The Task of Social Hygiene

by Havelock Ellis

The second form of medieval romantic love was more ethereal than the first, and much more definitely and consciously based on a religious attitude. It was really the worship of the Virgin transferred to a young earthly maiden, yet retaining the purity and ideality of religious worship. To so high a degree is this the case that it is sometimes difficult to be sure whether we are concerned with a real maiden of flesh and blood or only a poetic symbol of womanhood. This doubt has been raised, notably by Bartoli, concerning Dante's Beatrice, the supreme type of this ethereal love, which arose in the thirteenth century, and was chiefly cultivated in Florence. The poets of this movement were themselves aware of the religious character of their devotion to the donna angelicata to whom they even apply, as they would to the Queen of Heaven, the appellation Stella Maris. That there was an element of flesh and blood in these figures is believed by Remy de Gourmont, but when we gaze at them, he remarks, we see at first, "in place of a body only two eyes with angel's wings behind them, on the background of an azure sky sown with golden stars"; the lover is on his knees and his love has become a prayer. [79] This phase of romantic love was brief, and perhaps mostly the possession of the poets, but it represented a really important moment in the evolution of modern romantic love. It was a step towards the realization of the genuinely human charm of young womanhood in real human relationships, of which we already have a foretaste in the delicious early French story of Aucassin and Nicolette.

The re-discovery of classic literature, the movements of Humanism and the Renaissance, swept away what was left of the almost religious idealization of the young virgin. The ethereal maiden, thin, pale, anæmic, disappeared alike from literature and from art, and was no longer an ideal in actual life. She gave place to a new woman, conscious of her own fully developed womanhood and all its needs, radiantly beautiful and finely shaped in every limb. She lacked the spirituality of her predecessors, but she had gained in intellect. She appears first in the pages of Boccaccio. After a long interval Titian immortalized her rich and mature beauty; she is Flora, she is Ariadne, she is alike the Earthly Love and the Heavenly Love. Every curve of her body was adoringly and minutely described by Niphus and Firenzuola. [80] She was, moreover, the courtesan whose imperial charm and adroitness enabled her to trample under foot the medieval conception of lust as sin, even in the courts of popes. At the great academic centre of Bologna, finally, she chastely taught learning and science. [81] The people of the Italian Renaissance placed women on the same level as men, and to call a woman a virago implied unalloyed praise. [82]

The very mixed conditions of what we have been accustomed to consider the modern world then began for women. They were no longer cloistered—whether in convents or the home—but neither were they any longer worshipped. They began to be treated as human beings, and when men idealized them in figures of romantic charm or pathos—figures like Shakespeare's Rosalind or Marivaux's Sylvia or Richardson's Clarissa—this humanity was henceforth the common ground out of which the vision arose. But, one notes, in nearly all the great poets and novelists up to the middle of the last century, it was usually in the weakness of humanity that the artist sought the charm and pathos of his feminine figures. From Shakespeare's Ophelia to Thackeray's Amelia this is the rule, more emphatically expressed in the literature of England than of any other country. There had been no actual emancipation of women; though now they had entered the world of men, they were not yet, socially and legally, of that world. Even the medieval traditions still lived on in subtly conventionalized forms. The "chivalrous" attitude towards women was, as the word itself suggests, a medieval survival. It belonged to a period of barbarism when brutal force ruled and when the man who magnanimously placed his force at the disposition of a woman was really doing her a service and granting her a privilege. But civilization means the building up of an orderly society in which individual rights are respected, and force no longer dominates. So that as civilization advances the occasions on which women require the aid of masculine force become ever fewer and more unimportant. The conventionalized chivalry of men then tends to become an offer of services which it would be better for women to do for themselves and a bestowal of privileges to which they are nowise entitled. [83] Moreover, this same chivalry is, under these conditions, apt to take on a character which is the reverse of its face value. It becomes the assertion of a power over women instead of a power on their behalf; and it carries with it a tinge of contempt in place of respect. Theoretically, a thousand chivalrous swords should leap from their scabbards to succour the distressed woman. In practice this may only mean that the thousand owners of these metaphorical weapons are on the alert to take advantage of the distressed woman.

Thus the romantic emotions based on medieval ideals gradually lost their worth. They were not in relation to the altered facts of life; they had become an empty convention which could be turned to very unromantic uses. The movement for the emancipation of women was not consciously or directly a movement of revolt against an antiquated chivalry. It was rather a part of the development of civilization which rendered chivalry antique. Medieval romantic love implied in women a weakness in the soil of which only a spiritual force could flourish. The betterment of social conditions, the subordination of violence to order, the growing respect for individual rights, took away the reasons for consecrating weakness in women, and created an ever larger field in which women could freely seek to rival men, because it is a field in which knowledge and skill are of far more importance than muscular strength. The emancipation of women has simply been the later and more conscious phase of the process by which women have entered into this field and sought their share of its rights and its responsibilities.

The woman movement of modern times, properly understood, has thus been the effort of women to adapt themselves to the conditions of an orderly and peaceful civilization. Education, under the changed conditions, can effect what before needed force of arms; responsibility is now demanded where before only tutelage was possible. A civilized society in which women are ignorant and irresponsible is an anachronism, and, however great the wrench with the past might be, it was necessary that women should be adjusted to the changing times. The ideal of the weak, ignorant, inexperienced woman—the cross between an angel and an idiot, as I have elsewhere described her [84]—no longer fulfilled any useful purpose. Civilized society furnishes the conditions under which all adult persons are socially equal and all are free to give to society the best they are capable of.

It was inevitable, but unfortunate, that this movement should have sometimes tended to take the form of an attempt on the part of women to secure, not merely equality with men, but actual imitation of men. These women said that since men had attained mastery in life, captured all the best things, and adopted the most successful methods of living, it was necessary for women to copy them at every point. That was a specious plea which even had in it a certain element of truth. But the fact remained that women and men are different, that the difference is based in fundamental natural functions, and that to place one sex in exactly the same position as the other sex is to deform its outlines and to hamper its activities.

From the present point of view we are only concerned with the influence of the woman's movement on love. On the traditional conception of romantic love inherited from medieval days there can be no doubt that this influence has been highly dissolvent. Medieval romantic love, in its original form, had been part of a conception of womanhood made up of opposites, and all the opposites balanced each other. The medieval man laid his homage at the feet of the great lady in the castle hall, but he himself lorded it over the wife who drudged in his own home. On his knees he gazed up in devotion at the ethereal virgin, but when she ceased to be a virgin, he asserted himself by cursing her as a demon sent from hell to seduce and torment him. All this was possible because the woman was outside the orbit of the man's life, never on the same plane, necessarily higher or lower. It became difficult if woman was man's equal, absurdly impossible if she was of identical nature with him.

The medieval romantic tradition has come down to us so laden with beauty and mystery that we are apt to think, as we see it melt away, that human achievements are being permanently depreciated. That illusion occurs in every age of transition. It was notably so in the eighteenth century, which represented a highly important stage in the emancipation of women. To some that century seems to have been given up to empty gallantry and facile pleasure. Yet it was not only the age in which women for the first time succeeded in openly attaining their supreme social influence, [85] it was an age of romantic love, and the noble or poignant love-stories which have reached us from the records of that period surpass those of any other age.

If we believe with Goethe that the religion of the future consists in a triple reverence—the reverence for what is above us, the reverence for what is below us, and the reverence for our equals [86]—we need not grieve overmuch if one form of this reverence, the first, and that which Goethe regarded as the earliest and crudest, has lost its exclusive claim. Reverence is essential to all romantic love. To bring down the Madonna and the Virgin from their pedestals to share with men the common responsibilities and duties of life is not to divest them of the claim to reverence. It is merely the sign of a change in the form of that reverence, a change which heralds a new romantic love.

It would be premature to attempt to define the exact outline of the new forms of romantic love, or the precise lineaments of the beings who will most ardently evoke that love. In literature, indeed, the ideals of life cast their shadow before, and we may surely trace a change in the erotic ideals mirrored in literature. The woman whom Dickens idealized in David Copperfield is unlike indeed to the series of women of a new type introduced by George Meredith, and the modern heroine generally exhibits more of the robust, open-eyed and spontaneous qualities of that later type than the blind and clinging nature of the amiable simpletons of the older type. That the changed conditions of civilization should produce new types of womanhood and of love is not surprising, if we realize that, even within the ancient chivalrous forms it was possible to produce similar robust types when the qualities of a race were favourable to them. Spain furnishes a notable illustration. Spanish literature from Cervantes and Tirso to Valera and Blasco Ibañez reflects a type of woman who stands on the same ground as man and is his equal and often his superior on that ground, alike in vigour of body and of spirit, acquiring all that she cares to of virility, while losing nothing feminine that is of worth. [87] In more than one respect the ideal woman of Spain is the ideal woman our civilization now renders necessary. The women of the future, Grete Meisel-Hess declares in her femininely clever and frank discussion of present-day conditions, Die Sexuelle Krise, will be full, strong, elementary natures, devoid alike of the impulse to destroy or the aptitude to be destroyed. She considers, moreover, that so far from romantic love being a thing of the past, "love as a form of worship is reserved for the future." [88] In the past it has only been found among a few rare souls; in the future world, fostered by the finer selection of a conscious eugenics, and a new reverence and care for motherhood, we may reasonably hope for a truly efficient humanity, the bearers and conservers of the highest human emotions. It is in this sense, indeed, that the voices of the greatest and most typical leaders of the woman's movement of emancipation to-day are heard. Ellen Key, in her Love and Marriage, seeks to conciliate the cultivation of a free and sacred sexual relationship with the worship of the child, as the embodiment of the future race, while Olive Schreiner proclaims in her Woman and Labour that the woman of the future will walk side by side with man in a higher and deeper relationship than has ever been possible before because it will involve a new community in activity and insight.