Compare
and contrast the role of Alfieri and Dysart in ‘A View from the Bridge’ and
‘Equus’.
In A View from the Bridge
(View), Arthur Miller uses narrator Alfieri and his marginal, metaphorical “View
from the Bridge” as a vehicle through which themes and conflicts of the play,
such as the necessary forgoing of passion in place of safety and order, can
clearly be conveyed to the audience. Similarly, Shaffer uses the narrator of
Equus, a psychiatrist named Dysart, to frame and expose the primary issue of
the play - the arbitrariness in the establishment of societal norms and
standards. However, while Alfieri remains uninvolved and is given little active
power to affect conflicts and events in View, Shaffer constantly uses Dysart as
a foil for the extreme Alan Strang in order to evoke self-reflection in
audiences regarding their own conventional values.
In View, Miller uses a
retrospective, third-person omniscient perspective to expose the events of the
play in Alfieri’s narration, thereby framing the audience’s perspective and the
scope of the play’s thematic exploration within that of Alfieri’s portrayed
values. In the opening of the play, Miller uses Alfieri’s monologue and the
breaking of the proscenium to establish an immediate relationship between the
audience and him as he foreshadows coming events by rather explicitly outlining
the conflicting values systems at work. In his monologue, Alfieri clearly
differentiates between the passion and rawness of “Sicily”, “the green scent of
the sea,” and “Caesar’s year” with his safe, trivial and “petty troubles of the
poor” in New York. His preference for “settling for half” and “[liking] it
better” which is subverted somewhat by the description of his practice as
“entirely unromantic”, as well as the idea of people being “justly shot by
unjust men”, outlines the problematic contradictions inherent in the coexisting
value systems of Red Hook. Thus, Miller effectively frames the thematic scope
of the play in this opening monologue through Alfieri’s portrayed values, which
he uses as a vehicle through which the major conflict between passion and
safety is explicitly conveyed to the audience.
Similarly, in the opening
of Equus, Shaffer uses Dysart’s monologue as a means of portraying themes of
the play, namely the possible meaninglessness of modern psychiatry and the
fundamentally subjective nature of convention and normality. Like Alfieri,
Dysart breaks the proscenium and addresses the audience, immediately forging a
more intimate relationship with the audience. Stating that his constant
questioning of the workings of the psyche is of no use to an “overworked
psychiatrist”, and are “in fact, subversive”, foreshadows Dysart’s struggles
with the meaning of his profession, and the idea of being “reined up in old
language and old assumptions”, an “average head ... held at the wrong angle”
emphasizes the purely circumstantial way through which conventions are
established. Moreover, the fact that Miller opens the play with Dysart
narrating Alan’s parallel action as he “embraces” Nugget places the audience’s
perspective within Dysart’s retrospective, which implies that the narrative
takes place within Dysart’s mind, allowing audiences to immediately relate to
the character who will frame the thematic scope of the play. However, Dysart’s
opening monologue is considerably more confusing and disorienting than
Alfieri’s, as his speech is less structured; it is ambiguous in tone as he
questions “what is grief to a horse?”, and jumps from subject to subject,
interwoven with Alan’s stroking the horse downstage and then exiting. Dysart’s
confusing but simultaneously introspective narration which very much reflects
his thinking process serves as the foundation for a rather cerebral and
psychological approach to the exposition of the plays main themes. It is this
psychological involvement and unconventionally ambiguous, enigmatic tone that
Miller gives Dysart that incites immediate audience investment in Equus.
Conversely, in View,
though Alfieri evidently holds strong, thematically significant opinions on the
major events that unfold as exemplified in his opening monologue, he is
portrayed to be relatively more detached from the narrative and is ultimately
left powerless as he “watched [the murder] run its bloody course”. Miller uses
Alfieri’s largely marginal perspective and position to emphasize the
inevitability of Eddie Carbone’s fate. Through applying Greek tragic
conventions and creating Alfieri’s role as a pseudo-chorus, Miller is better
able to prove the feasibility of tragedy occurring in the common man. The
explicitness portrayed in Alfieri’s opening monologue as well as the fact that
it is revealed by him that Eddie Carbone “was” and is no longer, is reminiscent
of the prologues of Greek tragedy, in which fatalities would be revealed so
that the rest of the play would be plagued with a sense of inevitability and
tragedy. Furthermore, the fact that Alfieri is able to slip in and out of the
narrative space of View, interacting at once with Eddie Carbone in his office
and then turning again towards the proscenium to address the audience further
echoes the similarly marginal presence of Greek choruses, enriching the subtle
implication that Eddie, though a mere longshoreman, is capable of living out
classic notions of tragedy.
Moreover, the relative
stasis of Alfieri’s positioning onstage, fixed by the set piece of his desk and
legal office setting to the side of the stage, emphasizes the detachment and
marginalization of the legal world in the “gullet of New York” - but more
importantly it visually realizes the uncompromisable nature of the line between
the two conflicting worlds, and thus the inevitability of both Eddie’s crime
and Alfieri’s helplessness. This is best exemplified in the moment when Eddie
walks away furious after another futile attempt to summon the legal help of
Alfieri. He walks towards the glowing blue phone booth that lights his
inevitable path, though Alfieri is able only to yell after and warn him. As
Alfieri crosses the stage, the “light [abruptly] goes out on Alfieri” before he
is able to interfere. Thus, through the use of set to indirectly characterize
Alfieri as fixed in a helpless, marginalized position, Miller conveys the
irreconcilable nature of the codified legal system and the unspoken code of
honour in Red Hook.
In contrast, while Miller
uses Alfieri as a Greek chorus, somewhat of a thematic and narrative guide,
Shaffer uses Dysart more of a mirror for the intended audience’s mentality and
values. Dysart is portrayed to possess conventional and established societal
values and is characterized to be an authority in determining such things
through his profession as a psychiatrist. Thus, while the rest of the play is
portrayed in a highly unconventional, disorienting and at many points
distressing manner, Shaffer uses Dysart as the one constant character and
standard of comparison audiences identify with throughout the constantly
shifting notions of normality and acceptability. In his monologues that punctuate
the narrative at key plot points, Dysart outlines in his speech the same
intended struggles and thought processes that are evoked in audiences, such as
what psychiatry is “fundamentally” doing - fixing and mending, or “carving
individuality” from patients.
Thus, while the character
of Alfieri sheds insight into the themes and conflicts at hand using his
marginal, more objective “View from the Bridge”, Shaffer involves narrator
Dysart in the plot, and gives him active power to affect the narrative to such
an extent that he is able to invite audiences to partake in the same visceral
and psychological self-reflection as is portrayed throughout the play in
Dysart. The use of the non-representational but at the same time symbolic set
that resembles a “dissecting theatre” places all interaction under the scrutiny
of the audience, regardless of Dysart’s stereotypically marginal role of the
narrator. For example, in the opening of Act 2, after Alan had fully revealed
his ritual with Equus, Shaffer opens Act 2 in almost the same way he had opened
the play - with Dysart on the downstage bench, Alan and Nugget center stage,
and Dysart saying, “with one particular horse, called Nugget, he embraces.”.
However, instead of Dysart remaining static in his bench and therefore in an
authoritative position as he speaks, he exchanges positions with Alan, who
crosses downstage to sit on the bench as Dysart assumes center stage. This
explicit show of the exchanging of staging onstage symbolizes the parallel
nature of their identities and value systems. Dysart acts as a foil for Alan,
both of them each coming from their respective worlds of “extremity” and
“normality”. Through staging, Shaffer places Dysart and therefore the
conventional values of his time under the scrutiny of the “dissecting theatre”,
thereby evoking a similar introspection in audiences as displayed by Dysart.
In conclusion, both
Miller and Shaffer use their narrators’ relatively marginal presences as a
means through which major themes and conflicts can be realized by the audience.
However, Alfieri assumes a more detached role like that of a Greek chorus, in
order convey the possibility of tragedy in Eddie Carbone, a common man, as well
as the fundamentally irreconcilable relationship between codified law and
unspoken codes of honour in the setting of Red Hook. Conversely, in Shaffer’s
play, Dysart assumes a more involved role in the narrative, thereby allowing
full audience investment in the issues presented in the play, such as the
meaning of normality and the arbitrary nature of the establishment of social
norms.
Knowledge & Understanding |
There is an excellent
knowledge of the two plays here with some really interesting ideas discussed
and explored. The only possible area for improvement is that it should be
borne in mind that the role of a character does not always have to relate
back to the themes of the plays and it is also perfectly valid to talk about
how Alfieri, for example, is also used to create moments of tension that are
engaging and dramatic. |
5 |
Response to the Question |
There is a clear series
of comparisons throughout the essay and some nice and subtle differences are
picked out between the two texts. However, in order to score more highly here
the candidate needs to offer some evaluations of which play is more powerful,
effective, dramatic or moving ... etc. |
3-4 |
Literary Conventions |
There are great references
to the text and there are moments when the candidate does a good job of
talking about the play as a play, for example in the
comments about the position of Alfieri’s desk on stage. This just needs to be
done a little more often. |
4 |
Organisation & Development |
Organisationally this
is very clear with ideas developed in depth and detail and a clear sense of
progression to the argument. |
5 |
Language |
The language is great at
points but some sentences can be a little long and hard to follow. There are
also some phrases like ‘frame the thematic scope of the play’ that, although
they sound very nice, would be better off being replaced by something that is
a little more precise. |
4 |
|
|
21/22 = 6/7 |