character. In ‘A View from a Bridge’ the author creates a tragic portrait of human instinctual behaiviour versus a society based on law and equality. This conflict of values and attitudes is exposed devastatingly, with an authentic and human style.
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