Also a woman who is crude inspires contempt, because she has contempt for God and man. The difference is that a woman who loses her native delicacy and modesty does not become an object of fear and respect, but an object of contempt and loathing, because the aura of sanctity women naturally inspire in men is tossed away.
For another example, when men complain to their team mates about some petty irksomeness in their job, it shames them by making them look weak-minded and whiny. Women, it must be noted, complain more than men. There is nothing sinister in this: if women did not complain, the things of which they complain would not be corrected. The feminine way to correct the problem is to get someone else in the group to volunteer out of kindness. It is not duty oriented. The masculine way to correct the problem is to endure it, fix it yourself on your own time, or command an underling to correct it if and only if that falls within the scope of his duty, or demean yourself by asking a superior out of noblesse oblige to fix it for you, whereupon you will owe him. It is not kindness-oriented.
Now, it must also be clear that men have free will, and can train themselves either to fulfill their nature or oppose their nature. Merely because we have a natural inclination toward something tells us nothing about whether we ought to do or avoid that impulse. I have an impulse to be kind to children with big eyes, which I think I should indulge, and I have an impulse to stab my rivals through eye and into the brain pan with my sword cane, which is an impulse I think I should suppress, not the least because my blade is dull and I am past the age when one can face the gallows with dignity. So in looking at the formal causes of masculinity and femininity, I make no remark as yet recommending whether we ought to train our young men and women to adhere to these roles or to oppose them. We can go against nature if there is a greater good to be served. Likewise, we can all learn to walk on our hands rather than learn to walk on our feet. The question there is whether the good outweighs the cost.
The quickest way to examine the good of male and female roles in romance ,(hence in romances of adventure), is to look at their origins, that is, at the causes which encourage those roles.
Biologically, females can bear children and nurse them. While it is a very popular idea these days that nature only creates physical and biological reality, but leaves psychological, mental and spiritual reality to the arbitrary and absolute power of the individual willpower, this is a popular error. Mind and body are two aspects of the same reality.
It would be wasteful and absurd for nature to give women the sexual organs needed to bear children without giving women the sexual nature of women needed to use those organs properly or raise those children properly. That women would be more concerned with the tasks related to childrearing than men is neither absurd nor unfair, but reasonable and natural.
Like it or not, nature has oriented female thinking to make them generally better at teaching a child how to volunteer to do a task, so that he will naturally and willingly do his tasks once he is grown; whereas men are generally better at commanding and punishing, so that the task gets done whether the child is willing or unwilling.
The female concentrates on the doer; the male on the deed.
Whether or not nature is being cruel and arbitrary with this specialization of roles is a debate for another day.
But the purpose of the specialization is also difficult to deny: children need both a father-figure to mete out justice and fight for the family against the world, winning bread and slaying foes, and need a mother-figure to quench the thirst for mercy and nurture the family within the home. The mindset needed for these tasks is different, hence the approach is different. Men fight and women nurse the wounded, and then tongue-lash any malingering men into going back into the fight. Their role is support rather than front line duty.
This has a second ramification, also difficult to deny: the qualities that attract women to men are influenced by the specialized roles nature intends, and likewise the qualities that attract men to women. Since the roles differ, the qualities differ. Women generally must govern a consensus between family members within the home between homes in the neighborhood, and arrange the harmony of all the souls involved. By the nature of her task, a bride must be more concerned with the soul and psychology of her bridegroom than he is with hers. Being friendly and kindly is not what she primarily seeks, but instead confidence and leadership. His role will require him to protect her during the vulnerable seasons in the marriage, and this requires that mysterious quality called good character.
Men generally must accomplish missions in a team or warband, either to kill the enemy in wartime, or in peacetime to overcome and outperform the competition in the marketplace, which ironically calls for many parallel considerations of courage and discipline. These tasks require a sense of honor and a certain unfortunate touchiness of pride, a sense of teamwork and orientation toward the goal. We men do not care how you feel about your job, just so long as it gets done on time and under budget, and we don’t want to hear any complaint. We don’t want to hear complaint because that betrays a weakness of emotion, a lack of honor, which harms the team spirit and morale. Spiritual and psychological reality is a secondary concern. By the nature of his task, the bridegroom must be more concerned with the bride’s ability to perform the goals of marriage than with her emotional nature or mood. A central goal is child-rearing: this requires a fit physique and a willingness to submit to masculine sexual desire. Another goal is friendship. Hence, a man’s attraction tends to be rather shallow. Nature inclines him to emphasize that she is physically fit, healthy and young, and willing to undergo the travail of childbirth, chaste and friendly and amiable.
Hence during courtship, nature places a paradoxical burden on the maiden. She has to discover, not how her suitor acts during the fun and sunny days of courtship, but how he deals with adversity. Character is that trait which a man displays under distress, during wintery days when things are going wrong.
Character is a hidden trait. Many a young man undertakes foolish risks and stupid dares, leaping from rooftops or riding bikes on railroad trestles, not from any self-destructive impulse, but because of a burning need to discover what his own character is. Is he a coward or not? He cannot know this unless he sees himself under stress, in an emergency. Hence some young men concoct artificial emergencies by taking up dares or doing daring stunts or doing deeds of derring-do.
During courtship, nature inclines the woman to seek out the character of the man. If she were to act in the direct and masculine fashion of satisfying the physical sexual urge with the first potential mate who was no more than physically attractive, that is to say, if she were to dive bomb the target of her lust like a man, she would have no opportunity to test his character. He, in return, winning cheaply what he craves, would not and could not prize it, and he will ignore or betray her as soon as his physical appetite is sated, for experience will have told him he can lift another skirt as effortlessly.
But if she lures her candidate in by her amorous coy flirtation, teasing, blowing hot and cold, pretending indifference then surprising him with sudden signs of affection, if, in other words, she torments him with her allure, then she can see whether he has the fortitude and depth of passion needed to continue the rite of passage to the end. Courtship is trial by ordeal.
Naturally, if she can see him during a brave deed like wrestling that Soviet-trained python in the cockpit of a smoldering jet plane in a thunderstorm aforementioned, this will satisfy her as to his bravery. But it will not tell her if he is true and faithful to her, rather than attracted on a shallow level to her looks, or her wealth or position. She needs to know if he will be true in better or worse, rich or poor, sickness and health, because she does not want to be abandoned if she falls sick and loses her hair or her eyesight or her fortune. The only way to test that hidden trait is to see how he overcomes obstacles interfering in the courtship, including obstacles she herself puts in the way. The reason why girls do not phone up boys for dates is that if the guy is
not interested enough in you to pick up the phone, he is not in love with you enough to wrestle that damned Soviet-trained python for you.
The paradox here is that even if the woman were a mind-reader, even if she were totally honest with her courting candidate, she cannot discover from him what she wants and needs to know, because he does not know it himself. He himself does not know how much in love he is with her, because infatuation camouflages itself as true love every time. He does not know the steadfastness of his own character until it is put to the test.
This is also why the mating dance cannot be reduced to a merely logical contract between two persons negotiating at arm’s length. They are not negotiating for the exchange of goods and services. Indeed, treating sex like a service is the mere opposite of true love, and hence is rejected with disgust wherever it appears by honest men, as gold-digging if not as harlotry, and honest women hate cads and ladykillers. They are not negotiating a contract, which is an exchange of goods, but proposing a covenant, which is the exchange of souls and lives. Each lover gives his whole self, body and soul, to the beloved, and marriage is the sacrament to seal that surrender of self.
A certain degree of ritualized formality has been painstakingly developed over the years to channel and cushion and guide the mating dance and matrimony and so on.
On the man’s side, the courtship does not entail a paradox. His mission is to pursue the girl to whom he is attracted, overcoming her indifference, and perhaps her angry family if she is a Montague or a Shark and he a Capulet or a Jet, and winning her heart with courtesy, sincerity, wit, savoir-faire, and physical or mental muscle or both.
His mission is not to give into despair, and, when she walks out on him, to walk after her.
His mission is not to let his own pride spoil the relationship. Of course, heartbreak is certain here, because the formula requires you men to continue to nosedive at the target even after her ack-ack guns have shot you down. The other part of the masculine formula is to abandon her as a candidate if she is unchaste. If she cannot be trusted with sexual self-control before the marriage, there is no reason to suspect that she can be trusted after, when the temptation is all the greater.
Now, if that is the essence of the male-female mating dance, as you can see, nature places a much greater burden on the woman. All he needs to do is be brave and persistent. She needs to be wise and insightful, and make an accurate judgment about his character. She needs to understand his real emotions and motives and moods.
At this point we can return to the main question above and consider how this influences fiction, including science fiction.
A poet portraying the mating dance in fiction by the nature of the art must portray only the essential elements. This is why Romeo and Juliet do not have a long courtship: we have one balcony scene and a secret wedding soon thereafter.
If the essential element of the female side of courtship is discovering the man’s true character, then a book like Pride And Prejudice, which is concerned with the misjudgment and the correction of misjudgment about a suitor’s character is the central theme, is the quintessential feminine book. Women, if they are feminine women, will be fascinated by a book such as this, as it will allow them in their imagination to play through the steps they themselves, if they are not to live as nuns, will go through, or which they went through as maidens.
Even if she were not at first more interested in love stories and the play of romance than little boys, a little girl should be encouraged by the cold logic of the circumstance in which she finds herself to pay close attention to that one life-decision upon which so much of her happiness and success depends.
Girls who do not like love stories are well advised to learn to like them, because such stories deal with the essential and paramount realities on which much or most of that girl’s happiness in life will hinge.
Likewise, if the basic nature of the male side of courtship is overcoming obstacles between the suitor and the bride, then a book like A Princess Of Mars is the quintessential masculine book. John Carter is so deeply in love with Dejah Thoris that even death cannot hinder him, nor the wide uncrossed interrupt of interplanetary space, and he fights his way past men and monsters and Martians, red and green and yellow and black, all the way from the South Pole to the North in search of her, even though she is promised to another man.
These elements might strike a modern reader as offensive to the equality of women, particularly if the modern reader has been unwary enough to absorb modern ideas without examining them. This objection has always struck me as slightly comical. It is not the equality of the sexes that is at question in a story like A Princess Of Mars. If memory serves, nearly every heroine of the several Barsoom books of Edgar Rice Burroughs and his many imitators is a princess. In other words, in such simple adventure stories the woman usually outranks the man. She is royalty and he is a nobody, a stranger, or an earthman. He is in love not with an equal but with a superior, hence winning her heart is a more difficult victory, hence more satisfying a drama.
Likewise, on the distaff side of the equation, I note that in the particular example I selected of an exemplary woman’s romance, Pride And Prejudice, it is Elizabeth Bennet who is lower in status than the proud and handsome Mr Darcy. Equality is not a part of the mating dance: the drama of such girlish tales comes from the humble girl, the Cinderella, winning the high and aloof prince, and likewise the drama of boyish tales comes from the humble boy winning the heart of the princess.
In that most famous homage to sciffy serial adventure, namely Star Wars, please notice that it was a princess who needed rescuing. While the space farmboy Luke is low class enough to be a proper suitor, when he becomes imbued with magic powers as a psionic Warlock-Samurai, he is no longer low enough in rank to be a satisfying suitor, and the lovable space rogue Solo the Smuggler is selected instead. And Luke is not the brother of the space princess until the third movie, a plot twist needed to eliminate any possible romantic interest.
But perhaps it is not the inequality of rank between space princess and space rogue that concerns us here. The objection is that the space hero does the rescuing, his is the initiative and the action, and he gets to fly the spaceship through the palace wall, whereas the space princess is given no role but to languish in prison, perhaps wearing chains or perhaps wearing a silky harem outfit, and await rescue. The inequality is between the active versus the passive role.
I submit that this is not inequality, any more than Fred leading and Ginger following during a stirring waltz is inequality. It is complementary. Those who object that men should not lead in the dance, whatever they say, are not friends of women; they just want to stop the joy of the dance.
Please consider the nature of the art present even in the humblest pulp story. Stories by their nature are meant to be a culmination and sublimation and example of some idea, preferably a true idea, coming from the human condition.
The human condition, for better or worse, puts men in the position that the natural strategy for a suitor to pursue to find true love and win the girl is as outlined above: it is analogous to defying a world, sword in hand, and fighting an entire globe for her. It certainly feels that way.
There are no real alternatives to the strategy of persistent defiance of obstacles. The strategy of picking up an attractive stranger of loose morals, or hiring her for a fee for sexual favors, is so repugnant to prudence if not to human nature itself as to induce vomiting. This is what is portrayed as the norm these days, but that fact by itself betrays that we live in psychotically sick days these days.
The strategy of alluring a sexually aggressive woman by coy and amorous teasing and batting the eyelashes, so that she throws the man over her shoulder like a female Tarzan and carries him off to a floral bower for dangerously passionate ravishment makes the man weak and comical, a joke akin to Bugs Bunny wearing a dress.
There is a reason why Superman rescuing Lois Lane remains a charming and beloved center of their myth even after mor
e than half a century, whereas no one remembers or cares to remember any scenes of Wonder Woman rescuing Steve Trevor. The stark fact is that a healthy woman admires and should admire strength in her man, including when such strength sweeps her up in his arms. She should be delighted even if she is offended when Tarzan throws her over his shoulder, or her bridegroom carries her across the threshold. A man should not admire physical strength in women, because this is not a characteristic that differentiates the sexes for him.
The sexes are opposite, and culture should exaggerate the complimentary opposition by artifice in order to increase our joy in them, including artifices of dress and speech: when women dress and speak and act like men, some joy is erased from both sexes.
The best image and analogy of this male strategy of courtship in action is pursuit and combat and rescue. The simplest way in a story to have pursuit and combat and rescue is if the girl has been abducted, so that her abductor must be slain and she liberated. The man then is both her servant and her savior: this combination of service and salvation exactly pictures the heart of the lover.
It is extraordinarily rare that a man in real life has chased the abductor of a fair maiden, slain him with a sword, and untied her from the railroad tracks or sawmill log, to win her grateful kiss and hand in marriage. I doubt if it has ever happened in the history of the world that a young damsel met the man she later married when he rescued her from a shipwreck or a house fire. But this image, corny and hackneyed as it is, of rescuing a damsel in distress is the central image of the male strategy of courtship, the central sexual image in all male dreams.