Death and the Maiden

Essay by xcxCarlileCollege, UndergraduateA+, November 2014

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Death and The Maiden

As she was blindfolded in captivity, she never saw her purported captor Miranda, whose name comes from mirar, to look or watch (in delightful irony, the name Escobar evokes escoba, a broom to sweep all the dirt under some rug). Could she be mistaken? It would be impossible to be wrong unless one were deluded; but people do modulate their behavior, habits, and voice, especially when they have something to hide. But there is one more proof: every time her invisible assailant entered her, he played Schubert's stormy piece for ambience. Miranda revisits the Escobar's' residence that fateful night, allegedly to return a tire but also to wax more than a bit toady to the new head of the human rights commission. "I've followed your career ever since you petitioned on behalf of the missing prisoners in -" but Miranda does not attempt to finish this compliment and Gerardo waves it off modestly.

Miranda is insecure, or so it seems, and a bit too bent on coming off as an intellectual: he is a little too sardonic, too interested in quoting famous thinkers, too smug about life's vicissitudes. And as he is invited in for a drink to celebrate his kindness, his voice is recognized by a hidden Paulina in a very effective sequence of gestures and actions. I thought this was interesting, because for the most part strangers, after a couple hours they are the best of pals a couple of hours later. The way he carries himself made me realize that he was hiding something. Especially the way he idolizes Escobar to an extreme. Or he also could be using that as a method to go in the house, because he knows Paulina may be in there. During this whole ordeal, Paulina will have...