Cora Munro: Dynamics between Sexual and Maternal Instincts
Cora Munro’s relationship with her younger, fairer sister Alice demonstrates a distinct mother-daughter pattern that manifests itself in every interaction between the two women. Throughout James Fenimore Cooper’s The Last of the Mohicans, the character of Cora continuously hides her sister’s face in her bosom as an indication of undying protection from the ravages of the American frontier. Alice depends on Cora as her champion and defender but, most unmistakably as a mother figure. Cora maintains a immutable position of motherly nurture with her sister, however, when interacting with other frontier characters, Cora shifts her style of human interaction towards a conscious understanding of her gender capacity. Though not overtly sexual, Cora does demonstrate a cognizance of female sexuality and feminine influence on various male characters. Cora does not often demonstrate motherly instinct while practicing the powers of her sex; rather, her authority particular to each sphere manifests itself during situations of great conflict and tension concerning Alice or, separately, the other surrounding male characters.The narrator refers to Cora’s motherly intuition in many instances, but most especially when Alice demonstrates a case of need or dependence. When Alice shows doubt and fear, Cora immediately rushes to protect and soothe her. Cooper writes, “For many moments the elder sister looked upon the younger, with a countenance that wavered with powerful and contending emotions. At length she spoke, though her tones had lost heir rich and calm fulness, in an expression of tenderness, that seemed maternal” (109). Cooper writes clearly of the strong bond that exists between the sisters while illustrating a power relationship that has Cora playing the role of shepherd and Alice as that of a small, helpless lamb. Moreover, Cooper repeatedly shows the character of Alice grasping onto the arm of Duncan Heyward, an obvious physical need for refuge and shield, while Cora remains free of an explicit male bond and receives the admiration of the remaining men from afar. Alice, the weaker of the two, appeals to her sister for attention while Cora remains aloof and confident. Cooper, at many instances, describes Cora with almost beatific characteristics which heighten her esteem and power as a female character. Her motherly feelings towards Alice verge on the saintly; Cora often rises above common human sensibility and takes on the role of a martyr in the manner that a mother would for her child.Cora’s motherly instincts, however, are contrasted with her femininity and sexual command. Hawk-Eye, Uncas, Duncan and many other men look upon her as a powerful and alluring female figure, a female to contend with rather than protect. When Uncas speaks to her about accompanying her during her plight, Cora says, “Go, generous young man,'” and Cooper then describes, “Cora continued, lowering her eyes under the gaze of the Mohican, and, perhaps, with an intuitive consciousness of her power” (79). Though he does not overtly indicate a knowledge of sexual power, Cooper does imply that Cora’s awareness of her sexuality and interaction with males. At another point, when Cora implores Chief Tamenund to free the captives, Coopers writes of his reaction, “Cora had cast herself to her knees, and with hands clenched in each other, and pressed upon her bosom, she remained like a beauteous and breathing model of her sex, looking up in his faded, but majestic countenance, with a species of holy reverence. Gradually, the expression of Tamenund’s features changed, and losing their vacancy in admiration, they lighted with a portion of that intelligence, which, a century before, had been wont to communicate his youthful fire to the extensive bands of the Delawares” (303). Both of Cooper’s descriptions show Cora’s usage and understanding of sex as a powerful medium of change. Her attitude during these particular interactions differ considerably from the chaste, motherly interchanges with Alice and indicate a complex character development and a dueling concept of purity and motherhood, eroticsm and sexuality.

一起仰望星空，女主听男主分享他的故事，播下爱情的种子，二是男主去看正在给伤员疗伤的女主，然后目不转睛的望着女主，女主问他在看什么，他说我在看你，爱情发芽了＊第三爱情开花是在男主放弃可以逃生的机会，留下来，女主问他为什么不和那些盟友一起走，他说“因为这里有我感兴趣的东西”最后的结果就是在瀑帘洞里，也是剧本台词灵魂所在，男主对女主说的话，直抵心灵“你要活下去，武论多远我都要找到你……难能可贵的是，男主对女主说的“你很坚强”这是触碰我灵魂的地方。”
影片中的转折，令人想不到的是另一位喜欢女主的男人，在最后生死攸关挺身身身身身身身而出，舍身取义，还对男主说了一句“这是我的贺礼”，我觉得没有比这更伟大的了，自己代替别人死，还成全别人的爱情，升华了影片的内涵。

结尾我想说，这部电影类似泰坦尼克号在芋杰克对肉丝说，你要活下去，还要生一大堆孩子之类的话，另外两部影片的相同之处就是，女主都没选择有钱有势的较男主前更早认识的追求者，一个选择了自由不羁的画家，一个选择让她血液能够沸腾的稳重的勇士，两位都是有思想有远见卓识的传奇美女子，此外我想起电影《傲慢与偏见》的女主角，面对种种，她成熟独立有主见，在封建年代，拒绝牧师的求婚，最经典的当数她在雨天和男主的唇枪舌战，真真是极品中的极品，令人钦佩。
原来心情差劲时看电影会豁然开朗许多