As a male he is appealed to by the ultra-feminine, and has given small thought to effects on the race. He was not designed to do the selecting. Under his fostering care we have bred a race of women who are physically weak enough to be handed about like invalids; or mentally weak enough to pretend they are — and to like it. We have made women who respond so perfectly to the force which made them, that they attach all their idea of beauty to those characteristics which attract men; sometimes humanly ugly without even knowing it.
For instance, our long restriction to house-limits, the heavy limitations of our clothing, and the heavier ones of traditional decorum, have made women disproportionately short-legged. This is a particularly undignified and injurious characteristic, bred in women and inherited by men, most seen among those races which keep their women most closely. Yet when one woman escapes the tendency and appears with a normal length of femur and tibia, a normal height of hip and shoulder, she is criticized and called awkward by her squatty sisters!
The most convenient proof of the inferiority of women in human beauty is shown by those composite statues prepared by Mr. Sargent for the World’s Fair of ‘93. These were made from gymnasium measurements of thousands of young collegians of both sexes all over America. The statue of the girl has a pretty face, small hands and feet, rather nice arms, though weak; but the legs are too thick and short; the chest and shoulders poor; and the trunk is quite pitiful in its weakness. The figure of the man is much better proportioned.
Thus the effect on human beauty of masculine selection.
Beyond this positive deteriorative effect on women through man’s arbitrary choice comes the negative effect of woman’s lack of choice. Bought or stolen or given by her father, she was deprived of the innately feminine right and duty of choosing. “Who giveth this woman?” we still inquire in our archaic marriage service, and one man steps forward and gives her to another man.
Free, the female chose the victor, and the vanquished went unmated — and without progeny. Dependent, having to be fed and cared for by some man, the victors take their pick perhaps, but the vanquished take what is left; and the poor women, “marrying for a home,” take anything. As a consequence the inferior male is as free to transmit his inferiority as the superior to give better qualities, and does so — beyond computation. In modern days, women are freer, in some countries freer than in others; here in modern America freest of all; and the result is seen in our improving standards of health and beauty.
Still there remains the field of inter-masculine competition, does there not? Do not the males still struggle together? Is not that as of old, a source of race advantage?
To some degree it is. When life was simple and our activities consisted mainly in fighting and hard work; the male who could vanquish the others was bigger and stronger. But inter-masculine competition ceases to be of such advantage when we enter the field of social service. What is required in organized society is the specialization of the individual, the development of special talents, not always of immediate benefit to the man himself, but of ultimate benefit to society. The best social servant, progressive, meeting future needs, is almost always at a disadvantage besides the well-established lower types. We need, for social service, qualities quite different from the simple masculine characteristics — desire, combat, self-expression.
By keeping what we call “the outside world” so wholly male, we keep up masculine standards at the expense of human ones. This may be broadly seen in the slow and painful development of industry and science as compared to the easy dominance of warfare throughout all history until our own times.
The effect of all this ultra masculine competition upon health and beauty is but too plainly to be seen. Among men the male idea of what is good looking is accentuated beyond reason. Read about any “hero” you please; or study the products of the illustrator and note the broad shoulders, the rugged features, the strong, square, determined jaw. That jaw is in evidence if everything else fails. He may be cross-eyed, wide-eared, thick-necked, bandy-legged — what you please; but he must have a more or less prognathous jaw.
Meanwhile any anthropologist will show you that the line of human development is away from that feature of the bulldog and the alligator, and toward the measured dignity of the Greek type. The possessor of that kind of jaw may enable male to conquer male, but does not make him of any more service to society; of any better health or higher beauty.
Further, in the external decoration of our bodies, what is the influence here of masculine dominance.
We have before spoken of the peculiar position of our race in that the woman is the only female creature who carries the burden of sex ornament. This amazing reversal of the order of nature results at its mildest in a perversion of the natural feminine instincts of love and service, and an appearance of the masculine instincts of self-expression and display. Alone among all female things do women decorate and preen themselves and exhibit their borrowed plumage (literally!) to attract the favor of the male. This ignominy is forced upon them by their position of economic dependence; and their general helplessness. As all broader life is made to depend, for them, on whom they marry, indeed as even the necessities of life so often depend on their marrying someone, they have been driven into this form of competition, so alien to the true female attitude.
The result is enough to make angels weep — and laugh. Perhaps no step in the evolution of beauty went farther than our human power of making a continuous fabric; soft and mobile, showing any color and texture desired. The beauty of the human body is supreme, and when we add to it the flow of color, the ripple of fluent motion, that comes of a soft, light garment over free limbs — it is a new field of loveliness and delight. Naturally this should have filled the whole world with a new pleasure. Our garments, first under right natural selection developing perfect use, under right sex selection developing beauty; and further, as our human aesthetic sense progresses, showing a noble symbolism, would have been an added strength and glory, a ceaseless joy.
What is the case?
Men, under a too strictly inter-masculine environment, have evolved the mainly useful but beautiless costume common to-day; and women — ?
Women wear beautiful garments when they happen to be the fashion; and ugly garments when they are the fashion, and show no signs of knowing the difference. They show no added pride in the beautiful, no hint of mortification in the hideous, and are not even sensitive under criticism, or open to any persuasion or argument. Why should they be?
Their condition, physical and mental, is largely abnormal, their whole passionate absorption in dress and decoration is abnormal, and they have never looked, from a frankly human standpoint, at their position and its peculiarities, until the present age.
In the effect of our wrong relation on the world’s health, we have spoken of the check to vigor and growth due to the housebound state of women and their burdensome clothes. There follow other influences, similar in origin, even more evil in result. To roughly and briefly classify we may distinguish the diseases due to bad air, to bad food, and that field of cruel mischief we are only now beginning to discuss — the diseases directly due to the erroneous relation between men and women.
We are the only race where the female depends on the male for a livelihood. We are the only race that practices prostitution. From the first harmless-looking but abnormal general relation follows the well recognized evil of the second, so long called “a social necessity,” and from it, in deadly sequence, comes the “wages of sin;” death not only of the guilty, but of the innocent. It is no light part of our criticism of the Androcentric Culture that a society based on masculine desires alone, has willingly sacrificed such an army of women; and has repaid the sacrifice by the heaviest punishments.
That the unfortunate woman should sicken and die was held to be her just punishment; that man too should bear part penalty was found unavoidable, though much legislation and medical effort has been spent to shield him; but to the further co
nsequences society is but now waking up.
IV. MEN AND ART.
Among the many counts in which women have been proven inferior to men in human development is the oft-heard charge that there are no great women artists. Where one or two are proudly exhibited in evidence, they are either pooh-poohed as not very great, or held to be the trifling exceptions which do but prove the rule.
Defenders of women generally make the mistake of over-estimating their performances, instead of accepting, and explaining, the visible facts. What are the facts as to the relation of men and women to art? And what, in especial, has been the effect upon art of a solely masculine expression?
When we look for the beginnings of art, we find ourselves in a period of crude decoration of the person and of personal belongings. Tattooing, for instance, is an early form of decorative art, still in practice among certain classes, even in advanced people. Most boys, if they are in contact with this early art, admire it, and wish to adorn themselves therewith; some do so — to later mortification. Early personal decoration consisted largely in direct mutilation of the body, and the hanging upon it, or fastening to it, of decorative objects. This we see among savages still, in its gross and primitive forms monopolized by men, then shared by women, and, in our time, left almost wholly to them. In personal decoration today, women are still near the savage. The “artists” developed in this field of art are the tonsorial, the sartorial, and all those specialized adorners of the body commonly known as “beauty doctors.”
Here, as in other cases, the greatest artists are men. The greatest milliners, the greatest dressmakers and tailors, the greatest hairdressers, and the masters and designers in all our decorative toilettes and accessories, are men. Women, in this as in so many other lines, consume rather than produce. They carry the major part of personal decoration today; but the decorator is the man. In the decoration of objects, woman, as the originator of primitive industry, originated also the primitive arts; and in the pottery, basketry, leatherwork, needlework, weaving, with all beadwork, dyeing and embroideries of ancient peoples we see the work of the woman decorator. Much of this is strong and beautiful, but its time is long past. The art which is part of industry, natural, simple, spontaneous, making beauty in every object of use, adding pleasure to labor and to life, is not Art with a large A, the Art which requires Artists, among whom are so few women of note.
Art as a profession, and the Artist as a professional, came later; and by that time women had left the freedom and power of the matriarchate and become slaves in varying degree. The women who were idle pets in harems, or the women who worked hard as servants, were alike cut off from the joy of making things. Where constructive work remained to them, art remained, in its early decorative form. Men, in the proprietary family, restricting the natural industry of women to personal service, cut off their art with their industry, and by so much impoverished the world.
There is no more conspicuously pathetic proof of the aborted development of women than this commonplace — their lack of a civilized art sense. Not only in the childish and savage display upon their bodies, but in the pitiful products they hang upon the walls of the home, is seen the arrest in normal growth.
After ages of culture, in which men have developed Architecture, Sculpture, Painting, Music and the Drama, we find women in their primitive environment making flowers of wax, and hair, and worsted; doing mottoes of perforated cardboard, making crazy quilts and mats and “tidies” — as if they lived in a long past age, or belonged to a lower race.
This, as part of the general injury to women dating from the beginning of our androcentric culture, reacts heavily upon the world at large. Men, specializing, giving their lives to the continuous pursuit of one line of service, have lifted our standard in aesthetic culture, as they have in other matters; but by refusing the same growth to women, they have not only weakened and reduced the output, but ruined the market as it were, hopelessly and permanently kept down the level of taste.
Among the many sides of this great question, some so terrible, some so pathetic, some so utterly absurd, this particular phase of life is especially easy to study and understand, and has its own elements of amusement. Men, holding women at the level of domestic service, going on themselves to lonely heights of achievement, have found their efforts hampered and their attainments rendered barren and unsatisfactory by the amazing indifference of the world at large. As the world at large consists half of women, and wholly of their children, it would seem patent to the meanest understanding that the women must be allowed to rise in order to lift the world. But such has not been the method — heretofore.
We have spoken so far in this chapter of the effect of men on art through their interference with the art of women. There are other sides to the question. Let us consider once more the essential characteristics of maleness, and see how they have affected art, keeping always in mind the triune distinction between masculine, feminine and human. Perhaps we shall best see this difference by considering what the development of art might have been on purely human terms.
The human creature, as such, naturally delights in construction, and adds decoration to construction as naturally. The cook, making little regular patterns around the edge of the pie, does so from a purely human instinct, the innate eye-pleasure in regularity, symmetry, repetition, and alternation. Had this natural social instinct grown unchecked in us, it would have manifested itself in a certain proportion of specialists — artists of all sorts — and an accompanying development of appreciation on the part of the rest of us. Such is the case in primitive art; the maker of beauty is upheld and rewarded by a popular appreciation of her work — or his.
Had this condition remained, we should find a general level of artistic expression and appreciation far higher than we see now. Take the one field of textile art, for instance: that wide and fluent medium of expression, the making of varied fabrics, the fashioning of garments and the decoration of them — all this is human work and human pleasure. It should have led us to a condition where every human being was a pleasure to the eye, appropriately and beautifully clothed.
Our real condition in this field is too patent to need emphasis; the stiff, black ugliness of our men’s attire; the irritating variegated folly of our women’s; the way in which we spoil the beauty and shame the dignity of childhood by modes of dress.
In normal human growth, our houses would be a pleasure to the eye; our furniture and utensils, all our social products, would blossom into beauty as naturally as they still do in those low stages of social evolution where our major errors have not yet borne full fruit.
Applied art in all its forms is a human function, common to every one to some degree, either in production or appreciation, or both. “Pure art,” as an ideal, is also human; and the single-hearted devotion of the true artist to this ideal is one of the highest forms of the social sacrifice. Of all the thousand ways by which humanity is specialized for inter-service, none is more exquisite than this; the evolution of the social Eye, or Ear, or Voice, the development of those whose work is wholly for others, and to whom the appreciation of others is as the bread of life. This we should have in a properly developed community; the pleasure of applied art in the making and using of everything we have; and then the high joy of the Great Artist, and the noble work thereof, spread far and wide.
What do we find?
Applied art at a very low level; small joy either for the maker or the user. Pure art, a fine-spun specialty, a process carried on by an elect few who openly despise the unappreciative many. Art has become an occult profession requiring a long special education even to enjoy, and evolving a jargon of criticism which becomes more esoteric yearly.
Let us now see what part in this undesirable outcome is due to our Androcentric Culture.
As soon as the male of our species assumed the exclusive right to perform all social functions, he necessarily brought to that performance the advantages — and disadvantages — of maleness, of those dominant character
istics, desire, combat, self-expression.
Desire has overweighted art in many visible forms; it is prominent in painting and music, almost monopolizes fiction, and has pitifully degraded dancing.
Combat is not so easily expressed in art, where even competition is on a high plane; but the last element is the main evil, self-expression. This impulse is inherently and ineradicably masculine. It rests on that most basic of distinctions between the sexes, the centripetal and centrifugal forces of the universe. In the very nature of the sperm-cell and the germ-cell we find this difference: the one attracts, gathers, draws in; the other repels, scatters, pushes out. That projective impulse is seen in the male nature everywhere; the constant urge toward expression, to all boasting and display. This spirit, like all things masculine, is perfectly right and admirable in its place.
It is the duty of the male, as a male, to vary; bursting forth in a thousand changing modifications — the female, selecting, may so incorporate beneficial changes in the race. It is his duty to thus express himself — an essentially masculine duty; but masculinity is one thing, and art is another. Neither the masculine nor the feminine has any place in art — Art is Human.
It is not in any faintest degree allied to the personal processes of reproduction; but is a social process, a most distinctive social process, quite above the plane of sex. The true artist transcends his sex, or her sex. If this is not the case, the art suffers.
Complete Works of Charlotte Perkins Gilman Page 235