This sentimentality in marriage is seldom, if ever, observed in women. For reasons that we shall examine later, they have much more to gain by the business than men, and so they are prompted by their cooler sagacity to enter upon it on the most favourable terms possible, and with the minimum admixture of disarming emotion. Men almost invariably get their mates by the process called falling in love; save among the aristocracies of the North and Latin men, the marriage of convenience is relatively rare; a hundred men marry “beneath” them to every woman who perpetrates the same folly. And what is meant by this so-called falling in love? What is meant by it is a procedure whereby a man accounts for the fact of his marriage, after feminine initiative and generalship have made it inevitable, by enshrouding it in a purple maze of romance—in brief, by setting up the doctrine that an obviously self-possessed and mammalian woman, engaged deliberately in the most important adventure of her life, and with the keenest understanding of its utmost implications, is a naive, tender, moony and almost disembodied creature, enchanted and made perfect by a passion that has stolen upon her unawares, and which she could not acknowledge, even to herself, without blushing to death. By this preposterous doctrine, the defeat and enslavement of the man is made glorious, and even gifted with a touch of flattering naughtiness. The sheer horsepower of his wooing has assailed and overcome her maiden modesty; she trembles in his arms; he has been granted a free franchise to work his wicked will upon her. Thus do the ambulant images of God cloak their shackles proudly, and divert the judicious with their boastful shouts.
Women, it is almost needless to point out, are much more cautious about embracing the conventional hocus-pocus of the situation. They never acknowledge that they have fallen in love, as the phrase is, until the man has formally avowed the delusion, and so cut off his retreat; to do otherwise would be to bring down upon their heads the mocking and contumely of all their sisters. With them, falling in love thus appears in the light of an afterthought, or, perhaps more accurately, in the light of a contagion. The theory, it would seem, is that the love of the man, laboriously avowed, has inspired it instantly, and by some unintelligible magic; that it was non-existent until the heat of his own flames set it off. This theory, it must be acknowledged, has a certain element of fact in it. A woman seldom allows herself to be swayed by emotion while the principal business is yet afoot and its issue still in doubt; to do so would be to expose a degree of imbecility that is confined only to the half-wits of the sex. But once the man is definitely committed, she frequently unbends a bit, if only as a relief from the strain of a fixed purpose, and so, throwing off her customary inhibitions, she, indulges in the luxury of a more or less forced and mawkish sentiment. It is, however, almost unheard of for her to permit herself this relaxation before the sentimental intoxication of the man is assured. To do otherwise—that is, to confess, even post facto, to an anterior descent,—would expose her, as I have said, to the scorn of all other women. Such a confession would be an admission that emotion had got the better of her at a critical intellectual moment, and in the eyes of women, as in the eyes of the small minority of genuinely intelligent men, no treason to the higher cerebral centres could be more disgraceful.
8. The Male Beauty
This disdain of sentimental weakness, even in those higher reaches where it is mellowed by aesthetic sensibility, is well revealed by the fact that women are seldom bemused by mere beauty in men. Save on the stage, the handsome fellow has no appreciable advantage in amour over his more Gothic brother. In real life, indeed, he is viewed with the utmost suspicion by all women save the most stupid. In him the vanity native to his sex is seen to mount to a degree that is positively intolerable. It not only irritates by its very nature; it also throws about him a sort of unnatural armour, and so makes him resistant to the ordinary approaches. For this reason, the matrimonial enterprises of the more reflective and analytical sort of women are almost always directed to men whose lack of pulchritude makes them easier to bring down, and, what is more important still, easier to hold down. The weight of opinion among women is decidedly against the woman who falls in love with an Apollo. She is regarded, at best, as flighty creature, and at worst, as one pushing bad taste to the verge of indecency. Such weaknesses are resigned to women approaching senility, and to the more ignoble variety of women labourers. A shop girl, perhaps, may plausibly fall in love with a moving-picture actor, and a half-idiotic old widow may succumb to a youth with shoulders like the Parthenon, but no woman of poise and self-respect, even supposing her to be transiently flustered by a lovely buck, would yield to that madness for an instant, or confess it to her dearest friend. Women know how little such purely superficial values are worth. The voice of their order, the first taboo of their freemasonry, is firmly against making a sentimental debauch of the serious business of marriage.
This disdain of the pretty fellow is often accounted for by amateur psychologists on the ground that women are anesthetic to beauty—that they lack the quick and delicate responsiveness of man. Nothing could be more absurd. Women, in point of fact, commonly have a far keener aesthetic sense than men. Beauty is more important to them; they give more thought to it; they crave more of it in their immediate surroundings. The average man, at least in England and America, takes a sort of bovine pride in his anaesthesia to the arts; he can think of them only as sources of tawdry and somewhat discreditable amusement; one seldom hears of him showing half the enthusiasm for any beautiful thing that his wife displays in the presence, of a fine fabric, an effective colour, or a graceful form, say in millinery. The truth is that women are resistant to so-called beauty in men for the simple and sufficient reason that such beauty is chiefly imaginary. A truly beautiful man, indeed, is as rare as a truly beautiful piece of jewelry. What men mistake for beauty in themselves is usually nothing save a certain hollow gaudiness, a revolting flashiness, the superficial splendour of a prancing animal. The most lovely moving picture actor, considered in the light of genuine aesthetic values, is no more than a piece of vulgarity; his like is to be found, not in the Uffizi gallery or among the harmonies of Brahms, but among the plush sofas, rococo clocks and hand-painted oil-paintings of a third-rate auction room. All women, save the least intelligent, penetrate this imposture with sharp eyes. They know that the human body, except for a brief time in infancy, is not a beautiful thing, but a hideous thing. Their own bodies give them no delight; it is their constant effort to disguise and conceal them; they never expose them aesthetically, but only as an act of the grossest sexual provocation. If it were advertised that a troupe of men of easy virtue were to appear half-clothed upon a public stage, exposing their chests, thighs, arms and calves, the only women who would go to the entertainment would be a few delayed adolescents, a psychopathic old maid or two, and a guard of indignant members of the parish Ladies Aid Society.
9. Men as Aesthetes
Men show no such sagacious apprehension of the relatively feeble loveliness of the human frame. The most effective lure that a woman can hold out to a man is the lure of what he fatuously conceives to be her beauty. This so-called beauty, of course, is almost always a pure illusion. The female body, even at its best is very defective in form; it has harsh curves and very clumsily distributed masses; compared to it the average milk-jug, or even cuspidor, is a thing of intelligent and gratifying design—in brief, an objet d’art. The fact was curiously (and humorously) display during the late war, when great numbers of women in all the belligerent countries began putting on uniforms. Instantly they appeared in public in their grotesque burlesques of the official garb of aviators, elevator boys, bus conductors, train guards, and so on, their deplorable deficiency in design was unescapably revealed. A man, save he be fat, i.e., of womanish contours, usually looks better in uniform than in mufti; the tight lines set off his figure. But a woman is at once given away: she look like a dumbbell run over by an express train. Below the neck by the bow and below the waist astern there are two masses that simply refuse to fit into a balanced composition. Viewed from the side, she presents an exaggerated S bisected by an imperfect straight line, and so she inevitably suggests a drunken dollar-mark. Her ordinary clothing cunningly conceals this fundamental imperfection. It swathes those impossible masses in draperies soothingly uncertain of outline. But putting her into uniform is like stripping her. Instantly all her alleged beauty vanishes.
Moreover, it is extremely rare to find a woman who shows even the modest sightliness that her sex is theoretically capable of; it is only the rare beauty who is even tolerable. The average woman, until art comes to her aid, is ungraceful, misshapen, badly calved and crudely articulated, even for a woman. If she has a good torso, she is almost sure to be bow-legged. If she has good legs, she is almost sure to have bad teeth. If she has good teeth, she is almost sure to have scrawny hands, or muddy eyes, or hair like oakum, or no chin. A woman who meets fair tests all ’round is so uncommon that she becomes a sort of marvel, and usually gains a livelihood by exhibiting herself as such, either on the stage, in the half-world, or as the private jewel of some wealthy connoisseur.
But this lack of genuine beauty in women lays on them no practical disadvantage in the primary business of their sex, for its effects are more than overborne by the emotional suggestibility, the herculean capacity for illusion, the almost total absence of critical sense of men. Men do not demand genuine beauty, even in the most modest doses; they are quite content with the mere appearance of beauty. That is to say, they show no talent whatever for differentiating between the artificial and the real. A film of face powder, skilfully applied, is as satisfying to them as an epidermis of damask. The hair of a dead Chinaman, artfully dressed and dyed, gives them as much delight as the authentic tresses of Venus. A false hip intrigues them as effectively as the soundest one of living fascia. A pretty frock fetches them quite as surely and securely as lovely legs, shoulders, hands or eyes. In brief, they estimate women, and hence acquire their wives, by reckoning up purely superficial aspects, which is just as intelligent as estimating an egg by purely superficial aspects. They never go behind the returns; it never occurs to them to analyze the impressions they receive. The result is that many a man, deceived by such paltry sophistications, never really sees his wife—that if, as God is supposed to see her, and as the embalmer will see her—until they have been married for years. All the tricks may be infantile and obvious, but in the face of so naive a spectator the temptation to continue practising them is irresistible. A trained nurse tells me that even when undergoing the extreme discomforts of parturition the great majority of women continue to modify their complexions with pulverized talcs, and to give thought to the arrangement of their hair. Such transparent devices, to be sure, reduce the psychologist to a sour sort of mirth, and yet it must be plain that they suffice to entrap and make fools of men, even the most discreet. I know of no man, indeed, who is wholly resistant to female beauty, and I know of no man, even among those engaged professionally by aesthetic problems, who habitually and automatically distinguishes the genuine, from the imitation. He may do it now and then; he may even preen himself upon his unusual discrimination; but given the right woman and the right stage setting, and he will be deceived almost as readily as a yokel fresh from the cabbage-field.