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Thomas Wentworth Higginson, Women and Men, chapter 11 (search)
have domineered over her. Scott, with his love of chivalry, always flung some attribute of courage about the women whom he meant to win our hearts-or he failed if he did not. Even his graceful Ellen Douglas is incapable of actual cowardice. I think with anguish, or, if e'er A Douglas knew the word, with fear. So, in the Scottish ballads, it takes something more than a weakling to spring up behind young Lochinvar in the saddle, or to be owre the Border and awaa with Jock oa Hazeldean. Shakespeare does not love to paint characterless heroines: I grant I am a woman; but, withal, A woman that Lord Brutus took to wife; I grant I am a woman; but, withal, A woman well reputed-Cato's daughter. Even the child Juliet at fourteen is able to resist her whole proud household, and there is more peril in her eyes than in twenty of their swords. The very disproportion between bodily and mental strength makes personal character more conspicuous in women, as it was often noticed in our army th
Thomas Wentworth Higginson, Women and Men, chapter 18 (search)
interpreted; but this general proposition, heard so often from the lips of mediocre men, seems a little unworthy of the strength and fearlessness of Lotzc. It is my experience that the men who talk in this way, and who dwell on the companion conviction that a woman is never so well off as when she finds a strong man to rule her, do not belong in general to the strongest class of men. A man of really large and broad force likes to find some companion quality in the partner of his life, as Shakespeare's Brutus found it in Portia: O ye gods, Render me worthy of this nolle wife! It is rather the man failing to impress his own individuality on the world outside who insists on making the most of it by his own fireside, and at least posing as a little monarch there. A weak wife will sometimes be happy in being crushed by such a fireside despot; and a strong and good-natured wife will smile inwardly while she listens to the lofty words of a husband whom she perhaps winds round her fing
Thomas Wentworth Higginson, Women and Men, chapter 20 (search)
its presence, even as exhibited among children, is to make the rural life of New England far more attractive than our novelists usually paint it. Rusticity, on the whole, fares well in English literature. When we think of it as depicted by Shakespeare, we think less of his dull or vulgar Audreys and Mopsas than of Miranda and Perdita. Both these last heroines represent a life absolutely removed from all that cities can offer; both are in part idealized, but Miranda the more so; we think ofendency to cities — a combination which is making us all into a nation that dwells half the year on the pavements and the other half in the wilderness-we may go back to that poetic side of existence which suggested his Perditas and Mirandas to Shakespeare. We shall never get back to the fantastic shepherdesses of French and Italian song, for these never were on sea or land; but we may at least hope to find, in the rural types of character, a corrective to the dangers of a purely metropolitan s
Thomas Wentworth Higginson, Women and Men, chapter 21 (search)
expensively, and the common-sense of even the elder branch of the Anglo-Saxon race will assert itself. This all are coming to see; but what men do not see so clearly is that not only much of the melodrama of the present, but much written history of the past, will shrink in value with the disappearance of monarchy, and will be no more held in men's minds. When the Western continent is held by a hundred millions of people who care no more for the name of king than did the roaring waves in Shakespeare's Tempest, those thronging myriads can afford to dismiss from their memories three-quarters of the European wars, turning upon dynastic quarrels as valueless for profit as the forgotten strifes among the Saxon heptarchy. Every step that in any way illustrates the slow passage of man to political self-government will have a continued and even a redoubled interest; but every strife to decide whether somebody's third cousin or fourth cousin should get the throne will have no further value b
Thomas Wentworth Higginson, Women and Men, chapter 35 (search)
trange, then, that women should cling to youth and shrink from recognizing the fact of age, even to the suppression of the record in the family Bible. But it would be wronging womanhood to admit this to be the whole or even the chief part of the story. Often in a family of sisters, she who had her reign of beauty at eighteen gives place, after a time, to another who passed for years unnoticed, but replaces her lovelier sister at thirty or forty, and thence holds her own into old age. Shakespeare, who saw all things, did not neglect this more prolonged sway or Indian summer of womanhood: Beauty doth varnish age, as if new-born, And give the crutch the cradle's infancy. Taking the world as a whole, the remarkable proofs of the ascendancy of woman are the trophies of age, not of youth. The utmost beauty leaves the Oriental woman but a petted toy in youth; yet when a mother she has a life-long slave in her son, and an Eastern emperor will declare war or make peace at her bidding
Thomas Wentworth Higginson, Women and Men, Index. (search)
. Salisbury, Lord, 136. Salmon, L. M., 287. Sand, George. See Dudevant, A. L. A. Sanitary Commission, the, 235. Santa Claus agencies, 269. Sappho, 262. Sapsea, Thomas, 94. Schlemihl, Peter, 12. Scott, Sir, Walter, quoted 55. Also 19,157,194. Scudery, Charles de, 15. Scudery, Magdalen de, quoted, 15, 87, 159. search after A publisher, the, 151. secret of the birthday, 176. Sedgwick, C. M., 289. Seward, Anna, 113, 114. shadow of the harem, the, 12. Shakespeare, William, quoted, 56,91, 177, 178, 239. Also 19, 32, 49, 55, 102, 103, 108, 262. Shelley, P. B., 19. shy graces, the, 306. sick, on visiting the, 227. Siddons, Sarah, 250. Simms, W. G., 223. single will, the, 90. Sisters of Charity, 69. Size, physical, gradual diminution of, 262. Smith College, 275. social pendulum, the swing of the, 22. social superiors, 171. Society, origin of its usages, 77. Socrates, 81. Somerville, Mary, 250, 251,252, 261. Sophocles, E.
Thomas Wentworth Higginson, John Greenleaf Whittier, Chapter 12: Whittier the poet (search)
rse of four short lines, he gradually trained himself, like Burns, to more varied or at least to statelier measures. Burns was undoubtedly his literary master in verse and Milton in prose. He said of Burns to Mrs. Fields, He lives, next to Shakespeare, in the heart of humanity. Fields's Whittier, p. 51. His contentment in simple measures was undoubtedly a bequest from this poet and was carried even farther, while his efforts were more continuous in execution and higher in tone. On the othut playing in epic freedom and with various interpretation between religion and intellect-he has not the flowing, Protean, imaginative sympathy, the power of instant self-identification, with all forms of character and life which culminated in Shakespeare; but that imaginative vitality which lurks in faith and conscience, producing what we may call ideal force of heart. This he has eminently; and it is this central, invisible, Semitic heat which makes him a poet. Imagination exists in him, not
Thomas Wentworth Higginson, John Greenleaf Whittier, Index. (search)
e, eruption at, 142. Salem, Mass., 10, 28, 58, 85, 109. Salisbury, Lord, 113. Salisbury, Mass., 4,107. Saltonstall, Leverett, 28. Salvator. See Rosa. Sargent, Mrs. John T., her Sketches and Reminiscences of the Radical Club, quoted, 100, 101. Sargent, Rev. John T., 100. Scotland, 6. Scott, Sir, Walter, 107, 109; his Fair Maid of Perth, mentioned, 7; quoted about Melrose Abbey, 174. Sedgwick, Catherine M., 16. Sewall, Samuel E., 50, 51, 68. Sewall family, 52. Shakespeare, William, 19, 150, 152, 154. Shaw, Col. Robert Gould, 112. Shipley, Thomas, 52. Sigourney, Mrs. L. H., 35; Whittier's letter to, 37, 38. Sims, Thomas, case of, 46. Sisters, the, 145-147. Smalley, George W., 94. Smith, Mary Emerson, the object of Whittier's poem Memo ries, 137, 138. Snow-bound, quoted, 6,8-13. Southampton, England, 4. South Carolina, 60, 115. Stanton, Henry B., 77. Stedman, Edmund C., 185; his opinion of Whittier, 154-157. Sterne, Laurence, 37, 103, 179
Laura E. Richards, Maud Howe, Florence Howe Hall, Julia Ward Howe, 1819-1910, in two volumes, with portraits and other illustrations: volume 1, Chapter 11: eighty years 1899-1900; aet. 80-81 (search)
y, read a fine and finished discourse. Booker Washington was eloquent as usual, and the Hampton quartet was delightful. At the tea which followed at Mrs. Whitman's studio, I spoke with these men and with Dunbar's wife, a nearly white Woman of refined appearance. I asked Dubois about the negro vote in the South. He thought it better to have it legally taken away than legally nullified. April 17. Kindergarten for the Blind .... I hoped for a good word to say, but could only think of Shakespeare's the evil that men do lives after them; the good is oft interred with their bones, intending to say that this does not commend itself to me as true. Mr. Eels spoke before me and gave me an occasion to use this with more point than I had hoped. He made a rather flowery discourse, and eulogized Annie Sullivan and Helen Keller as a New experience in human society. In order to show how the good that men do survives them, I referred to Dr. Howe's first efforts for the Blind and to his teac
Laura E. Richards, Maud Howe, Florence Howe Hall, Julia Ward Howe, 1819-1910, in two volumes, with portraits and other illustrations: volume 1, Chapter 13: looking toward sunset 1903-1905; aet. 84-86 (search)
ut ordained, too, to be overcome by the onward impulse which creates worlds, life, and civilization. Said it was this inertia which opposed suffrage, the dread of change inherent in masses, material or moral, etc., etc. Among her winter delights were the Longy concerts of instrumental music. She writes of one:-- Was carried away by the delight of the musicall wind instruments. A trio of Handel for bassoon and two oboes was most solid and beautiful.... I could think of nothing but Shakespeare's Tempest and Midsummer Night's Dream. The thought that God had set all human life and work to music overpowered me, and coming home I had a rhapsody of thanksgiving for the wonderful gift.... The next day came an entertainment in aid of Atlanta University and Calhoun School; she enjoyed this exceedingly, especially the plantation songs, which are of profoundest pathos, mixed with overpowering humor. It was pleasant, too, to see the audience in which descendants of the old anti-slave
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