Fowles has successfully managed to capture a dual universe of power manifestation. His male protagonist, Clegg Frederick, seems to be the embodiment of the absolute captor, who allows no flaws in his cunning plot to entrap his most desired prey.
Frederick is a lonely man who has no friends and longs for none. Human contact is an ordeal for Clegg .He hates being gregarious. Strange as it might seem, the character feels at ease in this gloomy environment which supplies power. The moment Clegg is with his collection he experiences great joy, thus a weird form of escapism that he is unable to describe, but which definitely makes him feel in control of himself and of the world.
Prior to winning the money, Fowles’ collector had no intention of pursuing Miranda. He settled with admiring her from a distance, like the forbidden fruit. Nevertheless, the moment he becomes rich, money sheds some different light on his life perspectives, money becomes the vehicle for power. To put it briefly, money brings courage and unearths hidden desires as morbid as those might be. This is the moment he begins to perceive Miranda as a potential piece of his collection, in fact as the masterpiece. Clegg dares to kidnap Miranda, but the scene lacks heroism; the reader is faced with a coward who lures a defenceless young
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She tries to make him trust her in order to set her free. They are playing a game on one another, with a tragic finale to it. Clegg believes that having money means having power. He does not care if that means taking a life or not, as long as he has what he wants “Now that he is rich, he can build his own world, a world seen through the eyes of a collector. He even divides people into specimens that are or aren’t worth collecting “(Simandan, We all want things we can’t have, 2011). He assumes the role of a God to Miranda’s life, believing that he does a good thing not only for Miranda but for himself as