The dead is both a story that is feminist and almost anti-feminist. The characters are painted in ways that show passive female submissiveness and the image of a strong woman. In the beginning of the short story, Gabriel and Miss Ivors careers are compared “their careers had been parallel, first at the university then as teachers.” This paints Miss Ivors as a strong woman, and suggests that the author thinks that men and women can in fact have “parallel” careers. In this part of the story, Miss Ivors actions also speak of her being a strong, opinionated woman, in that is her role in the story. The three women of the house, Miss Kate, Miss Julia, and Miss Mary Jane can be seen as strong women but also maybe more passive and less prominent as well. All of them have their own profession and do well, which is a positive sign in the story, but you see the netralization of outspokenness amongst them when Mary Jane quiets Miss Kate down when she speaks of the pope banning women from choirs. Mary Jane not only supresses her outspokenness, but also an important feminist commentary, which mixes the message of the story and doesn’t allow for feminist perspective to be privileged.
Gabriel and Gretta’s relationship is also an interesting subject that is different from the short story to the on-stage production. Gabriel in the story views Gretta as a painting, a lust object, most often he views her from afar. He remarks on her beauty and his love for her. The story sets it up so it looks like a one-sided thing, however, which in the production of the dead is more shared. They share duets in which they embrace eachother a few times and you see for yourself their love for eachother. Gabriel’s love for her and her love for him seem more real and genuine in the production. This counters the critique posited by Norris of the aethesticized version of Gretta, “whose function is to certify Gabriel’s posey, passion, and benign compassion.” The production shows a much more equal and mutual respect and love that the story does not show.