The symbol behind Schubert’s Death and the Maiden.
Thesis statement:
In Ariel Dorfman’s play, Schubert’s Death and the Maiden symbolizes Paulina’s capacity to recover
Topic sentence 1:
Paulina still identifies her ordeal of 15 years ago with the loss of Schubert.
Supporting idea 1A:
During those fifteen years, whenever Paulina heard Schubert she couldn’t bear to listen to him.
Quotation1A:
“our hostess happened to put Schubert on, 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” (21;Act 1, Scene 4) [unique_solution]
Supporting Idea 1B:
Paulina’s fear of hearing Schubert limits her movements
Quotation 1B:
“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 Schubert.” (21; Act1, Scene4)
Topic sentence 2:
What she had once enjoyed become a horror for her.
Supporting Idea 2A:
Paulina came to associate the music with her ordeal.
Quotation 2A:
“There is no way of describing what it means to hear that wonderful music in the darkness, when you haven’t eaten for the last three days,when your body is falling apart” (58, Act3,Scene 1)
Supporting Idea 2B:
The tape brought back memories of the doctor.
Quotation2B:
“But of course you do, you’re the one who kept repeating it over and over again while you played Death and the Maiden.” (22, Act1, Scene 4)
Topic sentence 3:
Paulina decides to use the tape to heal from the memories.
Supporting Idea 3A:
Paulina plays the tape in order to feel that she is in control of the situation.
Quotation 3A:
“I took this out of your car –I took liberty – what if we listen to some Schubert while I make breakfast, a nice breakfast ,Doctor?” (21;Act1,Scene 4)
Supporting Idea 3B:
She even attends a concert where Schubert is being played.
Quotation 3B:
“The instruments are tested and tuned. Then Death and the Maiden begins.” (68; Act3, Scene2)