You find the sentiment in Boileau’s satire and in Pope’s “Characters.” You open the pages of the Wizard of the North, who did for his own generations what Heliodorus and his chaste Chariclea accomplished for the fourth century, and you come upon Walter Scott singing in one of his exquisite songs—
“Woman’s faith, and woman’s trust,
Write the characters in dust.”
All such sad evidences, it should be borne in mind, are but the reverse of the fair picture with which men have regarded women. But because there is a reverse side, and its view has entered and still enters largely into human life, human estimates, and human fate, it should be spoken about openly. Women and men inexperienced in the outer world of affairs do not realize its still potent force.
As for the subject of these gibes, for ages they were silent. During many generations, in the privacy of their apartments, the women must have made mute protests to one another. “These things are false,” their souls cried. But they took the readiest defence of physical weakness, and they loved harmony. It was better to be silent than to rise in bold proof of an untruth and meet rude force.
Iteration and dogmatic statement of women’s moral inferiority, coupled as it often was with quoted text and priestly authority, had their inevitable effect upon more sensitive and introspective characters; it humiliated and unquestionably deprived many a woman of self-respect. Still, all along there must have been a less sensitive, sturdier, womanhood possessed of the perversive faith of Mrs. Poyser, that “heaven made ’em to match the men,” that—
“Together, dwarfed or godlike, bond or free,”— men and women rise or sink; that, in fact, the interests of the two are inseparable and wholly identical. To broad vision misogynous expression seems to set in antagonism forces united by all the mighty powers of human evolution throughout millions of years, and the whole plan of God back of that soul-unfolding.
The misogynous song and story of our forebears with momentous fall descended and became the coarse newspaper quip which a generation ago whetted its sting upon women—“Susan B. Anthonys”—outspoken and seeking more freedom than social prejudices of their day allowed. An annoying gnat, it has in these days been almost exterminated by diffusion of the oil of fairness and better knowledge.
But even yet periodicals at times give mouth to the old misogyny. Such an expression, nay, two, are published in otherwise admirable pages, and with these we have to do. They are from the pen of a man of temperament, energy, vigorous learning, and an “esurient Genie” for books—professor of Latin in one of our great universities, where misogynous sentiment has found expression in lectures in course and also in more public delivery.
The first reverse phrase is of “the neurotic caterwauling of an hysterical woman.” Cicero’s invective and pathos are said to be perilously near that perturbance.
Now specialists in nervous difficulties have not yet determined there is marked variation between neurotic caterwauling of hysterical women and neurotic caterwauling of hysterical men. Cicero’s shrieks—for Cicero was what is to-day called “virile,” “manly,” “strenuous,” “vital”—Cicero’s would naturally approximate the men’s.
To normally tuned ears caterwaulings are as unagreeable as misogynous whoops—waulings of men as cacophonous as waulings of women. Take an instance in times foregone. In what is the megalomaniac whine of Marie Bashkirtseff’s “Journal” more unagreeable than the egotistical vanity of Lord Byron’s wails? Each of these pen people may be viewed from another point. More generously any record—even an academic misogyny—is of interest and value because expressing the idiosyncratic development or human feeling of the world.