But she has not represented for him the only incarnation of the Other, and she has not always had the same importance throughout history. In various periods, she has been eclipsed by other idols. When the city or the state devours the citizen, he is no longer in any position to deal with his personal destiny. Dedicated to the state, the Spartan woman has a higher station than that of other Greek women. But she is not transfigured by any masculine dream. The cult of the chief, be it Napoleon, Mussolini, or Hitler, excludes any other. In military dictatorships and totalitarian regimes, woman is no longer a privileged object. It is understandable that woman is divinized in a country that is rich and where the citizens are uncertain about what meaning to give to their lives: this is what is happening in America. In contrast, socialist ideologies, which call for the assimilation of all human beings, reject the notion that any human category be object or idol, now and for the future: in the authentically democratic society that Marx heralded, there is no place for the Other. Few men, however, correspond exactly to the soldier or the militant that they have chosen to be; as long as these men remain individuals, woman retains a singular value in their eyes. I have seen letters written by German soldiers to French prostitutes in which, in spite of Nazism, the tradition of sentimentality proved to be naively alive. Communist writers like Aragon in France and Vittorini in Italy give a front-row place in their works to woman as lover and mother. Perhaps the myth of woman will be phased out one day: the more women assert themselves as human beings, the more the marvelous quality of Other dies in them. But today it still exists in the hearts of all men.
Any myth implies a Subject who projects its hopes and fears of a transcendent heaven. Not positing themselves as Subject, women have not created the virile myth that would reflect their projects; they have neither religion nor poetry that belongs to them alone: they still dream through men’s dreams. They worship the gods made by males. And males have shaped the great virile figures for their own exaltation: Hercules, Prometheus, Parsifal; in the destiny of these heroes, woman has merely a secondary role. Undoubtedly, there are stylized images of man as he is in his relations with woman: father, seducer, husband, the jealous one, the good son, the bad son; but men are the ones who have established them, and they have not attained the dignity of myth; they are barely more than clichés, while woman is exclusively defined in her relation to man. The asymmetry of the two categories, male and female, can be seen in the unilateral constitution of sexual myths. Woman is sometimes designated as “sex”; it is she who is the flesh, its delights and its dangers. That for woman it is man who is sexed and carnal is a truth that has never been proclaimed because there is no one to proclaim it. The representation of the world as the world itself is the work of men; they describe it from a point of view that is their own and that they confound with the absolute truth.
It is always difficult to describe a myth; it does not lend itself to being grasped or defined; it haunts consciousnesses without ever being posited opposite them as a fixed object. The object fluctuates so much and is so contradictory that its unity is not at first discerned: Delilah and Judith, Aspasia and Lucretia, Pandora and Athena, woman is both Eve and the Virgin Mary. She is an idol, a servant, source of life, power of darkness; she is the elementary silence of truth, she is artifice, gossip, and lies; she is the medicine woman and witch; she is man’s prey; she is his downfall, she is everything he is not and wants to have, his negation and his raison d’être.
“To be a woman,” says Kierkegaard, “is something so strange, so confused, and so complicated that no one predicate can express it, and the multiple predicates that might be used contradict each other in such a way that only a woman could put up with it.”2 This comes from being considered not positively, as she is for herself, but negatively, such as she appears to man. Because if there are other Others than the woman, she is still always defined as Other. And her ambiguity is that of the very idea of Other: it is that of the human condition as defined in its relation with the Other. It has already been said that the Other is Evil; but as it is necessary for the Good, it reverts to the Good; through the Other, I accede to the Whole, but it separates me from the Whole; it is the door to infinity and the measure of my finitude. And this is why woman embodies no set concept; through her the passage from hope to failure, hatred to love, good to bad, bad to good takes place ceaselessly. However she is considered, it is this ambivalence that is the most striking.
Man seeks the Other in woman as Nature and as his peer. But Nature inspires ambivalent feelings in man, as has been seen. He exploits it, but it crushes him; he is born from and he dies in it; it is the source of his being and the kingdom he bends to his will; it is a material envelope in which the soul is held prisoner, and it is the supreme reality; it is contingency and Idea, finitude and totality; it is that which opposes Spirit and himself. Both ally and enemy, it appears as the dark chaos from which life springs forth, as this very life, and as the beyond it reaches for: woman embodies nature as Mother, Spouse, and Idea; these figures are sometimes confounded and sometimes in opposition, and each has a double face.
Man sinks his roots in Nature; he was engendered, like animals and plants; he is well aware that he exists only inasmuch as he lives. But since the coming of patriarchy, life in man’s eyes has taken on a dual aspect: it is consciousness, will, transcendence, it is intellect; and it is matter, passivity, immanence, it is flesh. Aeschylus, Aristotle, and Hippocrates proclaimed that on earth as on Mount Olympus it is the male principle that is the true creator: form, number, and movement come from him; Demeter makes corn multiply, but the origin of corn and its truth are in Zeus; woman’s fertility is considered merely a passive virtue. She is earth and man seed; she is water, and he is fire. Creation has often been imagined as a marriage of fire and water; hot humidity gives birth to living beings; the Sun is the spouse of the Sea; Sun and Fire are male divinities; and the Sea is one of the most universally widespread maternal symbols. Inert, water submits to the flamboyant rays that fertilize it. Likewise, the still earth, furrowed by the laborer’s toil, receives the seeds in its rows. But its role is necessary: it is the soil that nourishes the seed, shelters it, and provides its substance. Man thus continued to worship fertility goddesses, even once the Great Mother was dethroned;3 he owes his harvests, herds, and prosperity to Cybele. He owes her his very life. He exalts water and fire equally. “Glory to the sea! Glory to its waves encircled by sacred fire! Glory to the wave! Glory to the fire! Glory to the strange adventure,” wrote Goethe in Faust, Part Two. He venerated earth: “the Matron Clay,” as Blake called it. An Indian prophet advised his disciples not to dig up the earth because “it is a sin to hurt or cut, to tear our common mother in agricultural works … Do I take a knife to drive into my mother’s breast?… Do I mutilate her flesh so as to reach her bones?… How could I dare to cut my mother’s hair?” In central India the Baidya also thought that it was a sin to “rip the breast of their earth mother with the plow.” Inversely, Aeschylus says of Oedipus that he “dared to sow the sacred furrow where he was formed.” Sophocles spoke of “paternal furrows” and of the “laborer, master of a remote field that he visited only once during the sowing.” The beloved in an Egyptian song declares: “I am the earth!” In Islamic texts, woman is called “field … grapevine.” In one of his hymns, Saint Francis of Assisi speaks of “our sister, the earth, our mother, who preserves and cares for us, who produces the most varied fruits with many-colored flowers and with grass.” Michelet, taking mud baths in Acqui, exclaims: “Dear common mother! We are one. I come from you, I return to you!” And there are even periods of vitalistic romanticism that affirm the triumph of Life over Spirit: so the earth’s and woman’s magic fertility appear to be even more marvelous than the male’s concerted works; so the man dreams of once again losing himself in maternal darkness to find the true sources of his being. The mother is the root driven into the depths of the cosmos that taps its vital juices; she is the fountain from which springs forth sweet
water that is also mother’s milk, a warm spring, a mud formed of earth and water, rich in regenerating forces.4
But man’s revolt against his carnal condition is more general; he considers himself a fallen god: his curse is to have fallen from a luminous and orderly heaven into the chaotic obscurity of the mother’s womb. He desires to see himself in this fire, this active and pure breath, and it is woman who imprisons him in the mud of the earth. He would like himself to be as necessary as pure Idea, as One, All, absolute Spirit; and he finds himself enclosed in a limited body, in a place and time he did not choose, to which he was not called, useless, awkward, absurd. His very being is carnal contingence to which he is subjected in his isolation, in his unjustifiable gratuitousness. It also dooms him to death. This quivering gelatin that forms in the womb (the womb, secret and sealed like a tomb) is too reminiscent of the soft viscosity of carrion for him not to turn away from it with a shudder. Wherever life is in the process of being made—germination and fermentation—it provokes disgust because it is being made only when it is being unmade; the viscous glandular embryo opens the cycle that ends in the rotting of death. Horrified by death’s gratuitousness, man is horrified at having been engendered; he would like to rescind his animal attachments; because of his birth, murderous Nature has a grip on him. For the primitives, childbirth is surrounded by strict taboos; in particular, the placenta must be carefully burned or thrown into the sea, because whoever might get hold of it would hold the newborn’s fate in his hands; this envelope in which the fetus is formed is the sign of its dependence; in annihilating it, the individual is able to detach himself from the living magma and to realize himself as an autonomous being. The stain of childbirth falls back on the mother. Leviticus and all the ancient codes impose purification rites on the new mother; and often in the countryside the postpartum ceremony maintains that tradition. Everyone knows that young boys and girls and men feel a spontaneous embarrassment, one often camouflaged by sneering, at seeing a pregnant woman’s stomach or the swollen breasts of the wet nurse. In Dupuytren’s museums, the curious contemplate the wax embryos and the preserved fetuses with the morbid interest they would show in a defiled grave. Notwithstanding all the respect that society surrounds it with, the function of gestation inspires spontaneous repulsion. And while the little boy in early childhood remains sensually attached to the mother’s flesh, when he grows up, when he is socialized and becomes aware of his individual existence, this flesh frightens him; he wants to ignore it and to see his mother as institution only; if he wants to think of her as pure and chaste, it is less from amorous jealousy than from the refusal to acknowledge her as a body. An adolescent boy becomes embarrassed, blushes if he meets his mother, sisters, or women in his family when he is out with his friends: their presence recalls the regions of immanence from which he wants to escape; she reveals the roots that he wants to pull himself away from. The boy’s irritation when his mother kisses and caresses him has the same significance; he gives up his family, mother, and mother’s breast. He would like to have emerged, like Athena, into the adult world, armed from head to toe, invulnerable.5 Being conceived and born is the curse weighing on his destiny, the blemish on his being. And it is the warning of his death. The cult of germination has always been associated with the cult of the dead. Mother Earth engulfs the bones of its children within it. Women—the Parcae and Moirai—weave human destiny; but they also cut the threads. In most folk representations, Death is woman, and women mourn the dead because death is their work.6
Thus, Mother Earth has a face of darkness: she is chaos, where everything comes from and must return to one day; she is Nothingness. The many aspects of the world that the day uncovers commingle in the night: night of spirit locked up in the generality and opacity of matter, night of sleep and nothing. At the heart of the sea, it is night: woman is the Mare tenebrarum dreaded by ancient navigators; it is night in the bowels of the earth. Man is threatened with being engulfed in this night, the reverse of fertility, and it horrifies him. He aspires to the sky, to light, to sunny heights, to the pure and crystal clear cold of blue; and underfoot is a moist, hot, and dark gulf ready to swallow him; many legends have the hero falling and forever lost in maternal darkness: a cave, an abyss, hell.
But once again ambivalence is at work here: while germination is always associated with death, death is also associated with fertility. Detested death is like a new birth, and so it is blessed. The dead hero like Osiris is resurrected every springtime, and he is regenerated by a new birth. Man’s supreme hope, says Jung, “is that the dark waters of death become the waters of life, that death and its cold embrace are the mother’s lap, just as the sea, while engulfing the sun, re-births in the depths.”7 The theme of the burial of the sun god within the sea and its dazzling reemergence is common to many mythologies. And man wants to live, but he also hopes for rest, sleep, for nothingness. He does not wish for immortality for himself, and thus he can learn to love death. “Inorganic matter is the mother’s breast,” Nietzsche wrote. “Being delivered from life means becoming real again, completing oneself. Anyone who understands that would consider returning to unfeeling dust as a holiday.” Chaucer puts this prayer into the mouth of an old man who cannot die:
Thus restless I my wretched way must make
And on the ground, which is my mother’s gate,
I knock with my staff early, aye, and late
And cry: “O my dear mother, let me in!”
Man wants to assert his individual existence and proudly rest on his “essential difference,” but he also wants to break the barriers of the self and commingle with water, earth, night, Nothingness, with the Whole. Woman who condemns man to finitude also enables him to surpass his own limits: that is where the equivocal magic surrounding her comes from.
In all civilizations and still today, she inspires horror in man: the horror of his own carnal contingence that he projects on her. The girl who has not yet gone through puberty does not pose a threat; she is not the object of any taboo and has no sacred characteristics. In many primitive societies her sex even seems innocent: erotic games between boys and girls are allowed in childhood. Woman becomes impure the day she might be able to procreate. In primitive societies the strict taboos concerning girls on the day of their first period have often been described; even in Egypt, where the woman is treated with particular respect, she remains confined during her whole menstrual period.8 She is often put on a rooftop or relegated to a shack on the outskirts of the town; she can be neither seen nor touched: what’s more, she must not even touch herself with her own hand; for peoples that practice daily flea removal, she is given a stick with which she is able to scratch herself; she must not touch food with her fingers; sometimes she is strictly forbidden to eat; in other cases, her mother and sister are permitted to feed her with an instrument; but all objects that come in contact with her during this period must be burned. After this first test, the menstrual taboos are a little less strict, but they remain harsh. In particular, in Leviticus: “And if a woman have an issue, and her issue in her flesh be blood, she shall be put apart seven days: and whosoever toucheth her shall be unclean until the even. And every thing that she lieth upon in her separation shall be unclean: every thing also that she sitteth upon shall be unclean. And whosoever toucheth her bed shall wash his clothes, and bathe himself in water, and be unclean until the even.” This text is perfectly symmetrical with one concerning gonorrhea-provoked impurity in man. And the purifying sacrifice is identical in the two cases. Seven days after she has been purified of her flow, two turtledoves or two young pigeons have to be brought to the sacrificer, who offers them to the Eternal. Even in matriarchal societies, the virtues connected to menstruation are ambivalent. On the one hand, it brings social activities to a halt, destroys the vital force, withers flowers, causes fruit to fall; but it also has beneficial effects: menses are used in love philters, in remedies, and in particular in healing cuts and bruises. Still today, when some Indians go off to fight spect
ral monsters haunting their rivers, they place a fiber wad filled with menstrual blood on the bow of their boat: its emanations are harmful to their supernatural enemies. In some Greek cities, young girls pay homage to the temple of Astarte by wearing linens stained by their first menstrual blood. But since patriarchy, only harmful powers have been attributed to the bizarre liquor flowing from the feminine sex. Pliny in his Natural History says: “The menstruating woman spoils harvests, devastates gardens, kills seeds, makes fruit fall, kills bees; if she touches the wine, it turns to vinegar; milk sours …”
The Second Sex Page 24