A View from the Bridge is a play by American playwright Arthur Miller first staged on 29 September 1955 as a one-act verse drama with A Memory of Two Mondays at the Coronet Theatre on Broadway. The two-act version frequently produced today appeared a year later, in 1956. It is set in 1950s America, in an Italian American neighborhood under the Brooklyn Bridge in New York.

The main character in the story is Eddie Carbone, an Italian American longshoreman, who lives with his wife, Beatrice, and his orphaned niece, Catherine. They live in an insular, self-ruled neighborhood known only as "polis." As the play begins, Eddie is protective and paternal toward Catherine, although his feelings grow into something more than avuncular as the play develops. His attachment to her is brought into perspective by the arrival from Italy of Beatrice's two cousins, Marco and Rodolpho. They have entered the country illegally, hoping to leave behind hunger and unemployment for a better life in America, and to help build a better life for those they've left behind. Rodolpho is young, good-looking, blond, and single, and he sings, dances and is charming; Catherine instantly falls for him.

Predictably, Eddie sets about pointing out all of Rodolpho's flaws and persistently complains that Rodolpho is "not right". He uses Rodolpho's effeminate qualities, such as dress-making, cooking and singing, to back up his argument.

When Catherine decides to marry Rodolpho, Eddie becomes desperate and begs his lawyer to help him. However, he is told that the only way the law is able to help him is if he informs the Immigration Bureau of the presence of the two illegal immigrants. Due to his earlier assertion that "It's an honour" to give the men refuge, he refuses to betray them. However, after he catches Rodolpho in the act of making love to Catherine, he immediately calls the Immigration Bureau. His betrayal of the two men causes Eddie to lose the respect of his neighbours, his friends and his family.

In the final scene of the play the sense of crisis climaxes with a fight between Eddie and Marco. Marco calls out Eddie by his full name then Eddie brandishes a knife and attacks Marco, but the stronger Marco turns the blade onto Eddie, killing him. This could be seen symbolically as a projection of Eddie's self-destructive tendencies, as his sense of self-worth and his honourable character finally reach the bottom of their downward spiral.

In the final pages of the play, Miller uses stage directions more often to convey the sense of crisis and drama. Miller uses stage directions when it would be difficult to interpret what emotions should be shown.[citation needed] An example of this is when Eddie concedes to let Catherine work. The stage directions indicate that he relents with "a sense of her childhood, her babyhood and the years". Miller also uses his stage directions as a means of making clear to the production company his intended symbolism.

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