Eddie And Rodolfo example essay topic

A View from the Bridge The structure of the play is very important to the content of the play. The story is set out in two very definite acts. This is important to the audience and their understanding of the play. The events of Act 1 are mirrored in Act 2, although in a more serious manner. For instance, in Act 1 we hear of Vinny Bolzano, the young boy who was disowned by his family after reporting his own uncle to the Immigration Bureau. Also, the recital of Paper Doll by Rodolfo early on in Act 1 has significance later on, being the record to which the couple dance to (in direct defiance of Eddie).

The end of Act 1 prepares the audience for the important events that will take place later on. The closing scene in Act 1 is set in the living room, to add to the feeling that this is a domestic situation. It also adds plausibility to the scene, the setting making it seem more believable and realistic. Alfieri's opening speech also refers to the ordinariness surrounding this situation, This one's name was Eddie Carbone, suggesting that this was no freak occurrence, the events described taking place more often than people would like to admit. The scene is made dramatically effective by many different techniques.

As this is a play, dialogue remains very important, and speech plays an important part throughout the play. The earlier conversations Eddie has with Rodolfo are important, as it is evident that Eddie is attempting to gain superiority verbally, enforcing his masculinity, in total contrast to his (suspicious) view of Rodolfo due to his apparent effeminate nature (high tenor voice, blond hair etc). The stage directions note that [Eddie] is sizing up Rodolfo, and there is a concealed suspicion. Eddie is constantly putting Rodolfo down, making lots of derogatory comments in lots of different areas, seemingly trying to show the numerous flaws that Danish has in his eyes. Eddie jokes about surprises when those guys get back there, which leaves Marco confused. After further explanation, to which he replies in the negative, Eddie is infuriated by Rodolfo's comment that It's more strict in our town.

It's not so free, which signifies there is definite tension surrounding the situation between Rodolfo and Catherine. There are other parts where Eddie and Rodolfo clash on certain issues. An example of this is over the seemingly trivial conversation about sardines, where they are discussing the peculiar idea (to the New Yorkers) that sardines come from the sea, as opposed to a tin. Catherine compares it to oranges and lemons, I mean, do you ever think of oranges and lemons on a tree?

Eddie agrees and adds that he has heard they have to paint the oranges orange. Yet again, Marco is perplexed, until Eddie adds, I heard they grow, like, green. Marco, now understanding, replies with the odd sounding line, No, in Italy the oranges are orange, and again Rodolfo adds with another helpful comment that lemons are green. Yet again, this infuriates Eddie, who growls I know lemons are green, for Christ's sake! with the stage directions adding, resenting his instruction. Rodolfo is seemingly innocently trying to aid Eddie's understanding of the alien world from which they come. However, Eddie does not see it like this and becomes very defensive, saying I didn t say nothing about lemons, indicating that he feels that Rodolfo is mocking him: taking them all (especially Catherine) for a ride.

Again, we are able to se there is immediate unease between Eddie and Rodolfo, and by way of these apparently trivial events, the playwright is giving us an insight into this subversive conflict, mainly originating from the threatened Eddie, who feels Catherine will be taken away from him. These trivial events represent serious points, revealing more of the hidden tension. However, in the closing scene, the visual actions of the characters, i.e. the lack of speech, makes it very dramatically effective. This is typified by the final part of Act 1, when Marco responds to Eddie's accidental punch in the form of the chair-lifting contest. During this, Marco only utters one word, Here. This alone conveys very little to the audience.

However, in contrast, the copious stage directions show that Miller wanted anyone reading / performing the play to understand the purpose of Marco's challenge. Even though merely a single word is spoken, it is very effective dramatically; the tension is beginning to increase between Eddie and the cousins. This is a very effective way of communicating the strong underlying tension to the audience. This event gives a very memorable and incredibly tense close to the scene. It is a fitting climax and suggests more struggles will take place in the following Act, with perhaps Marco playing a more central role.

Not only is tension created using a variety of techniques, it is also raised using a similar variety of methods. For instance, Miller keeps providing us with a small amount of information, in order to add a sense of foreboding. This takes place not only at the end of Act 1 but throughout the play, including Alfieri's opening speech. He gives us very ominous clues as to what will happen later on, and the way in which he describes Eddie's future predicament, Watching it run its bloody course, is very suggestive that bad things are set to take place. Also, Alfieri plays another part in the elevation of the level of tension.

Just before the end of Act 1, Eddie goes to see Alfieri, we have a change of scene, and therefore atmosphere. It puts the idea of the law into our minds (which will play an important part in the second Act), with Alfieri representing idea of law and justice. The conversation he and Eddie have is interesting, since the audience know of Eddie's true feelings (by way of dramatic irony) which Alfieri seems to be able to pick up on; There is too much love for the niece typifies this. The issue of law and order is first raised in Alfieri's opening speech, telling us that there were many here who were justly shot by unjust men.

Justice is very important here. This tells us justice will be done – no matter what – but not always according to the law. Up to here Near the end of Act 1, tension is elevated when Eddie and Rodolfo have a boxing match. The audience are increasingly aware of the growing tension between the two (mainly coming from Eddie) and so can see that Eddie's intentions are not totally innocent as appearances suggested. The stage directions adding, he is weirdly elated, indicating something untoward.

The blow that Eddie delivers to Rodolfo's face is very symbolic and has malicious intent behind it, which the audience can understand, making them to realise that Eddie is giving a warning to Rodolfo. This is compounded when Catherine and Rodolfo are leaving, Eddie lunges and kisses Rodolfo on the lips, and finally with the involvement of the Immigration Bureau. The statement Eddie makes after the match is stopped, I ll teach him again is very powerful, which after the flurry of excitement after the bout adds to the already high tension as the audience can tell he is very unhappy about the situation between his niece and Rodolfo, and is willing and desperate to rectify it, evidently, by the finale of the play, using any means possible. Miller increases the tension by showing the audience how the characters are feeling inside, but without the use of such dramatic techniques such as a soliloquy. For instance, the audience can immediately see there is something untoward about the previously mentioned boxing match. This is also very evident when Catherine asks Rodolfo to dance, in the form of Eddy's newspaper.

Firstly a lot of tension is evident in the atmosphere when Catherine asks Rodolfo to dance. This gives us a powerful insight into Catherine's true feelings as we know she desperately does not want to anger Eddie or hurt his feelings, however we can now see that she knows that as a woman, she must put her own feeling to the fore. We can see she obviously feels very strongly for Rodolfo, she is willing to go against Eddie. Catherine becomes far sterner towards the end of Act 1, where she directly goes against Eddie by asking Rodolfo to dance. Her actions seem to be a show of strength gesture, indicating she is not a little girl any more (no matter how much Eddie wishes this was the case). Whilst the two are dancing, Eddie continues to make snide comments about Rodolfo's effeminate nature, he sings, he cooks, he could make dresses The tension rises as Eddie continues to mock Rodolfo, leading to everyone focusing their attention on him, prompting the stage directions he has unconsciously been twisting the paper into a tight roll.

This suggests he is feeling the glare from the others as he exposes the sensitive subject. This crescendo reaches its climax when Eddie has bent the rolled paper and it suddenly tears in two. This indicates tension has been building up between everyone and leads to further excitement as Eddie's next few lines lead to the boxing match between him and Rodolfo. As with the entire play, language plays a very important part of the close to Act 1. It aids the conveyance of certain ideas to the audience. For instance, with Alfieri the lawyer, it is very easy to distinguish him from the other characters simply by the more sophisticated way in which he speaks and the lexis he uses.

Basically, he is the antithesis of the rest of the main characters; in the way he talks, dresses (very smart as opposed to the longshoremen) and acts. It is obvious to see he is from higher, better-educated social class. Contrast his educated, well-crafted speech with the coarse, colloquial Brooklynese dialect spoken by the majority of the other characters. The fact that a lawyer is supposed to represent the law, and is only thought of in connection with disasters as well as Alfieri being so different to the others make him seem wiser and more powerful. This adds to the affectivity of he scene as when Eddie pays him a visit, the audience knows something untoward is set to take place.

The use of language is a very useful tool that Miller uses to show how the relationships in the play are going. The way in the characters address and communicate with each other show what state relations are in. Eddie and Beatrice seem like any other loving, happily married couple, in contrast there are definite signs of conflict. When discussing Catherine's job Eddie asks Beatrice what you mad at me lately? to which she replies, who's mad.

I m not mad. You re the one who's mad indicating something is not right there. This feeling is echoed in Act 2, when Beatrice says, I m no different, which suggests blame for the slow (ongoing) degeneration of their marriage rests squarely on the shoulders of her husband, as indicated in the mad statement. Another point which shows the possible strain in their marriage, is during the boxing match, she can only see the positive side (the stage directions even indicating so- she senses only the comradeship), he's teaching him, he's very good. This perhaps hints that Beatrice is not really attuned to the way Eddie acts and thinks, therefore she is not quite as close as perhaps she should be. This is in total contrast to the way Catherine says she knows Eddie and can anticipate his every move.

Initially, Eddie merely seems like the overprotective uncle, telling Catherine not to walk wavy and is anxious when she gets a job. At the beginning, this seems like innocent concern for her well being, however, we later learn that (by way of the little snippets of information we receive throughout the play) he has feeling he should not have, in the words of Alfieri, he has too much love. The way in which Eddie addresses Catherine early on in the play, as Madonna incline us to the belief that our presumption is correct. This clarifies for the audience why Eddie has such a deep and immediate mistrust towards Rodolfo, the fresh faced, handsome young immigrant, with aspirations of riches (and a blue motorcycle). He feels (quite rightly so) that Rodolfo will take Catherine away from him. Eddie is immediately suspicious of Danish and his intentions, initially seemingly because he is worried that Rodolfo will take Catherine for a ride, presuming it will simply be a marriage of convenience.

However, the audience later realises that because Eddie's feelings are not totally innocent, it is more fear that Rodolfo will take her away. It seems as though Eddie is jealous. Beatrice jokingly and inadvertently refers to this whilst conversing with Eddie on the subject of Catherine's new suitor, telling him ah, you re just jealous. This is far closer to the truth than she could perhaps imagine. The hatred for Rodolfo is reflected in the surly, mocking and generally negative tone and phrases used by Eddie in reference to Rodolfo and his behaviour.

He is basically always trying to put Rodolfo down, for one (in Eddie's eyes, effeminate) trait or another. The very emotionally intense relationship which Eddie and Catherine have, starts to deconstruct due to Eddie's refusal to allowing Catherine to grow up (even after she asserts her newfound independence) and when he throws Rodolfo out. It totally breaks down in Act 2, continuing the theme suggesting events in Act 1 are mirrored in a more serious way in Act 2. Marco's relationship with Eddie's often a very good barometer to how tense the play is at that particular time.

The beginning sees everyone seemingly happy and contented in their lives (Marco is liked by Eddie as he is a strong, focused, hard worker). More strain is put on the relationship before the climax of the end of Act 1, as the chair-lifting contest appears to be a reply to Eddie that no one should mess with the brothers. We can see Marco is slightly suspicious about Eddie and his motives (especially about boxing match-seems to notice intent in Eddie's blows) and also the stage direction reflect this, when Marco replies to Eddie it is cautiously, and also when Marco nods dubiously. There is an incredible amount of tension during the chair lifting. As throughout Act 1, the situation is mirrored in the concluding Act, just on a more serious scale, the tension rises until the cousins have been picked up by the Immigration Bureau, and finally Marco kills Eddie in revenge for being an informant. The language used by both Eddie and Marco is full of aggression and malicious intent.

This indicates to the audience that the climax will be a violent one, but they can rest assured that the problem will be solved, perhaps not by the law (harking back to Alfieri's speech about the dual system of the law there), Marco's comment that all the law is not in a book show this. The exclamations used by Marco shows his passion and how enraged he is, he killed my children! and In my country he would be dead now. He would not live this long, reflecting this. These violent phrases are in contrast to the short monosyllabic ones he uses prior to the Immigration being involved, indicating the deterioration between himself and Eddie.

As well as language being important throughout the final scene, the syntax also plays a part in adding to the effectiveness of the scene. For instance, near the end of Act 1, when Marco begins to sense Eddie's slightly odd actions towards his brother, his replies to Eddie's questions are always described as cautious or uneasily. This could be represented by Marco pausing before he says each of these lines, suggesting to the audience that he is pondering what Eddie is scheming. Also the pace of the sentences increases during the boxing match.

This is appropriate, as the scene becomes more exciting and tense during this dramatic event. The length of sentence is affected, becoming shorter during the bout, as the shortened length indicates the excitement of the scene. In conclusion, Act 1 is a very effective close to the scene as it packed with tension, making it gripping, definitely making the audience want to find out more. As with the opening speech, it adds a definite sense of foreboding, as the audience are able to sense dramatic events are set to take place in the second Act. Also the tension is conveyed in a wide variety of different forms, the most effective in my opinion being the visual actions of the characters, communicating a great deal to the audience very easily.