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Example research essay topic: View From The Bridge Arthur Miller - 3,700 words

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... of 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 Eddies 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, Millers message is conveyed through the engaged narrator as he explains that the law inadequate to meet everyones needs: Theres only one legal question here. Otherwise, theres nothing else.

When we analyse Eddies 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 Its breakin ma heart, yow. 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 audiences 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 humanized 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, Eddies 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: Im 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 Eddies 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 Eddies 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 Eddies 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 global 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 Marcos sense of honour. Marco wishes to be bailed, but to be bailed he must give a promise not to harm Eddie: Youre 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, thats enough, isnt 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 Millers 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 peoples 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 paste 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 todays 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, Millers 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 Millers 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


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