A high-minded man who claims his rights, and a high-minded woman who does the same, express themselves in different styles. The feminine style is shown in Constance with great discrimination. Both sexes can hate injustice, and may be opposed to compromises. Both can have indignation for a crime. But see how Constance puts into these moral feelings a scorn and a swiftness of dissent, urged by a volubility more native to a woman than to a man. Woman is apt, indeed, to be too voluble: each minute of her phrases breeds new ones; so she does not stop to notice that her indictment is shorter than her breath. Therefore men are apt to notice and to complain that her indictment does not reach up to the tide-mark of her breath. But the invective of Constance is the swift weapon-play of maternity: it flashes through every guard, touches rapidly to and fro, and draws blood at every unexpected touch.
A man's moral disposition has not been nourished and toned by the additional organs which impose wifehood and motherhood upon a woman. In her, more nerve centres are involved, with an exquisite sensibility for pain and pleasure which the average man's life seldom reaches. His bosom is not ample enough to contain such throbs of acquiescence or revolt. Every fount of feeling is twinned in woman, and sweet as the milk is, mingled by love, so sharp and bitter is its flavor made by hate. Her nerves revenge the violence of acts which she supposes dishonorable: she can fight with glances more searching and words more unequivocal than the cooler man will furnish. No doubt that his disdains, too, can summon all his blood to blush and lower magnificently on the cheek. But her blood seems richer in the red corpuscles: it wins, therefore, and is more visited by, the air of heaven. There is no blush so daunting, no look so penetrating to dissolve, no silence of a surprised conscience so unanswerable. And when she grieves, it seems as if the eyes were re-enforced, for all the founts of motherhood are weeping.
This ability to vindicate the right and to repudiate the wrong can easily become absurd to the spectators when it is charged with some excess of temper. Literature does ample justice to the termagant vein, and shows that it is ludicrous because it devotes a high degree of choler to a low measure of affront. In pantomimes, an enormous gun is pointed toward the audience, with extravagant anticipation of its exploit on the faces of the performers. For a moment we are cowed, but laughter fills the vast space between the faint puff and the noise we expected.
I presume that Xantippe felt justified in making the home of Socrates so unpleasant that he preferred the market, the forum, and the leather-dresser's shop, because she thought he neglected her for all those places, and wasted time, and kept her drudging, while he ran to find men and make their coarse grain revolve to sharpen his soul's edge against it. Perhaps, as Socrates was famed for falling into brown studies, which sometimes lasted all day, with contempt for food, it was a case of chronic absence of mind on the subject of dinner; for that is as vital as τὁ πρεπὁν καἱ καλὁν, the ethically proper and the beautifully true; and no household can dispense with it,—in fact, children cry for it. Perhaps he supped many a time upon the hemlock of her tongue, and became so acclimated to the draught that the last cup in prison tasted sweetly.
Shakspeare shows the exaggeration of the protesting temper in woman by means of the little spat between Queen Eleanor and Constance, in ii. 7.
A woman's language becomes exacerbated because she is so inadequate to protest by actions. The weakness rolls itself into a bristling defence of words. Men do not drip so profusely into words because they are reservoirs of force and competency. They know that by fair means or foul they can effect purposes from which women are debarred by seclusion, strangeness of habit, and innate reserve. Among women there is a certain resentment at this civic and social disability which does not stint expression.
When, however, a noble woman with a level countenance repudiates an unjust charge, she transfers herself from the bar to the bench, and unseats her summoners. Their purpose quails before this innocence that is so weak, yet grows so overpowering, as in the beauty of Madame Roland and the prison-blanched majesty of Marie Antoinette. The rebuke pulls down the accuser's eyes from their threat, and they seem to go wandering into corners furtively for refuge. Joan of Arc burns in court before the deluded men who claim her as an imp of witchcraft have time to pile their fagots: the passionless chastity gives out blinding sparks when thus enforced; the cheeks of bystanders are reached by them and set aglow. No man who has been unjustly dealt with, and selected for foul practice, can reach such palsying dignity of behavior that turns the axe's edge or holds the arm suspended in mid-resolve. There is a high manly scorn which is beyond refuting: it can kindle admiration in unwilling minds, and compel baseness to pause and to confer. But woman's beauty, planted in the breastplate of an untainted heart, becomes a petrifying image; and whoso meets the ruthless look will remember it even in the moment of a consummated revenge. Nothing helps bad men at such a sight but the poor subterfuge of flying into a rage, as if to muster in that way momentum enough to huddle her off, to get her where the condemning head shall fall before its eyes or lips can utter another protest. They shear it at the neck, never reflecting that they thus untether it to range in other skies, to unkennel heaven sleuth-hounds at last and drag them down.
"I will instruct my sorrows to be proud;
For grief is proud, and makes his owner stoop.
To me, and to the state of my great grief,
Let kings assemble: for my grief's so great
That no supporter but the huge firm earth
Can hold it up: here I and sorrow sit;
Here is my throne, bid kings come bow to it."
FOOTNOTES:
[10] This word was issued from Coleridge's private mint, but never got into circulation. He invented some words, not to avoid circumlocution, of which there is quite enough in his style, but to save trouble by extemporizing tallies for his thought, as surveyors use the nearest sticks on their line. The ecclesiastical word, "introit,"—a passing from within to enter the church,—hinted to him "extroit,"—a starting from without. He means that women proceed from social convention, and not from interior thought.