His name was John Ruskin, and I discovered him during my first semester of classes at ORU. He was a Victorian, and a fantastic critic of both art and politics. His closest connections were with the PreRaphaelite Brotherhood, which was a group of artists consisting of Dante Gabriel Rossetti, William Holman Hunt, and John Everett Millais. I find his writing fascinating, and today I am sharing him with all of you.
The Nature of Woman
John Ruskin, from Of Queen’s Gardens
Now their separate characters are briefly these. The man’s power is active, progressive, defensive. He is eminently the doer, the creator, the discoverer, the defender. His intellect is for speculation and invention; his energy for adventure, for war, and for conquest, wherever war is just, wherever conquest necessary. But the woman’s power is for rule, not for battle, — and her intellect is not for invention or creation, but for sweet ordering, arrangement and decision. She sees the qualities of things, their claims, and their places. Her great function is Praise: she enters into no contest, but infallibly adjudges the crown of contest. By her office, and place, she is protected from all danger and temptation. The man, in his rough work in open world, must encounter all peril and trial: — to him, therefore, the failure, the offense, the inevitable error: often he must be wounded, or subdued, often misled, and always hardened. But he guards the woman from all this; within his house, as ruled by her, unless she herself has sought it, need enter no danger, no temptation, no cause of error or offense. This is the true nature of home — it is the place of Peace; the shelter, not only from all injury, but from all terror, doubt, and division. In so far as it is not this, it is not home; so far as the anxieties of the outer life penetrate into it, and the inconsistently-minded, unknown, unloved, or hostile society of the outer world is allowed by either husband or wife to cross the threshold, it ceases to be home; it is then only a part of that outer world which you have roofed over, and lighted fire in. But so far as it is a sacred place, a vestal temple, a temple of the hearth watched over by Household Gods, before those faces none may come but those whom they can receive with love, — so far as it is this, and roof and fire are types only of a nobler shade and light, — shade as of the rock in a weary land, and light as of the Pharos in the stormy sea; — so far it vindicates the name, and fulfills the praise, of home.
And wherever a true wife comes, this home is always round her. The stars only may be over her head; the glowworm in the night-cold grass may be the only fire at her foot: but home is yet wherever she is; and for a noble woman it stretches far round her, better than ceiled with cedar, or painted with vermilion, shedding its quiet light far, for those who else were homeless.
This, then, I believe to be, — will you not admit it to be — the woman’s true place and power? But do you not see that, to fulfill this, she must — as far as one can use such terms of a human creature — be incapable of error? So far as she rules, all must be right, or nothing is. She must be enduringly, incorruptibly good; instinctively, infallibly wise — wise, not for self-development, but for self-renunciation: wise, not that she may set herself above her husband, but that she may never fail from his side: wise, not with the narrowness of insolent and loveless pride, but with the passionate gentleness of an infinitely variable, because infinitely applicable, modesty of service — the true changefulness of woman.
Source: The Norton Anthology of English Literature: The Victorian Age