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The preservation of social image (Ch 20) motivates infanticide. By murdering her
newoorns. the heroine of Ch 20 seeks to keep her honour and possibly her eligibility for
marriage. The achievement of marriage motivates Babylon's violence. Estranged from his
community by his marginal way of life, his only hope to win himself a wife is by force (Ch
14). Many dramas arise from the characters' dissatisfaction with their 101. The acquisition
or preservation of wealth or of social prestige are powerful concerns; ingrained by parents
as goals to be pursued, they separate lovers of their own accord (Ch 73. 74, 295). But,
when socially and materially secure, women fall for romance and adventure 10 escape the
routine of their easy life (Ch 81, 272). Lady Barnard. as a popular counterpart of Anna
Karenina, is subdued by her discovery of passion lacking in the lonely comfort of her
castle and the cold dignity of her rank (Ch 81). As well, squires' and merchants'
daughters can only be won by their fathers' subordinates (Ch 214, 272).
13.8.2 Ballads versus Death
No mailer even the contexts and motivations of the "offences," no speculation is
needed to appreciate their results: in human conflicts and dramas, death is the only winner.
When inflicted deliberately, it brings the prOlagonists neither satisfaction nor luck, not even
to their revenge (Ch 20, 81, 84, 93, 295). As these "offenders" show remorse for their
deeds, and the rest get the gallows, the stake, or else eternal damnation, they do nOt gain
'lllything from killing. When caused unintentionally, it is to their extreme loss (Ch 49, 73,
74,78*.81). The boy bullying his younger brother for declining his invilation to play
with him, is overwhelmed by his own temper (Ch 49), and vainly tries to stem his victim's
blood. The lovers sacrilicing their feelings to marry for riches are far from suspecting that
their choice will cause their partner's mortal despair (Ch 74) or murder by their own bride
(Ch 73). Babylon kills his sislers unknowingly (Ch 14) and, horrified by his deed, takes
his own life; a husband kills a suspeCted rival in a fair duel to discover his victim to be his
stepson (Ch 83). Such unvoluntary. though not quite accidental deaths, arc multiple:
staning with the protagonists' dearest ones, true loves and relatives, and extending to
secondary victims: innocent brides, fair rivals (Ch 73, 74, 213), deceived husbands (Ch
81), and ending with themselves. Only after these deaths have manifested the full extent of
the hero(in)es' responsibility do grief and remorse take care of their own death (eh 14. 20,
73,74,78',81,83,84,93, 173,213). Dealh, in facl, occurs mostly when it is not
sought, which suggests the unpredictable and uncontrollable effects of one's actions.