Death and the Maiden

by

Ariel Dorfman

Teachers and parents! Our Teacher Edition on Death and the Maiden makes teaching easy.

Roberto Miranda Character Analysis

Roberto is the enigmatic and mysterious doctor who helps Gerardo on the road when his car breaks down. When he then visits Gerardo and Paulina’s beach house to congratulate Gerardo on his appointment to the commission, which he has just heard about on the radio, Roberto is tied up at gunpoint by Paulina. The question of Roberto’s true identity is the crux of the play: Paulina is convinced that he is the doctor who raped and tortured her, but he insists throughout that he is an innocent man. Certain traits shown by Roberto make Paulina certain of his identity. For example, he uses the phrase “real real truth”—the same as her attacker; in his car is a cassette tape of the same Schubert quartet that her rapist would play during the attacks; and when Roberto “falsifies” his confession based on the information Gerardo has gleaned from Paulina about what happened to her, he appears to subconsciously correct a deliberate error that Paulina placed in her account as a test. All in all, though, it can’t be said without doubt that Roberto is the same doctor from Paulina’s past. Though there is evidence against him, the audience must also consider the reliability of Paulina’s state of mind given the immense trauma that she has suffered.

Roberto Miranda Quotes in Death and the Maiden

The Death and the Maiden quotes below are all either spoken by Roberto Miranda or refer to Roberto Miranda. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
Memory, Trauma, and the Senses Theme Icon
).
Act 1, Scene 2 Quotes

GERARDO: Oh, it’s you. God, you scared the shit out of me.

ROBERTO: I’m really so sorry for this—intrusion. I thought you’d still be up celebrating.

GERARDO: You must excuse my . . . — do come in.

ROBERTO enters the house.

It’s just that we still haven’t got used to it.

ROBERTO: Used to it?

GERARDO: To democracy. That someone knocks on your door at midnight and it’s a friend and not . . . —

Related Characters: Gerardo Escobar (speaker), Roberto Miranda (speaker), Paulina Salas
Page Number: 12
Explanation and Analysis:

ROBERTO: No, I am telling you, and this is said straight from the heart, this Commission is going to help us close an exceptionally painful chapter in our history, and here I am, alone this weekend, we’ve all got to help out—it may be a teensy-weensy gesture but—

GERARDO: Tomorrow would have been fine.

ROBERTO: Tomorrow? You manage to get to your car—no spare. Then you have to set out and find me. No, my friend,— and then I thought I might as well offer to go fix it with you tomorrow with my jack—which reminds me— what happened to your jack, did you find out what—

GERARDO: My wife loaned it to her mother.

ROBERTO: To her mother?

GERARDO: You know women. . . .

ROBERTO (laughing): All too well. The last mystery. We are going to explore all the frontiers, my friend, and we will still have that unpredictable female soul. You know what Nietzsche once wrote—at least I think it was Nietzsche? That we can never entirely possess that female soul. Or maybe it wasn’t him. Though you can be sure that old Nietzsche would have if he’d found himself on a weekend road without a jack.

Related Characters: Gerardo Escobar (speaker), Roberto Miranda (speaker), Paulina Salas
Page Number: 14
Explanation and Analysis:
Act 1, Scene 3 Quotes

We see her dragging something in, which resembles a body but we can’t be sure. As the scene continues, it can be seen that it is a body. She moves a chair and hoists the body onto it, ties it to the chair. She goes into the spare room, returns with what seems to be Roberto’s jacket, takes a set of car keys

from it. She starts to leave the house. Stops. Turns back to look at the body which is now clearly that of Roberto. She takes off her panties, stuffs it into Roberto’s mouth.

Related Characters: Paulina Salas, Roberto Miranda
Page Number: 19
Explanation and Analysis:
Act 1, Scene 4 Quotes

PAULINA: But here I am chatting away when I’m supposed to make breakfast, aren’t I, a nice breakfast? Now you like—let’s see, ham sandwiches, wasn’t it? Ham sandwiches with mayonnaise. We haven’t got mayonnaise, but we do have ham. Gerardo also likes ham. I’ll get to know your other tastes. Sorry about the mayonnaise. I hope you don’t mind that this must remain, for the moment, a monologue. You’ll have your say, Doctor, you can be sure of that. I just don’t want to remove this— gag, you call it, don’t you?—at least not till Gerardo wakes up.

Related Characters: Paulina Salas (speaker), Gerardo Escobar, Roberto Miranda
Related Symbols: The Gun
Page Number: 20-21
Explanation and Analysis:

PAULINA: D’you know how long it’s been since I last listened to this quartet? If it’s on the radio, I turn it off, I even try not to go out much, though Gerardo has all these social events he’s got to attend and if they ever name him minister we’re going to live running around shaking hands and smiling at perfect strangers, but I always pray they won’t put on Schubert. One night we were dining with— they were extremely important people, and our hostess happened to put Schubert on, a piano sonata, and I thought, do I switch it off or do I leave, but my body decided for me, I felt extremely ill right then and there and Gerardo had to take me home, so we left them there listening to Schubert and nobody knew what had made me ill, so I pray they won’t play that anywhere I go, any Schubert at all, strange isn’t it, when he used to be, and I would say, yes I really would say, he’s still my favorite composer, such a sad, noble sense of life. But I always promised myself a time would come to recover him, bring him back from the grave so to speak, and just sitting here listening to him with you I know that I was right, that I’m—so many things that are going to change from now on, right? To think I was on the verge of throwing my whole Schubert collection out, crazy!

(raising her voice, to Gerardo)

Isn’t this quartet marvellous, my love?

[…]

The real real truth is that you look slightly bored.

Related Characters: Paulina Salas (speaker), Gerardo Escobar, Roberto Miranda
Related Symbols: Schubert’s “Death and the Maiden”
Page Number: 21
Explanation and Analysis:

PAULINA: It’s his voice. I recognized it as soon as he came in here last night. The way he laughs. Certain phrases he uses.

GERARDO: But that’s not . . .

PAULINA: It may be a teensy-weensy thing, but it’s enough for me. During all these years not an hour has passed that I haven’t heard it, that same voice, next to me, next to my ear, that voice mixed with saliva, you think I’d forget a voice like his?

(Imitating the voice of Roberto, then of a man)

“Give her a bit more. This bitch can take a bit more. Give it to her.”

“You sure, Doctor? What if the cunt dies on us?”

“She’s not even near fainting. Give it to her, up another notch.”

Related Characters: Paulina Salas (speaker), Gerardo Escobar (speaker), Roberto Miranda
Page Number: 23
Explanation and Analysis:

GERARDO: Please, Paulina, could we start being reasonable, start acting as if—

PAULINA: You be reasonable. They never did anything to you.

GERARDO: They did things, of course they did things—but we’re not competing for some horror prize here, damn it— let’s try and be reasonable. Even if this man was the doctor of those terrible events—he isn’t, there’s no reason why he should be, but let’s say he was—even in that case, what right do you have to bind him like this, baby, look at what you’re doing, Paulina, think of the consequences of—

Related Characters: Paulina Salas (speaker), Gerardo Escobar (speaker), Roberto Miranda
Page Number: 25
Explanation and Analysis:
Act 2, Scene 1 Quotes

PAULINA: You don’t know anything about Gerardo, do you?—I mean you never knew a thing. I never breathed his name. Your—your colleagues, they’d ask me, of course. “With that twat, little lady, don’t tell you haven’t got someone to fuck you, huh? Come on, just tell us who’s been fucking you, little lady.” But I never gave them Gerardo’s name. Strange how things turn out. If I had mentioned Gerardo, he wouldn’t have been named to any Investigating Commission, but would have been one of the names that some other lawyer was investigating. And I would be in front of that Commission to tell them how I met Gerardo—in fact I met him just after the military coup, helping people seek asylum in embassies—saving lives with Gerardo, smuggling people out of the country so they wouldn’t be killed. I was wild and fearless, willing to do anything, I can’t believe that I didn’t have an ounce of fear in my whole body at that time.

Related Characters: Paulina Salas (speaker), Gerardo Escobar, Roberto Miranda
Page Number: 30
Explanation and Analysis:

ROBERTO: (coughs, then in a rough, hoarse voice): Water.

GERARDO: What?

PAULINA: He wants water, Gerardo.

Gerardo rushes to fill a glass with water and brings it to Roberto, giving it to him to drink. Roberto drinks it down noisily.

PAULINA: Nothing like good fresh water, eh, Doctor? Beats drinking your own piss.

ROBERTO: Escobar. This is inexcusable. I will never forgive you as long as I live.

Related Characters: Paulina Salas (speaker), Gerardo Escobar (speaker), Roberto Miranda (speaker)
Page Number: 31
Explanation and Analysis:

PAULINA:I would imagine pushing their head into a bucket of their own shit, or electricity, or when we would be making love and I could feel the possibility of an orgasm building, the very idea of currents going through my body would remind me and then—and then I had to fake it, fake it so you wouldn’t know what I was thinking, so you wouldn’t feel that it was your failure—oh Gerardo.

GERARDO: Oh, my love, my love.

PAULINA: So when I heard his voice, I thought the only thing 1want is to have him raped, have someone fuck him, that’s what I thought, that he should know just once what it is to . . . And as I can’t rape—I thought that it was a sentence that you would have to carry out.

GERARDO: Don’t go on, Paulina.

Related Characters: Paulina Salas (speaker), Gerardo Escobar (speaker), Roberto Miranda
Page Number: 40
Explanation and Analysis:
Act 2, Scene 2 Quotes

GERARDO: Roberto, I want to be honest with you. There is only one way to save your life . . .

Brief pause.

I think we have to—indulge her.

ROBERTO: Indulge her?

GERARDO: Humor her, placate her, so she feels that we—that you, are willing to cooperate . . .

Related Characters: Gerardo Escobar (speaker), Roberto Miranda (speaker), Paulina Salas
Page Number: 44
Explanation and Analysis:

ROBERTO: Playing roles, she’s bad, you’re good, to see if you can get me to confess that way. And once I’ve confessed, you’re the one, not her, you’re the one who’s going to kill me, it’s what any man would do, any real man, if they’d raped his wife, it’s what I would do if somebody had raped my wife. Cut your balls off. So tell me: you think I’m that fucking doctor, don’t you?

Pause. Gerardo stands up.

Where are you going?

GERARDO: I’m going to get the gun and blow your fucking brains out. (Brief pause. Angrier and angrier) But first you sonuvabitch I’m going to follow your advice and cut off your balls, you fascist. That’s what a real man does, doesn’t he. Real macho men blow people’s brains out and fuck women when they’re tied up on cots. Not like me. I’m a stupid, yellow, soft faggot because I defend the son of a bitch who screwed my wife and destroyed her life. How many times did you screw her? How many times, you bastard?

Related Characters: Gerardo Escobar (speaker), Roberto Miranda (speaker), Paulina Salas
Related Symbols: The Gun
Page Number: 47
Explanation and Analysis:
Act 3, Scene 1 Quotes

ROBERTO: A kind of—brutalization took over my life, I began to really truly like what I was doing. It became a game. My curiosity was partly morbid, partly scientific. How much can this woman take? More than the other one? How’s her sex? Does her sex dry up when you put the current through her? Can she have an orgasm under those circumstances? She is entirely in your power, you can carry out all your fantasies, you can do what you want with her.

Related Characters: Roberto Miranda (speaker), Paulina Salas
Page Number: 59
Explanation and Analysis:
Act 3, Scene 2 Quotes

Gerardo and Paulina sit in their seats. Roberto goes to another seat, always looking at Paulina. Applause is heard when the imaginary musicians come on. The instruments are tested and tuned. Then Death and the Maiden begins. Gerardo looks at Paulina, who looks forward. He takes her hand and then also begins to look forward. After a few instants, she turns slowly and looks at Roberto. Their eyes interlock for a moment. Then she turns her head and faces tire stage and the mirror. The lights go down while the music plays and plays and plays.

Related Characters: Paulina Salas, Gerardo Escobar, Roberto Miranda
Related Symbols: The Mirror
Page Number: 68
Explanation and Analysis:
Get the entire Death and the Maiden LitChart as a printable PDF.
Death and the Maiden PDF

Roberto Miranda Quotes in Death and the Maiden

The Death and the Maiden quotes below are all either spoken by Roberto Miranda or refer to Roberto Miranda. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
Memory, Trauma, and the Senses Theme Icon
).
Act 1, Scene 2 Quotes

GERARDO: Oh, it’s you. God, you scared the shit out of me.

ROBERTO: I’m really so sorry for this—intrusion. I thought you’d still be up celebrating.

GERARDO: You must excuse my . . . — do come in.

ROBERTO enters the house.

It’s just that we still haven’t got used to it.

ROBERTO: Used to it?

GERARDO: To democracy. That someone knocks on your door at midnight and it’s a friend and not . . . —

Related Characters: Gerardo Escobar (speaker), Roberto Miranda (speaker), Paulina Salas
Page Number: 12
Explanation and Analysis:

ROBERTO: No, I am telling you, and this is said straight from the heart, this Commission is going to help us close an exceptionally painful chapter in our history, and here I am, alone this weekend, we’ve all got to help out—it may be a teensy-weensy gesture but—

GERARDO: Tomorrow would have been fine.

ROBERTO: Tomorrow? You manage to get to your car—no spare. Then you have to set out and find me. No, my friend,— and then I thought I might as well offer to go fix it with you tomorrow with my jack—which reminds me— what happened to your jack, did you find out what—

GERARDO: My wife loaned it to her mother.

ROBERTO: To her mother?

GERARDO: You know women. . . .

ROBERTO (laughing): All too well. The last mystery. We are going to explore all the frontiers, my friend, and we will still have that unpredictable female soul. You know what Nietzsche once wrote—at least I think it was Nietzsche? That we can never entirely possess that female soul. Or maybe it wasn’t him. Though you can be sure that old Nietzsche would have if he’d found himself on a weekend road without a jack.

Related Characters: Gerardo Escobar (speaker), Roberto Miranda (speaker), Paulina Salas
Page Number: 14
Explanation and Analysis:
Act 1, Scene 3 Quotes

We see her dragging something in, which resembles a body but we can’t be sure. As the scene continues, it can be seen that it is a body. She moves a chair and hoists the body onto it, ties it to the chair. She goes into the spare room, returns with what seems to be Roberto’s jacket, takes a set of car keys

from it. She starts to leave the house. Stops. Turns back to look at the body which is now clearly that of Roberto. She takes off her panties, stuffs it into Roberto’s mouth.

Related Characters: Paulina Salas, Roberto Miranda
Page Number: 19
Explanation and Analysis:
Act 1, Scene 4 Quotes

PAULINA: But here I am chatting away when I’m supposed to make breakfast, aren’t I, a nice breakfast? Now you like—let’s see, ham sandwiches, wasn’t it? Ham sandwiches with mayonnaise. We haven’t got mayonnaise, but we do have ham. Gerardo also likes ham. I’ll get to know your other tastes. Sorry about the mayonnaise. I hope you don’t mind that this must remain, for the moment, a monologue. You’ll have your say, Doctor, you can be sure of that. I just don’t want to remove this— gag, you call it, don’t you?—at least not till Gerardo wakes up.

Related Characters: Paulina Salas (speaker), Gerardo Escobar, Roberto Miranda
Related Symbols: The Gun
Page Number: 20-21
Explanation and Analysis:

PAULINA: D’you know how long it’s been since I last listened to this quartet? If it’s on the radio, I turn it off, I even try not to go out much, though Gerardo has all these social events he’s got to attend and if they ever name him minister we’re going to live running around shaking hands and smiling at perfect strangers, but I always pray they won’t put on Schubert. One night we were dining with— they were extremely important people, and our hostess happened to put Schubert on, a piano sonata, and I thought, do I switch it off or do I leave, but my body decided for me, I felt extremely ill right then and there and Gerardo had to take me home, so we left them there listening to Schubert and nobody knew what had made me ill, so I pray they won’t play that anywhere I go, any Schubert at all, strange isn’t it, when he used to be, and I would say, yes I really would say, he’s still my favorite composer, such a sad, noble sense of life. But I always promised myself a time would come to recover him, bring him back from the grave so to speak, and just sitting here listening to him with you I know that I was right, that I’m—so many things that are going to change from now on, right? To think I was on the verge of throwing my whole Schubert collection out, crazy!

(raising her voice, to Gerardo)

Isn’t this quartet marvellous, my love?

[…]

The real real truth is that you look slightly bored.

Related Characters: Paulina Salas (speaker), Gerardo Escobar, Roberto Miranda
Related Symbols: Schubert’s “Death and the Maiden”
Page Number: 21
Explanation and Analysis:

PAULINA: It’s his voice. I recognized it as soon as he came in here last night. The way he laughs. Certain phrases he uses.

GERARDO: But that’s not . . .

PAULINA: It may be a teensy-weensy thing, but it’s enough for me. During all these years not an hour has passed that I haven’t heard it, that same voice, next to me, next to my ear, that voice mixed with saliva, you think I’d forget a voice like his?

(Imitating the voice of Roberto, then of a man)

“Give her a bit more. This bitch can take a bit more. Give it to her.”

“You sure, Doctor? What if the cunt dies on us?”

“She’s not even near fainting. Give it to her, up another notch.”

Related Characters: Paulina Salas (speaker), Gerardo Escobar (speaker), Roberto Miranda
Page Number: 23
Explanation and Analysis:

GERARDO: Please, Paulina, could we start being reasonable, start acting as if—

PAULINA: You be reasonable. They never did anything to you.

GERARDO: They did things, of course they did things—but we’re not competing for some horror prize here, damn it— let’s try and be reasonable. Even if this man was the doctor of those terrible events—he isn’t, there’s no reason why he should be, but let’s say he was—even in that case, what right do you have to bind him like this, baby, look at what you’re doing, Paulina, think of the consequences of—

Related Characters: Paulina Salas (speaker), Gerardo Escobar (speaker), Roberto Miranda
Page Number: 25
Explanation and Analysis:
Act 2, Scene 1 Quotes

PAULINA: You don’t know anything about Gerardo, do you?—I mean you never knew a thing. I never breathed his name. Your—your colleagues, they’d ask me, of course. “With that twat, little lady, don’t tell you haven’t got someone to fuck you, huh? Come on, just tell us who’s been fucking you, little lady.” But I never gave them Gerardo’s name. Strange how things turn out. If I had mentioned Gerardo, he wouldn’t have been named to any Investigating Commission, but would have been one of the names that some other lawyer was investigating. And I would be in front of that Commission to tell them how I met Gerardo—in fact I met him just after the military coup, helping people seek asylum in embassies—saving lives with Gerardo, smuggling people out of the country so they wouldn’t be killed. I was wild and fearless, willing to do anything, I can’t believe that I didn’t have an ounce of fear in my whole body at that time.

Related Characters: Paulina Salas (speaker), Gerardo Escobar, Roberto Miranda
Page Number: 30
Explanation and Analysis:

ROBERTO: (coughs, then in a rough, hoarse voice): Water.

GERARDO: What?

PAULINA: He wants water, Gerardo.

Gerardo rushes to fill a glass with water and brings it to Roberto, giving it to him to drink. Roberto drinks it down noisily.

PAULINA: Nothing like good fresh water, eh, Doctor? Beats drinking your own piss.

ROBERTO: Escobar. This is inexcusable. I will never forgive you as long as I live.

Related Characters: Paulina Salas (speaker), Gerardo Escobar (speaker), Roberto Miranda (speaker)
Page Number: 31
Explanation and Analysis:

PAULINA:I would imagine pushing their head into a bucket of their own shit, or electricity, or when we would be making love and I could feel the possibility of an orgasm building, the very idea of currents going through my body would remind me and then—and then I had to fake it, fake it so you wouldn’t know what I was thinking, so you wouldn’t feel that it was your failure—oh Gerardo.

GERARDO: Oh, my love, my love.

PAULINA: So when I heard his voice, I thought the only thing 1want is to have him raped, have someone fuck him, that’s what I thought, that he should know just once what it is to . . . And as I can’t rape—I thought that it was a sentence that you would have to carry out.

GERARDO: Don’t go on, Paulina.

Related Characters: Paulina Salas (speaker), Gerardo Escobar (speaker), Roberto Miranda
Page Number: 40
Explanation and Analysis:
Act 2, Scene 2 Quotes

GERARDO: Roberto, I want to be honest with you. There is only one way to save your life . . .

Brief pause.

I think we have to—indulge her.

ROBERTO: Indulge her?

GERARDO: Humor her, placate her, so she feels that we—that you, are willing to cooperate . . .

Related Characters: Gerardo Escobar (speaker), Roberto Miranda (speaker), Paulina Salas
Page Number: 44
Explanation and Analysis:

ROBERTO: Playing roles, she’s bad, you’re good, to see if you can get me to confess that way. And once I’ve confessed, you’re the one, not her, you’re the one who’s going to kill me, it’s what any man would do, any real man, if they’d raped his wife, it’s what I would do if somebody had raped my wife. Cut your balls off. So tell me: you think I’m that fucking doctor, don’t you?

Pause. Gerardo stands up.

Where are you going?

GERARDO: I’m going to get the gun and blow your fucking brains out. (Brief pause. Angrier and angrier) But first you sonuvabitch I’m going to follow your advice and cut off your balls, you fascist. That’s what a real man does, doesn’t he. Real macho men blow people’s brains out and fuck women when they’re tied up on cots. Not like me. I’m a stupid, yellow, soft faggot because I defend the son of a bitch who screwed my wife and destroyed her life. How many times did you screw her? How many times, you bastard?

Related Characters: Gerardo Escobar (speaker), Roberto Miranda (speaker), Paulina Salas
Related Symbols: The Gun
Page Number: 47
Explanation and Analysis:
Act 3, Scene 1 Quotes

ROBERTO: A kind of—brutalization took over my life, I began to really truly like what I was doing. It became a game. My curiosity was partly morbid, partly scientific. How much can this woman take? More than the other one? How’s her sex? Does her sex dry up when you put the current through her? Can she have an orgasm under those circumstances? She is entirely in your power, you can carry out all your fantasies, you can do what you want with her.

Related Characters: Roberto Miranda (speaker), Paulina Salas
Page Number: 59
Explanation and Analysis:
Act 3, Scene 2 Quotes

Gerardo and Paulina sit in their seats. Roberto goes to another seat, always looking at Paulina. Applause is heard when the imaginary musicians come on. The instruments are tested and tuned. Then Death and the Maiden begins. Gerardo looks at Paulina, who looks forward. He takes her hand and then also begins to look forward. After a few instants, she turns slowly and looks at Roberto. Their eyes interlock for a moment. Then she turns her head and faces tire stage and the mirror. The lights go down while the music plays and plays and plays.

Related Characters: Paulina Salas, Gerardo Escobar, Roberto Miranda
Related Symbols: The Mirror
Page Number: 68
Explanation and Analysis: