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alfieri role in a view from the bridge
alfieri role in a view from the bridge
alfieri role in a view from the bridge
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The Role of Alfieri in J.B. Priestley's A View From the Bridge
In the play Alfieri acts like a Bridge between the community and the
laws of America. This is shown when Eddie goes to talk about his
feelings because of Rodolfo and wants to send him back to Italy but
just then Alfieri explains the laws to Eddie and tells him that there
is nothing illegal about Rodolfo and Catherine being together. Alfieri
tells us that the themes of the play are Passion and Jealousy and that
a case like Eddies doesn't come all the time.
In the two scenes Alfieri is telling Eddie that he cannot do anything
about Marco and Rodolfo. Alfieri tells Eddie that he cannot do
anything about Catherine falling in love with Rodolfo when he says ''
because there's nothing illegal about a girl falling in love with an
immigrant'', The word 'Illegal' tells us that Eddie doesn't want
Rodolfo and Catherine to be together and wants to get rid of him.
Eddie also tries to convince Alfieri that Rodolfo is a Homosexual
''He's a blonde guy. Like…..Platinum. You know what I mean?'' He is
trying to tell Alfieri that Rodolfo is only after the paperwork and
nothing besides that. When Alfieri quotes ''Wish her luck, and let her
go'' he is telling Eddie that it is about time he lets her go and that
he cannot look after her all his life.
''But Eddie, she's a woman now'' Alfieri is telling Eddie that
Catherine can look after herself and can make her own decisions, but
just then Eddie quotes ''He's stealing from me'' Eddie admits that he
has too much love for Catherine and that he cannot let her go and to
him Rodolfo is stealing her away from him. ''This is my last word,
Eddie, take it or not, that's your business. Morally and legally you
have no rights, you cannot stop it; she's a free agent'' Alfieri is
telling Eddie that he cannot stop his niece's wedding because it is
completely legal and he has no rights to do this.
...periences in life. The most important one is search for freedom. Catherine is always locked up in her chamber, or trying to get away from the suitors. Throughout in the book she thinks about going to the abbey, leaving the manor, or going on an adventure. In the end her marriage with Stephen shows her that now she is “… at least less painfully caged” (Cushman 164). The story was very exciting when you wait to see what she would do to another suitor. I learned that as much as you try to fight something sometimes you cannot and it’s bound to you. As seen with Catherine and marrying any one of the suitors. “If I was born a lady, why not a rich lady” (Cushman 4). I think the author wrote this because she wants to show how medieval Europe was like, the social classes, education, religion, and especially society’s look on marriage.
thinking he is in love with Rosaline (a lady whom we never see). It is
To further contrast Edgar’s and Nelly’s opinion s of Catherine ways, Edgar sees Catherine as docile, calm, and loving. This side to Catherine can be attributed to when she stays at the Linton’s home. Catherine spends five with the Linton’s and while she is there she does not show her rough rude side in their company. As describe by the narrator, she took care not to act like a young ruffian and worse than a brute; comparing her to Heathcliff (her lover). While on the other hand, Nelly recognizes this calm behavior displays by Catherine as one of double standard; she being deceitful to get her own
He is surrounded by constant negativity and unhappiness, especially within the marriage of Daisy and Tom along with others in the elite society
right but he respecter it as if it was holy. After all the play is
Catherine is 17 years old in this play, and is growing up to become a woman, while starting to think independently as seen in her clothing choices. However, Eddie is against this idea of her blossoming into a woman, as seen when he says, "You're getting to be a big girl now, you gotta keep yourself more, you can't be so friendly, kid." At the same time, Beatrice gives Catherine advise that she should not be so dependent on Eddie and that she should view herself as an independent woman instead of letting Eddie dictate her life, when she says, "You're a woman […] and now the time came when you said goodbye." Through the story, Catherine is put in a spot where she does not want to leave eith...
...being so ugly. He cannot hide from the reality. He doesn’t realize what a catastrophe he has created and so he pays the price of death to William and Justine.
While Catherine’s love grows for her hero, Henry Tilney, John also develops affection for Catherine. During this struggle for Catherine’s love, John begins to mature into the ‘classic villain.’ For example, during a normal evening at the ball, Catherine had promises to dance with Henry Tilney. However, Thorpe approaches Catherine and declares, “What is the meaning of this? - I thought you and I were to dance together” (Austen 46). Catherine is flustered since this declaration is false. After a barrage of half-truths, John once again talks about his beloved horses and his knowledge of them. Suddenly without any type of closure, he is wisped away by the “resistless pressure of a long string of passing ladies” (Austen 47). In this section of the novel, John Thorpe quickly becomes dislikeable and Jan...
Talking about her past, present and her future. At this point the audience knows that Robert is not living. He is just a manifestation Catherine is experiencing. Catherine doesn’t know that her father is not alive. But she deals with it nevertheless. She has a conversation with him as if he were real. She keeps the father-daughter talk real. Although Robert was mentally ill as a result of his mathematic skills, Catherine is wo...
Catherine was born into a rich solid family, where her father, Mr. Earnshaw, was a strict man, and her mother, Mrs. Earnshaw, was a pretentious woman. Through her conceited youth Catherine’s immaturity is clearly explained. Born with a very strong attitude; she is the type that throws a fit when doesn’t get what she wants. An example is, “when she learnt the master had lost her whip in attending the stranger, showed her humor by grinning and spitting at the stupid little thing” (33). Catherine was never love by her father, whom felt the need to tell her, “Nay Cathy, I cannot love thee; thou’rt worse than thy brother. Go, s...
In the play he takes on the role of a character as well as taking on
Catherine’s revenge does not make things better for her. Her revenge on Heathcliff by blaming him for her upcoming death does not meliorate her mind. Just before she dies, she ascribes Heathcliff for her “murder.” “You have killed me, and thriven on it, I think” (Bronte 158). Catherine resembles what Oliver Goldsmith said, “When lovely woman stoops to folly, and finds too late that men betray, what charm can soothe her melancholy?
Catherine is trapped between her love of Heathcliff and her love for Edgar, setting the two men down a path of destruction, a whirlwind of anger and resentment that Catherine gets caught in the middle of. Catherine is drawn to Heathcliff because of his fiery personality, their raw attraction and one certainly gets the sense that they are drawn together on a deeper level, that perhaps they are soulmates. C. Day Lewis thought so, when he declared that Heathcliff and Catherine "represent the essential isolation of the soul...two halves of a single soul–forever sundered and struggling to unite." This certainly seems to be backed up in the novel when Catherine exclaims “Nelly, I am Heathcliff! He's always, always in my mind--not as a pleasure, any more than I am always a pleasure to myself, but as my own being...” This shows clearly the struggle Catherine feels as she is drawn spiritually to Heathcliff, but also to Edgar for very different reasons. Edgar attracts Catherine predominantly because he is of the right social class. Catherine finds him "handsome, and pleasant to be with," but her feelings for him seem petty when compared to the ones she harbours...
Heathcliff and Catherine have loved each other since their childhood. Initially, Catherine scorned the little gypsy boy; she showed her distaste by “spitting” at him (Brontë 27). However, it was not long before Heathcliff and Catherine became “very think” (Brontë 27). They became very close friends; they were practically brother and sister (Mitchell 122). Heathcliff is intent upon pleasing Catherine. He would “do her bidding in anything” (Brontë 30). He is afraid of “grieving” her (Brontë 40). Heathcliff finds solace and comfort in Catherine’s company. When Catherine is compelled to stay at Thrushcross Grange to recover from her injury, she returns as “a very dignified person” (Brontë 37). Her association with the gente...
Catherine's dilemma begins in an overtly conventional yet dismal setting. This is the ordered and understated fashionable New York setting where she is victim to her father's calculated disregard and domineering behaviour and of the perceptions others have of her given their economic and social positions. She is, in Sloper's words, "absolutely unattractive." She is twenty, yet has never before, as Sloper points out, received suitors in the house. Mrs. Almond's protestations that Catherine is not unappealing are little more than a matter of form and she is admonished by Sloper for suggesting he give Catherine "more justice." Mrs. Penniman, for her part, readily perceives that without Catherine's full inheritance, Morris Townsend would have "nothing to enjoy" and proceeds to establish her role in appeasing her brother and giving incoherent counsel to the courtship between Catherine and Townsend. For Townsend himself, Catherine's "inferior characteristics" are a matter of course and a means to a financial end.