emphatically good man. Of what more perfect mental proportions could the human countenance have been indicative, than the countenance of Napoleon? The symmetry of Genius spake there, if it was true—as it certainly was—that moral beauty had no telegraph in that splendid sculpture of the man.
But we have said as much as we can afford to—though the more particular subject of our remarks—or what in good faith should have been, if it has not—Beauty in Woman, would seem to be one on which it would not be deemed unknightly to give way to a pretty expression. We must, however, leave all considerations of gallantry on this score, to others who can amplify better than we can, when we have got to the end of our chapter.
ADVERTISEMENT
There is perhaps no subject more universally or more deeply interesting than that which is the chief subject of the present work. Yet no book, even pretending to science or accuracy, has hitherto appeared upon it. The forms and proportions of animals—as of the horse and the dog—have been examined in a hundred volumes: not one has been devoted to woman, on whose physical and moral qualities the happiness of individuals, and the perpetual improvement of the human race, are dependant.
The cause of this has been, probably, the neglect on the part of individuals, to combine anatomical and physiological knowledge with the critical observation of the external forms of woman; and, perhaps, some repugnance to anthropological knowledge on the part of the public. The last obstacle, if ever it existed, is now gone by, as many circumstances show; and it will be the business of the author, in this work, to endeavor to obviate the former.
The present work, beside giving new views of the theory of beauty, and of its application to the arts, presents an analysis and classification of beauty in woman. A subsequent work will apply the principles here established to intermarriages and crossings among mankind, and will explain their results in relation to the happiness of individuals, and to the beauty and the freedom from insanity of their offspring. A final work will examine the relations of woman in society, will expose the extravagant hypothesis of writers on this subject who have been ignorant of anthropology, and will describe the reforms which the common interests of mankind demand in this respect.
It is now to be seen, whether a branch of science which is strictly founded on anatomy and physiology—one which entangles the reader in no mystical and delusive hypothesis, and presents to him only indisputable facts—one which is applicable to the subject most universally and deeply interesting to mankind, the critical judgment of female beauty, as founded on necessary functions—and one which unravels the greater difficulties which that subject presents—may not excite and permanently command a great degree of public interest.
A preliminary view of the importance of this subject is given in the first chapter; the urgency of its discussion, in relation to the interests of decency and morality, is established in the second; and some useful cautions as to youth are offered in the third.
In regard to the importance of the subject, I may, even here, avail myself of the highest authorities.
Thomas More, speaking of the people of his commonwealth, says: “They do greatly wonder at the folly of all other nations, which, in buying a colt (whereas, a little money is in hazard), be so chary and circumspect, that, though he be almost all bare, yet they will not buy him, unless the saddle and all the harness be taken off—lest, under those coverings, be hid some gall or sore. And yet, in choosing a wife, which shall be either pleasure or displeasure to them all their life after, they be so reckless, that, all the residue of the woman’s body being covered with clothes, they esteem her scarcely by one hand-breadth (for they can see no more but her face), and so to join her to them, not without great jeopardy of evil agreeing together—if anything in her body afterward should chance to offend and mislike them.”1
Francis Bacon is of similar opinion.
Happily, the advancement of anthropological science in modern times, may, as is here shown, be so applied as to render quite unnecessary the objectionable methods proposed by both these philosophers, in order to carry their doctrines into practice.
Shall I be blamed, because I avail myself of the progress of knowledge to render all that these great men desired on this subject of easy attainment and inoffensive to woman? Shall I be blamed, because I first facilitate that which the still farther advancement of knowledge will inevitably render an everyday occurrence, and the guide of the most important act of human life?—I care not.
In the details as to female beauty, it will be seen how incorrectly Winckelmann says: “In female figures, the forms of beauty are not so different, nor the gradations so various, as in those of males; and therefore in general they present no other difference than that which is dependant upon age.... Hence, in treating of female beauty, few observations occur as necessary to be made, and the study of the artist is more limited and more easy.... It is to be observed, that, in speaking of the resemblance of nude female figures, I speak solely of the body, without concluding from it that they also resemble each other in the distinctive characters of the head, which are particularly marked in each, whether goddess or heroine.”—The differences, even in the bodies of females, are here shown to be both numerous and capable of distinct classification.
It is right to observe, that this work has nothing to do with an early production of the writer, a consciousness of the small value of which prevented his attaching his name to it, which he now knows to be utterly worthless, and which has since been vamped up with things which are more worthless still.
The most valuable features of the present work are entirely new and original. Others are such as the writer thought not unworthy of preservation from earlier essays. He has also, throughout this work, adopted from other writers, with no other alteration than accuracy required, every view, opinion, or remark, which he thought applicable to a department of science, of which all the great features are new.
Such being the case, he thinks it just, at once to himself and others, to indicate here the only points on which he can himself lay any claim to originality. These are as follows:—
The more complete establishment of the truth that, in relation to man and woman in particular, beauty is the external sign of goodness in organization and function, and thence its importance.—Chapter I., and the work generally.
The showing that the discussion of this subject, though involving the examination of the naked figure, is urgent in relation to decency (the theory of which is discussed), morality, and happy intermarriage.—Chapter II.
The showing that the ancient religion was the cause of the perfection of the fine arts in Greece, by its personification of simple attributes or virtues, as objects of adoration.—Chapter II.
The exposition of the nature, the kinds, and the characteristics of beauty; and of some errors of Burke, Knight, &c., on this subject.—Chapter IV.
The showing that there are elements of beauty invariable in their nature and effect, and that these are modified and complicated in advancing from simple to complex beings, and the arts relating to them.—Chapter VI.
The pointing out these elements of beauty, and their mode of operation in inanimate beings; and the errors of Knight and Allison on this subject.—Sect. I., Chapter VI.
The pointing out these elements, and others which are superadded, in living beings; and the errors of Allison on this subject.—Sect. II., Chapter VI.
The pointing out these elements, and others which are farther superadded, in thinking beings; and the errors of Burke and Knight on this subject.—Sect. III., Chapter VI.
The exposition of these elements, as differing, or variously modified, in the useful,
Utopia, Book II., chap. viii.
