"Husbands are chiefly good as lovers when they are betraying their wives"
About this Quote
Monroe’s line lands like a lipstick smear on the institution of marriage: glamorous, a little obscene, and hard to ignore. As an actress whose public image was built on desire and whose private life was chewed up by it, she’s not offering a bedroom tip so much as a diagnosis of what turns men on in a culture that treats commitment as an appetite-killer. The barb is that “husbands” aren’t failing at love because they’re uniquely immoral; they’re performing a script where transgression is the only reliable aphrodisiac.
The phrasing does the work. “Chiefly good” turns affection into an audit. Love becomes a competency, and marriage becomes the setting where that competency is most likely to collapse. Then the twist: the husband is “good as” a lover precisely when he’s violating the role he’s supposed to play. It’s a bleak little economics of desire: risk raises value, secrecy sharpens attention, guilt poses as passion. The wife, pointedly, is reduced to the credential being betrayed, not a person in the room. That absence is the subtext - women are made into stakes in men’s dramas, not partners.
In Monroe’s era, the “good husband” was a postwar ideal sold in magazines, while infidelity was an open secret with uneven consequences. Her quote punctures that hypocrisy and exposes a cruel asymmetry: male excitement is romanticized when it’s predatory, while female pain is treated as collateral. It’s cynical, yes, but it’s also a warning from someone who watched romance turn into a performance art of betrayal.
The phrasing does the work. “Chiefly good” turns affection into an audit. Love becomes a competency, and marriage becomes the setting where that competency is most likely to collapse. Then the twist: the husband is “good as” a lover precisely when he’s violating the role he’s supposed to play. It’s a bleak little economics of desire: risk raises value, secrecy sharpens attention, guilt poses as passion. The wife, pointedly, is reduced to the credential being betrayed, not a person in the room. That absence is the subtext - women are made into stakes in men’s dramas, not partners.
In Monroe’s era, the “good husband” was a postwar ideal sold in magazines, while infidelity was an open secret with uneven consequences. Her quote punctures that hypocrisy and exposes a cruel asymmetry: male excitement is romanticized when it’s predatory, while female pain is treated as collateral. It’s cynical, yes, but it’s also a warning from someone who watched romance turn into a performance art of betrayal.
Quote Details
| Topic | Husband & Wife |
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