Critics cannot seem to decide whether Connie has had seen the devil, or simply been seduced and murdered by a psychoanalytic intruder.
While or these have merit they leave the reader with too many unanswered questions, why should girl who willingly sacrifices herself for the family be condemned. If Arnold is not a supernatural figure but a psychopath tic killer, why desolates he does not simply abducts Connie when she declines to go with him?
The question has never been answered satisfactorily; following Oates’s cue by interpreting film in relation to the death of the maiden may provide insight into the story. However, Oates gives the fatal attraction of death and the maiden overtones of erotic romance of a particularly American overtone that soon become violent. Death usually, a frame of some explains the dance and where it is in eschatological context: the dying are to be judged, although death and maiden has a life by its own as a literary and artistic motif. Basel paintings represent finely dressed, long-haired young lady who is gazing into her mirror when she sized by a running male figure.
Initially, Arnold friend is nothing more to Connie than a mirror for her vanity, and by the fact that Oates wears metallic spectacles that mirrored everything in miniature. If Arnold friends intend to represent the death figure from the ancient dance of death, it is not surprising he resembles not only a seducer, but a devil and a trickster. Christa explains the mask worn by the death figure reflects in some way the living person intends to lead to grave. Such illustrations suggest a guise assumes that death is a projection from the mind of the other victim (Rubin and Larry 57).
Connie’s destination is not a place, but its union with death, she indicates that when she first sees him was in a restaurant. Christine realizes he appears older than he