The Subjection of Women John Stuart Mill (best book club books of all time .txt) 📖

the Reformation, the illustrious Heloisa is almost the only woman to whom any such achievement might have been possible; and we know not how great a capacity of speculation in her may have been lost to mankind by the misfortunes of her life. Never since any considerable number of women have begun to cultivate serious thought, has originality been possible on easy terms. Nearly all the thoughts which can be reached by mere strength of original faculties, have long since been arrived at; and originality, in any high sense of the word, is now scarcely ever attained but by minds which have undergone elaborate discipline, and are deeply versed in the results of previous thinking. It is Mr. Maurice, I think, who has remarked on the present age, that its most original thinkers are those who have known most thoroughly what had been thought by their predecessors: and this will always henceforth be the case. Every fresh stone in the edifice has now to be placed on the top of so many others, that a long process of climbing, and of carrying up materials, has to be gone through by whoever aspires to take a share in the present stage of the work. How many women are there who have gone through any such process? Mrs. Somerville, alone perhaps of women, knows as much of mathematics as is now needful for making any considerable mathematical discovery: is it any proof of inferiority in women, that she has not happened to be one of the two or three persons who in her lifetime have associated their names with some striking advancement of the science? Two women, since political economy has been made a science, have known enough of it to write usefully on the subject: of how many of the innumerable men who have written on it during the same time, is it possible with truth to say more? If no woman has hitherto been a great historian, what woman has had the necessary erudition? If no woman is a great philologist, what woman has studied Sanskrit and Slavonic, the Gothic of Ulphila and the Persic of the Zendavesta? Even in practical matters we all know what is the value of the originality of untaught geniuses. It means, inventing over again in its rudimentary form something already invented and improved upon by many successive inventors. When women have had the preparation which all men now require to be eminently original, it will be time enough to begin judging by experience of their capacity for originality.

It no doubt often happens that a person, who has not widely and accurately studied the thoughts of others on a subject, has by natural sagacity a happy intuition, which he can suggest, but cannot prove, which yet when matured may be an important addition to knowledge: but even then, no justice can be done to it until some other person, who does possess the previous acquirements, takes it in hand, tests it, gives it a scientific or practical form, and fits it into its place among the existing truths of philosophy or science. Is it supposed that such felicitous thoughts do not occur to women? They occur by hundreds to every woman of intellect. But they are mostly lost, for want of a husband or friend who has the other knowledge which can enable him to estimate them properly and bring them before the world: and even when they are brought before it, they generally appear as his ideas, not their real author’s. Who can tell how many of the most original thoughts put forth by male writers, belong to a woman by suggestion, to themselves only by verifying and working out? If I may judge by my own case, a very large proportion indeed.

If we turn from pure speculation to literature in the narrow sense of the term, and the fine arts, there is a very obvious reason why women’s literature is, in its general conception and in its main features, an imitation of men’s. Why is the Roman literature, as critics proclaim to satiety, not original, but an imitation of the Greek? Simply because the Greeks came first. If women lived in a different country from men, and had never read any of their writings, they would have had a literature of their own. As it is, they have not created one, because they found a highly advanced literature already created. If there had been no suspension of the knowledge of antiquity, or if the Renaissance had occurred before the Gothic cathedrals were built, they never would have been built. We see that, in France and Italy, imitation of the ancient literature stopped the original development even after it had commenced. All women who write are pupils of the great male writers. A painter’s early pictures, even if he be a Raphael, are undistinguishable in style from those of his master. Even a Mozart does not display his powerful originality in his earliest pieces. What years are to a gifted individual, generations are to a mass. If women’s literature is destined to have a different collective character from that of men, depending on any difference of natural tendencies, much longer time is necessary than has yet elapsed, before it can emancipate itself from the influence of accepted models, and guide itself by its own impulses. But if, as I believe, there will not prove to be any natural tendencies common to women, and distinguishing their genius from that of men, yet every individual writer among them has her individual tendencies, which at present are still subdued by the influence of precedent and example: and it will require generations more, before their individuality is sufficiently developed to make head against that influence.

It is in the fine arts, properly so called, that the prima facie evidence of inferior original powers in women at first sight appears the strongest: since opinion (it may be said) does not exclude them from these, but rather encourages them, and their education, instead