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His sexual instincts are aroused to such an extent that he cannot resist kissing her “grossly, full on the mouth” (28). His behavior is beastly: “the sudden panther leap of the animal, lips drawn, fangs aflash, hideous, monstrous, not to be resisted” (28). Most critics portray Trina in this scene as the innocent victim of McTeague’s animal nature, but after they are married, roles gradually reverse and Trina becomes the predator with McTeague as her prey. First, she persuades him to change his habits, then she makes financial decisions for him and refuses to share her lottery winnings with him, and finally she robs him of his pride and self-esteem. In essence, Trina emasculates McTeague. Therefore, although Trina does not appear to be a femme fatale at the outset, she clearly uses her wiles to manipulate McTeague into thinking and behaving as to how she wants him.
Ultimately, though, all of Trina’s efforts are futile. As she becomes obsessed with hoarding money and refuses to sympathize with or help alleviate her husband’s plight, McTeague grows increasingly alienated and the marriage becomes unbearable for him. Thus, Trina falls victim to her own greed and McTeague’s eventual rebellion against her. First he takes her money, then her life.
Sasa convincingly traces a similar trajectory for female protagonists in other naturalistic texts. Like Trina, Theodore Dreiser’s Carrie begins as optimistic and innocent. She arrives in Chicago seeking the American Dream. But Carrie learns quickly that the city is a man’s world, and the key to her success is attaching herself to the right male. First, she charms Drouet and relies on him for financial support, but she soon recognizes his limitations and sets her sights on a better prospect, George Hurstwood. Not realizing that Hurstwood is married, Carrie captivates him to the extent that his behavior becomes irrational. Hurstwood “looked at his lovely prize, so beautiful, so winsome, so difficult to be won, and made strange resolutions.