1. Extracts from A View from the Bridge and A Doll’s House
A View from the Bridge
The extract below is taken from Act 2. Marco has been released from jail on bail and is seeking
revenge on Eddie. Read the extract carefully two or three times and then annotate it to show
how the characters’ actions and use of language reflects their sense of themselves as men or
women or qualities which are conventionally seen to be masculine or feminine. Also mark
anything else about the extract which you find interesting.
BEATRICE [barring his way to the stairs]: What’s gonna mean somethin’? Eddie, listen to me.
Who could give you your name? Listen to me, I love you, I’m talkin’ to you, I love you; if
Marco’ll kiss your hand outside, if he goes on his knees, what’s he got to give you? That’s not
what you want.
EDDIE: Don’t bother me!
BEATRICE: You want somethin’ else, Eddie, and you can never have her!
CATHERINE [in horror]: B.!
EDDIE [shocked, horrified, his fists clenching]: Beatrice!
[MARCO appears outside, walking towards the door from a distant point.]
BEATRICE [crying out, weeping]: The truth is not as bad as blood, Eddie!! I’m tellin’ you the
truth – tell her good-bye for ever!
EDDIE [crying out in agony]: That’s what you think of me – that I would have such a thought?
[His fists clench his head as though it will burst.]
MARCO [calling near the door outside]: Eddie Carbone!
[EDDIE swerves about; all stand transfixed for an instant; People appear outside.]
EDDIE [as though flinging his challenge]: Yeah, Marco! Eddie Carbone. Eddie Carbone. Eddie
Carbone. [He goes up the stairs and emerges from the apartment. RODOLPHO streaks up and
out past him and runs to MARCO.]
RODOLPHO: No, Marco, please! Eddie, please, he has children! You will kill a family!
BEATRICE: Go in the house! Eddie, go in the house!
EDDIE [- he gradually comes to address the people]: maybe he come to apologize to me. Heh,
Marco? For what you said about me in front of the neighbourhood? [He is incensing himself and
little bits of laughter even escape him as his eyes are murderous and he cracks his knuckles in his
hands with a strange sort of relaxation.] He knows that ain’t right. To do like that? To a man?
Which I put my roof over their head and my food in their mouth? Like in the Bible? Strangers I
never seen in my whole life? To come out of the water and grab a girl for a passport? To go and
take from your own family like from the stable – and never a word to me? And now accusations
in the bargain! [Directly to MARCO] Wipin’ the neighbourhood with my name like a dirty rag! I
want my name, Marco. [He is moving now, carefully, towards MARCO.] Now gimme my name
and we go together to the wedding.
BEATRICE and CATHERINE [keening]: Eddie! Eddie, don’t Eddie!
A View from the Bridge copyright © Arthur Miller
Copyright © 2000 Teachit Page 1 of 2 extracts.doc

2. A Doll’s House
Below are two extracts from A Doll’s House. The first is taken from Act One and the second is
from Act Two. Read each extract carefully 2 or 3 times and then annotate the first to show how
the characters’ actions and use of language reflects their sense of themselves as men or women
or qualities which are conventionally seen to be masculine or feminine. Now annotate the
second to show how Nora’s language illustrates how her character has developed by the end of
the play.
NORA(plays with his coat-buttons; not looking at him). If you really want to give me something,
you could – you could-
HELMER. Come on, out with it.
NORA (quickly). You could give me money, Torvald. Only as much as you feel you can afford;
then later I’ll buy something with it.
HELMER. But, Nora-
NORA. Oh yes, Torvald dear, please! Please! Then I’ll wrap up the notes in pretty gold paper
and hang them on the Christmas tree. Wouldn’t that be fun?
HELMER. What’s the name of that little bird that can never keep any money?
NORA. Yes, yes, squanderbird; I know. But let’s do as I say, Torvald; then I’ll have time to
think about what I need most. Isn’t that the best way? Mm?
HELMER (smiles): To be sure it would be, if you could keep what I give you and really buy
yourself something with it. But you’ll spend it on all sorts of useless things for the house,
and then I’ll have to put my hand in my pocket again.
NORA. Oh, but Torvald-
HELMER. You can’t deny it, Nora dear. (Puts his arm around her waist.) The squanderbird’s a
pretty little creature, but she gets through an awful lot of money. It’s incredible what an
expensive pet she is for a man to keep.
NORA. For shame! How can you say such a thing? I save every penny I can.
HELMER (laughs). That’s quite true. Every penny you can. But you can’t.
NORA (hums and smiles, quietly gleeful). Hm. If you only knew how many expenses we larks
and squirrels have, Torvald.
NORA (in her everyday dress). Yes, Torvald. I’ve changed.
HELMER. But why now – so late - ?
NORA. I shall not sleep tonight.
HELMER. But, my dear Nora –
NORA (looks at her watch). It isn’t that late. Sit down there, Torvald. You and I have a lot to
talk
about. She sits down on one side of the table.
HELMER. Nora, what does this mean? You look quite drawn –
NORA. Sit down. It’s going to take a long time. I’ve a lot to say to you.
HELMER (sits down on the other side of the table). You alarm me, Nora. I don’t understand
you.
NORA. No, that’s just it. You don’t understand me. And I’ve never understood you – until this
evening. No, don’t interrupt me. Just listen to what I have to say. You and I have got to face
facts, Torvald.
HELMER. What do you mean by that?
NORA (after a short silence). Doesn’t anything strike you about the way we’re sitting here?
HELMER. What?
NORA. We’ve been married for eight years. Does it occur to you that this is the first time we
two, you and I, man and wife, have ever had a serious talk together?
Copyright © 2000 Teachit Page 2 of 2 extracts.doc