The Subjection of Women by John Stuart Mill (old books to read .txt) 📕

Englishman does not know nature, because he has had no opportunity of observing it; a Frenchman generally knows a great deal of it, but often mistakes it, because he has only seen it sophisticated and distorted. For the artificial state superinduced by society disguises the natural tendencies of the thing which is the subject of observation, in two different ways: by extinguishing the nature, or by transforming it. In the one case there is but a starved residuum of nature remaining to be studied; in the other case there is much, but it may have expanded in any direction rather than that in which it would spontaneously grow.

I have said that it cannot now be known how much of the existing mental differences between men and women is natural, and how much artificial; whether there are any natural differences at all; or, supposing all artificial causes of difference to be withdrawn, what natural character would be revealed. I am not about to attempt what I have pronounced impossible: but doubt does not forbid conjecture, and where certainty is unattainable, there may yet be the means of arriving at some degree of probability. The first point, the origin of the differences actually observed, is the one most accessible to speculation; and I shall attempt to approach it, by the only path by which it can be reached; by tracing the mental consequences of external influences. We cannot isolate a human being from the circumstances of his condition, so as to ascertain experimentally what he would have been by nature; but we can consider what he is, and what his circumstances have been, and whether the one would have been capable of producing the other.

Let us take, then, the only marked case which observation affords, of apparent inferiority of women to men, if we except the merely physical one of bodily strength. No production in philosophy, science, or art, entitled to the first rank, has been the work of a woman. Is there any mode of accounting for this, without supposing that women are naturally incapable of producing them?

In the first place, we may fairly question whether experience has afforded sufficient grounds for an induction. It is scarcely three generations since women, saving very rare exceptions, have begun to try their capacity in philosophy, science, or art. It is only in the present generation that their attempts have been at all numerous; and they are even now extremely few, everywhere but in England and France. It is a relevant question, whether a mind possessing the requisites of first-rate eminence in speculation or creative art could have been expected, on the mere calculation of chances, to turn up during that lapse of time, among the women whose tastes and personal position admitted of their devoting themselves to these pursuits. In all things which there has yet been time for⁠—in all but the very highest grades in the scale of excellence, especially in the department in which they have been longest engaged, literature (both prose and poetry)⁠—women have done quite as much, have obtained fully as high prizes and as many of them, as could be expected from the length of time and the number of competitors. If we go back to the earlier period when very few women made the attempt, yet some of those few made it with distinguished success. The Greeks always accounted Sappho among their great poets; and we may well suppose that Myrtis, said to have been the teacher of Pindar, and Corinna, who five times bore away from him the prize of poetry, must at least have had sufficient merit to admit of being compared with that great name. Aspasia did not leave any philosophical writings; but it is an admitted fact that Socrates resorted to her for instruction, and avowed himself to have obtained it.

If we consider the works of women in modern times, and contrast them with those of men, either in the literary or the artistic department, such inferiority as may be observed resolves itself essentially into one thing: but that is a most material one; deficiency of originality. Not total deficiency; for every production of mind which is of any substantive value, has an originality of its own⁠—is a conception of the mind itself, not a copy of something else. Thoughts original, in the sense of being unborrowed⁠—of being derived from the thinker’s own observations or intellectual processes⁠—are abundant in the writings of women. But they have not yet produced any of those great and luminous new ideas which form an era in thought, nor those fundamentally new conceptions in art, which open a vista of possible effects not before thought of, and found a new school. Their compositions are mostly grounded on the existing fund of thought, and their creations do not deviate widely from existing types. This is the sort of inferiority which their works manifest: for in point of execution, in the detailed application of thought, and the perfection of style, there is no inferiority. Our best novelists in point of composition, and of the management of detail, have mostly been women; and there is not in all modern literature a more eloquent vehicle of thought than the style of Madame de Stael, nor, as a specimen of purely artistic excellence, anything superior to the prose of Madame Sand, whose style acts upon the nervous system like a symphony of Haydn or Mozart. High originality of conception is, as I have said, what is chiefly wanting. And now to examine if there is any manner in which this deficiency can be accounted for.

Let us remember, then, so far as regards mere thought, that during all that period in the world’s existence, and in the progress of cultivation, in which great and fruitful new truths could be arrived at by mere force of genius, with little previous study and accumulation of knowledge⁠—during all that time women did not concern themselves with speculation at all. From the days of Hypatia to those of