A View from the Bridge
Major characters
Mr. Alfieri:
Summary:
Although he actually takes part in a number of the scenes, Mr.
Alfieri acts very much like the narrator to this play, filling in the audience
on the background, bridging gaps between scenes and talking them through the
story. The technical name for a narrator like this is a ‘Chorus’ and Miller
borrowed this idea from Ancient Greek Theatre. The fact that Alfieri directly
addresses the audience creates a closer, more human connection between the audience
and characters on stage and thus heightens the tension.
The Ancient Greek playwrights are famous for writing
tragedies and, because Miller’s play is a modern tragedy, it is fitting that he
included a chorus-like character. With regard to ‘A View from the Bridge’ there
are two key characteristics of tragedy that need to be remembered. Firstly,
there is often a sense of inevitability about the downfall of the hero; it’s
almost as if, whatever the hero does they couldn’t have escaped their fate.
Secondly, it is often the case that the downfall of the hero is brought about
by some kind of ‘fatal flaw’ in their character or personality.
Alfieri contributes to the first of these two important
ideas by narrating the story to us in past tense from the perspective of the
future: Eddie is introduced with the phrase ‘This one’s name was Eddie
Carbone.’ It is as if the events of the play have
already happened and Alfieri is just conjuring the story to life before us. As
such, in a sense, there is no chance for Eddie to avoid his death even from the
start of the play: he has already died and Alfieri just hasn’t got to that part
in the story yet. This sense of inevitability is emphasised by Alfieri’s
occasionally comments about his powerlessness and his lament that often he
simply has to sit back and let things ‘run [there] bloody course.]
Alfieri contributes to the second of these ideas by acting
almost as Eddie’s conscience and confronting him explicitly with the internal
contradictions and fatal flaws that will eventually force Eddie to betray Marco
and Rodolpho and lose his life. Alfieri makes it
clear that Eddie can’t betray Beatrice’s cousins without losing his honour and
incurring the wrath of his friends, neighbours and family (a thought that is
clearly running through Eddie’s mind). He also explicitly confronts Eddie with
the fact that he has ‘too much love for the niece.’ which is why he will be
unable to accept a marriage between her and Rodolpho.
However there is no way to legally prevent Rodolpho
marrying Catherine without betraying him to the Immigration Department and,
even if Rodolpho was removed from the scene, Alfieri
knows Eddie can never have a relationship with Catherine and that he has to
‘let her go.’ Hence Eddie’s predicament.
Finally, the name Alfieri is the name of an Italian playwright
(Count Vittoro Alfieri) famous for writing tragedies
that borrowed ideas from the Ancient Greeks, just like Miller has done here.
Quotations:
Page No |
Quotation |
Explanation |
11 |
Lawyers are ‘only thought of in connection with
disasters.’ |
|
12 |
‘In |
|
12 |
‘I am inclined to notice ruin in things’ |
|
12 |
‘Now we are quite civilized. Quite American. Now we settle
for half, and I like it better. I no longer keep a pistol in my filing
cabinet … And my practice is entirely unromantic’ |
|
12 |
Alfieri feels a connection to the past, sometimes getting
the sensation that, at one time ‘another lawyer, quite differently dressed,
heard the same complaint and sat there as powerless as I, and watched it run
its bloody course.’ |
|
34 |
‘Eddie Carbone had never
expected to have a destiny. A man works, raises his family, goes bowling,
eats, gets old, and then he dies. Now , as the weeks
passed, there was a future and there was a trouble that would not go away. |
|
45 |
When Eddie says he knows that Rodolpho
is only marrying Catherine to ‘get his papers’, Alfieri says ‘I am a lawyer,
Eddie. I can only deal in what’s provable.’ |
|
47 |
‘The law is very specific.’ ‘The law does not …’ ‘You have
no recourse in the law, Eddie.’ ‘There’s nothing you can do.’ |
|
48 |
Alfieri confronts Eddie with the truth ‘Sometimes …
there’s too much [love] … and it goes where it mustn’t. There’s too much love
for the daughter, there’s too much love for the niece.’ ‘The child has to grow up and go away and the man has to
learn to forget. Because, after all, Eddie – what other way can it end.
[Pause] Let her go.’ |
|
50 |
‘There are times when you want to spread an alarm, but
nothing has happened. I knew, I knew then and there – I could have finished
the whole story that afternoon. It wasn’t as though there was a mystery to
unravel. I could see every step coming, step after step, like a dark figure
walking down a corridor towards a certain door. I knew where he was heading for, I knew where he was going to end.’ |
|
65 |
‘I normally go home well before six, but that day I sat
around looking out my window at the bay, and when I saw him walking through
my doorway, I knew why I had waited.’ ‘And if I seem to tell this like a dram, it was that way.
Several moments arrived in the course of the two talks we had when it
occurred to me how – almost transfixed I had come to feel. I had lost my
strength somewhere |
|
66 |
‘This is my last word, Eddie, take it or not, that’s your
business. Morally and legally you have no rights, you cannot stop it; she is
a free agent.’ |
|
66 |
‘The law is nature. The law is only a word for what is
right to happen …[this] river will drown you if you
buck it now. |
|
67 |
‘You won’t have a friend in the world, Eddie! Even those
who understand will turn against you, even the ones who feel the same will
despise you!’ |
|
78 |
To Marco, when bailing him out of jail ‘You’re an
honourable man, I will believe your promise.’ |
|
85 |
‘Most of the time now we settle for half and I like it
better. But the truth is holy, and even as I know how wrong he was, and his
death useless, I tremble, for I confess that something perversely pure calls
to me from his memory – nor purely good, but himself purely, for he allowed
himself to be wholly known and for that I think that I will love him more
than all my sensible clients. And yet, it is better to settle for half, it
must be! And so I mourn him – I admit it – with a certain … alarm.’ |
|