The University of Jordan
I, Diana Shahin, authorise the University of Jordan to supply copies of
my
Thesis to libraries or establishments or individuals on request, according
to the University of Jordan regulations.
Signature:
Date: 30-July-2009
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Authorization Form
THE FEMININE IN FIN DE SIÈCLE GOTHIC LITERATURE
By
Diana Shahin
Supervisor
Dr. Rula Quawas
This Thesis was Submitted in Partial Fulfilment of the Requirements
for the Master’s Degree in English Literature
Faculty of Graduate Studies
The University of Jordan
August, 2009
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BEAUTIFUL UNCANNY WOMEN: DEATH, AWAKENING AND
This Thesis (Beautiful Uncanny Women: Death, Awakening and the
Feminine in Fin de Siècle Gothic Literature) was Successfully
Defended and Approved on 26-July-2009.
Examination Committee
Dr. Rula Quawas (Supervisor)
(Associate Professor in American Literature)
Prof. Abdul Rahman Shaheen (Member)
(Professor in Satiric Trends in Poetry and Drama)
Prof. Tawfiq Yousef (Member)
(Professor in Modern English Literature)
Dr. Fadia Suyoufie (Member)
(Associate Professor in English Literature)
(Yarmouk University)
Signature
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COMMITTEE DECISION
To my parents for their constant and unquestioning love, support and
enthusiasm, for trying to understand my passion for literature and for never doubting
me: without you both this would never have been possible, thank you. To the rest of
my family for believing in me and always encouraging me. And last but certainly not
least, to all my friends: a special thank you for being with me every step of the way,
for patiently listening to my complaints and for your sage advice when I needed it
most.
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Dedication
I would like to thank my mentor and friend, my thesis supervisor, Dr. Rula
Quawas, for her invaluable help, advice and support: from inception to completion,
she has been my “navigator” through the calm and choppy waters of my thesis. I
would also like to extend my thanks to the examination committee for allowing me
the privilege of receiving their erudite comments and observations on my work.
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Acknowledgment
Subject
Page
Committee Decision ………………………………………………
ii
Dedication …………………………………….………....………..
iii
Acknowledgement ………………………………………...…..….
iv
Table of Contents………………………………………………….
v
Abstract in English………..………………….…....………………
vi
Introduction ………………………………………………………..
1
The Unholy Trinity: the Gothic, the Unconscious and Women …...
12
“…is she really dead?”: Awakenings, Death and Female
Frankensteins………………………………………………………..
42
Conclusion…………………………...…….……………………….
73
References....………………………………………………………..
79
Abstract in Arabic……………………………….….………………
82
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Table of Contents
THE FEMININE IN FIN DE SIÈCLE GOTHIC LITERATURE
By
Diana Shahin
Supervisor
Dr. Rula Quawas
Abstract
Fin de siècle British Gothic fiction is littered with the casualties of authors’
imaginations, but the most intriguing and carefully-preserved corpse left on display is
that of the beautiful and uncanny woman. The aim of this Study is to bring into focus
how both women and their awakenings are uncannily juxtaposed with death in the
British Gothic literature of the 1880s and 1890s. Through the analysis of the female
characters in H. Rider Haggard’s She, Oscar Wilde’s The Picture of Dorian Gray and
Bram Stoker’s Dracula, the image of the deathly femme fatale who meets with death
takes on clearer dimensions as one that haunted the imagination and the unconscious
of a number of British male writers, as much as the image of the recently-emerged
and newly-powerful New Woman haunted their waking hours.
Haggard, Wilde and Stoker provide a distinct variety of female characters, who
all share certain commonalities: they are all beautiful, seductive and dangerous to
men, and they all undergo awakenings of some kind. Each woman commits the
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BEAUTIFUL UNCANNY WOMEN: DEATH, AWAKENING AND
ultimate sin of facilitating her self-awareness and self-empowerment, challenging
the awakened woman is perceived as an unknown, unpredictable and thereby
terrifying creature. The Gothic provides the ideal site for that monstrosity to come to
light, facilitating the killing off and laying to rest of the awakened woman and her late
nineteenth-century incarnation, the New Woman.
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male authority and becoming a female Frankenstein. Further analysis thus reveals that
Any study of the depiction of women in late nineteenth-century literature must
necessarily include an overview of the underlying factors which have moulded the
minds and writings of those living at the time, the socio-political and historical
contexts of that which is known as “Victorian.” The term is a rather ambiguous one
as, over time, it has come to possess many different conflicting, controversial and
even derogatory associations, a word linked with the birth of the “modern” state and
bourgeois ideals; it has been thought of as the age of morality and respectability, with
the adjective “Victorian” now somewhat erroneously being associated with “restraint,
repression, inhibition, and an oppressive decorum” (Gilmour 1993, 9). Yet, that is not
all there is to Victorianism.
In his Introduction to Writing and Victorianism, J. B. Bullen describes the word
“Victorian” as connotative, “a short-hand way of referring to the attitudes, manners,
ideologies and values of a diverse group of individuals who lived in a period which
approximated to the reign of Queen Victoria” (1997, 1). However, providing a more
detailed definition of Victorianism is problematic, due mostly to the complexity
involved in ascertaining the attitudes, manners, ideologies and values of a people who
lived through a period that encompasses over sixty years of ever-evolving change in
terms of society, economics, politics, arts, and religion. Taking into consideration the
fact that historians now describe the Victorian age as one of apparent “equipoise”
(Stone 1972, 66), the indication is that, in spite of all the changes the period
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Introduction
underwent, the Victorians were able to strike a balance between the many different
The reign of Queen Victoria extended from 1837 until 1901, covering a
remarkably large part of a century in which “the modern urban-industrial world was
born, and passed from confidence to anxiety and crisis” (Gilmour 1993, 1).
Nineteenth-century Britain’s industrial revolution brought about many of the changes
which eventually made the country what it is today. Although the period started off
with the harnessing of steam power, electricity was fast becoming a primary energy
source by the close of the century. An extensive railway system linked hitherto distant
corners of Britain; by the end of the period, electric trams were in use in the streets of
London, as well as the electric telegraph, the first telephone exchange and early
automobiles.
In an age characterised by reforms, the Victorians were able to achieve positive
social and political changes with such measures as the Reform Acts in 1867 and
1884, the Married Women’s Property Act in 1870, and Forster’s Education Act in
1871, amongst many others (James 2006, 22). Education was a primary concern,
leading to the Oxbridge reforms and the establishment of the country’s first women’s
colleges. Science was forever advancing: the publication of Charles Darwin’s The
Origin of Species in 1859, for example, provided one of the most notable and
influential theories of an age in which “[s]cientists rubbed shoulders with poets, [and]
philosophers with politicians” (Bullen 1997, 4).
The Victorians, then, were a people caught in the throes of relentless change,
one with which they made every attempt to reconcile themselves. They lived in an
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developments and influences which shaped the era.
age which advanced in leaps and jumps and an Empire which obtained the nineteenth
the continued expansion of the Empire resulted in economic, political and social
tensions in Britain, especially with the Indian Mutiny in 1857-58 (Gilmour 1993, 180)
and the First and Second Boer Wars in the 1880s and 1890s, and other revolts in
British colonies (James 2006, 25). The resultant anxieties of these and other issues
found voice in the literature of the age, proving just how tremulously the Victorians
viewed their ever-shifting world, one that was fraught with challenges and obstacles
the likes of which had never before been witnessed.
The nineteenth century is considered the age of the novel, with British Victorian
writers yielding an almost unparalleled contribution to the literary canon. A
conservative estimate, for instance, places the number of novels published in Britain
between 1837 and 1901 at 60,000 novels (James 2006, 3); the Victorian novel’s
prolificacy was largely attributed to the industrial revolution which “created cheap
printing and papermaking, and rapid book distribution by rail, at a time when reading
was rapidly expanding” (4-5). The middle classes comprised the majority of Victorian
Britain’s reading public, and the novel in particular was “a form largely directed
towards women readers” (Stone 1972, 70). With writers such as Charles Dickens,
Jane Austen, the Brontë sisters, George Eliot and Thomas Hardy dominating the
literary scene, the nineteenth century has produced some of the most widely read and
studied novels to date.
Imaginative literature became a vehicle for serious thought in nineteenthcentury Victorian Britain, with the novel shifting in the popular imagination from
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century’s “undisputed leadership of the Western world” (Evans 1950, 329). However,
pastime to critic, offering readers a social commentary of sorts (Bullen 1997, 4). This
intellectual clime during the last decades of the century. Victorian cultural and
intellectual life was profoundly shaped by the groups trying to reform and reconstruct
the old aristocratic state (Gilmour 1993, 6), which gave birth to such movements as
the Social Democrat Federation in 1881 and the Fabian Society in 1884, for example,
leading to the development of the modern ideology of socialism (James 2006, 24).
Avant-garde thinkers appeared in the latter part of the nineteenth century, “apostles of
culture” like Matthew Arnold and later Walter Pater, Algernon Swinburne and Oscar
Wilde, who expounded their views on personal and “self” culture (Bullen 1997, 5).
The issue of women’s rights and suffrage also bore great influence on intellectual
circles: the call for the emancipation of women was met with divided reactions,
whether condemnation or approbation.
The last decades of the nineteenth century thus witnessed the rise of a cultural
phenomenon, that of the fin de siècle. Literally meaning “end of century,” the term
refers to the world-weary mood of European culture in the 1880s and 1890s, with
some writers adopting “decadent” views regarding the function of art in reaction to
realism and naturalism (Oxford Concise Dictionary of Literary Terms, 97). Living in
an industrial society characterised by fast-paced change, the Victorians needed to
formulate a world view that could not only encompass their constant anticipation of
change, but which could also express the spirit of the age; by the 1880s and 1890s,
the Victorian period was one which, to all purposes and intents, had passed through
its golden age and was now “becoming an embattled nation” (James 2006, 25), as the
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allows for more insight into the Victorian mindset, especially when considering the
apparent decline and degeneration of the fin de siècle seemed to have found root.
that industrialisation and urbanisation could fall back on” (Gilmour 1993, 19-20), the
Victorians were driven to either create new models and constructs or to revise
previous ones to suit the new world in which they lived.
The Victorian age was one characterised by its “fertile revivalism” (Gilmour
1993, 1) as previous modes of thought and concepts were adopted and adapted,
leading to the emergence of a rich intellectual and cultural tradition. The most
outstanding example in which the Victorians turned revivalism into an art form was
the appropriation of the Gothic. The “classic” Gothic literary tradition appeared in the
eighteenth century as an offshoot of Romanticism, established and immortalised by
such writers as Horace Walpole, Ann Radcliffe, Mary Shelley and M. G. Lewis.
However, as a mode, the Gothic continued to return throughout the nineteenth
century, dispersed into a variety of fictional forms, before re-emerging with full force
once more in the fin de siècle (Punter and Byron 2004, 26).
Victorian Gothic literature built on Romantic Gothicism, instilling its own
distinct flavour as it shadowed “the uncanny dualities of Victorian realism and
decadence” (Botting 1996, 1). Primarily characterised by the domestication of Gothic
figures, spaces and themes, “horrors become explicitly located within the world of the
contemporary reader” in Victorian Gothicism, replacing the previous Gothic horrors
with something more disturbingly familiar (Punter and Byron 2004, 26).
Transgression appeared as a central theme in Victorian Gothic fiction, as women
tended to assume the role of both heroine and monster, thus provoking predominant
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Addressing the arising concerns became necessary, but in the absence of “precedents
Victorian anxieties about the instability of identity and the breakdown of gender roles
Fanu, Wilkie Collins, Elizabeth Gaskell and Robert Louis Stevenson.
Three notable Victorian novels which emerged in fin de siècle Britain were H.
Rider Haggard’s She (1886), Oscar Wilde’s The Picture of Dorian Gray (1891) and
Bram Stoker’s Dracula (1897). While all three undoubtedly follow the Gothic
tradition, they are very rarely classed together primarily because each falls within
distinct sub-genres--in fact, with regards to the writers, Haggard, Wilde and Stoker
can be seen as complete polar opposites in some senses. The former wrote imperialist
Romantic adventure novels set in far-off lands--She is a tale of adventure and derringdo, of the manifold mysteries and horrors found in some forgotten part of the globe,
manifested in the form of the eponymous She. Wilde was better known for his witty
and elaborate writings which epitomised the decadence of the fin de siècle; The
Picture of Dorian Gray is a story of corrupting influence, of how a young man makes
the extraordinary wish that his portrait should age in his stead, the granting of which
eventually results in his slow spiral down into moral and spiritual ruin. Stoker, on the
other hand, excelled in his sensational portrayal of the vampire in Dracula, regaling
his readers with the thrilling and chilling account of the Transylvanian Count Dracula
and his fiendish attempt to infiltrate London, and the brave men who stop him.
Although Haggard, Wilde and Stoker are well-known, they are not necessarily
considered representative writers, nor are their works classified as part of the socalled literary canon. So why bring these three together in the analysis of their
novels? To start with, the three can be seen to present some of the most exceedingly
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(Punter and Byron 2004, 27). Key Gothic writers of the period include J. Sheridan Le
fascinating Gothic tales of the time in terms of the plot, characters and setting. In fact,
semi-permanent abode on bookshelves since they were first published. As Fred
Botting points out in Gothic: “Gothic texts have generally been marginalised,
excluded from the sphere of acceptable literature,” yet in the realm of popular fiction
“Gothic writing thrived and exerted influence on more properly literary forms” (1996,
15). Thus, although the three aforementioned works may be classed as popular
fiction, the reading public’s voracious appetite for these and other best-selling works
merely serves to emphasise their universality, and as such they should not be lightly
dismissed. As John Sutherland states: “Potentially, the bestseller is a powerful
instrument for social change, instruction or enlightenment” (qtd. in Willis 2001, 54).
The important question that then arises is what these three seemingly dissimilar
novels have in common. The answer is quite simple: the female characters. The
women in She, The Picture of Dorian Gray and Dracula are all irrevocably tied to
death; they are deadly, deathly and almost always, eventually dead. This makes for an
extremely perplexing and intriguing reading of the works. Why did all three of these
apparently diverse late Victorian British writers portray women in such a way? Why
are women associated with death at almost every twist and turn? What does this
depiction suggest?
The portrayal of women in fin de siècle literature expresses the anxieties and
concerns of Victorian society regarding the changing status of women. With women’s
rights and suffrage holding the limelight in the 1880s and 1890s, Britain witnessed
the advent of a New Woman, one who was perceived as both monstrous and
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the appeal and lure of these novels can be felt until this very day, to judge by their
____________ (1919), The Uncanny. In: Freud, Sigmund, Writings on Art and
Literature, pp.193-233, Standford, California: Meridian.
London: George Allen and Unwin Ltd.
Gilbert, Sandra M. and Susan Gubar (1988), No Man’s Land. The Place of the Woman
Writer in the Twentieth Century. Vol. 2. Sex Changes, New Haven: Yale UP.
Gilmour, Robin (1993), The Victorian Period. The Intellectual and Cultural Context of
English Literature 1830-1890, New York: Longman.
Haggard, H. Rider (1886), She, London: Penguin.
James, Louis (2006), The Victorian Novel, Oxford: Blackwell Publishing.
Lorrah, Jean (1999), Dracula Meets the New Woman. In: Heldreth, Leonard G. and Pharr,
Mary (eds.), The Blood Is the Life: Vampires in Literature, pp.31-42, Bowling Green,
OH: Bowling Green State UP, http://www.questia.com/PM.qst?a=o&d=101093781
Nassaar, Christopher S. (1974), Into the Demon Universe: A Literary Exploration of
Oscar Wilde, New Haven: Yale UP.
Poe, Edgar Allen (1984), Essays and Reviews. Selections, New York: Literary Classics of
the U.S.
Powell, Kerry (1997), A Verdict of Death: Oscar Wilde, Actresses and Victorian Women.
In: Raby, Peter (ed.), The Cambridge Companion to Oscar Wilde, pp.181-194,
Cambridge: Cambridge UP.
Praz, Mario (1933), The Romantic Agony, Cleveland, Ohio: The World Publishing
Company.
Punter, David (1980), The Literature of Terror: A History of Gothic Fictions from
1765 to the Present Day, London: Longman.
____________ and Glennis Byron (2004), The Gothic, London: Blackwell Publishing.
Richardson, Angelique and Chris Willis, eds. (2001), The New Woman in Fiction and in
Fact: Fin-de-Siècle Feminisms, London: Palgrave.
Schaffer, Talia (2001), “Nothing but Foolscap and Ink”: Inventing the New Woman. In:
Richardson, Angelique and Chris Willis (eds.), The New Woman in Fiction and in
Fact: Fin-de-Siècle Feminisms, pp.39-52. London: Palgrave.
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_____________ (1954), The Interpretation of Dreams, Trans. and Ed. Stratchey, James,
Senf, Carol A. (1982), “Dracula”: Stoker’s Response to the New Woman, Victorian
Studies, Vol. 26 Issue 1 (Autumn 1982), pp.33-50,
Smith, Andrew (2000), Gothic Radicalism: Literature, Philosophy and Psychoanalysis
in the Nineteenth Century, New York: Macmillan.
Stoker, Bram (1897), Dracula, London: Penguin.
Stone, Donald D. (1972), Victorian Feminism and the Nineteenth Century Novel, Women’s
Studies, Vol. 1 Issue 1 (1972), pp.65-92,
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Wilde, Oscar (1891), The Picture of Dorian Gray, London: Penguin.
Willis, Chris (2001), “Heaven defend me from political or highly educated women!”:
Packaging the New Woman for Mass Consumption. In: Richardson, Angelique and
Chris Willis (eds.), The New Woman in Fiction and in Fact: Fin-de-Siècle
Feminisms, pp.53-65, London: Palgrave.
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http://www.search.ebscohost.com.ezlibrary.ju.edu.jo
‫ﻨﺴﺎﺀ ﺠﻤﻴﻼﺕ ﻏﺎﻤﻀﺎﺕ‪ :‬ﺍﻝﻤﻭﺕ‪ ،‬ﺍﻝﺼﺤﻭﺓ‪ ،‬ﻭﺍﻷﻨﻭﺜﺔ ﻤﺠﺴﺩﺓ ﻓﻲ ﺍﻷﺩﺏ‬
‫ﺍﻝﻘﻭﻁﻲ ﻓﻲ ﻨﻬﺎﻴﺔ ﺍﻝﻘﺭﻥ ﺍﻝﺘﺎﺴﻊ ﻋﺸﺭ‬
‫‪All Rights Reserved - Library of University of Jordan - Center of Thesis Deposit‬‬
‫ﺍﻋﺩﺍﺩ‬
‫ﺩﺍﻴﺎﻨﺎ ﺸﺎﻫﻴﻥ‬
‫ﺍﻝﻤﺸﺭﻑ‬
‫ﺩ‪ .‬ﺭﻝﻰ ﺒﻁﺭﺱ ﻗﻭﺍﺱ‬
‫ﻤﻠﺨﺹ‬
‫ﺘﺘﻨﺎﺜﺭ ﻀﺤﺎﻴﺎ ﻤﺨﻴﻠﺔ ﻜﺘﺎﺏ ﺍﻷﺩﺏ ﺍﻝﻘﻭﻁﻲ ﺍﻝﺒﺭﻴﻁﺎﻨﻲ ‪ ،‬ﻭﻝﻜﻥ ﺍﻝﺠﺜﺔ ﺍﻷﻜﺜﺭ ﺠﺎﺫﺒﻴﺔ‬
‫ﻭﺘﺄﻝﻘﺎ‪ ،‬ﻭﺍﻝﻤﺤﻔﻭﻅﺔ ﺒﻌﻨﺎﻴﺔ ﻫﻲ ﺘﻠﻙ ﺍﻝﺘﻲ ﺘﻌﻭﺩ ﻝﻠﻤﺭﺃﺓ ﺍﻝﺠﻤﻴﻠﺔ ﺍﻝﻐﺎﻤﻀﺔ‪ .‬ﺇﻥ ﺍﻝﻬﺩﻑ ﻤﻥ ﻫﺫﻩ‬
‫ﺍﻝﺩﺭﺍﺴﺔ ﻫﻭ ﺍﻝﻘﺎﺀ ﺍﻝﻀﻭﺀ ﻋﻠﻰ ﺤﻘﻴﻘﺔ ﻫﺅﻻﺀ ﺍﻝﻨﺴﻭﺓ ﻭﺼﺤﻭﺍﺘﻬﻥ ﺍﻝﺘﻲ ﺘﺘﻤﺎﻫﻰ ﻤﻊ ﺍﻝﻤﻭﺕ ﻓﻲ‬
‫ﺍﻷﺩﺏ ﺍﻝﻘﻭﻁﻲ ﺍﻝﺒﺭﻴﻁﺎﻨﻲ ﻓﻲ ﻓﺘﺭﺓ ﺍﻝﺜﻤﺎﻨﻴﻨﺎﺕ ﻭﺍﻝﺘﺴﻌﻴﻨﺎﺕ ﻤﻥ ﺍﻝﻘﺭﻥ ﺍﻝﺘﺎﺴﻊ ﻋﺸﺭ‪ .‬ﻭﻤﻥ‬
‫ﺨﻼل ﺘﺤﻠﻴل ﺍﻝﺸﺨﺼﻴﺎﺕ ﺍﻝﻨﺴﻭﻴﺔ ﻓﻲ ﺭﻭﺍﻴﺔ ﻫﻲ ل ﺇﺘﺵ ﺭﺍﻴﺩﺭ ﻫﺎﺠﺎﺭﺩ‪ ،‬ﻭﺭﻭﺍﻴﺔ ﺼﻭﺭﺓ‬
‫ﺩﻭﺭﻴﺎﻥ ﺠﺭﺍﻱ ﻷﻭﺴﻜﺎﺭ ﻭﺍﻴﻠﺩ‪ ،‬ﻭﺭﻭﺍﻴﺔ ﺩﺭﺍﻜﻭﻻ ﻝﺒﺭﺍﻡ ﺴﺘﻭﻜﺭ‪ ،‬ﺘﺒﺭﺯ ﺍﻷﺒﻌﺎﺩ ﻭﺍﻝﻤﻼﻤﺢ‬
‫ﺍﻝﻭﺍﻀﺤﺔ ﻝﻨﺴﺎﺀ ﻗﺩﺭﻴﺎﺕ ﻤﺤﻜﻭﻤﺎﺕ ﺒﺎﻝﻤﻭﺕ‪ ،‬ﻭﻫﻭ ﻤﺎ ﺴﻜﻥ ﺨﻴﺎل ﻋﺩﺩ ﻤﻥ ﺍﻝﻜﺘﺎﺏ‬
‫ﺍﻝﺒﺭﻴﻁﺎﻨﻴﻴﻥ ﺍﻝﺫﻜﻭﺭ‪ ،‬ﺒﻘﺩﺭ ﻤﺎ ﺴﻜﻥ ﺴﺎﻋﺎﺕ ﺼﺤﻭﻫﻡ‪ ،‬ﺘﻠﻙ ﺍﻝﻤﺭﺃﺓ‪ ،‬ﺍﻝﺘﻲ ﻅﻬﺭﺕ ﻤﺅﺨﺭﺍ‬
‫ﻭﻫﻲ ﻤﻔﻌﻤﺔ ﺒﻜل ﻤﻅﺎﻫﺭ ﺍﻝﻘﻭﺓ‪،‬ﺠﺎﺀﺕ ﺘﺤﺕ ﺸﻌﺎﺭ "ﺍﻝﻤﺭﺃﺓ ﺍﻝﺠﺩﻴﺩﺓ"‪.‬‬
‫ﻴﻘﺩﻡ ﻝﻨﺎ ﻫﺎﺠﺎﺭﺩ ﻭ ﻭﺍﻴﻠﺩ ﻭ ﺴﺘﻭﻜﺭ ﺘﻨﻭﻋﺎ ﺠﻠﻴﺎ ﻓﻲ ﺍﻝﺸﺨﺼﻴﺎﺕ ﺍﻝﻨﺴﻭﻴﺔ ﻤﻊ ﻗﻭﺍﺴﻡ‬
‫ﻤﺸﺘﺭﻜﺔ ﺒﻴﻨﻬﻥ‪ ،‬ﻭﻫﻲ‪ :‬ﺍﻝﺠﻤﺎل‪ ،‬ﻭﺍﻹﻏﺭﺍﺀ‪ ،‬ﻭﺍﻝﺨﻁﺭ ﺍﻝﺫﻱ ﻴﺸﻜﻠﻨﻪ ﻋﻠﻰ ﺍﻝﺭﺠﺎل‪ ،‬ﺒﺎﻻﻀﺎﻓﺔ‬
‫ﺍﻝﻰ ﺃﻨﻬﻥ ﺠﻤﻴﻌﺎ ﻴﺩﺨﻠﻥ‪ ،‬ﺒﻁﺭﻴﻘﺔ ﺃﻭ ﺒﺄﺨﺭﻯ‪ ،‬ﻓﻲ ﻋﺎﻝﻡ ﺍﻝﺼﺤﻭﺓ‪ .‬ﻜل ﺍﻤﺭﺃﺓ ﻤﻨﻬﻥ ﺘﺭﺘﻜﺏ‬
‫ﺍﻝﺫﻨﺏ ﺍﻷﻜﺒﺭ‪ ،‬ﻭﻫﻭ ﺘﺴﻬﻴل ﺼﺤﻭﺘﻬﺎ ﻭﻗﺩﺭﺍﺘﻬﺎ ﻭﺍﻤﻜﺎﻨﺎﺘﻬﺎ ﺍﻝﺫﺍﺘﻴﺔ ﻓﻲ ﺘﺤ ‪‬ﺩ ﻭﺍﻀﺢ ﻝﺴﻠﻁﺔ‬
‫ﺍﻝﺭﺠل ﻝﺩﺭﺠﺔ ﺃﻨﻬﻥ ﺃﺼﺒﺤﻥ ﻓﺭﺍﻨﻜﺸﺘﺎﻴﻥ ﺍﻷﻨﺜﻰ‪ .‬ﻭﺘﻜﺸﻑ ﺍﻝﺘﺤﻠﻴﻼﺕ ﺃﻴﻀﺎ ﺃﻥ ﺍﻤﺭﺃﺓ‬