{"id":82307,"date":"2025-08-21T05:54:07","date_gmt":"2025-08-21T05:54:07","guid":{"rendered":"https:\/\/essays.homeworkacetutors.com\/the-different-dramas-in-arthur-millers-plays-english-literature-essay\/"},"modified":"2025-08-21T05:54:07","modified_gmt":"2025-08-21T05:54:07","slug":"the-different-dramas-in-arthur-millers-plays-english-literature-essay","status":"publish","type":"post","link":"https:\/\/www.colapapers.com\/us\/the-different-dramas-in-arthur-millers-plays-english-literature-essay\/","title":{"rendered":"The Different Dramas In Arthur Millers Plays English Literature Essay"},"content":{"rendered":"<div class=\"content position-relative mb-4\">\n<p>Having written other renowned plays in the tragedy and drama genre, Arthur Miller\u2019s A View from the Bridge is one of many stage plays written. Similarly to other notable works such as Death of a Salesman, A View from the Bridge is set in America. Through the use of setting, community code, juxtaposition, capricious relationships and by assuming the manner of the Greek tragedy, Miller creates an environment of amplified tension and volatile fluctuations in mood throughout. Common in Miller\u2019s works, the protagonist is an ordinary man; Miller deviates from Aristotle\u2019s depiction of the \u2018tragic hero\u2019 in this manner. While Eddie undoubtedly has \u2018hamartia\u2019, Miller\u2019s use of dialogue, stage direction and development of character contravene the audience\u2019s acknowledgment of antipathy and alienation, thus creating the tragic hero.<\/p>\n<p>SECTION 1<\/p>\n<p>Miller uses Eddie as a character to convey his view that the downfall of the ordinary working class man is equally significant, if not greater than that of a great King. From the very start of the play, it is evident that Eddie is hard working man, being \u201chusky, slightly overweight longshoreman\u201d from the extensive labour. Aristotle defines the tragic hero as initially noble, though this value is degraded progressively. While Eddie is a working class man, he is in an elevated position within his community. It is evident that Eddie is well respected in both his community and family. Miller has emphasized Eddie\u2019s dominance in the household through the unquestioning obedience shown by Catherine and Beatrice. When Eddie disapproves of Catherine\u2019s newly found opportunity to work, Miller conveys the unease in the family by the foreboding and overwrought atmosphere, due to the utilisation of stage direction, dialogue and language. Beatrice \u201churries Catherine out\u201d when Eddie disapproves of the job; Miller implies a sense of evacuation, due to the fear due to knowing Eddie\u2019s highly critical and cynical attitude. This is evident from the very opening of the play when he criticises Catherine\u2019s dress, telling her \u201cI can tell you things about Louis which you wouldn\u2019t wave to him no more.\u201d He treats his entire neighbourhood as dangerous and malicious in an excessive manner. Eddie tends to see the dire characteristics of people except his close family. This seemingly minor flaw at the start of the play contributes to his downfall. Furthermore, Eddie is quick to judge, partly due to his incapability to listen. While not fully informed, he retorts starkly \u201cIt\u2019s not wonderful\u00e2\u20ac\u00a6Why didn\u2019t you ask me before you take a job?\u201d Eddie\u2019s inability to listen is evident here; he demands that Catherine \u201cask me before you take a job\u201d, despite Catherine requesting his permission to take job at the very juncture. However, while Eddie may seem punitive and contemptuous Miller emphasizes that while he may seem overly protective and overtly pessimistic, his intentions are upright nevertheless. Eddie is evidently seen as a hard-working, honest man. Beatrice is grateful towards Eddie\u2019s generosity, telling him that \u201cYou\u2019re an\u00a0angel! God\u2019ll bless you\u00e2\u20ac\u00a6you\u2019ll see, you\u2019ll get a blessing for this!\u201d Miller portrays Eddie sympathetically initially, a common trait of the tragic hero.<\/p>\n<p>Furthermore, Eddie tries to alter Catherine and Beatrice\u2019s attitude to see the community though his \u201ctunnel vision\u201d. His behaviour is obsessive, telling Beatrice that she has \u201ctoo big a heart\u201d and advises Catherine against it. His abrasive, cynical attitude is evident throughout the start. At the dinner table, he tells her that she should \u201cJust remember, kid, you can quicker get back a million dollars that was stole than a word that you gave away.\u201d Miller has used irony which the audience come to realise later in the play. At the start of the play, Eddie tells the story of the boy who called immigration on his relatives and almost forcefully advises Beatrice and Catherine never to speak of Marco and Rodolpho. While he lectures his own family extensively on the \u2018community law\u2019 and criticising Vinny Bolzane saying \u201ca guy do a thing like that? How\u2019s he gonna show his face?\u201d, Eddie makes a transition to reveal various suppressed feelings and his approach to insanity. Initially, Eddie is well respected in his community; Eddie is true to the community law and despite teaching the lesson to others, he betrays himself and his community ultimately, ruining his reputation. These words of Eddie subtly indicate that he knows that will happen to him, yet cannot evade his pre-determined fate; typical of the tragic hero.<\/p>\n<p>Additionally, Miller\u2019s use of Alfieri as the chorus enhances the sense of Eddie as the tragic hero. The chorus, typical of the Greek tragedy, constantly reminds the audience of the tragedy to come. Alfieri set the scene, setting and provides background information, thus developing characters as the narrator of the tragedy. Not only does Alfieri enhance the audience\u2019s understanding, he also divides the play into various stages of Eddie\u2019s downfall. Alfieri plays a key role in A View from the Bridge\u201d; he allows the play to move swiftly through exposition. Miller utilises the character of Alfieri to enhance the sense of pace and time. Furthermore, while Alfieri creates a bridge between the play and the audience, Miller\u2019s use of Alfieri somewhat retains certain grandeur for Eddie. Professionally detached as the lawyer, he is a trustworthy source to the audience. Alfieri has a professional connection with Eddie, having \u201chad represented his father in an accident case some years before, and [Alfieri] was acquainted with the family in a casual way. Alfieri is evidently a good judge of character and a decent source of advice, telling to Eddie that \u201cYou won\u2019t have a friend in the world\u2026Put it out of your mind\u201d, \u201cand bless her\u201d. Alfieri evidently knows Eddie\u2019s potential for self-destruction, predicting his judgments and attempting to advise him against his precarious thoughts. Alfieri is \u2018the view from the bridge\u2019, while Eddie is the \u2018water front\u2019. While the audience is prone to forget that Alfieri is narrating in scenes of high tension, such as the part when Eddie kisses Rodolpho or when Marco lifts the chair. However, Alfieri appears as the focus of the stage when the lights dim, prompting the audience to make their individual judgements at the end of each scene.<\/p>\n<p>SECTION 2<\/p>\n<p>Furthermore, Miller establishes Eddie as the tragic hero through use of both cultural and domestic position. The play, being set in Brooklyn, a main area of illegal immigration, there were certain unspoken \u2018community laws\u2019. Without the support of \u2018legal\u2019 services, such as the Police or courts to protect them, they were exceedingly interdependent, relying on one another. Forming an insular, detached, close community Miller has reversed his previous experience with the McCarthy trials, creating a community which welcomes the outlaws. The \u2018immigrant town\u2019 thus developed its own subculture, economy and laws. Due to their reliance on interdependency, betray was punishable by death; the greatest breach of the community code. Likewise, the sense of betrayal in community, emphasized through the story of Vinny Bolzane, is akin to Miller\u2019s attitude towards the trials. Traditionally, the tragic hero attempts to upset the \u2018Grand design\u2019, defying their destiny, god or code. Replacing the gods and destinies, Miller uses the community code as a substitute. Holding family values dear, initially it seems unlikely that Eddie would betray his community, having held strict rules in his house, obeying the law and respecting the community code. However, Miller utilizes his sympathetic opening of Eddie\u2019s character to create a tragic hero which the audience can sympathise with.<\/p>\n<p>Additionally, Eddie\u2019s domestic standing is utilised to create possible tensions which are exploited throughout A View from the Bridge to create Eddie\u2019s downfall. These tensions are evident throughout the play. Miller\u2019s creation of the Italian characters\u2019 overtly fervent temperaments and traditional gender roles lend themselves aptly to the tragedy. Similar to the \u2018rival\u2019 character in the traditional tragedies, Miller\u2019s use of 2 dominant males enhances Eddies role as the tragic hero. Enhancing their importance and stature, their conflict for leadership inevitable leads to defeat for one of the males; the tragic hero. While there is very little physical conflict, tensions in the household are ominous. Furthermore, Marco is true to the Sicilian law and the community law to some extent, while Eddie is true to the American law, protecting himself, his \u2018possessions\u2019, and the community law initially. Eddie\u2019s flaw lies in his inability to reason between American and Sicilian cultures. Alfieri, the bridge between the American and Sicilian customs allows the audience to analyse each situation individually.<\/p>\n<p>Furthermore, Eddie is very much the master of the household, constantly demanding respect and ordering the female members what to do. His obsession with control results in a drastic change in character when Marco, another male who demands respect, enters his household. When Eddie goes to his lawyer to seek advice, Alfieri describes Eddie, saying \u201cHis eyes were like tunnels; my first thought was that he had committed a crime, but soon I saw it was only a passion that had moved into his body, like a stranger.\u201d Alfieri appears to fear Eddie as if he were a Greek monster, implying that his obsession for Catherine was a \u2018passion\u2019 that had entered his conscience. Miller is beginning to imply Eddie\u2019s descent into madness as he is starting to lose control. Miller\u2019s descriptions of Eddie through Alfieri are somewhat grand and dramatic, as if describing a legendary hero or warrior. This supplementary grandeur throughout the play augments Eddie\u2019s position as the tragic hero, seemingly of elevated rank and status.<\/p>\n<p>SECTION 3<\/p>\n<p>Additionally, Miller has crafted Eddie with various flaws which thus contribute to his downfall. Eddie overtly cynical has been highlighted by Miller through Eddie\u2019s dialogue. Eddie evidently suspects that everyone in his community, excluding his family, have bad intentions. Miller has emphasized this through Eddie\u2019s response to Catherine through Eddie\u2019s response to her short dress. Despite Louis being a close friend, Eddie threatens Catherine with his skill of extracting the flaws in others, so that \u201cyou wouldn\u2019t wave to him no more.\u201d Eddie threatens Catherine with his gathered knowledge of people\u2019s corruptness. Catherine evidently regards Eddie\u2019s opinion highly and is palpably upset when Eddie disapproves of her dress, despite this issue only being fairly minor. Furthermore, Eddie refers to Rodolpho as a \u2018submarine\u2019; A View from The Bridge was published fairly soon after WWII had ended. While modern day submarines can be perceived as either a great aid to mankind or weapons, the submarines of WWII were indefinitely used for destructive purposes. German submarines were the cause of widespread starvation in Britain, sinking food import ships. Eddie portrays Rodolpho as a hidden source of destruction and horrors through his use of language. Eddie\u2019s distrust is evident when he tells Catherine that \u201che\u2019s only bowin\u2019 to his passport\u201d. Eddie sees Rodolpho as manipulative and dangerous. However, Miller portrays Rodolpho as popular and good-humoured, yet polite and responsible correspondingly. While Eddie seems to perceive Rodolpho as irresponsible as Rodolpho buys a \u2018snappy new jacket, records and a pointy pair of new shoes\u2019 while \u201chis brothers kids are starving\u201d, Rodolpho is actually more understanding and responsible than Marco. Rodolpho seeks peace in issues, saying to Eddie \u201cI kiss your hand\u201d as a sign a peace, humility and sincerity. However, Eddie is ignorant of Rodolpho\u2019s positive traits and refers to him constantly as a criminal figure, calling him a \u201chit-and-run guy\u201d. Moreover, Eddie appears to be quick to judge and possesses the failure to listen. Miller enhances Eddie\u2019s flaw of ignorance through irony. Eddie constantly ignores his wife\u2019s suggestions and constantly dismisses her, despite Beatrice giving sensible and useful advice. He often blames Beatrice when she brings up an argument against him, saying \u201cI don\u2019t like the way you talk to me, Beatrice\u201d. Eddie often demands respect as a way of avoiding his wife\u2019s suggestions, especially when they are critical of him.<\/p>\n<p>Furthermore, Eddie displays excessive pride throughout A View from The Bridge, refusing to allow anyone, including his family, to criticize him. Throughout, Eddie is portrayed as a very commanding figure, constantly ordering his family to do as he wishes. The tension illustrated by the unease at the dinner table when Eddie disapproves of Catherine getting a job. Miller conveys the tense atmosphere through stage directions. Catherine enters with the food after being ordered to fetch, \u201cwhich she silently sets on the table\u201d. The \u2018silence\u2019 exhibits the unease of the atmosphere. The women of the family are cautious of Eddie after he disapproves, not daring to argue with him too forcefully. Eddie is very much the \u2018alpha male\u2019 of his household; Beatrice must convince him through gentle suggestions rather than forcefully expressing her view as Eddie does throughout the novel.<\/p>\n<p>In contrast to his initial vice-like clasp on \u2018control\u2019, Eddie appears to gradually lose his grasp on both control of his household and his sanity. The change in dynamics when Marco and Rodolpho enter his household is evident when Marco lifts the chair over Eddis\u2019s head; Eddie appears to lose what Miller refers to as his \u201ciron control\u201d. Miller portrays Marco as quiet yet perceptive; a man of action. Marco tends to evaluate situations, pausing before speaking, indicating that he is prudent and vigilant. Miller creates Eddie\u2019s flaw through his similarity to Marco. Both Marco and Eddie are hard-working and are both commanding leaders. The paradox of the two dominant males in a single household induces both tension and concealed conflict. This flaw provokes Eddie\u2019s yearning for control and respect to the point where it is an obsession. Miller enhances the \u2018silent conflict\u2019 for authority though stage direction. Marco lifts the chair \u201clike a weapon over Eddie\u2019s head\u201d, which causes Eddie\u2019s grin to vanish as he \u201cabsorbs his look\u201d. It is evident that Marco is displaying his physical prowess, cautioning Eddie in his conflict for supremacy in the household. Miller utilises Marco as metaphor for Eddie\u2019s fate; Eddie is powerless in relation to his fate. The chair held \u201cas a weapon\u201d symbolises Eddie\u2019s future punishment and inexorable verdict. Eddie\u2019s failure to accept fate and his determination to bout his fate ultimately leads to his death and downfall.<\/p>\n<p>Furthermore, Eddie seems descend into lunacy. Miller displays this loss of sanity through Eddie\u2019s \u2018rape\u2019 of Rodolpho\u2019s dignity. Eddie attempts to show Catherine how a \u2018real man kisses\u2019 by kissing both Rodolpho and Catherine. Shocking the 1955 audience, Milller choreographs the near incestuous kiss followed by same-sex kiss to challenge the audience to judge Eddie Carbone. Eddie further invokes the notion of judgement when he further Through Eddie\u2019s actions of breaking his community code, rape of Rodolpho\u2019s dignity and his actions of \u2018taking\u2019 Catherine, the audience lose their sympathy for Eddie. Miller enhances the weight of Eddie\u2019s actions through contrast. Miller composes his scenes to juxtapose the temperament of Rodolpho and Catherine\u2019s true love and gentle dialogue to the shocking scene; arguably the climax of the play. Miller\u2019s usage of stage direction combined with nuances of homosexual and incestuous molestation give the playwright the sense of drama and tension. Miller contrasts Catherine\u2019s compliant and submissive attitude seen throughout the book to her anger and revolt against Eddie when he kisses Rodolpho. Catherine even acts to the extent of shouting of \u201cI\u2019ll kill you\u201d when Eddie kisses Rodolpho, illustrating the commencement of her gradual movement from her dependency on Eddie; Eddie\u2019s kiss acts as a catalyst to the process of her conversion to dependency. While Catherine appears not to be greatly angered when Eddie kisses her, she \u201ctears at Eddie\u2019s face\u201d and threatens to kill him in anger when he kisses Rodolpho. Miller has exhibited Catherine\u2019s love towards Rodolpho through her strong reaction to Rodolpho\u2019s kiss. Catherine appears to supersede her own regard with Rodolpho\u2019s, confirming the mellowness of their love as displayed in the dialogue prior to Eddie\u2019s arrival. Miler composes A View from the Bridge to prompt the audience to judge through Alfieri. In the extended scenes of action and drama, the audience tend to overlook that Alfieri is narrating the entire play.<\/p>\n<p>While Eddie has many flaws, his predominant \u2018hamartia\u2019 is almost certainly his affection towards Catherine; the main cause of his downfall. When confronted regarding his affections towards Catherine, Eddie responds with strong denial and evident anger. When Alfieri highlights that \u201c\u201dShe can\u2019t marry you can she?\u201d, Eddie evidently is angered by this, replying \u201cI don\u2019t know what the hell you\u2019re talkin\u2019 about!\u201d in an agitated tone. The use of the exclamation mark suggests that he is provoked by this and his amplified reaction to the accusation suggests that he himself denies his true affections. His confused affections for Catherine, provoked by Rodolpho\u2019s presence, crescendos throughout A View from the Bridge. As the play progresses, it becomes increasingly evident that he loves Catherine but is too ashamed to admit it. His method of suppressing his emotions by \u201ckeeping her a baby\u201d has proved ineffective. He has pressed his nurturing method so far that he himself has not realised it. When she proposes that he works, he replies \u201cI guess I just never figured\u2026 that you would ever grow up.\u201d Later, Miller reveals Eddie\u2019s true intentions subtly with the use of stage directions. When Catherine announces that she loves Rodolpho, \u201cHe looks at [Catherine] like a lost boy\u201d; Miller subtly implies how na\u00c3\u00afve and confused Eddie\u2019s desires are. Whenever the issue is brought up by Beatrice or Alfieri, he retaliates in anger. Miller has shown that Eddie is neither willing nor comfortable admitting his true feelings. Eddie is confronted about his love for Catherine multiple times throughout the play. Beatrice, knowing Eddie distinctly, \u201cYou want somethin\u2019 else, Eddie, and you can never have her!\u201d Beatrice refers to Catherine as the \u2018somethin\u2019 else\u2019 that Eddie wants. Despite Eddie knowing that his desire for Catherine is incestuous, Beatrice must tell him that he \u2018can never have her\u2019. Eddie is evidently livid. Miller illustrates Eddie\u2019s emotion and rage through stage directions. Miller has exhibited Eddie\u2019s anger coherently to the audience; Eddie is [horrified, shocked, his fists clenching]. Miller\u2019s use of stage directions indicates tone and mood to manipulate the audience to achieve setting and atmosphere. \u2018His fists clenching\u2019 demonstrate the extent of Eddie\u2019s frustration and anger towards the accusation and subtly implies Eddie\u2019s possible capability of physical violence. Edie\u2019s constant denial and restraint of his feelings illustrate his unstable and volatile nature, leading to his inevitable downfall. Miller\u2019s use of Catherine as a niece, rather than a daughter allows the audience to sympathize; essential in the creation of the tragic hero. The Telegraph\u2019s Dominic Cavendish describes Miller\u2019s arrangement as \u2018crucial\u2019 in a review of a production, as \u201cby using the device of a niece, it swerves away from being an abusive relationship. Even if he said \u2018I love you\u2019, that would not be illegal.\u201d [1] Miller thus creates the tragic hero through allowing the audience to sympathize with Eddie Carbone.<\/p>\n<p>Also, Eddie\u2019s refusal to accept the status quo further contributes to Miller\u2019s creation of the tragic hero. Despite Alfieri warning Eddie that \u201cthe law is nature\u201d and \u201ca river will drown you if you buck it now\u201d, Eddie breaks the community code nevertheless. Miller has compared Eddie\u2019s breach of the code to \u2018drowning\u2019, illustrating the weight of his crime. Miller has enhanced Alfieri\u2019s warning through stage direction. Alfieri, knowing Eddie\u2019s volatile nature, says his warning \u201cwith a tougher tone\u201d. This implies that people are aware of the extent that Eddie will take to preserve his fantasy world and his shift towards the irrational animal. Alfieri is pressed to take \u2018a tougher tone\u2019 as Eddie is driven by his incestuous love for his niece to the extent that he is willing to break the unspoken community law which is punishable by death. This flaw, ultimately leading to his death, indicates the complete descent into insanity. Miller has exploited his setting of the Italian-American community where the community code supersedes the official law to create the downfall of Eddie Carbone; the tragic hero who dies by his own hand.<\/p>\n<p>In addition to this, Eddie\u2019s obsession with control contributes to Miller\u2019s creation of the tragic hero. Miller illustrates Eddie\u2019s fixation of control through his frustration at Catherine\u2019s walking style. Eddie attempts to preclude his niece\u2019s development into a woman, saying that the \u201cheads are turnin\u2019 like windmills\u201d when she is \u2018walkin\u2019 wavy\u2019 and she wears high heels. Miller\u2019s use of language expresses the extent that Catherine attracts attention. Miller demonstrates the noticeability of the attention that she attracts, comparing the staring men\u2019s heads to \u2018windmills\u2019. Miller\u2019s use of imagery allows him to create a more sympathetic portrayal of Eddie; the audience\u2019s understanding of Eddie\u2019s actions is enhanced. Catherine evidently wears high-heels for the enjoyment of her sexual influence over men. However, Eddie\u2019s fear of other men may cause Catherine to leave the house, inducing him to discourage her from wearing them. While it is not clear initially why Eddie appears to be excessively firm and strong in his views, the audience come to realise that it is because he secretly is aroused.<\/p>\n<p>Additionally, Miller further enhances Eddie\u2019s role as the tragic hero through Eddie\u2019s evident flaw of lacking the ability to distinguish the difference between family and property. Miller illustrates Eddie\u2019s passion for control and commitment to \u2018possessions\u2019 through language. He says that Rodolpho is \u201cstealing from me\u201d and calls him a \u201ctheif\u201d, indicating that he thinks that he owns Catherine like a possession. Eddie appears to live in a fantasy world, determining his own limits and quos. He claims that because he \u201ctook out of [his] own mouth\u201d and \u201cwalked hungry plenty days\u201d that Catherine \u2018belongs\u2019 to him. Miller creates the tragic hero by gradually degrading Eddie\u2019s credibility, making him increasing harder to sympathise with. The theme of the \u2018Paper Doll\u2019 song is employed by Miller as a metaphor for Eddie\u2019s attitude towards Catherine. The lyrics of \u2018Paper Doll\u2019 describe a man buying a paper doll which is \u201cA doll that other fellows cannot steal\u201d; similar to how Eddie treats Catherine. The lyrics also state that the man would \u201crather have a Paper Doll to call my own\/ Than have a fickle-minded real live girl\u201d. This is somewhat similar to Eddie\u2019s situation; he prefers Catherine, an illusory \u2018Paper Doll\u2019 rather than Beatrice, his real wife.<\/p>\n<p>Moreover, Miller defines Eddie as the tragic hero through his descent into madness; a regular trait of the tragic hero. Eddie\u2019s madness progresses with the play, evolving to the climax where he meets his peril. While Eddie is initially a fairly typical, yet cynical man, Eddie appears increasingly outlandish throughout the play, committing increasingly extreme actions. Miller has shown this descent through Eddie\u2019s increasingly extreme actions. Initially the typical overprotective father, Eddie becomes increasingly unstable as the play progresses. Miller exhibits this change through the use of stage direction. While initially Eddie appears to be a reasonable and composed man, the audience see him gradually degrade through his subconscious. When angered by Catherine dancing, he unconsciously twists \u201cthe newspaper into a tight roll\u201d and \u201csuddenly tears it in two\u201d. Miller has not only illustrated Eddie\u2019s frustration, but also his descent into the irrational human. While the newspaper represents Eddie\u2019s awareness of the outside world, the tearing of the newspaper also demonstrates his intractability to accept it as well. Miller\u2019s use of sudden movements elucidates Eddie\u2019s volatile nature. This flaw develops to the apex in which Eddie commits the ultimate offensive; breaking the community code. Miller has illustrated the triumph of Eddie\u2019s desperation over his reason through the phone booth lighting up gradually. Miller has emphasized Eddie\u2019s alienation from his community; the \u201cLight is out on Alfieri\u201d, indicated how Eddie is isolating himself from even \u201cthose who understand\u201d. Miller\u2019s use of theatre enhances Eddie\u2019s betrayal of his community; a theme which Miller could relate to directly from his experiences in the 1956 McCarthy era trials. However, Miller has inverted the situation; Miller protects the unlawful. Through Miller\u2019s arrangement, he accentuates his disapproval of those who chose name the innocent.<\/p>\n<p>SECTION 4<\/p>\n<p>In addition, Eddie\u2019s hubris is a common trait of the tragic hero. Eddie constantly demands respect, despite already being respected. Even after Rodolpho and Marco move out, Eddie tells Beatrice that he \u201cwants [his] respect\u201d. Eddie\u2019s pride is evident; he tends to blame others for his irrational behaviour. Towards the d\u00e9nouement of A View from the Bridge, Eddie accused Beatrice of being \u201cdifferent\u201d and compares his household to \u201ca shootin\u2019 gallery\u00e2\u20ac\u00a6 and I\u2019m the pigeon\u201d. Eddie Carbone refuses to accept when he is in the wrong; a flaw which leads to his death. Refusing to apologise, Eddie creates antipathy in the audience. Even when Rodolpho offers to kiss Eddie\u2019s hand, Eddie refuses to accept defeat. His excessive pride leads him to ignore his family\u2019s pleas for him to flee. Having previously demonstrated Marco\u2019s strength in previous scenes, Miller creates the sense of foreboding. However, Eddie\u2019s courage and determination to \u2018win back\u2019 his name is somewhat admirable; Miller has preserved some sympathy, consequently creating the tragic hero. As a metaphor of his self-destruction and a common trait of the tragic hero, Eddie dies by his own hand and weapon. Conversely, Eddie has a moment of redemption before his death, shouting \u201cB\u201d and asking for his wife. Miller has shown that Eddie has returned to the man he once was, knowing where his priorities are and who really matter most in his life. Miller has allowed the tragic hero a moment of redemption, allowing the audience to sympathise with Eddie once again; an essential aspect in the creation of the tragic hero.<\/p>\n<p>SECTION 5<\/p>\n<p>Furthermore, Eddie\u2019s inarticulacy contributes to his downfall as the tragic hero. Miller emphasizes this flaw through contrast. Rodolpho\u2019s dialogue is almost poetic, while Eddie is rather rudimentary in terms of dialogue; often he cannot express himself fully. Rodolpho is very passionate, expressing his true love articulately, making his love seem more genuine. He assures her of his love, saying \u201cYou think I would carry on my back the rest of my life a woman I didn\u2019t love just to be an American?\u201d. Rodolpho is evidently good with language; his use of imagery by referring to \u2018carrying\u2019 her on his back augments his argument, thus making him more credible. Eddie on the other hand, cannot comprehend his feelings towards Catherine. His dialogue is relatively plain and his sentences often lack structure. Miller subtly indicates the contrast between Eddie and Rodolpho\u2019s eloquence through their choice of similes. Eddie refers to Rodolpho as a \u201cteeny mouse\u201d, while Rodolpho describes Catherine as a \u201clittle bird\u201d. Miller\u2019s uses the two contrasting animals as a metaphor for their language. Eddie\u2019s language is dark, grey and dirty; similar to a mouse, while Rodolpho\u2019s language is elegant and free, like a bird. Eddie attempts to trap Catherine, similar to a mouse, while Rodolpho wishes for Catherine to \u2018fly free\u2019 like a bird.<\/p>\n<p>CONCLUSION<\/p>\n<p>In conclusion, while Miller does not follow the typical tragic hero template in the sense that the protagonist is of some form of elevated status, he achieves his portrayal of the tragic hero in other ways. The crescendo to Eddies downfall is built up with a series of techniques, setting a situation with possible tensions and issues and then manipulating these possible points of tension to gradually build up to the destruction of Eddie, the tragic hero. While some critics may say that the downfall of the \u2018average\u2019 man is not a genuine tragedy as the downfall of a God or King is tragic for all, not just the individual. However, Miller creates the destruction within the community; in some ways, the destruction caused within the small community is greater than that caused to a country. Miller states himself that he believes \u201cthat the common man is as apt a subject for tragedy in its highest sense as kings were.\u201d [2] Miller effectively manipulates the audience who are quick to judge. While they may say that Eddie\u2019s relationship with Catherine is near incestuous, they often overlook that Rodolpho is in fact Catherine\u2019s uncle. However, Miller has created such antipathy for Eddie, that this is often overlooked. Miller enhances the play through the use of Greek tragedy, creating the sense of premonition through Alfieri as the chorus of the play. Through the combination of stage direction, setting, juxtaposition and community code, Miller has written A View from the Bridge in such a way as to add grandeur to the downfall of the ordinary man, thus creating the modern day tragic hero which most can relate to in material life.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Having written other renowned plays in the tragedy and drama genre, Arthur Miller\u2019s A View from the Bridge is one of many stage plays written. Similarly to other notable works such as Death of a Salesman, A View from the Bridge is set in America. Through the use of setting, community code, juxtaposition, capricious relationships [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[9832,9819,9588,10520,10766,9821,9831,9817,10764,10765],"class_list":["post-82307","post","type-post","status-publish","format-standard","hentry","tag-ae","tag-best-assignment-help-in-australia","tag-dissertation-writing-help-for-students","tag-global-assignment-help","tag-help-with-my-assignment","tag-speedy-essays","tag-usa-assignment-answers-examples","tag-written-essay-hub","tag-10764","tag-10765"],"_links":{"self":[{"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/posts\/82307","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/comments?post=82307"}],"version-history":[{"count":0,"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/posts\/82307\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/media?parent=82307"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/categories?post=82307"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/tags?post=82307"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}