Death Comes for the Archbishop: Foil 2 key examples

Father Latour's character is marked by his contemplative nature and preference for solitude. He is “refined” and “elegant,” able to pass easily in social situations and to approach his mission strategically. His method of solving problems involves adhering to established protocols and focusing on building a long-term foundation for the Catholic Church in the New Mexico territory. Although he does have personal vanities and foibles—his garden, his obsession with creating a European-style church to leave as a legacy, his need to be seen as a benevolent figure—his measured and sensible approach reflects a commitment to the traditional values of the church. Latour is all about instilling the importance of faith as a stable and enduring force. He can be “cold” and withdrawn, sometimes over-intellectualizing things or seeming self-absorbed.

By contrast, Father Vaillant is characterized by his energy and sociability: sometimes he’s actually too energetic, as he can be “rash” and quick to frustration. He “weeps” and “shouts” where Latour considers and thinks. He thrives on interaction and action, embracing immediate solutions to the challenges he encounters in his missionary work. He makes longstanding and loving friendships and builds long-term ties to his community, where Latour’s connections are more intellectual and superficial. Vaillant is more focused on practical matters than his senior companion, with a strong desire to help the living in the here and now, rather than solely considering future generations of believers. His adaptable and flexible approach aligns with a more progressive and liberal version of the church: he wants nothing more than active engagement with the world. Unlike Latour, Vaillant loves the sensual pleasures of the community around him. He’s an enthusiastic eater and drinker and does everything with great energy. Even the way the two men ride their steeds is different: Latour and his beast pace in a dignified way, while Vaillant “leaps upon Contento’s back with the agility of a grasshopper.”

Their work together in the challenging and unfamiliar landscape of the American Southwest benefits from their opposing characters. Latour's thoughtful and strategic planning provides a solid foundation for the church's presence in the region. Vaillant's energy and willingness to adapt to the local culture and customs enable people to relate to him in a way Latour's more reserved style can’t.

Magdalena, who is devout and giving, embodies sincere faith and a willingness to adapt and learn. Although her early life is horrible, as she is married to a murderer and suffers abuse, she is able to adapt and grow when her surroundings change. These are traits that are deeply rooted in her actual humility and engagement with the world around her. Her character undergoes a profound transformation throughout the novel, reflecting a willingness to embrace change. She goes from being a “haunted” figure, “shapeless and cringing,” to being a calm and fulfilled woman. Indeed, when Vaillant sees her for a second time in Latour’s garden, she is so at peace that birds land on her and coo around her as she feeds them. Magdalena's journey is characterized by redemption and personal growth, so much so that she walks among “a whirlwind of gleaming wings.” She appears almost angelic after she accepts help and undergoes change.

On the other hand, Doña Isabella represents the formal traditionalism of European settlers and their resistance to change. She clings to the old-world aristocratic values and customs, maintaining a rigid adherence to tradition. Doña Isabella's character has a persistent sense of entitlement, and she refuses to adapt to the changing times. She insists on speaking French with the priests even though others around her can’t understand it, as if to demonstrate how cultured she is. Indeed, she’s so resistant to change that she even lies about her age, acting outraged when the priests suggest she could be “fifty-two.” Where Magdalena ages gracefully, Doña Isabella cakes herself in makeup and insists on being treated as if she has not grown older, even at the risk of losing her widow’s pension. Her character remains static throughout the narrative, resistant to the evolving world around her. This is also emphasized by the “heavy” clothes she chooses to wear after her husband dies: even though it's scalding hot where she lives, she adheres strictly to tradition. Where Magdalena is flexible and does not put on airs, Isabella is unyielding and clings to her aristocratic pretensions.