This week I chose to read Elizabeth Howe's article "The Coming of the Actress". The part of the article that struck me most was the discussion that there was a lot of confusion about what exactly consolidated women's position on the stage during the 17th century: "...while the lack of boys suits may have resulted in an abrupt change in actresses, this does not explain why the change was considered desirable in the first place." It appears that women were pushed onto the stage both to follow the trend admired by royalty in Spain, France and Italy, and to attract an audience to witness this previously taboo spectacle. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The Exploring Howe article highlighted the interactions between men and women as I read The Country Wife. Just as Howe's article left the impression that women were simply being used to imitate other countries and attract audiences, so they are objectified by men consistently, but really, what's new? Objectification is not only presented in an obscene way, but also as a system of exchange between the men of the work: through women, men acquire both relationship and dominance over other men. Power shifts as women remain passive, being used strategically to foster male loyalty or even instill fear. In Act I, Hoerner discusses Pinchwife's recent marriage with him. In the same scene, fearing that Hoerner will betray him if he comes into contact with his wife, Pinchwife does everything to turn Hoerner away from Margery: "No, no, he has no beauty but his youth, he has no attraction but his modesty. Simple and homely, that's all. She's too clumsy and ugly and silly to take to town." At the mere mention of the woman in Pinchwife's life, Hoerner is able to assert his dominance and instill fear. It's like he's playing with his food. Winning the woman may not be nearly as satisfying as putting the husband in a corner and watching him squirm: "But was she your wife? She was extremely pretty. I was in love with her from that distance." Horner cleverly intensifies Pinchwife's paranoia despite knowing that most husbands believe him to be harmless in his supposed impotence. Just as there is uncertainty about the reasoning behind the placement of women on stage, so is the case regarding where Hoerner gets the most pleasure. She is not simply a woman who goes to bed, but carefully curates her use of women and words, masquerading as a loser, to imply her dominance over women's husbands..