narrow circumstances can hardly be called poor, will probably admit that in no other class do we so often find entire lives spent in daily persistent self-denial, in the patient endurance of countless trials, in the ceaseless and deliberate sacrifice of their own enjoyments to the well-being or the prospects of others. Women, however, though less prone than men to intemperance and brutality, are in general more addicted to the petty forms of vanity, jealousy, spitefulness, and ambition; and they are also inferior to men in active courage. In the courage of endurance they are commonly superior; but their passive courage is not so much fortitude which bears and defies, as resignation which bears and bends. In the ethics of intellect they are decidedly inferior. To repeat an expression I have already employed, women very rarely love truth; though they love passionately what they call "the truth," or opinions they have received from others, and hate vehemently those who differ from them. They are little capable of impartiality or of doubt; their thinking is chiefly a mode of feeling; though very generous in their acts, they are rarely generous in their opinions or in their judgments. They persuade rather than convince, and value belief rather as a source of consolation than as a faithful expression of the reality of things. They are less capable than men of perceiving qualifying circumstances, of admitting the existence of elements of good in systems to which they are opposed, of distinguishing the personal character of an opponent from the opinions he maintains. Men lean most to justice and women to mercy. Men excel in energy, self-reliance, perseverance, and magnanimity; women in humility, gentleness, modesty, and endurance. The realizing imagination which causes us to pity and to love is more sensitive in women than in men, and it is especially more capable of dwelling on the unseen. Their religious or devotional realizations are incontestably more vivid; and it is probable that while a father is most moved by the death of a child in his presence, a mother generally feels most the death of a child in some distant land. But though more intense, the sympathies of women are commonly less wide than those of men. Their imaginations individualize more; their affections are in consequence concentrated rather on leaders than on causes; and if they care for a great cause, it is generally because it is represented by a great man, or connected with some one whom they love. In politics, their enhusiasm is more naturally loyalty than patriotism. In history, they are even more inclined than men to dwell exclusively upon biographical incidents or characteristics as distinguished from the march of general causes. In benevolence, they excel in charity, which alleviates individual suffering, rather than in philanthropy, which deals with large masses and is more frequently employed in preventing than in allaying calamity. It was a remark of Winckelmann that "the supreme beauty of Greek art is rather male than female"; and the justice of this remark has been amply corroborated by the greater knowledge we have of late years attained of the works of the Phidian period, in which art achieved its highest perfection, and in which, at the same time, force and freedom and masculine grandeur were its preeminent characteristics. A similar observation may be made of the moral ideal of which ancient art was simply the expression. In antiquity the virtues that were most admired were almost exclusively those which are distinctively masculine. Courage, self-assertion, magnanimity, and above all, patriotism, were the leading features of the ideal type; and chastity, modesty, and charity, the gentler and the domestic virtues, which are especially feminine, are greatly undervalued. With the single exception of conjugal fidelity, none of the virtues that were very highly prized were virtues distinctly or preeminently feminine. With this exception, nearly all the most illustrious women of antiquity were illustrious chiefly because they overcame the natural conditions of their sex. It is a characteristic fact that the favorite female ideal of the artists appears to have been the Amazon. We may admire the Spartan mother and the mother of the Gracchi, repressing every sign of grief when their children were sacrificed upon the altar of their country; we may wonder at the majestic courage of a Porcia and an Arria: but we extol them chiefly because, being women, they emancipated themselves from the frailty of their sex, and displayed an heroic fortitude worthy of the strongest and the bravest of men. We may bestow an equal admiration upon the noble devotion and charity of a St. Elizabeth of Hungary or of a Mrs. Fry; but we do not admire them because they displayed these virtues, although they were women, for we feel that their virtues were of the kind which the female nature is most fitted to produce. The change from the heroic to the saintly ideal, from the ideal of paganism to the ideal of Christianity, was a change from a type which was essentially male to one which was essentially feminine. Of all the great schools of philosophy, no other reflected so faithfully the Roman conception of moral excellence as Stoicism; and the greatest Roman exponent of Stoicism summed up its character in a single sentence when he pronounced it to be beyond all other sects the most emphatically masculine. On the other hand, an ideal type in which meekness, gentleness, patience, humility, faith, and love are the most prominent features, is not naturally male but female. A reason probably deeper than the historical ones which are commonly alleged, why sculpture has always been peculiarly pagan and painting peculiarly Christian, may be found in the fact that sculpture is especially suited to represent male beauty, or the beauty of strength, and painting female beauty, or the beauty of softness; and that pagan sentiment was chiefly a glorification of the masculine qualities of strength and courage and conscious virtue, while Christian sentiment is chiefly a glorification of the feminine qualities of gentleness, humility, and love. The painters whom the religious feeling of Christendom has recognized as the most faithful exponents of Christian sentiment have always been those who infused a large measure of feminine beauty even into their male characters; and we never, or scarcely ever, find that the same artist has been conspicuously successful in delineating both Christian and pagan types. Michael Angelo, whose genius loved to expatiate on the sublimity of strength and defiance, failed signally in his representations of the Christian ideal; and Perugino was equally unsuccessful when he sought to portray the features of the heroes of antiquity. The position that was gradually assigned to the Virgin, as the female ideal in the belief and the devotion of Christendom, was a consecration or an expression of the new value that was attached to the feminine virtues. The general superiority of women to men in the strength of their religious emotions, and their natural attraction to a religion which made personal attachment to its Founder its central duty, and which imparted an unprecedented dignity and afforded an unprecedented scope to their characteristic virtues, account for the very conspicuous position that female influence assumed in the great work of the conversion of the Roman Empire. In no other important movement of thought was it so powerful or so acknowledged. In the ages of persecution, female figures occupy many of the foremost places in the ranks of martyrdom; and pagan and Christian writers alike attest the alacrity with which women flocked to the Church, and the influence they exercised in its favor over the male members of their families. The mothers of St. Augustine, St. Chrysostom, St. Basil, St. Gregory Nazianzen, and Theodoret, had all a leading part in the conversion of their sons. St. Helena the mother of Constantine, Flacilla the wife of Theodosius the Great, St. Pulcheria the sister of Theodosius the Younger, and Placidia the mother of Valentinian III., were among the most conspicuous defenders of the faith. In the heretical sects the same zeal was manifested; and Arius, Priscillian, and Montanus were all supported by troops of zealous female devotees. In the career of asceticism, women took a part little if at all inferior to men; while in the organization of the great work of charity they were preeminent. For no other field of active labor are women so admirably suited as for this; and although we may trace from the earliest period, in many creeds and ages, individual instances of their influence in allaying the sufferings of the distressed, it may be truly said that their instinct and genius of charity had never before the dawn of Christianity obtained full scope for action. Fabiola, Paula, Melania, and a host of other noble ladies devoted their time and fortunes mainly to founding and extending vast institutions of charity, some of them of a kind before unknown in the world. The Empress Flacilla was accustomed to tend with her own hands the sick in the hospitals; and a readiness to discharge such offices was deemed the first duty of a Christian wife. From age to age the impulse thus communicated has been felt. There has been no period however corrupt, there has been no church however superstitious, that has not been adorned by many Christian women devoting their entire lives to assuaging the sufferings of men; and the mission of charity thus instituted has not been more efficacious in diminishing the sum of human wretchedness, than in promoting the moral dignity of those by whom it was conducted. LECONTE DE LISLE. CHARLES MARIE RENÉ LECONTE DE LISLE, a French poet, born at St. Paul, Réunion Isle, Indian Ocean, Oct. 23, 1818; died at Louveciennes, near Versailles, July 17, 1894. He established himself at Paris in 1847, and first became known by the publication of his "Poèmes Antiques" in 1853. This work, and his "Poèmes et Poésies" (1855), gave him a leading position among the younger poets. His other works include "Poèmes Barbares " (1862); "Catéchisme Populaire Républicain" (1871); "Histoire Populaire du Christianisme" (1871), and "Poèmes Tragiques (1884). He also published a series of translations of Theocritus, Anacreon, Homer, Hesiod, Orpheus, Eschylus, Horace, Sophocles, and Euripides. His tragedy "Erynnies" was produced at the Odeon in 1873. THE ELVES. WITH marjoram decked, and thyme-blossoms sweet, From paths of the wood, and coverts of doe, On fiery black steed rides knight all aglow; Aloft, of his helm of silvery sheen. With marjoram decked, and thyme-blossoms sweet, Enshrouding him close for him, what a strife!- |