Because woman is a false infinity, an ideal without truth, she is always limited and mediocre, and for the same reason, she is also a fallacy. That's how she appears in LaForge's writing. The whole of his work gives vent to his resentment of the mystery, and he blames not only women for the mystery, but also men for it. Ophelia and Salome were really just "little women." Hamlet seemed to think, "Ophelia loves me because she has received favors, because I am socially and morally superior to her girlfriends.". When she holds the lamp, she will also make those ordinary comments about comfort and ease. A woman makes a man dream, but she also thinks of comfort and a stew for dinner. When she was only a body, people spoke to her about her soul. Her lover blindly believes that he is pursuing his ideal, but in fact he is the plaything of nature, and he uses all these mysteries for the purpose of reproduction. Woman is really the ordinary appearance of life. She is stupid, cautious,eye cream packing tube, stingy and boring. The man has succeeded in enslaving the woman, but he has also succeeded in making possession unattractive. As a woman becomes one with her family and society, her magic does not change, but disappears. She is reduced to servant status and is no longer an unconquered prey embodying the various riches of nature. Since the rise of chivalric love, it has been common for marriage to kill love. Too much contempt,custom cosmetic packaging, too much respect, too much daily trivia, makes the wife no longer sexually attractive. Weddings are designed to keep a man safe from a woman; she becomes his property. But everything we possess, in turn, possesses us, so marriage is also a form of slavery for men. He fell into the trap set by nature: because he longed for a girl, he had to support a heavy housewife or a wizened ugly old woman. The delicate jewels that adorned his existence became a hateful burden: Rantippi was always the type of woman most feared by men. As we have seen, she was the subject of many tragedies in ancient Greece and the Middle Ages. But even when women are young, there is deception in marriage; for as long as people think that sex should be socialized, marriage will always kill it. The fact is that sexual love contains a claim of the moment against time, of the individual against the group; it affirms separation, plastic packing tube ,empty cosmetic tubes, it opposes communication, it reverses all laws; it has an origin hostile to society. Customs never yield completely to strict rules and laws; love always challenges them. In Greece and Rome, love turned to young men or high-class prostitutes in the form of carnal desire. Chivalric love is both carnal and purely spiritual, and it is always directed at another's wife. Tristan is a well-written epic. Around 1800, the myth of women reappeared. During this period, adultery became the subject of various literary works. Some writers, such as Henry Bernstein, tried to defend the bourgeois system and put sexual impulse and love back into the orbit of marriage. However, there is also much authenticity in Potoresh's The Lover, which shows the incompatibility of the two value orders. Adultery may only disappear with the marriage itself. For in a sense the object of marriage is to free a man from the influence of his own wife: but other women are strongly attracted to him, and he will turn to them. Women, too, are deliberately involved in this, because they are rebelling against the order of things that aims to deprive them of all weapons. In order to separate woman from nature, she was given human dignity and freedom through etiquette and contract, and she was dominated by men. But freedom means precisely the avoidance of all conquests. If freedom is given to a person who has harmful magic, she will become a dangerous person. As the man can't make up his mind whether to compromise or not, she becomes more dangerous. He can recognize a woman in the male world only when he turns her into a servant and frustrates her transcendence. The freedom given to her had only negative uses, and she was willing to give it up. A woman is free only when she is a captive; she gives up the privilege of being a human being in order to regain her power as an object of nature. She unconscionably played the role of an obedient servant during the day, but at night she became a cat or a mat. She bared her icy skin again, or rode on a broomstick to the devil's ball. She was indeed working her nocturnal magic on her husband, but it would have been wiser to conceal her physical transformation from him. She preferred to prey on strangers because they had no right to dominate her, and she was still a plant, a spring, a star, and a witch to them. So she was bound to be unfaithful: that was the only form that her freedom could take. Her infidelity is even beyond her desires, thoughts, and consciousness. Since she is actually seen as an object, she is offered to any subject who is willing to possess her. Whether in the boudoir or under the veil, there is no doubt that she will not arouse someone's desire. And to arouse the stranger's desire is to defeat her husband and society. But, further, she is often a willing accomplice in this behavior, and only by cheating and communicating can she prove that she is no one's slave and expose male conceit and hypocrisy. This is why the husband's jealousy is on the verge of breaking out. We have seen in legends, such as Genevieve of Brabant and Desdemona,plastic cosmetic tubes, that a woman can be suspected for no reason and condemned for the slightest doubt. Even before any doubt arose, Grislda was put to the most severe test. If the woman had no prior suspicion, the story would be absurd. There is no doubt that people are going to prove her indiscretion: it is for her to prove her innocence.