第13章 IV. MEN AND ART.(3)

As practiced by women alone we have one of the clearest proofs of the degrading effect of masculine dominance:--the dancing girl. In the frank sensualism of the Orient, this personage is admired and enjoyed on her merits. We, more sophisticated in this matter, joke shamefacedly about "the bald-headed row," and occasionally burst forth in shrill scandal over some dinner party where ladies clad in a veil and a bracelet dance on the table. Nowhere else in the whole range of life on earth, is this degradation found--the female capering and prancing before the male. It is absolutely and essentially his function, not hers. That we, as a race, present this pitiful spectacle, a natural art wrested to unnatural ends, a noble art degraded to ignoble ends, has one clear cause.

Architecture, in its own nature, is least affected by that same cause.

The human needs secured by it, are so human, so unescapably human, that we find less trace of excessive masculinity than in other arts. It meets our social demands, it expresses in lasting form our social feeling, up to the highest; and it has been injured not so much by an excess of masculinity as by a lack of femininity.

The most universal architectural expression is in the home; the home is essentially a place for the woman and the child; yet the needs of woman and child are not expressed in our domestic architecture. The home is built on lines of ancient precedent, mainly as an industrial form; the kitchen is its working centre rather than the nursery.

Each man wishes his home to preserve and seclude his woman, his little harem of one; and in it she is to labor for his comfort or to manifest his ability to maintain her in idleness. The house is the physical expression of the limitations of women; and as such it fills the world with a small drab ugliness. A dwelling house is rarely a beautiful object. In order to be such, it should truly express simple and natural relations; or grow in larger beauty as our lives develop.

The deadlock for architectural progress, the low level of our general taste, the everlasting predominance of the commonplace in buildings, is the natural result of the proprietary family and its expression in this form.

In sculpture we have a noble art forcing itself into some service through many limitations. Its check, as far as it comes under this line of study, has been indicated in our last chapter; the degradation of the human body, the vicious standards of sex-consciousness enforced under the name of modesty, the covered ugliness, which we do not recognize, all this is a deadly injury to free high work in sculpture.

With a nobly equal womanhood, stalwart and athletic; with the high standards of beauty and of decorum which we can never have without free womanhood; we should show a different product in this great art.

An interesting note in passing is this: when we seek to express socially our noblest, ideas, Truth; Justice; Liberty; we use the woman's body as the highest human type. But in doing this, the artist, true to humanity and not biassed by sex, gives us a strong, grand figure, beautiful indeed, but never _decorated_. Fancy Liberty in ruffles and frills, with rings in her ears--or nose.

Music is injured by a one-sided handling, partly in the excess of the one dominant masculine passion, partly by the general presence of egoism; that tendency to self-expression instead of social expression, which so disfigures our art; and this is true also of poetry.

Miles and miles of poetry consist of the ceaseless outcry of the male for the female, which is by no means so overwhelming as a feature of human life as he imagines it; and other miles express his other feelings, with that ingenuous lack of reticence which is at its base essentially masculine. Having a pain, the poet must needs pour it forth, that his woe be shared and sympathized with.

As more and more women writers flock into the field there is room for fine historic study of the difference in sex feeling, and the gradual emergence of the human note.

Literature, and in especial the art of fiction, is so large a field for this study that it will have a chapter to itself; this one but touching on these various forms; and indicating lines of observation.

That best known form of art which to my mind needs no qualifying description--painting--is also a wide field; and cannot be done full justice to within these limits. The effect upon it of too much masculinity is not so much in choice of subject as in method and spirit.

The artist sees beauty of form and color where the ordinary observer does not; and paints the old and ugly with as much enthusiasm as the young and beautiful--sometimes. If there is in some an over-emphasis of feminine attractions it is counterbalanced in others by a far broader line of work.

But the main evils of a too masculine art lie in the emphasis laid on self-expression. The artist, passionately conscious of how he feels, strives to make other people aware of these sensations. This is now so generally accepted by critics, so seriously advanced by painters, that what is called "the art world" accepts it as established.

If a man paints the sea, it is not to make you see and feel as a sight of that same ocean would, but to make you see and feel how he, personally, was affected by it; a matter surely of the narrowest importance. The ultra-masculine artist, extremely sensitive, necessarily, and full of the natural urge to expression of the sex, uses the medium of art as ingenuously as the partridge-cock uses his wings in drumming on the log; or the bull moose stamps and bellows; not narrowly as a mate call, but as a form of expression of his personal sensations.

The higher the artist the more human he is, the broader his vision, the more he sees for humanity, and expresses for humanity, and the less personal, the less ultra-masculine, is his expression.