Characters
Claire Zachanassian
Claire Zachanassian, recognized as the wealthiest woman globally, commands both power and notoriety. At sixty-three, her extravagant presence is marked by artificial limbs—an ivory hand and a prosthetic leg—lost in separate accidents, enhancing her bizarre allure. Her penchant for eccentricity includes a penchant for cigars, a constant accompaniment of a coffin, ownership of a black panther, and a string of transient marriages. Once a vivacious young woman deeply in love with Alfred Ill, her life took a dramatic turn following a rejected paternity suit, leading her from disgrace in Güllen to a brothel, where a millionaire discovered her. Over the years, Claire amassed her fortune, largely through advantageous marriages, never forgetting the betrayal by Alfred, who had bribed witnesses to tarnish her name. Her return to Güllen with the intention of bestowing economic relief is inextricably tied to her thirst for revenge; she promises a substantial financial reward to the townspeople—should they murder Alfred Ill. Cold, calculating, and unyielding, Claire orchestrates a morally corrupt plan that ultimately reflects her own moral decay.
Alfred Ill
Alfred Ill, alternately referred to as Anton Schill, stands as a central figure in Güllen, aspiring to its mayoralty. At sixty-five, he presents a less dignified image than he perceives, with shabby attire and a heavier build. In his youth, he was romantically involved with Claire, but upon her pregnancy, he deceitfully secured false testimonies to evade responsibility, branding her a whore, and subsequently married Matilda, aligning himself with her affluent family. This secured him a position within the town's notable circle, as Matilda's father owned the largest local store. Initially confident of the town's support against Claire's offer for his life, Alfred's certainty waivers as he witnesses the townspeople living lavishly on credit, indicative of their eventual betrayal. Despite his pleas for sanctuary, Alfred is met with indifference, and his desperate attempt to flee is futile. In the end, with his integrity in shambles and the townspeople turned against him, Alfred faces his doom with a tragic grace, accepting his fate for past transgressions.
The Mayor of Güllen
The mayor of Güllen embodies the archetype of a self-serving bureaucrat, fixated on reputation and material gain over ethical considerations. Initially rejecting Claire’s monetary proposition on moral grounds, he succumbs to greed, ultimately colluding with her plot. His transformation from a bumbling politician into a manipulative figure is epitomized by his coercion of Alfred to embrace suicide as an escape. The mayor’s internal corruption mirrors that of the town, symbolizing the broader moral decline as he orchestrates the town’s collusion in Claire’s vindictive scheme.
The Schoolmaster
The schoolmaster, a teacher dedicated to Güllen despite better opportunities elsewhere, is initially a beacon of rationality and integrity. He is one of the first to perceive Claire’s ulterior motives as sinister, resisting her proposal and championing Western civilization’s values. However, as the town succumbs to temptation, he too falters, participating in Alfred’s demise while ironically rationalizing the murder as a just act. The schoolmaster’s degradation from moral advocate to complicit participant highlights the pervasive influence of Claire’s wealth.
The Priest
The priest, symbolizing a wavering moral compass, illustrates the tension between spiritual duty and material desire. Having acquired new cathedral bells on credit, he is swayed by worldly temptations. Yet, he retains a measure of conscience, advising Alfred to prioritize his eternal soul over mortal concerns, and urging him to escape the town’s deadly intent. Ultimately, the priest serves as a witness to Alfred’s demise, his conflicted stance reflecting the pervasive moral fragility.
The Policeman
The town’s policeman presents a duplicitous front, assuring Alfred of safety while subtly...
(This entire section contains 975 words.)
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betraying his trust. His acquisition of a gold tooth signifies personal corruption and complicity in the town’s moral decline. As the narrative unfolds, the policeman’s stance hardens into one of self-righteousness and detachment, contributing to the collective betrayal of Alfred Ill.
Boby
Boby, the elderly butler to Claire, once served as chief justice presiding over Claire's failed paternity suit. At eighty, he is a testament to Claire’s power, having been reduced to servitude. After Ill's condemnation, Boby is released, his role a reminder of the intertwining of justice and servitude under Claire’s dominating influence.
Koby and Loby
Koby and Loby, once known as Jacob and Walter, are grotesque figures within Claire’s entourage, transformed into blind eunuchs as punishment for perjuring themselves in Alfred's favor. They epitomize the long reach of Claire’s vengeance, their lives irrevocably altered by her retribution. Their repetitive, redundant speech underscores their tragic fate and the enduring impact of their deceit.
Roby and Toby
Roby and Toby, Claire's brawny gangsters from New York, are integral to her retinue, serving both as porters and enforcers of her will. Their synchronized speech and Roby's guitar accompaniment during Alfred and Claire’s reminiscences add a surreal layer to the play, symbolizing the seamless blend of violence and nostalgia in Claire's world.
Matilda Ill
Matilda Ill, Alfred’s worn and embittered spouse, is emblematic of denial amidst impending doom. Her optimism manifests in plans to refurbish their store and her purchase of a fur coat, naively believing in a prosperous future through Claire’s wealth. Unaware of the true cost, Matilda’s actions and outlook sharply contrast with the unfolding reality, highlighting her detachment from the grim fate awaiting her husband.
Ill’s Grown Children
Alfred’s grown children, a daughter and a son, initially strive to support their family amidst the town's economic strife. The daughter pursues leisure activities and literature, while the son invests in a new car, reflecting the family's gradual succumbing to material allure. As the narrative progresses, their departure with Matilda signifies an abandonment of familial solidarity, marking the culmination of Alfred’s isolation.
