4 Woman and the Artist
Much gabble is to be found in the literature of the world upon the function of woman as inspiration, stimulant and agente provocateuse to the creative artist. The subject is a favorite one with sentimentalists, most of whom are quite beyond anything properly describable as inspiration, either with or without feminine aid. I incline to think, as I hint, that there is little if any basis of fact beneath the theory. Women not only do not inspire creative artists to high endeavor; they actually stand firmly against every high endeavor that a creative artist initiates spontaneously. What a man’s women folks almost invariable ask of him is that he be respectable—that he do something generally approved—that he avoid yielding to his aberrant fancies—in brief, that he sedulously eschew showing any sign of genuine genius. Their interest is not primarily in the self-expression of the individual, but in the well-being of the family organization, which means the safety of themselves. No sane woman would want to be the wife of such a man, say, as Nietzsche or Chopin. His mistress perhaps, yes—for a mistress can always move on when the weather gets too warm. But not a wife. I here speak by the book. Both Nietzsche and Chopin had plenty of mistresses, but neither was ever able to get a wife.
Shakespeare and Ann Hathaway, Wagner and Minna Planer, Molière and Armande Béjart—one might multiply instances almost endlessly. Minna, at least in theory, knew something of music; she was thus what romance regards as an ideal wife for Wagner. But instead of helping him to manufacture his incomparable masterpieces, she was for twenty-five years the chief impediment to their manufacture. “Lohengrin” gave her the horrors; she begged Richard to give up his lunacies and return to the composition of respectable cornet music. In the end he had to get rid of her in sheer self-defense. Once free, with nothing worse on his hands than the illicit affection of Cosima Liszt von Bülow, he produced music drama after music drama in rapid succession. Then, married to Cosima, he descended to the anticlimax of “Parsifal,” a truly tragic mixture of the stupendous and the banal, of work of genius and sinfonia domestica—a great man dying by inches, smothered by the smoke of French fried potatoes, deafened by the wailing of children, murdered in his own house by the holiest of passions.
Sentimentalists always bring up the case of Schumann and his Clara in rebuttal. But does it actually rebut? I doubt it. Clara, too, perpetrated her attentat against art. Her fair white arms, lifting from the keyboard to encircle Robert’s neck, squeezed more out of him than mere fatuous smirks. He had the best head on him that music had seen since Beethoven’s day; he was, on the cerebral side, a colossus; he might have written music of the very first order. Well, what he did write was piano music—some of it imperfectly arranged for orchestra. The sad eyes of Clara were always upon him. He kept within the limits of her intelligence, her prejudices, her wifely love. No grand experiments with the orchestra. No superb leapings and cavortings. No rubbing of sand-paper over critical ears. Robert lived and died a respectable musical Hausvater. He was a man of genuine genius—but he didn’t leave ten lines that might not have been passed by old Prof. Jadassohn.
The truth is that, no matter how great the domestic concord and how lavish the sacrifices a man makes for his women-folk, they almost always regard him secretly as a silly and selfish fellow, and cherish the theory that it would be easily possible to improve him. This is because the essential interests of men and women are eternally antithetical. A man may yield over and over again, but in the long run he must occasionally look out for himself—and it is these occasions that his women-folk remember. The typical domestic situation shows a woman trying to induce a man to do something that he doesn’t want to do, or to refrain from something that he does want to do. This is true in his bachelor days, when his mother or his sister is his antagonist. It is preëminently true just before his marriage, when the girl who has marked him down is hard at the colossal job of overcoming his reluctance. And after marriage it is so true that there is hardly need to state it. One of the things every man discovers to his disquiet is that his wife, after the first play-acting is over, regards him essentially as his mother used to regard him—that is, as a self-worshiper who needs to be policed and an idiot who needs to be protected. The notion that women admire their men-folks is pure moonshine. The most they ever achieve in that direction is to pity them. When a woman genuinely loves a man it is a sign that she regards him much as a healthy man regards a one-armed and epileptic soldier.