you prefer? Would you go back to the elegant early Victorian female,
with ringlets and smelling-bottle, doing a little in water colors,
dabbling a little in Italian, playing a little on the harp,
writing in vulgar albums and painting on senseless screens?
Do you prefer that?' To which I answer, 'Emphatically, yes
It will then be answered, not without a sneer, 'And what would
you prefer? Would you go back to the elegant early Victorian female,
with ringlets and smelling-bottle, doing a little in water colors,
dabbling a little in Italian, playing a little on the harp,
writing in vulgar albums and painting on senseless screens?
Do you prefer that?' To which I answer, 'Emphatically, yes.'
I solidly prefer it to the new female education, for this reason,
that I can see in it an intellectual design, while there is
none in the other. I am by no means sure that even in point
of practical fact that elegant female would not have been
more than a match for most of the inelegant females.
I fancy Jane Austen was stronger, sharper and shrewder than
Charlotte Bronte; I am quite certain she was stronger, sharper and
shrewder than George Eliot. She could do one thing neither
of them could do: she could coolly and sensibly describe a man.
I am not sure that the old great lady who could only smatter
Italian was not more vigorous than the new great lady who can
only stammer American; nor am I certain that the bygone
duchesses who were scarcely successful when they painted
Melrose Abbey, were so much more weak-minded than the modern
duchesses who paint only their own faces, and are bad at that.
But that is not the point. What was the theory, what was the idea,
in their old, weak water-colors and their shaky Italian? The idea
was the same which in a ruder rank expressed itself in home-made
wines and hereditary recipes; and which still, in a thousand
unexpected ways, can be found clinging to the women of the poor.
It was the idea I urged in the second part of this book:
that the world must keep one great amateur, lest we all become
artists and perish. Somebody must renounce all specialist conquests,
that she may conquer all the conquerors. That she may be a queen
of life, she must not be a private soldier in it. I do not think
the elegant female with her bad Italian was a perfect product,
any more than I think the slum woman talking gin and funerals
is a perfect product; alas! there are few perfect products.
But they come from a comprehensible idea; and the new woman comes
from nothing and nowhere. It is right to have an ideal, it is
right to have the right ideal, and these two have the right ideal.
The slum mother with her funerals is the degenerate daughter
of Antigone, the obstinate priestess of the household gods.
The lady talking bad Italian was the decayed tenth cousin of Portia,
the great and golden Italian lady, the Renascence amateur of life,
who could be a barrister because she could be anything.
Sunken and neglected in the sea of modern monotony and imitation,
the types hold tightly to their original truths. Antigone, ugly,
dirty and often drunken, will still bury her father.
The elegant female, vapid and fading away to nothing, still feels
faintly the fundamental difference between herself and her husband:
that he must be Something in the City, that she may be everything
in the country.
