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50 pages 1 hour read

Friedrich Dürrenmatt

The Visit

Fiction | Play | Adult | Published in 1956

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Themes

Façades and Romanticizing False Memories

At the beginning of the play, the leaders and townspeople of Guellen patronizingly underestimate Claire. This is largely because most of them don’t remember her at all, and the one person who does remember her has conveniently mitigated his memory of breaking her heart and ruining her life. The entire welcome is orchestrated by men who have barely left Guellen, yet they expect Claire to be impressed and pleased by their display, as if pretending to know her and handing out fabricated compliments is bestowing an honor. They put on a show that they can’t afford, but only because they are certain that their show will provoke a generous donation from Claire. The Mayor predicts, “Madam Zachanassian sets foot on her native soil, she’s home again, and how moved she is, there are tears in her eyes, ah, the old familiar places. The old faces” (16). The fire bell masquerades as the church bell, and the people of Guellen masquerade as Claire’s long-lost loving family. The town leaders attempt to engage her in what they expect to be a mutual act of pretending for the sake of social ceremony, expecting the truth to be nothing but water under the bridge after 45 years—after all, she has come to Guellen, which can only mean that she plans to spread her wealth there as she has done in other places. In private, they drink and groan about her, finding her grotesque and showing no love for her except for her money. Ill takes her into the woods to (partially) reenact their old love scenes, pretending to regret spurning her, which he claims was for her sake, not out of selfishness. However, he can’t hide his revulsion when he realizes that the hand he kissed is made of ivory.

Claire, in contrast, sees through their artifice and responds with blunt truthfulness. When Ill tries to imagine that they are still the “little sorceress” and the “black panther” (20) they once were, Claire points out that they’re both old and fat. In the Mayor’s speech praising her, she corrects his skewed version of stories that are spun to make her look saintly. She refuses to allow the people of Guellen to rewrite the past and their memories as if they were kind to her, and she owns the stories of petty theft and throwing rocks at policemen without the Mayor sanitizing them. Claire herself is an odd combination of truth and façade. She shows off her artificial leg (obviously the actress’s real leg) for everyone to marvel at how realistic it looks, and she tells Ill that her hand and most of the rest of her body has also been replaced by prosthetics. She hides the reality of the pain and trauma she has suffered by presenting her body as unbroken, perhaps a metaphor for the pain and loss of Ill’s betrayal and the death of their child, which wouldn’t have been visible on her body. Claire creates the vision of a life through the press, who always see the best version of her, admiring her like Elizabeth Taylor with the latest husband on her arm, and seeing money as happiness. Only the Schoolteacher sees past her façade for her terrifying power—power she uses to show that the professed ideals of Guellen are only artifice when their desperation is tested, an artifice they quickly reconstruct by announcing that Ill died of happiness. The play suggests that lofty ideals are unrealistic and that they tend to come from mental gymnastics and superficial appearance rather than definitive action.

Exploitation and What Money Can Buy

The irony of Claire being sexually exploited at 17 is that selling sex for money destroyed her social respectability, but the money from selling herself into an extremely wealthy marriage was the only way to get back that social respectability. Buying sex is an act of financial and social power for the buyer, but the same act is considered degrading for the person who sells sex. Claire’s first husband essentially bought her into marriage, but now that she has his fortune, she has the social and financial capital and power to buy men into marriage—even rich and powerful men, because she is richer and therefore more powerful. She exerts ownership of them by giving them new names, like pets. She does the same to her servants, classing her husbands among them, although her servants last far longer in her employ than the men she marries. By combining ever-changing and seemingly interchangeable names of husbands and servants with the absence of names for Guellen’s officials (the Mayor, the Schoolmaster, the Policeman, the Priest, the Doctor), Friedrich Dürrenmatt pushes the audience into complicitly seeing people as objects to be manipulated for one’s own purposes.

Claire asserts that all her marriages are happy, but that husbands are only for show. Love isn’t involved because love can’t be bought. When she was a teen, she loved Ill, and he seems to have loved her back. But love is a Humanist ideal, and the play suggests that humans will choose money over ideals in the end, and it’s simply a matter of price. Ill betrayed Claire and destroyed her life, instead marrying Matilda Blumhard, supposedly for money. Later, Matilda pointedly tells reporters that she and Ill married for love, holding on to the Humanist ideal and the notion of social respectability. When the Mayor points out that Ill cast teenage Claire into the mire, Ill reminds him that Claire found millions of pounds in that mire, implying that there is an amount of money that can make up for the loss of love. 

Since Claire left Guellen, she has hardened, both physically and emotionally. For the parts of herself that she lost through trauma, she was able to buy replacements. As Claire explains, “Feeling for humanity, gentlemen, is cut for the purse of an ordinary millionaire; with financial resources like mine you can afford a new world order. The world turned me into a whore. I shall turn the world into a brothel” (67). The love she felt for Ill has warped into something twisted and horrible, and she can’t love him, but she can own him. If he is dead, then he is an object. She puts a price on Ill’s head, turning his life and death into a commodity. She bought the places where they used to love each other and destroyed each of them financially. Money can’t buy love, but the play suggests that money is more powerful than love. Money would also buy back the respectability of the town, where trains don’t bother to stop anymore. The townspeople love Ill, who is the most popular citizen in Guellen and slated to become the next Mayor. In contrast, although Claire grew up in Guellen, townspeople know next to nothing about her except her net worth. At first, the townspeople continue to support Ill verbally, but they can’t resist the lure of Claire’s money. Before Claire gives the townspeople a penny, they’re spending the blood money on credit. Ironically, Ill is providing the majority of the materiality of the goods, and the citizens are banking on his death to pay their bills. The Schoolmaster says to Ill, “What kind of people are we. That infamous million is burning up our hearts” (76). It turns out that money buys their principles, and the play suggests that most people would do the same.

Corrupting Justice and Other Social Structures

When Claire announces that she has come to Guellen to buy justice, the Mayor states, “Justice can’t be bought.” Claire replies, “Everything can be bought” (36). Although the Mayor and the town protest when she announces her demand, she demonstrates over the next few days that her statement is true. Just as she became a sex worker when she was desperate, the townspeople are desperate enough to sell themselves. The structures that serve as the pillars that hold up their society—justice, democracy, and religion—crumble for the sake of money. In the second act, when Ill notices that his fellow citizens are spending more money and recognizes this as a threat, he turns to the three institutions that ought to protect him. He goes to the Policeman, the Mayor, and the Priest. None of them help him. In fact, all three of them have guns, and the first two are vaguely threatening. The Priest finally acknowledges that Ill is in danger, but instead of helping him, he blames Ill for being a temptation and begs him to leave town, knowing that the temptation will eventually grow too strong. Religion fails, and Claire becomes a god. During the second act, she sits on the balcony and looms over the townspeople. She either releases a black panther or allows her panther to escape, bringing out the aggression of the townspeople as well as their guns. Playing as a god, Claire has orchestrated Guellen’s financial predicament by buying up the town and shutting down industry. She is, by her claim, unkillable, which means that she is too strong to be defeated. Claire is a vengeful god, and she knows her demands will be satisfied. Even the church has submitted to her temptation.

The structure of law and the justice system are first unsettled by the revelation of the 45-year-old injustice that Ill perpetrated against Claire. He perverted the legal process by bribing witnesses to lie, buying his way out of due justice for the price of a pint of brandy. Ill wronged Claire, and her demand for justice is legitimate. She has returned with wealth to buy her own justice, just as Ill did, which has a sense of symmetry and equalizing. But the justice system doesn’t function on retribution. Ill’s crime not only ruined Claire’s reputation and forced her into a life of sex work but also led to their baby’s death. If the baby had stayed with her parents, she likely wouldn’t have been exposed to meningitis and might have lived. Ill’s transgression was egregious, but Claire’s version of justice is extralegal, requiring the town’s law enforcement to look the other way while a man is killed. Her punishment of the two false witnesses was brutally violent, and certainly not permissible by any legal system. Conversely, her two henchmen are murderers who were convicted and sentenced to death, and Claire managed to offer enough money to buy them, undermining the integrity of the entire justice system. Guellen is located in a country (possibly Switzerland) that does not have the death penalty. But Claire has sentenced Ill to death, and her money makes it happen. If justice can be bought, the system is destabilized and destroyed.

The Mayor is the first to declare that as a Humanist town, they would not be taking Claire’s offer, but his indignation is short-lived. There seems to be some corruption in the democratic system already when the Mayor promises Ill that he can be the next mayor. Ill even attempts to use “future-mayor” clout to coerce the Policeman to help him. But the Mayor takes away the future mayorship just as quickly, punishing Ill for a 45-year-old crime that no one questioned until it came between the town and a million pounds. To carry out Claire’s “justice,” the town must be united. It’s tacitly democratic and must be unanimous. None of them want to kill Ill, but they’re all quietly ready to allow murder to happen. But they’re also ready to force any dissenters to stay silent, as some of the townsmen show up to prevent Ill (or anyone) from telling the press about the true bargain being struck. The workings of the justice system become warped because the townspeople and leaders want money badly enough to let Claire invent her own form of justice. They know it’s wrong, and they insist they won’t let it happen, even as they are already spending the money. At the end of the play, Ill accepts his fate and decides to comply with the town’s vote. The Mayor tries to convince him to kill himself and save them the trouble, but Ill insists on making the town bear the burden of voting for his death. Before voting, the Mayor asks each of the town’s institutions if they have any questions, and none of them speak. The vote, which is notably about whether to accept the money, not whether to kill Ill, is unanimous, with only Ill voting no. This suggests a failure of democracy, as the most popular decision isn’t always right, and the person who is most affected by the vote is vastly outnumbered by those who only benefit. By dangling wealth over the townspeople’s heads, Claire manages to break down Guellen’s principles and corrupt their structures of right and wrong.

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By Friedrich Dürrenmatt