Bridget’s Monologues
The character of Bridget is detached from the others, occupying the same space but existing in another timely dimension. She is ethereal instead of coarse and hopeful instead of existentially empty. As a result, the imagery which characterizes her speech reflects her character which is more metaphorical than literal, more symbolic of the thing itself:
“There is a smell of burning. A velvet odor, very deep, an echo like a bell.”
Coarse and Scatological
Standing in stark contrast to the poetic quality of Bridge’s monologues are the scatological references which define the dialogue of her parents and brothers. Andy mentions body parts related to digestion while the brothers engage in conversations which allude to anal entertainment. This divergence suggests that the question of whether Bridget is really dead or not is an absolute yes as she longer speaks in the earthy language of the living, especially her dying father:
“It’s burping and farting away in the cesspit for ever and ever. That’s destiny speaking, sweetheart! That was always the destiny of your famous rational intelligence, to choke to death in sour cream and pigswill.”
Identity
The two brothers, Fred and Jake, are introduced by calling each other “brother.” It is acknowledgement of identity as well as a rejection it. The identities as the other’s brother is an imposition. Likewise, the identity of each as the son of Andy is only tenuously proved tangible. The brothers are estranged from the father and that relationship always injects a crisis of identity. The crisis revealed through the imagery of the name games the two play each other, including the non-existent 6:30 meeting with Horsfall, Hawkeye, Bigsby, and Buckminster. Even more so, the whole “Kellaway” conversation which sounds like a Monty Python routine.
Darkness and Light
Imagery of darkness and light permeate from the opening stage direction: “Bridge in faint light.” Along the way, all the characters will considerable time touching upon this imagery. Fred and Jake discuss light-meters which allows one to “find whatever light is left in the dark.” While contemplating what waits after death, Andy considers the possibility of it existing in never-ending cloudless moonlight, but rejects the idea of it being completely “pitch black for ever because if it’s pitch black for ever what would have been the point of going through” life in the first place?
