Woman And The World

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Title:     Woman And The World
Author: E. Lynn Linton [More Titles by Linton]

This, we are told in a tone of pathetic resignation, is a day of hard sayings for women. It is, we will venture to add, a day when women have to meet hard sayings with replies a little less superficial than the conventional stare of outraged womanhood or the trivial retort on the follies of men. Grant that woman's censors are as cynical and hollow-hearted as you will, there can be no doubt that their criticisms are simply the expression of a general uneasiness, and that that uneasiness has some ground to go upon. It is possible that observers across the water may be cynical in denouncing the "magnificent indecency" of the heroines of New York. It is possible that the schoolmasters of Berlin may be cynical in calling public opinion to their aid against the degrading exhibitions of the Prussian capital. It is possible that the thunders of the Vatican are merely an instance of Papal cynicism. It is possible that the protest of the Bishop of Orleans is as hollow-hearted as the protests of censors nearer home. But such a world-wide outbreak of cynicism without a cause is a somewhat improbable event, and the improbability is increased when we remark the silent acquiescence of the women of America and the Continent in the justice of these censures.

It is only the British mother who ventures to protest. Now, we Englishmen have always felt a sort of national pride in the British mother. It has been a part of our patriotic self-satisfaction to pique ourselves on her icy decorum, on the merciless severity of her virtue. Colorless, uninteresting, limited as Continental critics pronounced her to be, we cherished her the more as something specially our own, and regarded the Channel as a barrier providentially invented for the isolation of her spotless prudery. It was peculiarly gratifying to suppose that on the other side of it there were no British homes, no British maidens, no British mothers. And it must be owned that the British mother took her cue admirably. She owned, with a sigh of complacency, that she was not as other women. She shuddered at foreign morals, and tabooed French novels. She shook all life and individuality out of her girls as un-English and Continental. She denounced all aspirations after higher and larger spheres of effort as unfeminine. Such a type of woman was naturally dull enough, but it fairly came up to its own standard; and if its respectability was prudery, it still earned, and had a right to claim, man's respect. The amusing thing is the persistence in the claim when the type has passed away.

The British spouse has bloomed into the semi-detached wife, with a husband always conveniently in the distance, and a cicisbeo as conveniently in the corner. The British mother has died into the faded matrimonial schemer, contemptuous of younger sons. The innocent simper of the British maiden has developed into the loud laugh and the horsey slang of the girl of the season. But maiden and matron are still on one point faithful to the traditions of their grandmothers, and front all censorious comers with a shrug of their shoulder-straps and a flutter of indignant womanhood. And maiden and matron still claim their insular exemption from the foibles of their sex. The Pope may do what he will with the women of Italy, and Monseigneur of Orleans may deal stern justice out to the women of France; Continental immorality is in the nature of things; but there is something else that is in the nature of things too, and before the impeccable majesty of British womanhood every critic must stand abashed.

Unfortunately, we are no sooner awed with the marble silence of our Hermione than Hermione descends from her pedestal and falls a-talking like other people. Woman, in a word, protests; and protests are often very dangerous things to the protesters. Nothing, for instance, can seem more simple or more effective than the tu quoque retort, and as it is familiar to feminine disputants, we are favored with it in every possible form. If the girl of the period is fast and frivolous, is the young man of the period any better? No sketch can be more telling than the picture which she is ready to draw of his lounging ways, his epicurean indolence, his boredom at home, his foppery abroad, the vacancy of his stare, the inanity of his talk, his incredible conceit, his life vibrating between the Club and the stable. She hits off with a charming vivacity the list of his accomplishments--his skill at flirtation, his matchless ability at croquet, his assiduity over Bell's Life, the cleverness of his book on the Derby. No sensible or well-informed girl, she tells us, can talk for ten minutes to this creature without weariness and disgust at his ignorance, his narrowness, his triviality; no modestly-dressed or decently-mannered girl can win the slightest share of his attentions. Married, he is as frivolous as before marriage; he selects the toilette of the demi-monde as an agreeable topic of domestic conversation, he resents affection and proclaims home a bore, he grudges the birth of children as an additional expense, he stunts and degrades the education of his girls, he is the despot of his household and the dread of his family.

The sketch is powerful enough in its way, but the conclusion which the fair artist draws is at least an odd one. We prepare ourselves to hear that woman has resolved to extirpate such a monster as this, or that she will remain an obstinate vestal till a nobler breed of wooers arises. What woman owns that she really does is to mould herself as much on the monster's model as she can. According to her own account, she puts nature's picture of herself into the hands of this imbecile, invites him to blur it as he will, and lets him write under the daub "Ego feci." As he cannot talk sense, she stoops to bandy chaff and slang. As he refuses to be attracted by modesty of dress and manner, she apes the dress and manner of the demi-monde. His indolence, his triviality, his worldliness become her own. As he finds home a bore, she too plunges into her round of dissipation; as he objects to children, she declines to be a mother; as he wishes to get the girls off his hands, she flings them at the head of the first comer.

Now, if such a defence as this at all adequately represents the facts of the case, we can only say that the girl of the period must be a far lower creature than we have ever asserted her to be. A sensible girl stooping to slang, a modest girl flinging aside modesty, simply to conquer a fool and a fop, is a satire upon woman which none but a woman could have invented, and which we must confess to be utterly incredible to men. But the assumption upon which the whole of this mimetic theory is based is one well worthy of a little graver consideration.

"Tell me how to improve the youth of France," said Napoleon one day to Madame de Campan. "Give them good mothers," was the reply. There are some things which even a Napoleon may be pardoned for feeling a little puzzled in undertaking, and Madame de Campan would no doubt have added much to the weight of her reply by a few practical words as to the machinery requisite for the supply of the article she recommended. But her request is now the cry of the world. The general uneasiness of which we have spoken before arises simply from the conviction that woman is becoming more and more indifferent to her actual post in the social economy of the world, and the criticisms in which it takes form, whether grave or gay, could all be summed up in Madame de Campan's request, "Give us good mothers."

After all protests against limiting the sphere of the sex to a single function of their existence, public opinion still regards woman primarily in her relation to the generation to come. If it censures the sensible girl who stoops to slang, or the modest girl who stoops to indecency, it is because the sense and the modesty which they abandon is not theirs to hold or to fling away, but the heritage of the human race. But this seems to be less and less the feeling of woman herself. For good or for evil, or, perhaps more truly, for both good and evil, woman is becoming conscious every day of new powers, and longing for an independent sphere in which she can exert them. Marriage is aimed at with a passionate ardor unknown before, not as a means of gratifying affection, but as a means of securing independence.

To the unmarried girl life is a sheer bondage, and there is no sacrifice too great to be left untried if it only promises a chance of deliverance. She learns to despise the sense, the information, the womanly reserve which fail to attract the deliverer. She has to sell herself to purchase her freedom; and she will take very strong measures to secure a purchaser. The fop, the fool, little knows the keen scrutiny with which the gay creature behind her fan is taking stock of his feeble preferences, is preparing to play upon his feebler aversions. Pitiful as he is, it is for him that she arranges her artillery on the toilette-table, the "little secrets," the powder bloom, the rouge "precipitated from the damask rose-leaf," the Styrian lotion that gives "beauty and freshness to the complexion, plumpness to the figure, clearness and softness to the skin." He has a faint flicker of liking for brunettes; she lays her triumphant fingers on her "walnut stain," and darkens into the favorite tint. He loves plumpness, and her "Sinai Manna" is at hand to secure embonpoint. Belladonna flashes on him from her eyes, Kohl and antimony deepen the blackness of her eyebrows, "bloom of roses" blushes from her lips. She stoops to conquer, and it is no wonder that the fop and the fool go down.

The freedom she covets comes with marriage, but it is a freedom threatened by a thousand accidents, and threatened, above all, by maternity. It is of little use to have bowed to slang and shoulder-straps, if it be only to tie oneself to a cradle. The nursery stands sadly in the way of the free development of woman; it clips her social enjoyment, it curtails her bonnet bills. "The slavery of nursing a child," one fair protester tells us, "only a mother knows." And so she invents a pretty theory about the damage done to modern constitutions by our port-drinking forefathers, and ceases to nurse at all. But even this is only partial independence; she pants for perfect freedom from the cares of maternity. Her tone becomes the tone of the household, and the spouse she has won growls over each new arrival. She is quite ready to welcome the growl. "Nature," a mother informs us, "turns restive after the birth of two or three children," and mothers turn restive with nature. "Whatever else you may do," she adds, "you will never persuade us into liking to have children," and, if we did, we should not greatly value the conversion. And so woman wins her liberty, and bows her emphatic reply to the world's appeal, "Give us good mothers," by declining to be a mother at all.

By the sacrifice of womanliness, by the sacrifice of modesty, by flattering her wooer's base preferences before marriage, by encouraging his baser selfishness afterwards, by hunting her husband to the club and restricting her maternal energies to a couple of infants, woman has at last bought her freedom. She is no slave to a husband as her mother was, she is not buried beneath the cares of a family like her grandmother. She has changed all that, and the old world of home and domestic tenderness and parental self-sacrifice lies in ruins at her feet. She has her liberty; what will she do with it? As yet, freedom means simply more slang, more jewelry, more selfish extravagance, less modesty. As we meet her on the stairs, as we see the profuse display of her charms, as we listen to the flippant, vapid chatter, we turn a little sickened from woman stripped of all that is womanly, and cry to Heaven, as Madame de Campan cried to the Emperor--"Give us good mothers."

[The end]
E. Lynn Linton's essay: Woman And The World

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