Ariel Dorfman plays “Death and the Maiden” about Gerardo and Paulina. Their lives are characterized by an unstable democracy that has emerged after a long history of oppressive dictatorships. Paulina accuses Roberto that he tortured her and raped it during her time in captivity under the dictatorship. Gerardo sees Roberto after he gets a flat tire. Paulina recognizes his voice and claims he is her torturer. Gerardo then visits Roberto at night and she justifies her holding him captive. Paulina then requests that Gerardo be impartially tried. Paulina not only questions the existence and brutality of Roberto’s previous relationship, but she also risks Gerardo’s friendship. While Paulina has flashbacks to her abduction, she digs up Gerardo’s skeleton. Ariel Dorfman’s use of repetition, flashback and sarcasm reveals the instability within Paulina-Gerardo’s marriage.
Gerardo uses sarcasm to communicate with Paulina. It usually takes a lot to get to know someone in order for you to understand if they are being sarcastic. Gerardo & Paulina are able to pick up each other’s tone easily which shows their closeness. But sarcasm can also reveal inner bitterness or contempt. Dorfman is a good example of Gerardo’s infidelity. Paulina quickly assumes that the woman who helped Gerardo fix the flat tire was Paulina. She responds, “Was her beauty at all? Sexy?” [pg 6]. This sarcastic question, while rhetorical, attacks Gerardo as Paulina digs at his past mistakes. The question sparks a series sarcastic arguments when Gerardo is discussed by the couple. They disagree about their vulnerability and what the job will entail. Paulina is reluctant to give Gerardo permission to accept the new job, as she believes it would cause old wounds. Gerardo says yes initially, but she isn’t satisfied. Gerardo then responds with a submissive no. Paulina laughs at Gerardo’s insensitivity and replies, “it’s all I have.” This is how tension builds between them. Paulina is also upset that the Commission can only handle cases that “end in death or presumption death”. She sarcastically calls these cases “irreparable.” 9]. Paulina’s use “irreparable”, a loaded word, is loaded. She invokes the emotional trauma she suffered from her abduction. She exaggerates her anger and, in a moment of tension again, asks rhetorical questions about the “judges,” [pg 10,] who will be addressing the crimes. Her tirade ends with a soft, sarcastic laugh that turns into “increasing hypersteria” [pg 10]. These conversations reveal that Gerardo’s traumatized past has weakened their marital foundation. Gerardo’s fluctuating between deceitfulness and heroic savior status makes him an enigma for both Paulina and the reader. Gerardo has always found a way to forgive himself when he is accused. Paulina mistakenly assumed it was Gerardo who fixed his flat tire. This triggered the discussion about Gerardo’s disloyalty. He then retorts about Paulina’s misfortune of lending the jack her mother. He does this to gain back control by making his wife guilty. Paulina learns that Gerardo lies about ‘thinking over’ the Commissioner’s situation, but he has actually accepted it with her consent. Gerardo then excuses his actions by telling Paulina he “didn’t mean to hurt her”. Gerardo often comforts Paulina, sometimes even using it to his own self-preservation. Gerardo manipulates Paulina so that she accepts his role as Commissioner. He holds her hand and then confesses to his love. Paulina is overwhelmed by this gesture and she recites “Yes.” Yes. In surrender, yes.
Gerardo also calms Paulina when she is hysterical at the Commission judges. Gerardo then intervenes and stops Paulina spiraling down into an emotional crisis and a downward spiral. These implications may be related to gender roles in the society that the play takes places. Gerardo is able to recognize his power and use it to rescue Paulina.
Paulina’s flashbacks cause her to change and her personality is at risk. Gerardo also has a new perception of her insaneness. Gerardo shocks Paulina when he first sees Roberto tied up to a chair. Paulina, however, is motivated and empowered to achieve revenge and disagrees with Gerardo’s statement that Roberto is “sick”. Paulina’s imitation of Roberto (also known under Dr. Miranda), idiolect, which includes the use profanity as well as diction such “teensy-weensy”, helps her remember her attack and fuels her determination to fight Gerardo for a trial. Paulina is honest about her vulnerability and says that “as soon a I stop pointing (the gun) towards you, all dialogue shall automatically terminate.” You’ll use all your strength to win this argument if I put it down” [pg 24]. She is referring to Gerardo’s power over her, both emotionally and physically. Paulina is actually using the gun to represent strength. This not only acts as a barrier against Gerardo’s power but also serves as a cover for her doubts and fears. Paulina’s vulnerability is revealed when she uses the gun. She “as shocked as both men” and “recoil from the shot”. Gerardo’s comments that “you cannot do this” prompt her to return to her gladiator nature. Again, she imitates Gerardo in order to reinforce her point. Gerardo says, “You don’t know how to do this, that’s impossible, you can do it.” She then ends her rant unapologetic with “I did it!” Gerardo and Paulina are unable to control their own actions. Couple’s instability is caused by their inability to judge each other and the return painful memories.
Ariel Dorfman, using repetition, flashback, sarcasm and sarcasm, successfully depicts the marriage’s decline. Even though they find themselves in a unique situation, their marriage seems to be governed by the gender roles of husband and wife. They both show how even the most passionate of affections can be damaged by horrible memories. These memories must be overcome before the couple can move forward with their lives. Dorfman’s characters have depth that affects both the reader and the audience.
