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Death and the Maiden

Ariel dorfman.

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Memory, Trauma, and the Senses

Ariel Dorfman’s Death and the Maiden is a harrowing play that centers on Paulina , a woman attempting to come to terms with having been abducted, tortured, and raped under her country’s previous dictatorial regime. Having suffered unspeakable horrors at the hands of her abductors, Paulina is forced to confront her trauma when her husband, Gerardo , is visited by Roberto , a man whose voice and habitual phrases seem to match those of the…

Authority, Society, and the Public

Ariel Dorfman has made no secret of the fact that he wrote Death and the Maiden to study what happens when a dictatorship transitions into a democracy, and moreover how the public relates to this shift in authority. As is written at the start of the play, “the time is the present and the place, a country that is probably Chile but could be any country that has given itself a democratic government just after…

Female Empowerment

Paulina is a strong, intelligent woman who has suffered the double injustice of being raped and knowing that her attacker has in all likelihood escaped any possibility of punishment. And though her husband, Gerardo , appears to be supportive of her, his actions frequently suggest otherwise. The sudden appearance of Roberto , the man who she feels certain is her attacker, gives her an impromptu opportunity to empower herself by taking the issue into her…

Civilization and Violence

Death and the Maiden seeks to highlight the way in which the threat of, and capacity for, violence lurks beneath the surface of civilization. It asks the viewer to notice the inherent instability of society’s culture and civility and provokes them to think about their own capacity for violence. In doing so, the play functions as a kind of warning—a portent of mankind’s tragic ability to revert to violence and moral depravity. 

Though Paulina …

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Death and the Maiden: Emily Dickinson’s Thematic Obsession With Death Critical Essay

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Emily Dickinson continues to fascinate poetry lovers for numerous reasons. The reclusive spinster lived the life of the devoted artist, spending her short years composing over 1700 poems. Her powerful intellect and gifted use of language was so far ahead of its time, despite her minimal formal education, that less than 12 of her poems were published during her lifetime. Posthumously, Dickinson has ironically achieved the immortality that she so often wrote about in her work.

This essay studies three of Dickinson’s poems that deal exclusively with the theme of death: “Because I Could Not Stop for Death,” “I Heard a Fly Buzz When I Died” and “My Life Closed Twice Before Its Close.” Death represents a major theme in Emily Dickinson’s poems, and through arresting imagery the poet explores the idea of death, specifically in regards to its effects upon the living.

In “Because I Could Not Stop for Death” Dickinson begins the poem with the lines “Because I could not stop for Death, He kindly stopped for me” (Meyer n.p.). In these lines the poet articulates the universal struggle that humans have with death – the inevitability of it – the understanding that death cannot be avoided by anyone, no matter how busy or important they are.

Death’s intractable nature often offends the human being’s sense of importance. The haunting voice of Dickinson’s “Because I Could Not Stop for Death” observes that the nature of time has changed since her death. “Since then – ’tis Centuries – and yet, Feels shorter than the Day, I first surmised the Horses’ Heads, Were toward Eternity” (Meyer n.p.). Interestingly, the poem supports many interpretations of the poet’s thematic message.

Critics assert that the voice recalls her death from beyond the grave, or that Gentleman Death has placed her in purgatory, or that she wishes to die, and the poem expresses her death wish, or that the speaker notes the difference between the finite state of life and the infinite state of death (Joyner 1). Dickinson’s haunting poem, her most oft quoted, perfectly enunciates “the human’s lot of the realization of death to be so overwhelming that it makes time stand still” (Joyner 1).

“I Heard a Fly Buzz When I Died” details the last moments of a dying woman, witnessed by the lowliest of insects, the common house fly. Dickinson’s lines “with blue, uncertain, stumbling buzz, between the light and me; And then the windows failed, and then, I could not see to see” create a close kinship between the reader and the speaker as she details her passage from life into death (Meyer n.p.).

Dickinson gives the voice of the poem to a speaker who in the midst of traversing “the border between life and death,” and as such “the association of dying with the noise of a common insect is all the more jarring coming from such an unusual authority” (Zarlengo 2).

Dickinson’s thematic message here appears to be that at the moment of death, the human desire to live is ignited, and the senses become acutely tuned and highly appreciative of the most mundane details of life, simply because they are leaving it. “I Heard a Fly Buzz When I Died” contains an “ironic mixture of the common and the grand” and a quiet enjoyment of the final moments of life (Zarlengo 2).

In “My Life Closed Twice Before Its Close” Dickinson asks the particularly insightful question of what happens after death, or more specifically, how the state of being dead might compare with the events of her life thus far, “in terms of hugeness and inconceivability” (Kelly 1) Dickinson’s lines “It yet remains to see, If Immortality unveil, A third event to me, So huge, so hopeless to conceive” (Meyer n.p.) As these lines demonstrate, as a poet Dickinson remains fearless enough to “skip past the intellectual ease of praising heaven and rejecting hell” (Kelly 1).

Thematically, this poems seems to point toward the burning question – what will the afterlife be like? More specifically, what if the afterlife is not as interesting or engaging as life? In critic David Kelly’s words, “My Life Closed Twice Before Its Close” posits that “even worse than Eternity being bad would be if it were irrelevant: the very unsettling question this poem asks is whether heaven or hell will be as potent or as startling as our experiences here on Earth.

The Afterlife less interesting than life?” (Kelly 1). “My Life Closed Twice Before Its Close” opens another door into the theme of death from Dickinson’s penetrating and sharp intellect.

Death clearly affected Dickinson powerfully while she wrote, and as readers of poetry her legacy remains the penetrating insight she offered toward this element of life that is the most disturbing and elusive. As a poet Dickinson explored the theme of death from multiple angles, not simply through common themes of loss and pain, but also through insightful intellectual pondering of the state of death and how it illuminates the character of life.

Works Cited

Joyner, Nancy Carol. “Because I Could Not Stop For Death: Overview.” Reference Guide to American Literature . Ed. Jim Kamp. 3rd ed. London: St. James Press, 1994. Print.

Kelly, David. “Overview of ‘My Life Closed Twice before Its Close.” Poetry for Students . Ed. Mary K. Ruby and Ira Mark Milne. Vol. 8. Detroit: Gale Group Publishing, 2000. Print.

Meyer, Michael. The Bedford Introduction to Literature: Reading, Thinking, Writing. 9 th ed. New York: Bedford St. Martin’s, 2010. Print.

Zarlengo, Kristina. “Critical Essay on ‘I Heard a Fly Buzz–When I Died.” Poetry for Students . Ed. Mary K. Ruby. Vol. 5. Detroit: Gale Group Publishing, 1999. Print.

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IvyPanda. (2018, September 5). Death and the Maiden: Emily Dickinson’s Thematic Obsession With Death. https://ivypanda.com/essays/death-and-the-maiden-emily-dickinsons-thematic-obsession-with-death/

"Death and the Maiden: Emily Dickinson’s Thematic Obsession With Death." IvyPanda , 5 Sept. 2018, ivypanda.com/essays/death-and-the-maiden-emily-dickinsons-thematic-obsession-with-death/.

IvyPanda . (2018) 'Death and the Maiden: Emily Dickinson’s Thematic Obsession With Death'. 5 September.

IvyPanda . 2018. "Death and the Maiden: Emily Dickinson’s Thematic Obsession With Death." September 5, 2018. https://ivypanda.com/essays/death-and-the-maiden-emily-dickinsons-thematic-obsession-with-death/.

1. IvyPanda . "Death and the Maiden: Emily Dickinson’s Thematic Obsession With Death." September 5, 2018. https://ivypanda.com/essays/death-and-the-maiden-emily-dickinsons-thematic-obsession-with-death/.

Bibliography

IvyPanda . "Death and the Maiden: Emily Dickinson’s Thematic Obsession With Death." September 5, 2018. https://ivypanda.com/essays/death-and-the-maiden-emily-dickinsons-thematic-obsession-with-death/.

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Death and the Maiden Essay

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The Movie: death and the maiden - Essay Example

• Subject: Visual Arts & Film Studies
• Type: Essay
• Level: High School
• Pages: 3 (750 words)
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• Author: aimee89

Extract of sample "The Movie: death and the maiden"

Movie Review The Movie: Death and the Maiden The movie Death and the Maiden directed by Roman Polanski in 1994 has been made on the basis of the famous play by the same name written by Chilean playwright Ariel Dorfman in the year 1990. The movie revolves around three characters; a former political prisoner of a country in South America, her lawyer husband and a seemingly friendly doctor who is identified by the woman as her tormentor during her days in prison. The movie portrays the vengeance of the woman and depicts the confusion of the husband about the truth underlying his wife’s accusations.

The central characters in the movie are played by Sigourney Weaver (as Paulina Escober), Stuart Wilson (as Gerardo Escober) and Ben Kingsley (as Dr. Roberto Mirinda). The movie is a mystery thriller which is set on the backdrop of the years following the fall of the oppressive government in a South American country. The country has not been given any name in the movie and could be any country in South America that has had a similar political history. The theme of the movie reflects the trauma undergone by the dissidents of the country that continues to affect the lives of the victims and their near ones long after the end of the dictatorship.

The pain and trauma faced by Paulina in the movie gives voice to this issue. With a minimalist setting the director handles the complex and sensitive topic with elan. The story is not narrated in the traditional style of story-telling but goes round the darker corners of the human psychology. The situation is kept ambiguous and the course of events compels the viewers to confront the issues of physical and psychological torture that the dissident activists are subjected to, in a country with an oppressive government.

The story moves around the different incidents that lead Paulina to grow desperate to have her revenge on the doctor she happens to meet at a later part of her life who she recognizes as her former tormentor. The doctor is portrayed as an apparently friendly person who provides a lift to a man on a night when his car has broken down. This man happens to be Paulina’s lawyer husband. Paulina, who had not seen the face of the sadistic doctor, that had led the gang of men to torture her and violate her modesty in the prison, recognizes this Dr.

Miranda to be the same man by his voice and mannerisms. The movie leaves a space for ambiguity in the end, since it is not convinced by the actions of the characters, which one of the two is innocent. The doctor is shown as unaware of the events of Paulina’s past that she relates him with, and her husband is caught between the words of his wife on one hand and that of the doctor on the other. At one point it appears to him that Paulina’s outburst is an effect of the tormenting past she has had.

The confessions by the doctor leads to a stunning revelation but does not convince whether he is truly guilty or has made the confession in front of Paulina in order to appease her and free her from her horrible past that has been haunting her. The performance of the actors is totally impressive and the director has been successful in installing the sense of dread into the minds of the audience. Death and the Maiden can be considered as the most riveting of all the films Polanski has made till date.

The details have been captured through the sequences extremely well. It is a study of mental agony, paranoia and burning desire to revenge. The sequences are apt in holding the audience in suspense and the brilliant dialogues evoke a feeling of uncertainty in their minds throughout. In the movie Paulina is determined to avenge herself by taking a note of confession from the miscreant for his deed, while it leaves the viewer to think whether it is just on the end of the doctor to endure the troubles in captivity and give such a confession, if, in reality, he is not the same man that had tortured Paulina fifteen years ago.

However, although the movie is emotionally charged, the words of the characters have been portrayed as too ideological. The song ‘Death and the Maiden’ played by the sadistic doctor while materializing his lust for flesh and power has created the atmosphere of cold shrewdness and makes the name of the play appropriate. Reference Death and the Maiden. Dir. Roman Polanski, Perf. Sigourney Weaver, Ben Kingsley, Fine Line Features, 1994. Film.

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Death and the Maiden

by Ariel Dorfman

Death and the maiden literary elements, setting and context.

The play is set in the present, in a country that "is probably Chile" but could be any country that is adjusting to a newly established democracy after decades of a dictatorship. Ariel Dorfman wrote the play in 1990, and many of the cultural references, such as tape recorders, fit into that time frame.

Narrator and Point of View

There is no narrator for the play, and thus, there is no particular point of view. The play allows all three of its characters the opportunity to express their points of view as each fights for the opportunity to tell his or her story.

Tone and Mood

The play's tone is gritty, dramatic, and dark. Much of the play takes place at night; many scenes unfold in literal darkness. In addition, there is a symbolic darkness that permeates the play as well. Death and the Maiden is also highly realistic until its final scenes, when theatrical elements like the giant mirror and Paulina and Gerardo sitting in the audience add a layer of symbolism that forces the audience into a more active style of viewership.

Protagonist and Antagonist

Paulina is the main protagonist of the play, and Roberto its main antagonist. Depending on how the audience views and judges Paulina's actions, it is also possible for the audience to favor and root for Gerardo (or even Roberto), however Paulina is established as the main protagonist because of her prominence in the play and her actions, which drive the rest of the characters' behaviors.

Major Conflict

The major conflict is between Paulina and the team of Roberto and Gerardo. Paulina wants to try (and ultimately kill) Roberto for his crimes, whereas Roberto and Gerardo both want her to free Roberto.

The climax of the play occurs in Act 3, Scene 1 when Paulina has gotten Gerardo to leave the house and prepares to kill Roberto. As she raises her gun to his head and he pleads for his life, the audience expects to see the climax occur with his death (or perhaps Paulina's decision to free him). Instead, the descent of a giant mirror interrupts the action onstage and forces the audience into an artificial moment of self-reflection.

Foreshadowing

In the opening moments of the play, Paulina reaches for the gun in the sideboard when she hears her husband coming home with a stranger, an image that clearly foreshadows her decision to kidnap Roberto and use the gun to exercise power over both men.

Later, in scene 2, Paulina catches Gerardo in a lie when she gets him to admit that he's already accepted the position on the commission, even though he initially told her he hadn't decided yet. This foreshadows the lies that Paulina and Gerardo will tell each other later on in their efforts to achieve their opposing goals - Gerardo will lie to Paulina in his attempt to free Roberto, and Paulina will lie to Gerardo so that she will be able to kill Roberto.

Understatement

Throughout the play, Dorfman uses understatement to emphasize Paulina's power in the situation. When she first ties up Roberto, she jokes, "I hope you don't mind that this must remain, for the moment, a monologue" (20) - which is an understatement because Roberto is gagged and therefore unable to respond. She later remarks, "No one can say that I'm not a good cook, can they?" (45) when of course neither Gerardo nor Roberto cares whether or not Paulina is a good cook - they just want her to free Roberto. These moments of understatement add a lightness to Paulina's words which further amplify the danger she represents; she comes across as casual, but of course the fact that she is holding a gun and could kill Roberto, Gerardo or herself at any moment belies this cheekiness and gives her statements a sinister overtone.

The entire play is an allusion to Chile's recovery from the dictatorial rule of General Augusto Pinochet and the subsequent Rettig Commission that was established to investigate his crimes. Gerardo's Investigating Commission is meant to represent the Rettig Commission, and Paulina's kidnapping is meant to represent the many kidnappings that Pinochet's secret police engaged in throughout the decades of his rule. Although Dorfman never names the past dictator or the current President in Death and the Maiden, the audience can assume that they are stand-ins for Pinochet and his successor, Patricio Aylwin, Chile's first democratically elected president.

Some recurring images that Dorfman uses throughout the play are moonlight, which represents the haunting power of the past; the tape recorder, which acts as a sort of silent witness to all the characters' testimonies, a literal representation of the commission's goal to establish an official documented history of the violence that has occurred. Meanwhile, the image of Roberto being tied to a chair evokes the thousands of kidnappings and abductions perpetrated by the secret police during the tyrannical dictatorship.

A major paradox in the play is Roberto's challenge. He insists on his innocence, and demands that he should be freed because of it. However the only way Paulina will consent to freeing him is if he confesses his guilt. This is a paradox because Roberto's innocence is exactly why he believes he deserves freedom - should he confess his guilt, it would mean accepting vigilante justice as an appropriate form of punishment.

Parallelism

There is a major parallel in the between Paulina and the former dictator. In both cases, an individual is wrenching control over others. Even though the persecuted parties believe that the individual in power is crazy, they submit to his or her demands because he or she threatens violence and possesses a means to dominate them. Paulina's abduction of Roberto is a direct parallel to the former dictator's abduction of Paulina, thus representing the cycle of violence her vengeance will perpetrate.

Personification

Gerardo is, in a certain way, the personification of reason and logic in the play. Although Paulina is consumed by her need for vengeance and justice, Gerardo encourages her to be reasonable and let Roberto go. For much the play, Gerardo is able to keep his cool and acts rationally towards both Paulina and Roberto. By the play's end, however, Gerardo loses some of this calmness, eventually succumbing to the frustration and anguish that Paulina's actions have stirred up within him.

Similarly, Paulina is something of the personification of vengeance. She is motivated entirely by her desire to see Roberto suffer for what she believes he did to her, and fully ascribes to the "eye for an eye" mindset. She is unswayed by Gerardo's logic or by Roberto's pleas for clemency; instead, it is blind vengeance that propels her forward.

Use of Dramatic Devices

A major dramatic device in Death and the Maiden is Dorfman's use of the mirror in Act 3, Scene 1. At the moment of the play's climax, the stage directions indicate that a giant mirror descends in front of Paulina and Roberto, forcing the audience to study themselves and each other while a spotlight roams around, illuminating various audience members in turn. This highly alienating device entirely takes the viewers out of the "story," encouraging them to instead reflect (literally) on their own feelings about the narrative - their complicity in violations of human rights, their belief in whether or not Paulina's actions are justified, and their own opinions about personal or societal justice.

In the play's final scene, the stage directions indicate that Paulina and Roberto are watching a concert from within the audience itself, which further serves to implicate the audience in the issues of the play - Dorfman literally "casts" the viewers as citizens of Paulina and Roberto's country, and forces them to consider how they might behave when put in the same situations as his fictional characters.

The use of music in the play - specifically, Schubert's Death and the Maiden and the Mozart piece that accompanies the climax - helps to intensify the emotional impact of the play by exposing the audience to the same auditory cues that torment Paulina.

Finally, the play's lighting cues as written in the stage directions also help to amp up the intensity. For example, the darkness that surrounds the tape recorder as we hear Roberto's confession focuses the audience's attention on the content of his confession, and the moonlight that illuminates Roberto at the end of the play underlines the haunting quality of his presence.

Death and the Maiden Questions and Answers

The Question and Answer section for Death and the Maiden is a great resource to ask questions, find answers, and discuss the novel.

Paulina heard his voice during her torture.

How is Paulina characterized as a victim?

Paulina is incapable of looking towards the future, so shackled is she by the horrors of her past. Years before, during the military dictatorship in her country, she was studying medicine and becoming involved in the resistance. As a result,...

Violence bubbles underneath the surface of every moment in Death and the Maiden even though the characters themselves barely attack each other physically. Instead, Paulina, Gerardo, and Roberto make reference to, imply, or threaten each other with...

Study Guide for Death and the Maiden

Death and the Maiden study guide contains a biography of Ariel Dorfman, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About Death and the Maiden
• Death and the Maiden Summary
• Character List

Essays for Death and the Maiden

Death and the Maiden essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Death and the Maiden by Ariel Dorfman.

• Marriage in Death and the Maiden
• The Relationship Between Character Symbolism and Chilean Society in Ariel Dorfman’s Death and the Maiden
• An Analysis of Gerardo’s Role in Death and the Maiden
• Understanding Paulina's Mentality: A Close Reading of Death and the Maiden, Act 2 Scene 1 Onwards
• The Development of Justice in Death and the Maiden

Lesson Plan for Death and the Maiden

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Death and the Maiden
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Death and the Maiden Bibliography

Wikipedia Entries for Death and the Maiden

• Introduction

Home — Essay Samples — Literature — Kate Chopin — The Death of the Maiden Motif in “Where Are You Going, Where Have You Been” and “The Story of an Hour”

The Death of The Maiden Motif in "Where Are You Going, Where Have You Been" and "The Story of an Hour"

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