Roald Dahl: A Comparison of Deadly, yet Loveable Characters
Roald Dahl, born in 1916, is one of the most famous children’s authors of the twentieth century. His legendary books include: Charlie and the Chocolate Factory, Matilda, and James and the Giant Peach (Wikipedia). These three favorites, all of which were made into films, have dark and sometimes twisted plots. But before becoming an established and well known children’s author, Dahl wrote many adult short fiction stories that contained dark humor, rich and complex personalities, and a sort of forced adoration for murderous and insane characters. Two of his short stories, “The Landlady” and “Lamb to the Slaughter”, each have a main character that share similar traits making them deadly, yet loveable.
In both of these stories, Roald Dahl uses his beautiful yet simple descriptions to paint a picture of the main characters. Their actual physical characteristics differ in many ways, but somehow still manage to create a presumption of peaceful innocence. Mary Maloney, the murderous wife in “Lamb to the Slaughter” (Dahl 39-44), is physically described in a way that creates the impression to the reader of an angelic like beauty. He writes of her skin as having a “wonderful translucent quality” and describes her mouth as “soft”. The most descriptive, and again simple, physical feature written
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about Mary was of her eyes. “The eyes, with their new placid look, seemed larger, darker than before“. This can be interpreted as a change within Mary, possibly an anger or hate brewing for her husband who she outwardly loves and adores.
The Landlady, who is not named in the story, is said to have appeared to be middle aged. Though Dahl does not state specifics on what actual physical traits are attributed to that estimation. She is presented as a sweet and kind woman. He states that she has a “warm, welcoming smile”. There are not many physical descriptions provided in the story of “The Landlady” (Dahl 52). Instead Dahl focuses his physical descriptions more on the leading male character in the story, just as he did in “Lamb to Slaughter”. Without physical descriptions, the reader is forced to picture the Landlady in their mind’s eye based upon her personality within the dialogue. Based on the observations, the Landlady appears to be charming and pleasant. At first, all of these impressions of both Mary and the Landlady that are given to the audience present them as loveable characters, a very misleading interpretation.
One major similarity between these two characters was their ability to facilitate a sense of trust with the main male characters and the audience through positive impressions. Mary Malone is portrayed as the compliant and perfect housewife. So much so, that her husband is confident that he can tell her devastating news and speak to her in a vile tone, trusting that her reaction will be quiet and benign. The Landlady enables trust with her kind demeanor and welcoming home. The main character, Billy Weaver, refers to her in the story as looking “exactly like the mother of one’s best school friend welcoming one into the house to stay for the Christmas Holidays”.
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The women from these two stories are extremely mysterious. The reasons for why they kill are unknown. Mary is told something devastating in “Lamb to the Slaughter” by her husband Patrick. What he reveals to her in the story is unknown. Amazingly, Roald Dahl manages to get away with not sharing this bit of information that would normally be of great importance to the plot, by giving the attitude that it is completely insignificant. In “The Landlady”, no explanation is given to the motives behind the Landlady’s killings. This tactic used by Dahl makes the story and characters much more mysterious and inviting to interpretation.
Another comparison between these two mystifying characters is their odd selection of means in which to kill the leading male in the story. Both of these characters used food as their murder weapon. Mary Malone descended into the basement cellar to retrieve a leg of lamb to bake for dinner after being told the devastating news from Patrick. After Patrick shouts at her saying that he is going out for dinner, she whacks him on the back of his skull with the lamb causing him to plummet to the floor and die. The Landlady also had a humorous and strange way of killing her victims. She poisoned poor Billy Weaver presumably with cyanide (the tea tasted of bitter almonds). Though it is not clearly stated in the story, it is hinted that the Landlady kills her guests and stuffs them, making them permanent guests to her cozy bed and breakfast.
The conclusions to both of these stories continue to leave the audience struggling to declare whether or not these characters are loveable or absolutely evil. In the end of “Lamb to Slaughter”, the police officers investigating the murder of Patrick are standing in the kitchen feasting on the very same lamb that killed him while discussing where the murder weapon could be. While brainstorming on the possible locations, Mary sits in
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the other room listening and begins to “giggle”. This signifies to the audience a child like manner that attaches somewhat of an innocence to her. In “The Landlady”, after Billy is poisoned, he questions whether or not there have been any other guests within the last couple of years other than the two men listed in the guestbook. With a “gentle little smile” she states “No, my dear. Only you”. She continues to be the sweet and loveable motherly type as she watches him sip his deadly tea.
The genius writing style of Roald Dahl is the main contributing factor to these fascinating and deeply disturbing individuals. Saying very little, often says a lot. Roald Dahl beautifully does this by creating mental images of these characters by simply describing their manner. He evolves these sweet and innocent characters into the dark and murderous, yet loveable villain.
"Roald Dahl." Wikipedia Foundation, Inc, July 6, 2010. Web. <http://en.wikipedia.org/wiki/Roald_Dahl>.
Dahl, Roald. "Lamb to the Slaughter." Harper's Magazine Septembr 1953: 39-44. Print.
Dahl, Roald. "The Landlady." New Yorker 28 Nov. 1959: 52. Print.
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