At post 2438, Her Highness That Horse Is Dead described two middle aged single women who eagerly intruded and did the limbo planned for kids at a church sponsored event. She thinks it prudish and unladylike. Is it, she asks? Or should she just relax and join the fun?
Prudish? Not at all. All women should have such taste; it’s their nature until they give it up. Not for moral reasons, although that helps, but ladylike for the necessaries to capture and hold a man for life. Men want to marry a virtuous woman, and feminine women start off appearing more virtuous than others.
Since perception is reality, highly feminine behavior initiates virtuous thoughts in a man and inspires gentlemanly behavior. More importantly, it diverts a man’s interest away from her as sex object and reinforces her as potential candidate for something else. Ladies are more easily looked at for likeability than for thoughts of what never ceases, conquest.
Ladies neither show off their talents nor show off as men do. They rely on more feminine styles, such as indirectness, cooperation, and charm. By not showing off talents and skills that are not obvious, it suggests that men have to look deep to uncover female goodness. A lady comes across as a challenge to uncover what she has to offer as a mate, and any woman does it best by pushing sex into the background before it can be brought up.
Showing off as men do indicates that she is available for unobligated sex, since that’s what men do. Duplicating masculine behavior and thoughts springs from dislike of herself as a woman, which prompts women unwittingly and with minimal prompting to divulge weaknesses.
Ladies use indirectness and patiently encourage men important to them to discover their qualities more accidentally. It makes qualities more easily admired, which converts qualities into virtues, which accumulate to make her virtuous, which can fulfill a man’s desire to marry a virtuous woman, which causes him to find her fascinating, which tickles his fancy to have her as his woman, which encourages him to consider marriage, which makes her appear promising as an asset for his present life, which prompts him to shop for a ring and finalize his thoughts, which enables him to finally accumulate the courage to act, which brings a proposal out of him, which invites her acceptance, which he then escapes ceremonial matters by turning them over to her and her mother, which enables him to just arrive at the altar at the appointed time.
IOW, he will go along with marriage if she qualifies in his heart, if it’s his idea, and if she does all the work expect nudge, nag, or pressure him.
By exploiting the motivational forces that men and women inherit at birth, that’s how ladies wring out a proposal of marriage. The easy stage first. He uncovers her interest in him, which comes easily to her when these are present: infatuation, lust, imagination, and curiosity about possibilities as she sees the future. Second stage, he earns her as potential mate; that is, he proves to her that she is truly important to him now and hopefully will be forever. Her infatuation blossoms into love, which is a necessary step for mutual love to develop. Third stage: He finds her so likeable that he can devote his interests to her, which opens the door for his love to develop. Fourth stage: Their love becomes mutual when he sees that he’s likeable enough to her to be loyal to him.
Doing the limbo broadcasts to men that she has boobs, which reminds she also has a vagina. But all that advertising does little to take middle age single women closer to marriage. Maybe closer to sex and companionship, but not marriage.
So, That Horse Is Dead correctly presumes that spreading female legs under the limbo bar does not serve women well for what most hope to achieve in life.