Part 15

With this in mind it will be easier to understand a preceding phase of the history of feminine education in Europe. The first nation that was converted to Christianity in a body, so that Christian ideas and ideals had a chance for assertion and application in the life of the people, was Ireland. Christianity when introduced into Rome met with the determined opposition of old paganism. After the migration of nations and the coming down of the barbarians upon the Roman Empire, there was little opportunity for Christianity to assert itself until after these Teutonic peoples had been lifted out of their barbarism to a higher plane of civilization. In Ireland, however, not only did conversion to Christianity convert the whole people, but it came to a people who possessed already a high degree of civilization and culture, a literature that we have been learning to think more and more of in recent years, many arts, and the development of science, in the form of medicine at least, to a high degree. The law and music, the language and the literature of {230} the early Irish all show us a highly cultivated people. When Christianity came to them, then, education became its watchword. Schools were opened everywhere on the island. Ireland became The Island of Saints and of Scholars, and literally thousands of students flocked from England and the mainland to these Irish schools. The first and the greatest of these was that founded by St. Patrick himself at Armagh. During the century after his death there were probably at one time as many as 5,000 students at Armagh. Only next in importance to this great school of the Irish apostle was that of his great feminine co-worker, St. Brigid, who did for the women of Ireland what St. Patrick had been doing for the men. It is probable that there were 8,000 students at Kildare, Brigid's great school, at one time. It is curious to think that there should have been something like co-education 1,500 years ago, and, above all, in Ireland, but Kildare seems to have had a system not unlike that in vogue at many of our universities in the modern time. The male and female students were thoroughly segregated,--may I say this is not the last time in the world's history that segregation was the distinguishing trait of co-education,--but the teachers of the men at Kildare seem also to have lectured to the women. The men occupied an entirely subsidiary position, however; even the bishops of Kildare in Brigid's time were appointed on her recommendation. For centuries {231} afterwards the Abbess of Kildare, Brigid's successor, had the privilege of a commanding voice in the selection of the bishop. The school at Kildare was conducted mainly by and for women, though there were men in the neighboring monastery who taught both classes of pupils.

Perhaps the most interesting feature of the education of Kildare is that it was not concerned exclusively, nor even for the major part apparently, with book-learning. The book-learning of the Irish schools was celebrated. Down at Kildare, however, certain of the arts and crafts were cultivated with special success. Lace-making and the illumination of books were two of the favorite occupations of these students at Kildare in which marvellous success was achieved. The tradition of Irish lace-making which has maintained itself during all the centuries began, or at least, secured its first great prestige, in Brigid's time. Gerald the Welshman, sometimes spoken of as Giraldus Cambrensis, told of having seen during a journey in Ireland centuries after Brigid's time, but nearly a thousand years ago, a copy of the Scriptures that was wonderfully illuminated. He thought it the most beautiful book in the world. His description tallies very closely with that of the Book of Kells. Some have even ventured to suggest that he actually saw the Book of Kells at Kildare. This is extremely improbable, however, and the Book of Kells almost surely originated elsewhere. There {232} seems, however, to have been at Kildare some book nearly as beautiful as the Book of Kells, made there, and establishing peradventure the thoroughness of the artistic education given at Kildare at this time.

So much for feminine influence and education under Christianity. Most people are likely to know much more of the place of women in Greece and Rome than during Christian times. We are prone, however, to exaggerate the dependence of woman among both Latins and Greeks and to think that she had very few opportunities for intellectual development and almost none for expression of her personality and the exertion of her influence. Here, once more, as in many other phases of this subject we are, through ignorance, assuming conditions in the past that are quite unlike those which actually existed. Recently in the _Atlantic Monthly,_ Mrs. Emily James Putnam, sometime the Dean of Barnard, in an article on "The Roman Lady," [Footnote 17] has completely undermined usual notions with regard to the position of the Roman woman. The Roman matrons had rights all their own, and succeeded in asserting themselves in many ways. There was never any seclusion of the women in Rome and the Roman _matrona_ at all times enjoyed personal freedom, entertained her husband's guests, had a voice in his affairs, managed his house and came and went as she pleased. Mrs. Putnam suggests that "in {233} early days she shared the labors and the dangers of the insecure life of a weak people among hostile neighbors. It may not be fanciful to say that the liberty of the Roman woman of classical times was the inherited reward of the prowess of a pioneer ancestress, in the same way as the social freedom of the American woman to-day comes to her from the brave Colonial housemother, able to work and, when need was, to fight."

[Footnote 17: _Atlantic Monthly,_ June, 1910.]

Indeed the more one studies social life in Rome the more clear does it become that conditions were very similar for women to what they are in this latest of the republics here in America. This will not be surprising if we but learn to realize that the circumstances of the development of Rome itself, the environment in which the women were placed resembled ours of the later time much more closely than we have had any idea of until recent years. The Italian historian, Ferrero, has read new lessons into Roman history for us by showing us the past in terms of the present.

The conditions that developed at Rome, as I have said, were very similar to those which developed in the modern American republic. Riches came, luxury arose. Eastern slaves came to do all the work in the household that could formerly be accomplished by the women, Greek hand-maidens particularly took every solicitude out of her hands, and then the Roman matron looked around for something to occupy herself with, and {234} it was not long before we have expressions from the men that would remind us of many things that have been said in the last generation or so. There is a well-known speech of Cato delivered in opposition to the repeal of the Oppian Law which forbade women to hold property, that is reported by Livy and sounds strangely modern. Mrs. Putnam talks of it very aptly, "as an expression of the ever recurrent uneasiness of the male in the presence of the insurgent female."

"'If, Romans,' said he, 'every individual among us had made it a rule to maintain the prerogative and authority of a husband with respect to his own wife, we should have less trouble with the whole sex. It was not without painful emotions of shame that I just now made my way into the forum through a crowd of women. Had I not been restrained by respect for the modesty and dignity of some individuals among them, I should have said to them, "What sort of practice is this, of running out into public, besetting the streets, and addressing other women's husbands? Could not each have made the same request to her husband at home? Are your blandishments more seductive in public than in private, and with other women's husbands than your own?"

"'Our ancestors thought it not proper that women should transact any, even private business, without a director. We, it seems, suffer them now to interfere in the management of state {235} affairs. Will you give the reins to their untractable nature and their uncontrolled passions? This is the smallest of the injunctions laid on them by usage or the laws, all of which women bear with impatience; they long for liberty, or rather for license. What will they not attempt if they win this victory? The moment they have arrived at an equality with men, they will become your superiors.'"

The social conditions which developed at Rome are indeed so strangely like those with which we are now familiar as to be quite startling. As a mere man I should hesitate to suggest this, since it refers particularly to feminine affairs and domestic concerns, but since it has been betrayed by one of the sex perhaps I may venture to quote it. Once more I turn to Mrs. Putnam for an apt expression of the conditions. She says:

"The Greeks, who, to be sure, had nothing in their dwellings that was not beautiful, had still supposed the great works of art were for public places. With the Romans began the private collection of chefs-d'oeuvre in its most snobbish aspect. The parts played by the sexes in this enterprise sometimes showed the same division of labor that prevails very largely in a certain great nation of our own day that shall be nameless: the husband paid for the best art that money could buy, and the wife learned to talk about it and to entertain the artist. It is true that the Roman lady began also to improve her mind. She {236} studied Greek, and hired Greek masters to teach her history and philosophy. Ladies flocked to hear lectures on all sorts of subjects, originating the odd connection between scholarship and fashion which still persists."

This subject may be pursued with ever-increasing recognition of similarity between that time and our own. For instance, Mrs. Putnam says: "A woman of fashion, we are told, reckoned it among her ornaments if it were said of her that she was well read and a thinker, and that she wrote lyrics almost worthy of Sappho. She, too, must have her hired escort of teachers, and listen to them now and then, at table or while she was having her hair dressed,--at other times she was too busy. And often while the philosopher was discussing high ethical themes her maid would come in with a love-letter, and the argument must wait till it was answered.

"Nothing very important in the way of production resulted from all the lady's literary activity. The verses, if Sulpicia's they be, are the sole surviving evidence of creative effort among her kind; and, respectable as they are, they need not disturb Sappho's repose. It was indirectly that the Roman lady affected literature, since kinds began to be produced to her special taste; for it is hardly an accident that the _vers de societe_ should expand, and the novel originate, in periods when for the first time women were a large element in the reading public."

{237}

In our time it has been said, that one of the reasons why the young man does not marry is often that he is fearful of the superiority of the college-bred young woman. He knows that he himself has no more intelligence than is absolutely necessary for the proper conduct of life, and he fears that his "breaks" in grammar, in literature, in taste for art, in social things, may make him the laughing-stock of the educated woman. We would be reasonably sure, most of us, that at least this is the first time in the world's history that anything like this has happened. It is rather interesting, however, to read some of the reflections of the Roman satiric poets on the state of affairs that developed in Rome as a consequence of study and lectures and at least supposed scholarship becoming the fashion. "I hate the woman," says Juvenal, "who is always turning back to the grammatical rules of Palaemon and consulting them; the feminine antiquary who recalls verses unknown to me, and corrects the words of an unpolished friend which even a man would not observe. Let a husband be allowed to make a solecism in peace." I recommend the reading of Juvenal to the college young woman of the modern time, not only for its classic but for its social value.

Among the Greeks the position of women was quite different from what is usually supposed. It is only too often the custom to think that the Greek women, confined to a great degree to their {238} houses, sharing little in the public discussions, coming very slightly into public in any way, were more or less despised by the men and tolerated, but surely not much respected. The place of women in life at any time can be best judged from the position assigned them by the dramatic poets of any period. The larger the mind of the dramatic poet, the more of a genius he is, the more surely does his estimate expressed in literature represent life as he saw it. Ruskin pointed out that Shakespeare has no heroes and many heroines; that, while he has no men that stand in unmarred perfection of character, "there is scarcely a play that has not a perfect woman in it, steadfast in grave hope and errorless purpose; conceived in the highest heroic type of humanity." What is thus true of Shakespeare is just as true of the great dramatic poets of the Greeks. In practically all the extant plays of AEschylus, Sophocles and Euripides, women are the heroines. They are represented as nobler, braver, more capable of suffering, with a better appreciation of their ethical surroundings and the realities of life, than the men around them. As much as Antigone is superior to her quarrelsome brothers, as Alcestis rises above her selfish husband, as Tecmessa is superior to and would have saved Ajax if only he had permitted her, so everywhere do we find women occupying not a place of equality but a position of superiority.

These plays were written by men. Just as in {239} the case of Shakespeare they were written by men mainly to be witnessed by men, for while three-fourths of our audiences at theatres now are women, at least three-fourths of the audience in Shakespeare's time were men, and in the old Greek theatre the men largely exceeded the women in attendance. These were masculine pictures of the place of woman, painted not in empty compliment but with profoundest respect and deepest understanding. We honor these writers as the greatest in the history of literature because they saw life so clearly and so truly. Literature is only great when it mirrors life to the nail. What the Greek dramatists had done, Homer had done before them. His picture of the older Greek women shows us that they were on an absolute equality in their households with the men, that not only were they thoroughly respected and loved for themselves, but, to repeat Ruskin, they were looked up to as infallibly wise counsellors, as the best possible advisers to whom a man could go, provided they themselves were of high character and their hearts, as well as their intellects, were interested in the problems involved.

There are, of course, in all of the dramatists some wicked women. In the whole round of Shakespeare's characters there are only three wicked women who have degraded their womanhood among the principal figures. These are Lady Macbeth, Regan and Goneril. We have corresponding characters in the Greek dramatists. {240} Clytemnestra is the Lady Macbeth of Greek Tragedy. Euripides, the feminist as he has been called, has shown us, as feminists ever, more of the worst side of women than his greater predecessors AEschylus and Sophocles. He has exhibited the extent to which religious over-enthusiasm can carry women in the "Bacchae," and was the first to introduce the sex problem. In general it may be said, as Ruskin says of Shakespeare, that when a Greek dramatist pictures wicked women "they are at once felt to be frightful exceptions to the ordinary laws of life; fatal in their influence also in proportion to the power for good which they had abandoned." Indeed tragedy, as we see it in the great tragic poets, might be defined as the failure on the part of a good woman to save the men who are nearest and dearest to her from the faults into which their characters impel them. All the great dramatists, ancient and modern, represent women once more in Ruskin's words as "infallibly faithful and wise counsellors--incorruptibly just and pure examples--strong always to sanctify, even when they cannot save."

How little there is in any question of evolution having brought new influence or higher place to woman may be very well realized from this position of women among the old Greeks. Gladstone has called attention to it very forcibly in his "Essay on the Place of Ancient Greece in the Providential Order," when he says, "Outside {241} the pale of Christianity, it would be difficult to find a parallel in point of elevation to the Greek women of the heroic age." He has taken the place of woman as representing the criterion by which the civilization and the culture of a people at any time may be judged, though he does not at all think that one finds a constant upward tendency in history in this regard. He says:

"For when we are seeking to ascertain the measure of that conception which any given race has formed of our nature, there is, perhaps, no single test so effective, as the position which it assigns to woman. For as the law of force is the law of brute creation, so in proportion as he is under the yoke of that law does man approximate to the brute. And in proportion, on the other hand, as he has escaped from its dominion, is he ascending into the higher sphere of being and claiming relationship with Deity. But the emancipation and due ascendency of woman are not a mere fact, they are the emphatic assertion of a principle, and that principle is the dethronement of the law of force and the enthronement of other and higher laws in its place and its despite."

Of course, of the formal education of the women of Greece we know very little. We do know that they would not have been respected as they were, looked up to by their sons and their husbands, honored as the poets have shown them to be, put upon the stage as the heroines of the race, only that they had been intellectually as well as {242} morally the equals--nay, the superiors--of the men around them. We do not know much about the teaching of women before and during the classical period, but we can understand very well from what we know of them that they must have had good opportunities for education. Plato, of course, insists that women should be educated in every way exactly as the men. He mentions specifically gymnastics and horseback riding, and says that women should be trained in these as well as things intellectual, for they should have their bodies developed as well as their minds. His reason for demanding equal education is very interesting, because it is an anticipation of what is being said rather emphatically at the present time. He says: "If I am right nothing can be more foolish than our modern fashion of training men and women differently, whereby one-half of the power of the city is lost. For reflect if women are not to have the education of men some other must be found for them, and what other can we propose?" His idea evidently was that only one-half those who ought to be citizens were properly trained for civic duties if the education of women were neglected.

It is extremely interesting in the light of this to read some of Aristophanes' plays. Three of them, "Lysistrata," the "Thesmophoriazusae," which has a simpler name "The Women's Festival," for it referred to the great feast of Thesmophoria in honor of Ceres and Proserpine, and {243} the "Ecclesiazusae." This last title may be rendered a little freely "The Female Parliament," for in it women secure, by a little fraud, the right to vote and vote themselves into office as the main portion of the plot of the play. All three of these plays refer particularly to the question of women's rights, and though "The Women's Festival" was written as a satire on Euripides it is evident that only this subject was about as prominently before the people of Athens as the question of votes for women is in our time, Aristophanes would not have written these satiric comedies. The subjects of his plays are always the very latest actuality in Athens. Socrates was satirized in "The Clouds" within a few months of his death. "The War" was written while Athens was actually engaged in it, and "The Peace" was written within a few months after the signing of the treaty.

Votes for women must actually have been on the very centre of the carpet when Aristophanes wrote his "Ecclesiazusae" or "Feminine Parliament." Lest it should be thought that I intrude myself in any way in trying to boil down for you the old satiric comedy, or that I am modernizing Aristophanes in order to adapt the ideas of this play more fully to conditions that are around us at the present time, I shall read to you the excellent condensation of it made by the Rev. W. Lucas Collins, M.A., in his "Aristophanes," in the series of "Ancient Classics for English {244} Readers," that scholarly introduction to the classic authors of which Mr. Collins is the editor. He says:

"The women have determined, under the leadership of a clever lady named Praxagora, to reform the constitution of Athens. For this purpose they will dress like men--beards included--and occupy the seats in the Pnyx, so as to be able to command a majority of votes in the next public assembly, the parliament of Athens. Praxagora is strongly of opinion with the modern Mrs. Poyser, that on the point of speaking, at all events, the women have great natural advantages over the men; that 'when they have anything to say they can mostly find words to say it in.' They hold a midnight meeting for the purpose of rehearsing their intended speeches and getting accustomed to their new clothes. Two or three of the most ambitious orators unfortunately break down at the very outset, much to their leader's disgust, by addressing the assembly as 'ladies' and swearing female oaths and using many other unparliamentary expressions quite unbefitting their masculine attire. Praxagora herself, however, makes a speech which is very generally admired. She complains of the mismanagement hitherto of public affairs, and asserts that the only hope of salvation for the state is to put the government into the hands of the women; arguing, like Lysistrata in the comedy of that name, that those who have so long managed the domestic establishment {245} successfully are best fitted to undertake the same duties on a larger scale. The women, too, are shown by their advocate to be highly conservative, and, therefore, safe guardians of the public interests:

"They roast and boil after the good old fashion, They keep the holidays that were kept of old. They make their cheesecakes by the old receipts. They keep a private bottle like their mothers. They plague their husbands--as they always did."

Even in the management of a campaign, they will be found more prudent and more competent than the men:

"Being mothers, they'll be chary of the blood Of their own sons, our soldiers; being mothers, They will take care their children do not starve When they're on service; and, for ways and means, Trust us, there's nothing cleverer than a woman: And as for diplomacy, they'll be hard indeed To cheat--they know too many tricks themselves."