OF THE STANDARD OF BEAUTY IN WOMAN.
The ideas of the beautiful vary in different individuals, and in different nations. Hence, many men of talent have thought them altogether relative and arbitrary.
“Ask,” says Voltaire, “a Negro of Guinea [what is beauty]: the beautiful is for him a black oily skin, deep-seated eyes, and a broad flat nose.”
“Perfect beauty,” says Payne Knight, “taking perfect in its most strict, and beauty in its most comprehensive signification, ought to be equally pleasing to all; but of this, instances are scarcely to be found: for, as to taking them, or, indeed, any examples for illustration, from the other sex of our own species, it is extremely fallacious; as there can be little doubt that all male animals think the females of their own species the most beautiful productions of nature. At least we know this to be the case among the different varieties of men, whose respective ideas of the beauty of their females are as widely different as those of man, and any other animal, can be. The sable Africans view with pity and contempt the marked deformity of the Europeans; whose mouths are compressed, their noses pinched, their cheeks shrunk, their hair rendered lank and flimsy, their bodies lengthened and emaciated, and their skins unnaturally bleached by shade and seclusion, and the baneful influence of a cold humid climate.... Who shall decide which party is right, or which is wrong; or whether the black or white model be, according to the laws of nature, the most perfect specimen of a perfect woman?... The sexual desires of brutes are probably more strictly natural inclinations, and less changed or modified by the influence of acquired ideas, or social habits, than those of any race of mankind; but their desires seem, in general, to be excited by smell, rather than by sight or contact. If, however, a boar can think a sow the sweetest and most lovely of living creatures, we can have no difficulty in believing that he also thinks her the most beautiful.”
“Among the various reasons,” says Reynolds, “why we prefer one part of nature’s works to another, the most general, I believe, is habit and custom; custom makes, in a certain sense, white black, and black white; it is custom alone determines our preference of the color of the Europeans to the Ethiopians, and they, for the same reason, prefer their own color to ours. I suppose nobody will doubt, if one of their painters were to paint the goddess of beauty, but that he would represent her black, with thick lips, flat nose, and woolly hair; and it seems to me, he would act very unnaturally if he did not; for by what criterion will any one dispute the propriety of his idea? We indeed say, that the form and color of the European are preferable to those of the Ethiopian; but I know of no other reason we have for it, but that we are more accustomed to it.”
The coquetry of several tribes, it has been observed, leads them to mutilate and disfigure themselves, to flatten their forehead, to enlarge their mouth and ears, to blacken their skin, and cover it with the marks of suffering.—We make ugliness in that way, says Montaigne.
But, to confine our observations to individual nations, and these civilized ones; we every day see irregular or even common figures preferred to those which the enlightened judge deems beautiful.
How, then, it is asked, amid these different tastes, these opposite opinions, are we to admit ideas of absolute beauty?
These are the strongest objections against all ideas of absolute and essential beauty in woman.
To establish, in opposition to these objections, a standard of womanly beauty, equal talent has been employed; but the reasoning, though sufficient for such objections, has been rather of a vague description. As, however, the subject is of great importance, I shall endeavor to abridge and concentrate the arguments of which it consists, before I point out the surer method which is founded on the Elements of Beauty already established.