Sexuality, Corruption, and Power Dynamics in the Bloody Chamber

ride, corruption and business leader propellents in The spread over domiciliate Sexuality is a prevalent theme in Angela Carters bosh The Bloody put up. Sexual violence within a kind often reveals aspects of to severally one partys identity and constituent as well as affects its part high-powers. Carter depicts sex both clearly and implicitly in the story through the heroines possess thoughts of her newfound innerity and her sexual experiences with the marquis.Carters implicit and explicit portrayals of sex and sexuality in The Bloody Chamber reflect changes in the condition dynamic between the heroine and the marquis end-to-end the text, develop the identity of the heroine and reveal aspects of the marquis character, and challenge nonions of gender. The set-back calamity of an implicit portrayal of sexuality occurs during the tellers train call on the carpet apart from her childhood home towards her new life with her future husband, the marquess.No sensu al act of sex is described, but it is the first time that the reader sees the heroines sensual side and freeing from honour through Carters white plague of sexual language. It is as if the train ride away from home symbolizes her departure from innocence and into charhood. Carter uses words such as ecstasy, burning, pistons pigeon berry, shuddered, and throb to convey the heroines newfound sexual arousal and her thoughts astir(predicate) sex.Carters comment of the heroines young little girls pointed breasts and shoulders depicts her innocence and virginity (Carter, 8), yet she is consumed with thoughts of sex. This contrast symbolizes the development of the heroines identity from childhood to wo humankindhood. inexplicit sexuality is also seen on the train ride when the heroine expresses her anticipation of sex. She says for the first time in my innocent and confined life, I sensed in myself a potentiality for corruption that took my breath away. (Carter, 11). The heroine f eels this way because of the way the Marquis watches her with an assessing eye of a connoisseur inspecting horseflesh, and sees for the first time the unspiritual avarice of the way he looks at her. The Marquis views her as a piece of meat similar to the way a predator would eye his prey. From this vista, it is limpid to the reader that the Marquis treats his women as possessions, and has a primal intellect regarding sexuality.The heroine has lived a sheltered, pure life and is completely new to such concepts as lust and sexual passion, but it is at this moment that she realizes the potential of bonny a woman susceptible to sexual domination and corruption. This scene reflects the power dynamic in the relationship stemming from the Marquis obvious propensity for sexual possession, corruption, and control, and the heroines recognition of her impending sexual exploitation. The scene get ahead develops the heroines identity towards becoming a woman.Despite the Marquis obvious m isogyny, his actions excite the heroine because they receive her feel as if she is a sexual and desirable being. She recounts his marriage proposal, and says When I said that I would marry him, not one muscle in his face stirred, but he let out a long, get rid of suspiration. I thought Oh how he must want me And it was as though the imponderable weight of his desire was a force I big businessman not withstand, not by virtue of its violence but because of its genuinely gravity. (Carter, 9) This quote shows how the heroine perceives the Marquis sigh as a sign that he is in love with her, when the more handlely reality is that it is a sigh of victory, as if he has just conquered his latest possession. Regardless of these opposing interpretations, it is evident in the last line of this quote that the heroine senses the combination of sexual desire and violence inherent in the Marquis character, and the harm it poses to her. Little does the heroine live on how real the Marquis pen chant for sex and violence is, and how he channel that desire towards the take away of women.The heroine seems accepting of the submissive role in her relationship with the Marquis, and the thought excites her. This premiss further reflects the power dynamic between the Marquis and his wife, as well as the gender roles that both characters embody. The Marquis fits the description of a power-hungry, domineering male, and the heroine that of a naive, innocent girl who pursues her husband. The heroines naivety is reflected when she says she is bemused that, after those others, he should now have chosen me. She plainly does not understand that the reason he is not still in mourning for his last wife is because he murdered her. Carters explicit portrayal of sex occurs when the Marquis first shows the heroine the mirrored room and disrobes her. The heroine narrates the scene as if she is describing a rape, similar to the ones in the Marquis collection of full-grown paintings And whe n nothing but my scarlet, palpitating core remained, I saw, in the mirror, the victuals image of an etching by Rops from the collection he had shown me when our engagement permitted us to be alone together. (Carter, 15). When the Marquis later takes the heroines virginity, it is a trunk of punishment for the heroines disobedience in perusing his collection of books. This reveals the power dynamic that will present itself again in the story, of the Marquis shot the heroine up to disobey him, then punishing her. He makes her wear the catch of rubies as if it is a collar, kisses it before he kisses her, and twines her hair into a set as if it is a weapon he could use to hurt her. These actions further exemplify the Marquis desire for violence and corruption enveloped in sex.Once the heroine is no daylong a virgin and the Marquis leaves the castle, the heroine takes on the role of woman of the house. The reader sees the development of the heroines identity, as her independence is revealed through solitary confinement actions such as playing the piano, her dependable passion, and directing the staff. The heroine is portrayed as a woman who is in control of her domain, rather than a girl under the control of her husband, even though she is still very ofttimes trapped in the castle. Power dynamics shift once the heroine loses her virginity, because that was what define her corruptibility, innocence and youth.The heroine and the reader also witness for the first time a Marquis who has had all the force and power knocked out of him. The narrator says He lay beside me, felled like an oak, breathing stertorously, as if he had been fighting with me. In the course of that one-sided struggle, I had seen his deathly immobility shatter like a porcelain vase flung against a wall I had heard him shriek and affirm at the orgasm. (Carter, 18). Prior to this sexual experience, the heroine had never seen the Marquis be emptied of his compo sure enough or expose his vul nerability.She believes that she may have discovered the man underneath the powerful facade when she says And maybe I had seen his face without its mask and perhaps I had not. The Marquis is always so in control and holds power over the heroine, but she realizes that if his exterior is removed for a moment, he is not as powerful as he seems. This scene influences the power dynamic within the relationship, since the heroine is no longer convinced that the Marquis holds so more unquestionable authority over her.This transition in the power dynamic aids the heroines decision to disobey the Marquis instructions when he leaves. The heroines identity is further developed after the she discovers the bloody sleeping room and the Marquis returns to the castle. Now that she has discovered the truth to the highest degree her husband and the show of his previous wives, the narrator admits to herself that she is in true danger. How could I know, indeed? notwithstanding that, in my heart, Id always known its lord would be the death of me. (Carter, 33).She is no longer an unknowing, innocent, uncorrupted girl, as she now knows who the Marquis truly is and what he plans to do to her, and she realizes there is nothing desirable about him or their relationship. The narrator realizes that she has played directly into the Marquis hands, and has lost at that charade of innocence and vice in which he had engaged me. Lost, as the victim loses to the executioner. (Carter, 34). The heroine has fallen for every trap that the Marquis has set for her, reform up until her impending death.The power dynamics of the relationship shift at this moment in the story. The heroine has discovered the Marquis true intentions, so he no longer holds any secrets that she is unaware of. She sees him as the monster he is, and not as the powerful man he pretends to be. The narrator observes as the Marquis raised his head and stared at me with his blind, shuttered eyes as though he did not recogn ize me, I felt a terrified favor for him, for this man who lived in such strange, secret places that, if I loved him enough to follow him, I should have to die (Carter, 35).The heroine begins to pity the Marquis rather than fear him, and sees his loneliness underneath his powerful disguise. one and only(a) could argue that the power dynamics truly shift in the heroines favor once her mother kills the Marquis, as he is destroyed, but the true shift takes place once the heroine discovers who the Marquis really is, because she no longer has any reason to obey him as a husband. Once the narrator realizes that she is not in a legitimate husband-wife relationship and her husband intends to murder her, there is no reason for her to act like a loving, congregating wife or submit to this man.The end of the text shows how Carter challenges gender roles end-to-end the story. At the beginning, the heroine is portrayed as a naive girl who marries a man not because shes sure she loves him, bu t because shes sure she wants to marry him (Carter 8). The reader sees how she fits the notion of the inexperienced, submissive gender willing to obey a man and accept all the riches he offers her. The Marquis fits the notion of a masochistic, domineering male who sees women as objects and seeks to control them and entice them with wealth.However, by the end of the novel, the heroine outlives the Marquis and is no longer the object of a mans desire for violence and sexual corruption. She marries a man who is blind and poor, so that he can neither objectify her for her steady nor buy her love with money and gifts, and she no longer has any desire for these things. This change is seen when the narrator says We lead a quiet life, the three of us. I inherited, of course, enormous wealth but we have given most of it away to various charities. (Carter, 40). The Marquis has fallen from his position as a powerful, wealthy, dogmatic man, and in true feminist fashion, the heroine emerges t he victor. Carters descriptions of implicit and explicit scenes of sex and sexuality involving the heroine and the Marquis illustrate the development of the two characters relationship with each other and the power dynamics involved, as well as their own identity transitions throughout the story.The reader witnesses the narrators journey from girlhood and her desire for sexual corruption, through her torture, submissiveness and sexual self-discovery, all the way until her assumption of power over the Marquis. The heroine defeats the preconceived notions of gender roles as her values and character are completely altered by the end of the story. The Bloody Chamber depicts the lethal combination of sexuality and violence and the desire to be sexually corrupted without comprehending the implications and true nature of the relationship.