The frustrated woman, second fiddle can only take her pound of flesh - but unlike Shylock takes it from a thousand cuts.
Cassandra Evans never had a chance. Smart, but not quick, well-read but in the wrong things, library romance instead of deeper fare, she was frustrated in a marriage because she hoped for more, for better, but was never up to her husband's reach. Her ripostes were off the mark, her remarks graspy confections, and her analyses dim.
It was inevitable that the husband would leave and get away from the clucking of his wife who grappled for a toehold, never found the right step, and ended up a wounded duck.
At the end of The Duchess of the Orient, a Faye McAllister romance about an American woman looking for love who travels to China and finds her Oriental prince only to be left on the streets of Shanghai replaced by the beautiful granddaughter of last Shantung emperor, Cassandra cried like a baby, so much did she empathize with McAllister's heroine, both left disconsolate by unfaithful men.
She quickly borrowed the next in the McAllister series - An Oriental Love - a story which followed the heroine back to her farm in Iowa where she finds a new life of simplicity, purity, and healthy aspiration, only to return to China where her prince has been left alone and disconsolate by the emperor's granddaughter and is in need of Cassandra's solace and consolation.
The two live in an idyll until the winds of change blow, the servants are dismissed, the princely gardens fall into a sad, neglected, flowerless bed, and the prince is arrested for treason.
The story, not one of McAllister's best gets tangled up in Han Chinese politics and the fractious debates within the Communist party, but the prince is exonerated and he and his American bride find everlasting love in the Yellow Mountains.
These library fugues were of course just temporary anodynes to Cassandra's suffering. The more she demanded her birthright - to be treated royally or at least with the respect due to any woman - and the more she was ignored by her husband who thought only of extrication, the less satisfaction she could glean from the marriage. It was a hopeless impasse.
Had she read about Hedda Gabler, Rebekka West, and Hilde Wangel, Ibsen's Nietzschean women for whom male disassembly is a specialty she might have taken heart. Hilde seduces Solness, the Master Builder, convinces him that he, despite his failings and pedestrian ventures is close to God, and urges him to climb the steeple of the tallest church in the town from which he falls to his death.
She smiles. She has taken over and controlled the will of another for no other reason that she could. What could be more fulfilling for a woman, asks Ibsen?
Hedda Gabler takes over the will of her former lover, encouraging him to acts of bravery and heroism encouraging him to murder or suicide, and when he fails miserably and dies a disgustingly miserable death, she is left with nothing but an uxorious fool of a husband and kills herself in defiance of all convention. She has exerted her will - the only validation of the individual in a meaningless world, said Nietzsche - and only her suicide, a refusal to capitulate to ordinary men, will do.
Laura, the heroine of Strindberg's The Father, who wants complete control of her daughter and the family fortune - an impossibility in Victorian Scandinavian society - sets out to destroy her husband. She suggests that their daughter is not his and playing on that chronic male weakness drives him mad, has him committed, and takes over everything.
Cassandra Evans never got that far, so immersed as she was in the romantic life of Faye McAllister's heroines- women as far from Ibsen's Nietzschean characters as can be. The heroines of her library books found romance, but it was always a pyrrhic victory. It was a woman's fate to need love, to be cared for, to suffer at the hands of male duplicity, and to try and try again.
As the McAllister romances piled higher on her night table, her desire for a pound of flesh increased. She was bound and determined to turn misery into felicity, and the only way she knew how was to bring her dismissive, philandering husband to heel. Weak as she was and no Ibsen or Shakespearean heroine, the only way she knew how was determined pettiness. Eventually, if the pound of flesh were taken by a thousand cuts, he would come around, realize how his indifference was turning her shrewish and how realizing the error of his ways, he would offer attention, kindness, and a newfound love.
Of course she was just whistlin' Dixie, a prisoner in her own skin, a woman without a clue, so hammered in by forces beyond her control that she could only flap about while her anger and resentment grew. It was a rock and a hard place - finding a comfortable resting ground between anger and desire was nigh impossible; and yet propelled by years of antagonism and an innate inability to act decisively, she kept up the nastiness.
Her husband, of course, paid her no mind. The more irritating and demanding she became, the more he was out the door - his own flanking maneuver. It would have been better had they both been more knightly - confronted each other directly, fought a fair fight, dismissed the innuendoes and petty assumptions of the past and moved on - but life is a duplicitous, petty affair.
In Albee's Who's Afraid of Virginia Woolf?, George and Martha flay each other to the marrow - brutal, savage honesty is the only salvation. Too much anger, resentment, pettiness, jealousy, have built up for anything but a complete purge to set things straight. For there to be any hope of reconciliation let alone harmony, a complete divestiture is required.
Cassandra Evans and her husband never gave purification a chance. She took her pound of flesh in small, annoying pieces which only served to infuriate, and he bolted at each slice. By the time she had finished the job, the marriage was too far gone for resuscitation.
By this time though, she was stymied - stuck in a marriage she didn't want because of age and sunken costs - and he had set his compass for other harbors.
He got the best of the deal - he had a stack of get out of jail free cards that he played at the first sign of foul weather He knew that eventually he would have to come to port - some port, but not any port, no country for old men, etc. - but that time was still far enough off not to have to worry about failing.
He was set to put up with the quacking, the misshapen stories, the fabulist confections that were invented as quickly as she was challenged. The pound of flesh included trying to gain traction even though she had to spin her wheels; and when it got too weirdly psychological - Cassandra's need for attention turned her shrewish instead of imprecatory - he withdrew to safe havens.
To be fair, she couldn't help herself - born too early to avoid daddy-love and be a natural feminist; and born of an insecurity which owed much to time and place but was something she was born with. How all this got convoluted into such frustration and petty meanness was question even her psychiatrist had trouble answering, but even if he had figured it out and helped her deal with it, it would have been too late.
So, no George and Martha flaying to the marrow, no epiphanies, no coming to one's senses, no closure. The marriage rattled on with its peculiar modus vivendi - but then again all marriages have their peculiar ways of getting on and getting through.
However it ended - such marriages after all are too common to be followed to finality - is irrelevant. Just another tale of Pauline warning. 'Now to the unmarried and the widows I say: It is good for them to stay unmarried, as I do'.






