Pauline’s indifference and violence toward her daughter and community stem from her dependence on the mainstream values of the external white-dominated social environment. Expand the statement. Be specific and use at least three quotes from The Bluest Eye.

Pauline has learned that whiteness is superior and that light skin is preferable to dark skin. Her images of beauty are derived from the Hollywood films she loves. She pushes away the reality of her black identity and internalizes her oppression by turning the gaze inward and thinking of herself as ugly. This self-loathing in turn affects her choice of a spouse, in the abusive Cholly, and her attitudes toward her family. At first this means to protect or help Pecola, which turns into the physical abuse that may have caused the baby's death.
Pauline mixes love and beauty as the two greatest but unattainable desires.

Along with the idea of romantic love, she was introduced to another—physical beauty. Probably the most destructive idea in the history of human thought. Both originated in envy, thrived in insecurity, and ended in disillusion. In equating physical beauty with virtue, she stripped her mind, bound it, and collected self-contempt by the heap.

Describing the roots of this “self-contempt” in the internalized notion of ugliness, Morrison writes of it as acceptance of an unknown master’s verdict pronounced on his subordinates.

It was as though some mysterious, all-knowing master had given each one a cloak of ugliness to wear, and they had each accepted it without question. The master had said, “You are ugly people.” They had looked about themselves and saw nothing to contradict the statement; saw, in fact, support for it leaning at them from every billboard, every movie, every glance. “Yes,” they had said, “you are right.”

Although each person handled this acceptance in different ways, it was always with them, inside as well as outside. The narrator tells us that for Pauline, it was the basis of her martyrdom.

Mrs. Breedlove handled hers as an actor does a prop: for articulation of character, for support of a role she frequently imagined was hers—martyrdom.
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