Arthur Miller - A View From The Bridge - Alfieri's introduction lyrics

The street and house front of a tenement building. The front is skeletal entirely. The main acting area is the living room–din ing room of Eddie's apartment. It is a worker's flat, clean, sparse, homely. There is a rocker down front; a round dining table at center, with chairs; and a portable phonograph. At back are a bedroom door and an opening to the kitchen; none of these interiors are seen. At the right, forestage, a desk. This is Mr Alfieri's law office. There is also a telephone booth. This is not used until the last scenes, so it may be covered or left in view. A stairway leads up to the apartment, and then farther up to the next story, which is not seen. Ramps, representing the street, run upstage and off to right and left. As the curtain rises, Louis and Mike, longshoremen, are pitching coins against the building at left. A distant foghorn blows. Enter ALFIERI, a lawyer in his fifties turning grey; he is portly, good-humoured, and thoughtful. The two pitchers nod to him as he pa**es. He crosses the stage to his desk, removes his hat, runs his fingers through his hair, and, grinning, speaks to the audience. ALFIERI: You wouldn't have known it, but something amusing has just happened. You see how uneasily they nod to me? That's because I am a lawyer. In this neighbourhood to meet a lawyer or a priest on the street is unlucky. We're only thought of in connection with disasters, and they'd rather not get to close. I often think that behind that suspicious nod of theirs lie three thousand years of distrust. A lawyer means the law, and in Sicily, from where their fathers came, the law has not been a friendly idea since the Greeks were beaten. I am inclined to notice the ruins in things, perhaps because I was born in Italy... I only came here when I was twenty-five. In those days, Al Capone, the greatest Carthaginian of all, was learning his trade on these pavements, and Frankie Yale himself was cut precisely in half by a machine gun on the corner of Union Street, two blocks away. Oh, there were many here who were justly shot by unjust men. Justice is very important here. But this is Red Hook, not Sicily. This is the slum that faces the bay on the seaward side of Brooklyn Bridge. This is the gullet of New York, swallowing the tonnage of the world.And now we are quite civilised, quite American. Now we settle for half, and I like it better. I no longer keep a pistol in my filing cabinet. And my practice is entirely unromantic. My wife has warned me, so have my friends; they tell me the people in this neighbourhood lack elegance, glamour. After all, who have I dealt with in my life? Longshoremen and their wives, and fathers and grandfathers, compensation cases, evictions, family squabbles - the petty troubles of the poor - and yet... every few years there is still a case,and as the parties tell me what the trouble is, the flat air in my office suddenly washes in with the green scent of the sea, the dust in this air is blown away and the thought comes that in some Caesar's year, in Calabria perhaps or on the cliff at Syracuse, another lawyer, quite differently dressed, heard the same complaint and sat there as powerless as I, and watched it run its bloody course. EDDIE has appeared and has been pitching coins with the men and is highlighted among them. He is forty - a husky, slightly overweight longshoreman. ALFIERI: This one's name was Eddie Carbone, a longshoreman working the docks from Brooklyn Bridge to the breakwater where the open sea begins. ALFIERI walks away into darkness. EDDIE: Well, I'll see ya, fellas. CATHERINE enters from kitchen, crosses down to window, looks out. LOUIS: You workin' tomorrow? EDDIE: Yeah, there's another day yet on that ship. See ya, Louis.