Not only was this a clash of innocent people fighting for their lives, but they were also fighting to show these accusers as liars. One major theme in the book is the theme of “Love”. Love makes people do many things, that they could or could not regret. ABIGAIL, with a bitter anger: Oh, I marvel how such a strong man may let such a sickly wife be— PROCTOR, angered at himself as well: You'll speak nothin' of Elizabeth! ABIGAIL: She is blackening my name in the village!
The first encounter with Luna’s character in the chapter appropriately named “Surrender” portrays her on her knees with her lover, the General, standing above her and pulling her “unruly hair” (Hagedorn, 127). Luna’s lovers need her to exercise their macho potency, as she is another women “in a nexus of suppression, ownership, and violence” (Ashok, 4) only deceiving herself that she is the one who has the control. Lolita is surely worshiped for her beauty and sexual endeavors, and richly rewarded with capitalist commodities, but, whenever she tries to rebel she is constantly reminded that she is a merely kept woman at the mercy of her lovers. In that respect, she is no better than her lovers’ submissive and fully adapted wives. On the other hand, unlike the First Lady and Isabel who enjoy their parts, disgusted Luna always feels the need to escape.
“There’s nothing remarkable in their making a man foolish, in women winning men To sin, for Adam our father was deceived just so, and Solomon, and also Samson, Delilah was his death and later David Endured misery for Batheba’s beauty. Women ruined them: how wonderful if men could love them well, but never believe them!” (130). Ever since Adam & Eve days, females have been seen as femme fatale. As “An alluring and seductive woman, especially one who leads men into compromising and dangerous situations.”- (dictionary). Sir Gawain expresses his thoughts and advices his audience that it is ok to love woman but never believe their stories nor fall for for their seduction otherwise a permanent scar will be carried upon sinners.
Goffman even suggests that the men’s outcast status adds to their allure. Still, the battle of the sexes rages. In a sad but quaint vestige of bourgeois mores, the women desire and expect sexual exclusivity, while the men show no interest in anything approaching monogamy. The resulting disharmony looms large in the fugitive dynamic, as jealous and rivalrous women wield their knowledge of men’s goings-on to gain romantic advantage, settle old scores, curry favor, and vie for primacy with mothers and sisters. The “father-go-round” of children creates a tangle of personal ties that renders women vulnerable to conflicting pressures from lawless men and the authorities.
Pecola is pushed furthermore into her imaginary world, which is her only shield against the pain of her existence. This becomes evident of the power that men have over women in this society. Pauline is powerless to speak up and fight for the equality of women, more especially her daughter’s. Morrison used Kristeva (1982) “silencing the abject” theory and Spivak (1988) “can the subaltern speak” theory as examples to show how women are made to personalize the abuse and objectification by their patriarchal partners. Pauline’s only time when she feels powerful, loved, pretty and not alienated is when she has sexual intercourse with Cholly: “…I feel his flank just graze my behind.
He contrasts the hostile adult world with his romantic youth, which shows his ignorance because his love does not matter. The ideal image of the girl trances him so much he acts as if love will conquer all. He imagines, “my body was like a harp and her words and gestures were like fingers running along the wires” (17) and “I bore my chalice safely through a throng of foes”(16). The simile suggests the girl actually controls him and then he is willing to do whatever she needs; therefore, he will protect the chalice, a symbol of their love, against the foes, a symbol of the adult world, but this is all a fantasy because he cannot protect his innocence. He continues trying to hide from the adult world as his senses seem “to desire to veil themselves and, feeling that I was about to slip from them” (17).
This, once more, points towards an attitude that judges women for their sexual output and attractiveness alone. The old woman would be incapable of the two things her sex is desired for; procreation, and the sexual pleasure this would require. She uses the rhetoric of reason to get her young husband to love her, yet her premise rests on her position as someone who has lost beauty and is placed at disadvantage. The old woman begins to ‘selle’ her virtues of faithfulness , and in this she commoditises her identity and establishes once more the hierarchy of husband and wife; and the position of the wife as someone inferior to her
After Katherina was the perfect wife Petruchio placed bets on her and used her as a trophy. Publicly kissing and giving orders to Katherina made Petruchio feel like a manly man who would not be swayed by a woman. After all women “are bound to serve, love and obey” (Shakespeare 5.2.85). Katherina’s transformation in The Taming of the Shrew is a great example of the expectations for women in the past. Instead of being welcomed and popular for having a backbone women were shot down until they believed they were less than men.
Beauty consistently deteriorates over time; women attempt to conceal this truth with makeup, skin products, and plastic surgeries. Even men nowadays dye their grey hair to extend their youthful appearance. In Edna St. Vincent Millay's, "What lips my lips have kissed, and where, and why, " an older woman struggles to accept this harsh truth of aging, reflecting on her conquests of sex. Explicating her regret of unconnected, physical pleasure, a w oman desires a deeper and a more moving relationship by describing her emotional stance to her past loves and to her present. The forgettable quality of her conquests details the woman’s impersonal relationship to them and underlines her current emotional emptiness and loneliness without her
Lucy's human identity is most vehemently denied in the symptomatic expression: "The Thing" (192). Eroticized and dehumanized, she is sacrificed to consolidate the male bonding. Only then can the former rivals in love transform their desire for Lucy into a firm, selfless friendship and into the love of ascetic hard work as a team, or as what Daly calls it, the "male, professional, homosocial order" (198). The description of Lucy's face after the staking as "of unequalled sweetness and purity" reassures the male "professionals" that the murder is not only necessary but merciful.” (9). ~ Sins of the flesh: anorexia, eroticism and the female vampire in Bram Stoker's Dracula.
Macbeth’s thoughts with his deep desires dismay him and he fails to share them openly so he sends a letter to Lady Macbeth clarifying the situation he is in. When Lady Macbeth receives the letter, she encourages murder as she sees that this is the only chance to accomplish their ambition. Lady Macbeth says, “I have given suck, and know how tender ‘tis to love the babe that milks me: I would, while it was smiling in my face, Have pluck’d my nipple from his boneless gums, And dash’d the brains out, Had I sworn as you Have done this” (1.7.59-64). Macbeth allows his wife, Lady Macbeth, to manipulate him by condemning him of not being ‘man’ enough and states that she will kill her own baby for the sake of having their desire fulfilled. Lady Macbeth also uses the power of her words to convince Macbeth to kill the king by also giving Macbeth a boost of confidence.