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

of passing over this department, is in the affluent classes mainly composed of it. Yet in this line of exertion they have fallen still more short than in many others, of the highest eminence attained by men. This shortcoming, however, needs no other explanation than the familiar fact, more universally true in the fine arts than in anything else; the vast superiority of professional persons over amateurs. Women in the educated classes are almost universally taught more or less of some branch or other of the fine arts, but not that they may gain their living or their social consequence by it. Women artists are all amateurs. The exceptions are only of the kind which confirm the general truth. Women are taught music, but not for the purpose of composing, only of executing it: and accordingly it is only as composers, that men, in music, are superior to women. The only one of the fine arts which women do follow, to any extent, as a profession, and an occupation for life, is the histrionic; and in that they are confessedly equal, if not superior, to men. To make the comparison fair, it should be made between the productions of women in any branch of art, and those of men not following it as a profession. In musical composition, for example, women surely have produced fully as good things as have ever been produced by male amateurs. There are now a few women, a very few, who practise painting as a profession, and these are already beginning to show quite as much talent as could be expected. Even male painters pace Mr. Ruskin) have not made any very remarkable figure these last centuries, and it will be long before they do so. The reason why the old painters were so greatly superior to the modern, is that a greatly superior class of men applied themselves to the art. In the fourteenth and fifteenth centuries the Italian painters were the most accomplished men of their age. The greatest of them were men of encyclopaedical acquirements and powers, like the great men of Greece. But in their times fine art was, to men’s feelings and conceptions, among the grandest things in which a human being could excel; and by it men were made, what only political or military distinction now makes them, the companions of sovereigns, and the equals of the highest nobility. In the present age, men of anything like similar calibre find something more important to do, for their own fame and the uses of the modern world, than painting: and it is only now and then that a Reynolds or a Turner (of whose relative rank among eminent men I do not pretend to an opinion) applies himself to that art. Music belongs to a different order of things; it does not require the same general powers of mind, but seems more dependant on a natural gift: and it may be thought surprising that no one of the great musical composers has been a woman. But even this natural gift, to be made available for great creations, requires study, and professional devotion to the pursuit. The only countries which have produced first-rate composers, even of the male sex, are Germany and Italy⁠—countries in which, both in point of special and of general cultivation, women have remained far behind France and England, being generally (it may be said without exaggeration) very little educated, and having scarcely cultivated at all any of the higher faculties of mind. And in those countries the men who are acquainted with the principles of musical composition must be counted by hundreds, or more probably by thousands, the women barely by scores: so that here again, on the doctrine of averages, we cannot reasonably expect to see more than one eminent woman to fifty eminent men; and the last three centuries have not produced fifty eminent male composers either in Germany or in Italy.

There are other reasons, besides those which we have now given, that help to explain why women remain behind men, even in the pursuits which are open to both. For one thing, very few women have time for them. This may seem a paradox; it is an undoubted social fact. The time and thoughts of every woman have to satisfy great previous demands on them for things practical. There is, first, the superintendence of the family and the domestic expenditure, which occupies at least one woman in every family, generally the one of mature years and acquired experience; unless the family is so rich as to admit of delegating that task to hired agency, and submitting to all the waste and malversation inseparable from that mode of conducting it. The superintendence of a household, even when not in other respects laborious, is extremely onerous to the thoughts; it requires incessant vigilance, an eye which no detail escapes, and presents questions for consideration and solution, foreseen and unforeseen, at every hour of the day, from which the person responsible for them can hardly ever shake herself free. If a woman is of a rank and circumstances which relieve her in a measure from these cares, she has still devolving on her the management for the whole family of its intercourse with others⁠—of what is called society, and the less the call made on her by the former duty, the greater is always the development of the latter: the dinner parties, concerts, evening parties, morning visits, letter writing, and all that goes with them. All this is over and above the engrossing duty which society imposes exclusively on women, of making themselves charming. A clever woman of the higher ranks finds nearly a sufficient employment of her talents in cultivating the graces of manner and the arts of conversation. To look only at the outward side of the subject: the great and continual exercise of thought which all women who attach any value to dressing well (I do not mean expensively, but with taste, and perception of