Arthur Miller is an American playwright who produced the play ‘A View from the Bridge’. The play is set in an Italian-American neighborhood called Red Hook, a slum area, in New York at the Brooklyn Bridge Eddie, the play's protagonist, is a man who drives his own life to doom due to his inappropriate feelings for his niece, which is the primary reason for his downfall. Miller conveys the development of the character of Eddie Carbone through language and the key themes along with stage directions.
Tension is initiated in the play by the language used like exclamatory and interrogative sentences. Eddie’s family is presented as an average family. When Catherine, Eddie’s niece, decides to work as a stenographer, his over-protective qualities start
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They play the role of the antagonists; however, Miller’s unique style of writing makes the audience feel empathy for the antagonists rather than the protagonist. Eddie claims that the cousins, or at least one of them, is too strange and perhaps seems homosexual "The guy ain't right". Eddie is a strong father figure for Catherine and very protective of her "I took out of my own mouth to give her; i took out of my own mouth". Eddie's love and care for Catherine appears to be obsessive and possessive, thus the introduction of a new male stereotype creates a kind of threat to this unrequited love. Eddie blames Rodolpho specifically with these attributes to ensconce his real feelings that he is aware of and feels that they are wrong, and wrong inside him in a way he can’t face. The moment when Eddie was sure that Catherine fell for Rodolpho he consults a lawyer and provides him explanations to prove his point "...the only reason for it is to get his papers". The stage directions-he's coming more and more to address Marco only suggest that Eddie's distrust for Rodolpho grows more and foreshadows the fight at the end of Act 1 where he responds verbally to test his masculinity “' did I hurt you, kid?'’, Miller introduces the key theme of masculinity here. What Eddie meant by “to get his papers” is a strong indication of the state of the cousins and a point of turn in the …show more content…
Here, Miller points out the change in Eddie's nature as compared to the start of the play. Eddie at that point was advised that “a river will drown you if you buck it now”. Every time someone tries to break Eddie's wall of denial he gets angry, and in this case, Eddie decided to call the Immigration Bureau to report the two brothers. Two types of law are portrayed in this scene; Eddie obeyed the American law when he reported the illegal immigrants but betrayed the Italian law by snitching on his own family This caused him to lose his respect in his neighborhood "That one! I accuse that one!" Marco Spits into Eddie's face, family and friends "how can you listen to him? This rat!" and eventually gets stabbed by his own knife in public in a fight with Marco. Very strong language is used in the last quotation. "Rat" is a metaphor used by Catherine to emphasize his betrayal of the moral (Italian) law, thus degrading him further. Miller shows how betrayal has ultimate consequences for the self, family (by losing Beatrice’s trust) and
Recently he met this girl who had knew a few answers to the question he is searching for. Eddie is on a dangerous path to his investigation,but he is determine to find the killer. After his cousin is killed, Eddie's aunt pressures him to avenge her son's death. Eddie drops out of City College and works odd jobs, all the while wondering about this, the latest of the senseless killings that have become a fact of life within the community. A run of unlucky breaks adds to his frustration as he is completely caught up in the violence he disapproves
This is a crucial part because he finally committed to not letting alcohol control his life, something that has controlled him since his brother was killed. This was a huge step in Eddie’s character development.
In the same scheme, both in the movie and the book, the father is presented as abusive and alcoholic on many occasions. In words, the book gives a detailed account of the damages inflicted on Eddie by his father’s violence: “he went through his younger years whacked, lashed, and beaten.” (Albom 105) In the film, t...
Throughout the pay, Eddie’s commanding tone serves to emphasize his desperate need to bring his brother back into reality. In the beginning of the play, Eddie forcefully questions Robbie saying “O.K, Robbie?... You O.K.?... Of course you’re O.K.” (Lane 119). In that, on the outside Robbie attempts to be the hard concrete support to Eddie’s emotionally unstable house. However, through the uses of repetition, Lane displays Robbie’s speech simply as a cover up to disguise his own crippling structure. For, although Eddie lost his loved one physically, Robbie fears that he may lose his brother to the hands of depression. Thus, in effort to make Eddie see that his lover's death has impacted other people, Robbie states “Look, I understand they’re in pain. His parents. Their son dies of AIDS. They haven’t spoken to him for two years. Two years they haven’t spoken and now he’s gone. They grab. At whatever they can” (Lane 122). By saying this, Robbie wants Eddie to
Eadith/Eddie meets h/er mother Eadie accidently, but s/he does not escape or expose h/erself to Eadie. S/he follows h/er mother into a church, and “She continued obsessed by the image of her mother in a church pew, black gloves clamped to the prayer-book” (403). S/he used to think that “She could not believe in heroes, or legendary actors, or brilliant courtesans, or flawless beauties, for being herself a muddled human being astray in the general confusion of life” (403). But now, in h/er eyes, Eadie is a saint and s/he is the penitent.
In Lucy Steele’s confession to Elinor that she is engaged to Edward Ferrars, we can see how the novel illustrates gossip as a cause of both internal conflict, in Elinor, and external conflict, present between Elinor and Lucy. Elinor becomes jealous because of Lucy’s boastful gossip about her life, placing the two into a conflict over romance. When the two meet, Lucy divulges in her relationship with Edwa...
Everyone Eddie met in heaven taught him something about his life. They were all connected to him in different ways, whether it was someone close to him once, or a complete stranger. Somehow, all of their lives had crossed Eddie’s and helped make him the person that he had become. When you think about this lesson, you truly understand. One decision causes an effect, maybe on your life or maybe on someone else’s life. That effect will cause something else. It’s what I think of as a ripple effect. Everything happens for a reason, and all of the events that lead up to our “now” makes us who we are.
Costello, Donald P. “Arthur Miller’s Circles of Responsibility: A View From a Bridgeand Beyond.” Modern Drama. 36 (1993): 443-453.
phrase “ Eddie Would Go” and this was all based one decision made by one man. This man was
He works hard and has a good job. These good points help us to forgive him more for his bad points however there are quite a lot of them. He is over protective of his niece, Catherine, in her increasing maturity. "I don't like the looks they are giving you in the candy store" "You're a baby" It is I believe this urge to protect Catherine, which makes him try to keep her from discovering independence. Catherine rapidly becomes attracted toward Rodolfo; this makes Eddie increasingly sensitive to
from the start that she is very reliant on Eddie and she wants him to
“Miller tries both to offer a disclaimer about the imaginative aspects of his work, and to claim a higher level of veracity for the play’s authority.” (133)
It is the story of a man named Eddie who for almost his whole life was the
In the play, Eddie mentions another character, Vinny; he lost his honour and therefore his masculinity, by telling the authorities that there were illegal immigrants living in the area, this is what could happen to any of the characters that we see in the play if the tell the authorities; so no-one will tell on the
Costello, Donald P. “Arthur Miller’s Circles of Responsibility: A View From a Bridge and Beyond.” Modern Drama. 36 (1993): 443-453.