The Works of Max Beerbohm - Max Beerbohm (electric book reader .txt) 📗

And now that the use of pigments is becoming general, and most women are not so young as they are painted, it may be asked curiously how the prejudice ever came into being. Indeed, it is hard to trace folly, for that it is inconsequent, to its start; and perhaps it savours too much of reason to suggest that the prejudice was due to the tristful confusion man has made of soul and surface. Through trusting so keenly to the detection of the one by keeping watch upon the other, and by force of the thousand errors following, he has come to think of surface even as the reverse of soul. He seems to suppose that every clown beneath his paint and lip-salve is moribund and knows it (though in verity, I am told, clowns are as cheerful a class of men as any other), that the fairer the fruit’s rind and the more delectable its bloom, the closer are packed the ashes within it. The very jargon of the hunting-field connects cunning with a mask. And so perhaps came man’s anger at the embellishment of women⁠—that lovely mask of enamel with its shadows of pink and tiny pencilled veins, what must lurk behind it? Of what treacherous mysteries may it not be the screen? Does not the heathen lacquer her dark face, and the harlot paint her cheeks, because sorrow has made them pale?

After all, the old prejudice is a-dying. We need not pry into the secret of its birth. Rather is this a time of jolliness and glad indulgence. For the era of rouge is upon us, and as only in an elaborate era can man, by the tangled accrescency of his own pleasures and emotions, reach that refinement which is his highest excellence, and by making himself, so to say, independent of Nature, come nearest to God, so only in an elaborate era is woman perfect. Artifice is the strength of the world, and in that same mask of paint and powder, shadowed with vermeil tinct and most trimly pencilled, is woman’s strength.

For see! We need not look so far back to see woman under the direct influence of Nature. Early in this century, our grandmothers, sickening of the odour of faded exotics and spilt wine, came out into the daylight once more and let the breezes blow around their faces and enter, sharp and welcome, into their lungs. Artifice they drove forth and they set Martin Tupper upon a throne of mahogany to rule over them. A very reign of terror set in. All things were sacrificed to the fetish Nature. Old ladies may still be heard to tell how, when they were girls, affectation was not; and, if we verify their assertion in the light of such literary authorities as Dickens, we find that it is absolutely true. Women appear to have been in those days utterly natural in their conduct⁠—flighty, fainting, blushing, gushing, giggling, and shaking their curls. They knew no reserve in the first days of the Victorian era. No thought was held too trivial, no emotion too silly, to express. To Nature everything was sacrificed. Great heavens! And in those barren days what influence did women exert! By men they seem not to have been feared nor loved, but regarded rather as “dear little creatures” or “wonderful little beings,” and in their relation to life as foolish and ineffectual as the landscapes they did in watercolour. Yet, if the women of those years were of no great account, they had a certain charm, and they at least had not begun to trespass upon men’s ground; if they touched not thought, which is theirs by right, at any rate they refrained from action, which is ours. Far more serious was it when, in the natural trend of time, they became enamoured of rinking and archery and galloping along the Brighton Parade. Swiftly they have sped on since then from horror to horror. The invasion of the tennis-courts and of the golf-links, the seizure of the bicycle and of the typewriter, were but steps preliminary in that campaign which is to end with the final victorious occupation of St. Stephen’s. But stay! The horrific pioneers of womanhood who gad hither and thither and, confounding wisdom with the device on her shield, shriek for the unbecoming, are doomed. Though they spin their bicycle-treadles so amazingly fast, they are too late. Though they scream victory, none follow them. Artifice, that fair exile, has returned.

Yes, though the pioneers know it not, they are doomed already. For of the curiosities of history not the least strange is the manner in which two social movements may be seen to overlap, long after the second has, in truth, given its deathblow to the first. And, in like manner, as one has seen the limbs of a murdered thing in lively movement, so we need not doubt that, though the voices of those who cry out for reform be very terribly shrill, they will soon be hushed. Dear Artifice is with us. It needed but that we should wait.

Surely, without any of my pleading, women will welcome their great and amiable protectrix, as by instinct. For (have I not said?) it is upon her that all their strength, their life almost, depends. Artifice’s first command to them is that they should repose. With bodily activity their powder will fly, their enamel crack. They are butterflies who must not flit, if they love their bloom. Now, setting aside the point of view of passion, from which very many obvious things might be said (and probably have been by the minor poets), it is, from the intellectual point of view, quite necessary that a woman should repose. Hers is the resupinate sex. On her couch she is a goddess, but so soon as ever she put her foot to the ground⁠—ho, she is the veriest little sillypop, and quite done for. She cannot rival us in action, but she is our mistress in