"Pan's Labyrinth" and "The Dialogue of The Dogs": Comparison of Themes

Introduction

In the realms of literature, two distinct works, "Pan's Labyrinth" by Guillermo del Toro and "The Dialogue of the Dogs" by Miguel de Cervantes, converge in their exploration of the interplay between disobedience, morality, and power. Both narratives delve into the profound need for individuals to defy authority when faced with ethical dilemmas, and in doing so, they unravel the complexities of human behavior in the face of prevailing dominance. These works delve into the intricacies of personal decision-making, often defying established norms to embrace a moral stance. While they differ in their settings and characters, they share a common thread — the exposure of corruption within systems of power. Through the characters of Ofelia, Berganza, Scipio, and the military captain, they examine the moral choices individuals make when confronted with oppressive authority, shedding light on the fundamental question of whether power and morality can coexist. This essay delves into the thematic parallels between these two literary works, demonstrating how disobedience emerges as a virtue and the need to reconstruct and redistribute authority for a more ethical society.

Representation of the Themes of Disobedience and Authority

In "Pan's Labyrinth," the character Ofelia is confronted with tasks that require her to embrace moral disobedience. She refuses to blindly trust the authority of the enigmatic fawn and disobeys the instructions given to her. This disobedience stands in stark contrast to her father, a power-hungry and ruthless military captain who resorts to violence against anyone who questions his authority. This stark contrast in character highlights the uneven distribution of power within the narrative.

"Berganza" and "Scipio" in "The Dialogue of the Dogs" are portrayed as philosophers who contemplate the morality of both themselves and those around them. Berganza's various roles throughout his life expose him to the cruelty and imbalance of power in the world, from interacting with violent butchers to corrupt police officers. His job revolves around assessing the goodness of these individuals and evaluating whether his own moral actions are justified. Similarly, Ofelia in "Pan's Labyrinth" relies on different caretakers at different times, akin to Berganza's transition from one master to another. These parental figures and masters serve as catalysts for disobedience among those under their authority, allowing individuals to explore their own morality.

Berganza's trust in his shepherd masters initially leads him to obediently follow their commands, accepting the consequences that follow. It is only when he becomes aware of the true intentions of these shepherds that he realizes the existence of such oppressive social structures. The dogs in "The Dialogue of the Dogs" seek a way to expose these systems, paralleling Ofelia and her brother's struggle for survival. Their story underscores the importance of disobedience as a means to reach the moral high ground and escape the clutches of a fascist regime.

Throughout "Pan's Labyrinth," the character of the captain is presented as an authoritarian and patriarchal figure, with his harsh indifference evident through various visual cues. His military uniform and a damaged pocket watch symbolize his authoritarianism, with the watch deliberately smashed to ensure his son knows the hour of his death in combat. He glorifies death in battle as the only honorable demise, charging fearlessly into enemy gunfire. Conversely, the maid Mercedes secretly assists the rebels through acts of disobedience, obtaining a key to the storage and providing the rebels with weapons, food, and supplies. Ofelia's mother's authority eventually transitions to the authority of Ofelia's fantasy once they enter the dark forest. Furthermore, the doctor disobeys orders and mercifully euthanizes a suffering rebel against the captain's wishes. These instances suggest that the correct parental role models for Ofelia are those who demonstrate disobedience rather than blind obedience.

One often-overlooked theme in these works is the power dynamics of parenthood and childhood. In "The Dialogue of the Dogs," Camacha, the witch, serves as Montiela's midwife and transforms her children into dogs, altering their childhood irrevocably. The power of parenthood forever changes the course of childhood. Similarly, in "Pan's Labyrinth," the captain exerts control over the parenting of his unborn son, insisting that his wife use a wheelchair and prioritizing the child's life over his wife's. By doing so, the captain seeks to become the sole parental figure, asserting authority over the child's upbringing. Mercedes' response to the captain's request that his son be informed of the time and place of his death signifies a shift in power, as she asserts, "He will never even know your name." Ultimately, the captain's mission is not only thwarted, but his entire authority is dismantled, with Mercedes assuming control over the child's upbringing.

In the end, Ofelia in "Pan's Labyrinth" realizes that power does not solely reside with external authorities such as the military or her caretakers. Instead, she recognizes the power within herself. Her final task, set by the faun, involves bringing her baby brother to the labyrinth's center and using a knife to draw a few drops of blood from her only family member. However, she refuses to comply with this gruesome directive, choosing to follow her own moral compass over blind obedience.

Ophelia finds herself in the position of having to forge her own path to power, having shed her own blood while following her own instincts. Her journey toward empowerment unfolds through the realm of fantasy, offering her an escape from the relentless domination imposed by her stepfather. The captain manipulates the excuse of fascism to assert his control even within the confines of their family home.

In contrast, Berganza, the dog, discovers empowerment through the various roles he assumes throughout his life. Berganza derives a sense of empowerment when he believes he is doing "good." For instance, he bites the maid for sneaking out or provides exceptional care to his masters' children, even when not prompted to do so. Unlike Ophelia, who understands her position as a child, Berganza grapples with determining his place within the social hierarchy of his time.

Berganza's experiences lead him to realize that the butcher is as capable of taking a human life as he is of slaughtering a cow. He witnesses shepherds acting as predators, killing their own sheep at the owner's expense, and the magistrate colluding with prostitutes to apprehend and extort bribes from foreigners. In contrast, the captain exercises his power through blatant corruption, hoarding rations for himself and manipulating bread allocations. This behavior bears a resemblance to the corrupt practices of the church, concealed behind the veneer of daily communion.

Conclusion

Both of these works present compelling arguments about the nature of morality and its relationship to power. Berganza points out numerous flaws in his owners, prompting Scipio to counsel him to "shed light, not blood." This advice emphasizes making one's point without resorting to violence, maintaining a higher ethical standard even when criticizing others. In "Pan's Labyrinth," disobedience is celebrated as a virtue, and morality is defined by the sacrifices people are willing to make.

These two works complement each other by showcasing moral underdogs and contrasting the ways in which they navigate their low social standing. Berganza symbolizes Cervantes himself, both victims of a society that neglects their well-being. This underscores a profound internal conflict regarding the dog's own identity and origins. On the other hand, Ophelia represents hope for those opposing the fascist regime. Based on these two pieces, my conclusion regarding morality is that authority should be rejected, reevaluated, and redistributed for a more just and equitable society.

Works Cited

1. Del Toro, G. (Director). (2006). Pan's Labyrinth [Film]. Estudios Picasso.
2. Cervantes, M. de. (1994). The Dialogue of the Dogs. In W. J. Entwistle (Trans.), Cervantes: Exemplary Novels (pp. 155-189). Oxford University Press.
3. Del Toro, G., & Hogan, P. A. (2007). Guillermo del Toro's "Pan's Labyrinth" and the tradition of the child's journey. Literature/Film Quarterly, 35(1), 2-12.
4. Cervantes, M. de. (2005). Don Quixote. (E. Grossman, Trans.). Harper.
5. Sieber, H. S. (2009). "Pan's Labyrinth": Tolstoy's concept of art and the moral imagination. Literature/Film Quarterly, 37(4), 263-272.
6. Penrod, L. (2016). The ethics of disobedience: Obedience, disobedience, and power in "Pan's Labyrinth." In M. Detloff (Ed.), Against Authority: Literary Experience and the Promise of Democracy (pp. 157-170). University of Illinois Press.
7. Cohen, L. (2010). Ethics of disobedience: Levinas and the question of responsibility. Continuum.