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" "The point of an organic family is to release the children from the
disadvantages of being the extensions of their parents so that they
can belong primarily to themselves. They may accept the services
that adults perform for them naturally without establishing dependencies.
There could be scope for them to initiate their own activities
and define the mode and extent of their own learning. They might
come to resent their own strangeness but in other circumstances
they might resent normality; faced with difficulties of adjustment
children seize upon their parents and their upbringing to serve as
scapegoats. Parents have no option but to enjoy their children if they
want to avoid the cycle of exploitation and recrimination. If they
want to enjoy them they must construct a situation in which such
enjoyment is possible
Germaine Greer (born 29 January 1939) is an Australian author, academic, critic and journalist.
Biography information from Wikiquote
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It is impossible to control experiments which are conducted among subjects undergoing the continual chaotic conditioning of normal life. Unconditioned subjects do not exist, and the conditioned ones are not uniformly so. If such tests reveal intellectual inferiority in women we could discount them, but in any case they do not.
The opposition between women who are people and women who
are something less does not only rest in the vague contrast between
the women of the comedies and the women of the tragedies. There
are more explicit examples of women who may earn love, like Helena who pursued
her husband through military brothels to marriage and honour in
All’s Well, and women who must lose it through inertia and gormlessness,
like Cressida. In The Taming of the Shrew Shakespeare contrasted
two types in order to present a theory of marriage which is
demonstrated by the explicit valuation of both kinds of wooing in
the last scene. Kate is a woman striving for her own existence in a
world where she is a stale, a decoy to be bid for against her sister’s
higher market value, so she opts out by becoming unmanageable,
a scold. Bianca has found the women’s way of guile and feigned
gentleness to pay better dividends: she woos for herself under false
colours, manipulating her father and her suitors in a perilous game
which could end in her ruin. Kate courts ruin in a different way, but she has the uncommon good fortune to find Petruchio who is man
enough to know what he wants and how to get it. He wants her
spirit and her energy because he wants a wife worth keeping. He
tames her like he might a hawk or a high-mettled horse, and she
rewards him with strong sexual love and fierce loyalty. Lucentio
finds himself saddled with a cold, disloyal woman, who has no objection
to humiliating him in public. The submission of a woman
like Kate is genuine and exciting because she has something to lay
down, her virgin pride and individuality: Bianca is the soul of duplicity,
married without earnestness or good-will. Kate’s speech at the
close of the play is the greatest defence of Christian monogamy ever
written. It rests upon the role of a husband as protector and friend,
and it is valid because Kate has a man who is capable of being both,
for Petruchio is both gentle and strong (it is a vile distortion of the
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