THE MAIDS BY JEAN GENET
Review
Taking inspiration from the real-life murder case of 1933 where a mistress was killed by her maids, Jean Genet constructs a play similar to the case yet in an absurdist form.
The play ‘maids’ written in 1947 is a bizarre and unsettling account of the murder in which the maids unlike the real-life scenario, seek gratification from the death of their madame in a role-play where they also vent out their agony. This erotic ritual of theirs though is accompanied by unsuccessful attempts of a real-life murder.
The psychopathic drama, within the play, automatically gives the center stage to the sisters and from the beginning itself proving the title appropriate. Both of them share an awkward and dynamic relationship. They impersonate ‘Madame’ and ‘Claire’. They act the Madame’s attitude towards the maids and in the end, part, continuing with the drama, makes use of her jibes and insults to instigate sadomasochistic behavior.
The play unfurls as it progresses. The actual personalities of characters come under the light and fair distinction can be made between reality and illusion. The reader is enlightened by the theme of class warfare surrounding the play. In her monologue towards the end, Solange states ‘Madame needn’t feel sorry for me. I am Madame’s equal and hold my head high’. The disgust of the status quo and the desire to achieve power is visible through the dialogues and the actions
AMALGAMATION OF THEMES
The theme of the play i.e. fundamental divide in the society is further supported by the various symbols and motifs used. The red velvet dress displays the aristocracy whereas the pungent smell from the gloves or the delegated kitchen area is identified with the poor economic condition of the maids.
The play is set in the lavish bedroom of the Madame, which consists of many metaphorical objects such as the mirror showing reality, a make-up kit used to hide inner emotions, and a cupboard containing many dresses of variant colors used as symbols of numerous occasions throughout the play. The room also contains a window which has been used as a metaphor for the insecurity of both sisters when they manhandle the personal belongings of their mistress without her knowledge.
FORMATION OF CHARACTERS
This act of theirs is evident in the hypocrisy, which is even seen in the mistress itself. The reason behind forming double-faced characters is to show they are controlled by their mean motives. The elder sister Solange is loathful of the mistress but on the outside shows care and submissiveness. She as her sister dreams of attaining eliteness yet shows hesitation when it comes to committing actual murder. Claire is no different. She gains motherly love from her sister, bonds with her yet participates in her insults. She has been living in the fantasy world from the beginning, which is a whirligig in itself.
The Madame on the other hand is somewhat contrary to the description of the sisters. She is neither kind nor merciless. Her actions are vital to the storyline. The taking back of her fur coat after she had promised to donate it to Storage creates further divide in their relationship. Her unprecedented entry into the house, fear of her coming back soon, and most importantly her decision of refusing the cup of tea all gradually break the tension. They act as a transition to the climax along with other important events in the play.
The play is an open play with a difficult assessment of the subsequent incidents unfurling. What is always at stake is the life of madame and the truth of the maids, eventually, neither of them are disclosed. Rather the maids’ fulfillment of their fantasies takes place through their violent ritual.
TEXT AND TIME
Despite the above, the dialogues help in some sort of assessment. They are true to their characters and most importantly to the situations. During the impersonation, the inclusion of fumbles or casual errors marks the distinction from reality. Further, when sisters are lost in their enactment, they tend to use fancy words to justify their characters. Also, they reflect their different moods and situations throughout the play such as the use of monosyllables show tiredness or the fast-paced Madam’s conversation with Claire to show her rush and impatience.
Most importantly, excessive vocabulary is used by Claire when she runs out of content in order to arouse her sister for the sadomasochistic scene.
The play is character-driven and without any blackouts, meaning that the events take place in a sequence without any intervals. It shows how the time is of utmost importance to the sisters as for them Madame’s absence is always an opportunity. It is also a character in the play and comes into the limelight in the form of an alarm clock, placed by them to caution themselves of the mistress’s arrival and also in the form of the wait which madame has to go through for her taxi.
It helps the play transform into a meaningless thriller. Its nihilistic form leaves the reader with questions such as those related to the background of the protagonists or if Claire was actually killed in the end. Conclusively, it serves as a boon as well as a bane. The play surprises the reader yet leaves him or her without any definite closure.
