Fate and Free Will in Macbeth and Death and the Maiden
Introduction:
Throughout our lives, we are faced with paths rarely understood. As nature takes its course, we are put up against the world of fate, questioning if it can be controlled or modified by humans. This is evident in Shakespeare’s Macbeth (first performed in 1606) and Ariel Dorfman’s Death and the Maiden (written in 1990). These two famous plays show that an individual has control of his or her own destiny, using literary techniques such as the reliability of senses (hallucinations of the dagger and Banquo, Roberto’s voice, “the voice,” “I can’t listen to Schubert”), symbols (Schubert, gun, witches), and the context in which they are presented.
Individual Control and Destiny in Both Texts
In both texts, an individual is in control of his or her own destiny, since destiny is presented as something individuals can build. In the case of Macbeth, three witches tell Macbeth that he will be king: “All hail Macbeth, that shalt be King hereafter.” Even though Macbeth already desired to be king, this prophecy made him realize that it was something he really deserved. After this, it is up to him whether to do the things needed to become king or not. It is suggested that Macbeth is in control of his own destiny because he has the power to make decisions that will lead him to be crowned king. Since Macbeth doesn’t belong to the royal family, being king is not in his blood; it is not something that he will inherit by being passive, which means he has to take action to achieve his goals. Duncan goes to Macbeth’s castle to celebrate his being named Thane of Cawdor. In this instance, Macbeth’s destiny is in his own hands; the decision that he makes in that moment will determine his destiny. If he decides to kill Duncan, and the other killings that follow, he will become king. If he decides to be grateful and satisfies himself by being named Thane of Cawdor, he will not become king.
In the case of Death and the Maiden, Paulina has control over her destiny because nothing but her mind is stopping her from achieving peace. Paulina’s destiny is undetermined, but still, her aim is to be at peace. Reaching peace is something that depends only on Paulina; she has control over the shape she wants to give to her destiny. One of the things that impede her from being at peace is that she is clinging to the past; she doesn’t let go of that trauma and thoughts that remind her of the past; she is a prisoner in her own mind. “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?” Paulina remembers the past every day; she doesn’t allow herself to move on. She doesn’t need to forgive the people who did this to her, but she can forget; she can free herself from the abuse. Gerardo describes Paulina as being a prisoner: “You’re still a prisoner; you stayed there behind with them, locked in that basement. For fifteen years, you’ve done nothing with your life. Not a thing. Look at you, just when we’ve got the chance to start all over again, and you begin to open all the wounds…” Paulina is able to decide whether she wants to continue as she has lived the past 15 years or turn the page, be able to move on, find peace, and enjoy life.
Conclusion: Destiny and Our Actions
Destiny is our future, and our future depends on our actions. In both texts, the control individuals have over their destiny is suggested by the decisions they make, and these decisions convey how the individuals want their destiny to be. Even though the plays have different settings, both authors use manipulation of thought and the desire of the characters as strategies to evoke that individuals such as Macbeth and Paulina have control over their destiny. However, destiny is still something that we construct, and fate is the path we take, the path that leads us to that destiny.