Since dramas often lack time to fully develop characters, playwrights rely on indirect characterization to avoid underdeveloping their characters. Audience members and readers must personify individuals through other means such as dialogue or actions. In order to characterize each of the three characters of Death and the Maiden, Ariel Dorfman manipulates various elements of dialogue and language. Through the frequent use of ellipses, dashes, and diction, Gererado's character emerges as a subordinate individual. The personality of his wife, Paulina, is distinguished by the questions and long monologues in her dialogues, which reflect her suspicious nature and strong spirit. Conversely, formal diction does not seem to be the only element of dialogue that characterizes Roberto. His class, education, and emotions are presented through the use of punctuation, particularly hyphens or ellipsis. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Throughout the play, Death and the Maiden, Gerardo expresses the characteristic of submissiveness towards those around him, especially towards his wife Paulina. To capture this perception, Dorfman employs two distinct techniques. During his arguments, Paulina and Roberto appear to interrupt or overshadow Gerardo due to the insertion of ellipses and hyphens. For example, at the beginning of the play, Paulina rejects Gerardo when he says: GERARDO: You mean Roberto Miranda? I barely know this man. Besides, I haven't decided yet whether I should...PAULINA: You have decided.GERARDO: I said I would respond tomorrow, that I felt extremely honored but that I needed...PAULINA: The president? Did you say that to the president? (Dorfman 7-8)Throughout the entire conversation, Paulina denies Gerardo the chance to finish his thoughts; indicating his lack of consideration for what he has to say. In addition to punctuation, Gerardo's choice of words contributes to his depiction of submission. He always seems to have an apologetic and pleading tone when he speaks; notably during his conversations with Paulina as she explains the fake trial, Gerardo tries to reason with his wife before she does something crazy. “Dear, dear Paulie, please don’t be so difficult. I want to talk to you where we have some privacy (33). By emphasizing the words "please", "Paulina", "Paulie" and "love", Gerardo attempts to please his wife, making her come to her senses before she does something rash. In this example, Gerardo begs Paulina not to shoot Roberto and to release him without facing the trial she has prepared. His expression of calm and reason is attributed to a feeling of docility. Instead of angrily demanding that she stop her charade, Gerardo gently tries to persuade her, making it seem like he was afraid of her. Unquestionably, Dorfman's emphasis on Gerardo's character's punctuation and diction speaks to his submissiveness. Compared to her husband Gerardo, Paulina seems to embody an antithetical personality. Paulina's exceptionally dark and disturbing past haunts her throughout the play. During the time of Pinochet's rule, thousands of people, including Paulina, were kidnapped and tortured for political reasons. Her experiences of rape and torture are attributed to her distrust of those around her. Paulina's distrust is shown through Dorman's use of punctuation in his speech. Almost all of Paulina's dialogue ends with a question mark. Whether she's talking to her husband or Dr. Miranda, pointsquestions seem to reveal Paulina's character. For example, when Paulina explains her intentions with Roberto to her husband, the questions contribute to the idea that Paulina is beginning to doubt Gerardo and his trust in her: PAULINA: Kill them? Kill him? Since he didn't kill me, I think it wouldn't be fair to- GERARDO: It's good to know that, Paulina, because you should kill me too, I warn you that if you intend to kill, you're going to have to fill me firstPAULINA: Would you mind calming down? I don't have the slightest intention of killing him, and certainly not you... But as usual, you don't believe me (34). Paulina loses confidence in her husband because he seems to distrust her. She fears the idea that the one person she thought she could trust, Gerardo, will suddenly no longer trust her. In addition to the frequent inclusion of question marks, Paulina's speech features numerous monologues. These long lines of speech reflect his desire to be the center of attention and to take charge of the situation. Her almost interminable monologue at the beginning of Act 1, Scene 4, shows the audience Paulina's dramatic nature. She explains parts of her troubled past and her feelings about Schubert to Dr. Miranda (19-21). Speaking at length for just over three pages, Paulina emerges as the center of the conversation, just as she likes it. Undoubtedly, as the play progresses, Paulina's distrust of people and her love of attention becomes known to the audience through the presence of question marks and monologues. Conversely, Dr. Roberto Miranda's use of language distinguishes his differences from the other two characters in the play. Formality characterizes his speech, reflecting his class and education. Roberto's actual speech develops more than the speech of Paulina or Gerardo, who assert a more relaxed tone. Even when Paulina forcefully ties him up, Roberto's speech still embodies the highest level of formality: ROBERTO: I don't know you, ma'am. I've never seen you in my life. But I can tell you this: you are extremely ill, almost typically schizoid. But you, Escobar, sir, are not sick… (32). Although he is the prisoner of two strangers, Roberto always remains polite and proper when speaking to Paulina and Gerardo. However, Dorfman changes the punctuation of Dr. Miranda's dialogue, particularly in the scenes where he remains captive of the Escobars. Compared to before, the most noticeable difference occurs with the frequent inclusion of ellipses and hyphens. These punctuation marks reflect the nervousness and fear that Roberto feels during these situations; like when Gerardo begs him to please Paulina by playing with his fantasy: Roberto seems hesitant about lying to Paulina and rightly so, given the dangerous situation. If he gives Paulina the wrong answer, it could cost Roberto his life. The ellipses in this excerpt persuade the audience of the doubt Roberto feels because it does not seem characteristic of his behavior. If Dorfman had used Roberto's previous speech patterns, his sentences would end with a more definitive response rather than an open-ended response. However, his hesitation reveals his awareness of the situation; If this plan goes wrong, he risks his own life. Overall, Roberto's superior status is asserted through his formal diction. Yet adding ellipses and hyphens creates a feeling of edginess that can overshadow its formality. Keep in mind: this is just a sample. Get a personalized article from our expert writers now. Get a Custom Essay Overall, playwrights manipulate an assortment of techniques. to characterize the characters.