Overtones

In the world of Overtones Gerstenberg writes the characters such that the prim and proper Harriet and Margaret never see their more crude counter parts, but the counter parts, Hetty and Maggie, can see their real life counter-parts. In the world of the play Hetty and Maggie also cannot interact with the real world. In the offering of cake Maggie is clawing at the cake in desire, but never actually touches it. In a way the alter-egos personify the true desire of the characters, which is much more base and selfish than eloquence permits. The counter-egos also act as a solitary shoulder-angel the keeps whispering, or yelling, suggestions of topic change, like a representation of the voice in the back of our head telling us what we really want out of a situation. There is a moment where Harriet hides Hetty with a veil at the beginning of the play, and that is the only significant interaction between the physical and supposed metaphysical personification of the characters.
     Throughout the entire play Hetty and Maggie show the desires and wants of the main characters in their societal act of conversation. The language of the passions (Hetty and Maggie) are a more base language and crude, which gave a sense of the fundamentality of our base emotions and desires, which are often contrary to our outward appearance portrayed by society around us. There is a lot of talk from the passions to the characters, but not much conversation back to the passions. For instance when asked if she wanted more tea, Maggie exclaimed "yes!" while Margaret declined politely. Despite the actions and desires of the passions, they have no power in the real world and are subject to the main characters.