Tension in Arthur Miller’s A View From The Bridge

Tension in Arthur Miller’s A View From The Bridge

The whole of this play involves symbolism, on many different levels.

The end scene, in which Eddie takes his own life with his own knife,

is symbolic of the self-destructive nature that led to such an ending.

As Arthur Miller wished to write 'a modern Greek tragedy´ it is likely

that the symbolism of the dagger is Eddie’s sexuality, which drove him

to his drastic actions and eventually death. During the confrontation

earlier in the play Marco raised a chair like a weapon, symbolic of

the fight yet to come. Rudolpho danced with Catherine when she had

previously been attending to Eddie, symbolic of him taking her from

Eddie’s life.

Therefore it seems natural to reason that Miller intended the title of

the play to have some significance other than the geography of the

location. The most obvious interpretation is of the audience sharing

with Alfieri an unbiased overview of the unfolding of events. It is

like being able to see from a bridge over a river, our vision

uncluttered by opinions as it would be by the side of the river, or

perhaps even as part of the river. The spray and swirling of currents

of a river could represent the uncertain nature of life that clouds

our perceptions and the flow of water the rush of emotions that carry

us from birth to death. Though, even Alfieri is not completely removed

from the happenings of the play, he takes an active part in the play

as well as providing the 'chorus´ character of the Greek format that

Miller used. He is part of the American culture, but also part of the

Italian culture, he also knew the family "I had represented his father

in an accident case some years before, and I was acquainted with the

family in a casual way." Perhaps this is why he is able to give a

balanced opinion and to counsel Eddie (though his advice is unheeded).

On the bridge we have time to form opinions, to judge other people, to

'settle for half´. It was his American audience that Miller addressed

through Alfieri:

"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--not purely good, but himself, purely, for he

allowed himself to be wholly known and for that I think I will love

him more than all my sensible clients."

This dilutes the feeling of superiority and detachment that we are