Social Taboos In A View From The Bridge

The use of emotive impact is significant in moving the audience into feeling a dramatic feeling of mixed emotions that convey within particular scenes. During the public revelations of Shelia and Bridie's secrets in Act 2, Bridie mentions “that isn’t the truth…she went to the Jap's to a Japanese guard and sold herself for him for tablets”. The contrast between Bridie’s loud angry tone and silence of Sheila proved that. This was very effective in resolving the tension in the play, as the silence aroused a great sense of drama, This quote is an example of Misto’s use of emotive power over the audience, it also contrasts the themes of pity and admiration of both Bridie and Sheila; they are influenced into feeling pity and admiration. Misto’s use of emotive power moves the audience into feeling sadness, pity and admiration that women have endured so much suffering however they are brave enough to tell the whole world of their horrific experiences.

Claudio's sister Isabella is dragged out of the convent to plead for him, on the assumption that her superior virtue might move Angelo's heart to pardon her brother. Does it? No. Rather, it pierces right through Angelo's cold Puritanism and sets his heart and other bits on fire. We see through this carefully controlled man into the roaring pit that he has tried so hard to conceal. He falls a victim to the very passion he is prosecuting in Claudio; in doing so, he comes to represent the conflict between good and evil in Vienna as he struggles with the knowledge that he cannot control his own desires.

The patriarchal society is a setting of ‘Much Ado about Nothing’ that shows male domination and women suppression. Men like Don Pedro, Benedick and Claudio returns with victory from the battle. It implies the boasted male ego. Male honor serves as a crucial importance to men in the play. Leonato questions the messager that ‘How many gentlemen have you lost in this action?’ It hints that physical strength is a definition of manhood. With Don Pedro, Claudio and Benedick rise of power as a soldier with victory, they hold great power as a upper social class. In Act 1, the exposition of the play emphasize on men’s talk, only the outspoken Beatrice can have a word or two, but the men still dominate the

Her honor is disgraced for her “actions” and Claudio will no longer accept her as his wife because of the dishonor she has caused him.

            Hero does not get a chance to mull over the idea of Claudio as a husband.  Even the audience knows little about her going into the now famous “shaming scene.”  Details about Hero’s virtues and personality are purposely left out, partially to satisfy the dominant male perspective in the play, but also to give more clout to the heinous claim that Claudio makes during the wedding.  The reactions of Hero’s father and others indicate that a woman’s virtues are only as good as a man says they are.

The most pivotal scene in the play (act 4 scene 1) is between the marriage of Leonato's daughter Hero to Claudio. In this scene the blush of Hero after being said to have slept with another man is set too signify “guiltiness not of modesty” to Claudio. However the Friar of the town believes that Hero's blush is that of her “innocence and virtue.”

The humiliation caused to Hero in the event would be inconceivable to an audience at the time, being accused of adultery would no doubt ruin a woman’s reputation and therefore create difficulty for her when finding a husband; especially for a woman of high status such as Hero. Claudio is being presented as a potential threat at this part in the play, contrasting with the gallant war hero we were first introduced to. This emphasizes how bitter and sinister Claudio has turned, consequently reminding the audience by irony that is he only interested in wealth and status when marrying Hero. Claudio’s shallow fickleness plays into the villain’s hands. Shakespeare uses the threat of Claudio to generate further anxiety in the audience and concern for Hero’s welfare. This scene shows the men of the play coinciding with each other in their response to the defamation of Hero. Don Pedro personally insults Hero during the commotion of this scene, “to link my dear friend to a common stale,” he suggests here that he believes her status has been lowered by what she has supposedly done and rendered her ‘common’. This personal attack on Hero which has come from someone who shouldn’t really be involved advocates the idea that she is isolated in a patriarchal society in which men group together to defend male interests. Hero’s reputation is being publicly ruined here, and at the time this would have ruined Hero’s life and her

This can be shown by, “Sure, he’s terrific!  Look at him go!” and “He could be very good Marco.  I’ll teach him again.”  By praising Rodolfo, he is making Rodolfo want to continue boxing with him.  Eddie shows more and more authority over Rodolfo and if they go boxing more, Eddie gets the opportunity to humiliate and embarrass Rodolfo more, and prove to everybody that he is stronger. The tension between the two characters is important, as it continues to grow stronger, until Eddie attacks Marco and Rodolfo.  This is important, as this is the point where the tension is first revealed obviously and directly to the reader, through physical actions, although not real violence. The audience may feel that there will be real violence later on in the play, as Eddie keeps encouraging Rodolfo to fight and continuously tries to insult him.

Eddie is introduced as a moral man with ethics and principles. Miller showed that at the beginning of the play, Eddie tells the story of a young boy who ratted on immigrant relatives staying in his home and warn Catherine that she must be absolutely silent about Marco and Rodolpho. Moreover, there was a discussion between Eddie and Beatrice; where Beatrice is afraid of her immigrant cousins being caught. Therefore, Eddie told her: “listen if everybody keeps his mouth shut, nothing can happen. They’ll pay for their board.”(Miller, 1955, p.9).Later in the story, Eddie revealed a different identity .He was blinded with passion to the point of immorality. When he knew about Catherine falling in love with Rodolpho, he told Alfieri that he is going to call the immigration so he can keep Catherine just for him. Even though he knew that he is going to suffer for calling immigration, but does so anyway .Eddie: “Give me the number if the Immigration Bureau.”(Miller, 1955, p.61).To sum up, Miller displayed identity that could be moral with ethics and turns to be and identity that is blinded with

In the first scene we meet Eddie and Catherine together. This is when we start to understand the relationship between the two by the language they use with each other, the dialogue, and actions they use with each other. "Hi Eddie!" "(Eddie is pleased and therefore shy about it)" the first instinct is that they are going out with each other. Catherine has a new skirt. When Catherine runs her hands over her skirt the point is even more obvious. By doing this it is like she is flirting with Eddie.

The bridge we have created is ethical in the sense that it has a dependable purpose relative to its location, and its uses. By implementing a floating bridge, in a non-linear terrain in the city of Champong Chnnang it allows for effective, and efficient commute between two villages. This idea allows for the saving of time and money, by not implementing a less efficient method of transportation and trade between the two villages. THIS ISN’T GOOD ENOUGH, LET EDWARD ADD SHIT TO THIS TOO.

This scene is important as it comes midway into the play, marking a turning point, that drives the action towards the tragic end. The scene opens with all three characters relaxed and in a playful mood, but there is an underlying tension that builds throughout the scene with an uneasy sense of insecurity, which is felt by the Duchess as she is aware that her brother has returned to court. The tension continues to increase, with the use of dramatic irony, where the audience is aware of information that the actors on stage do not have. The atmosphere soon shifts from a light hearted one to one of fear. The Duchess, Antonio

At the beginning of the play, Eddie is portrayed as a sensible and smart character. Eddie and the girls (Catherine and Beatrice) all have a requited respect for each other – Beatrice: “Mmm! You’re an angel! God’ll bless you” – and there are no problems as such, even when the immigrants first come. He is also respected by the community – Alfieri: “He was good a man as he had to be in life that was.” But this dominant respect that he gains is what he is very used to and the slight changes where Catherine finds another man in her life and Beatrice also looks after the two immigrants (Rodolpho and Marco) effects Eddie hugely. The respect that he becomes used to is now shared by the women in his life between the men in his house and he craves for more attention. This can be considered one of his flaws that lead to his downfall. He is also shown caring for Catherine in the beginning of the play. He can be seen as a normal uncle or father – Beatrice: “She’s got a job.” Eddie: “What job? She’s gonna finish school.” He is also very proud of Catherine – “Sure she’s the best… You look like a

In these situations, the cast confronts instances of betrayal and eventually self-growth. The story initiates with King Lear’s urgency for flattery, which drives him to commit a decision that instigated the power-hungry course of his daughters. The betrayal of Goneril and Regan caused Lear to separate from his man-made principles and praise those of nature. Besides the change in Lear, the audience also observed Gloucester’s position concerning the legitimacy of his two sons. Societal views were a detriment regarding the rights of illegitimate children, like Edmund. Seeing his brother Edgar conquer all his father’s treasures, Edmund left his praise of nature behind and instead exploited the reliance of status and relationships in his royal family to overcome the laws of society, forming a great deception against his own family.

In comparison, there is a similar key moment in Miller’s A View From the Bridge, where Eddie’s fate is partially decided upon one moment. After being humiliated by Marco, an already furious Eddie is told by Beatrice that what he can’t have, alluding to his niece Beatrice. This realization that his wife knows how he feel about their niece causes Eddie to go into a rage and to seek a fight with Marco even more vehemently. This ultimately results in Eddie being stabbed by his own knife, and dying. While it could be argued that in both cases, the ending was already inevitable, as Gar was practically set on leaving for Philadelphia, and Eddie was already out of control, I do not doubt that these two key moments had a massive impact on how the play was resolved.