The Grotesqueness In Everything Lamb To The Slaughter Analysis
Oppression and betrayal ignite the ruling flame of aggression – reflecting iniquity and the fragility of identity. Road Dahl's Skin and Other Stories embellishes humans as fundamentally malicious and brutish characters capable of precipitate and repulsive actions. The story centers around Mary Maloney and the identity transformation she endures. Road Dahl’s description of the Maloney household makes it clear that Mary has an internalized middle-class ideal of a young-mid-twenties housewife. Mary's dependency and traditional veneration towards Patrick Maloney is shattered when he tells her he is leaving her. Subconsciously, Mary smashes her husband's head with a leg of lamb intended for his dinner and he falls dead. Realizing what she'd done, Mary Maloney navigates reality, dealing with all the other men in her life. In the end, her shrewdness, determination, and quick-witted actions protect the truth of Patrick Maloney's death.
The truth that she murdered her husband. Road Dahl, author of "Lamb to the Slaughter" in his novel collection Skin and Other Stories utilized narrative exposition to prefigure grotesqueness through his masterful application of requisite dialogue, abrupt tone, and black humor. Throughout the story, Road Dahl incorporates dialogue when it is imperative. Road Dahl stylized "Lamb to the Slaughter" with minimal dialogue to advance reader presentiments of character backstory in narrative exposition. For example, Patrick Maloney delivers upsetting news without exposing too much. "'This is going to be a bit of a shock to you, I'm afraid,' he said. 'But I've thought about it a good deal and I've decided the only thing to do is tell you right away. I hope you won't blame me too much. '" (Dahl 25) Patrick Maloney is portrayed as a straightforward, magisterial husband who signifies a reluctance to engage in conversations. He hasn't talked much to Mary and this time, when he did he didn't say much either. Not only does Road Dahl demonstrate expertise in integrating rare and requisite dialogue, he embodies a distinct abrupt tone. Road Dahl's abrupt tone intensifies the danger of unveiling characters' cruel intentions in narrative exposition. This is proven through Mary's anticipation for Patrick to fall dead: "She stepped back a pace, waiting, and the funny thing was that he remained standing there for at least four or five seconds, gently swaying. Then he crashed to the carpet. " (Dahl 26) "Lamb to the Slaughter" encompassed contrasting tempo. The first sentence of the quote was written leisurely, as if in slow-motion.
Where else, the impetuousness of the second sentence is unforeseen. Conversely, Road Dahl's execution of black humor intensifies the scandal and shocking character development in "Lamb to the Slaughter". The anomalous and scandalous incongruity of the murder weapon was created for darkly comic purposes. "She came out slowly, feeling cold and surprised, and she stood for a while blinking at the body, still holding the ridiculous piece of meat tight with both hands. All right, she told herself. So I've killed him. " (Dahl 26-27) The image of an ebullient and faithful housewife smashing her husband's skull with the frozen leg of lamb intended for his dinner is itself blackly humorous for its unexpected horridness. Mary Maloney's reaction "So I've killed him. " is normalized as if first degree murder is justifiable. Road Dahl, author of “Lamb to the Slaughter” employed narrative exposition to prefigure grotesqueness through his gifted implementation of requisite dialogue, abrupt tone, and black humor.
