A View of Women and Wives from the 1600’s
Parva leves capiunt animos. -
OVID, Ars Am., i. 159.
Light minds are pleased with trifles.
When I was in France, I used to gaze with great astonishment at the
splendid equipages, and party-coloured habits of that fantastic
nation. I was one day in particular contemplating a lady that sat
in a coach adorned with gilded Cupids, and finely painted with the
Loves of Venus and Adonis. The coach was drawn by six milk-white
horses, and loaden behind with the same number of powdered footmen.
Just before the lady were a couple of beautiful pages, that were
stuck among the harness, and, by their gay dresses and smiling
features, looked like the elder brothers of the little boys that
were carved and painted in every corner of the coach.
The lady was the unfortunate Cleanthe, who afterwards gave an
occasion to a pretty melancholy novel. She had for several years
received the addresses of a gentleman, whom, after a long and
intimate acquaintance, she forsook upon the account of this shining
equipage, which had been offered to her by one of great riches but a
crazy constitution. The circumstances in which I saw her were, it
seems, the disguises only of a broken heart, and a kind of pageantry
to cover distress, for in two months after, she was carried to her
grave with the same pomp and magnificence, being sent thither partly
by the loss of one lover and partly by the possession of another.
I have often reflected with myself on this unaccountable humour in
womankind, of being smitten with everything that is showy and
superficial; and on the numberless evils that befall the sex from
this light fantastical disposition. I myself remember a young lady
that was very warmly solicited by a couple of importunate rivals,
who, for several months together, did all they could to recommend
themselves, by complacency of behaviour and agreeableness of
conversation. At length, when the competition was doubtful, and the
lady undetermined in her choice, one of the young lovers very
luckily bethought himself of adding a supernumerary lace to his
liveries, which had so good an effect that he married her the very
week after.
The usual conversation of ordinary women very much cherishes this
natural weakness of being taken with outside and appearance. Talk
of a new-married couple, and you immediately hear whether they keep
their coach and six, or eat in plate. Mention the name of an absent
lady, and it is ten to one but you learn something of her gown and
petticoat. A ball is a great help to discourse, and a birthday
furnishes conversation for a twelvemonth after. A furbelow of
precious stones, a hat buttoned with a diamond, a brocade waistcoat
or petticoat, are standing topics. In short, they consider only the
drapery of the species, and never cast away a thought on those
ornaments of the mind that make persons illustrious in themselves
and useful to others. When women are thus perpetually dazzling one
another’s imaginations, and filling their heads with nothing but
colours, it is no wonder that they are more attentive to the
superficial parts of life than the solid and substantial blessings
of it. A girl who has been trained up in this kind of conversation
is in danger of every embroidered coat that comes in her way. A
pair of fringed gloves may be her ruin. In a word, lace and
ribands, silver and gold galloons, with the like glittering gewgaws,
are so many lures to women of weak minds or low educations, and,
when artificially displayed, are able to fetch down the most airy
coquette from the wildest of her flights and rambles.
True happiness is of a retired nature, and an enemy to pomp and
noise; it arises, in the first place, from the enjoyment of one’s
self, and, in the next, from the friendship and conversation of a
few select companions; it loves shade and solitude, and naturally
haunts groves and fountains, fields and meadows; in short, it feels
everything it wants within itself, and receives no addition from
multitudes of witnesses and spectators. On the contrary, false
happiness loves to be in a crowd, and to draw the eyes of the world
upon her. She does not receive any satisfaction from the applauses
which she gives herself, but from the admiration she raises in
others. She flourishes in courts and palaces, theatres and
assemblies, and has no existence but when she is looked upon.
Aurelia, though a woman of great quality, delights in the privacy of
a country life, and passes away a great part of her time in her own
walks and gardens. Her husband, who is her bosom friend and
companion in her solitudes, has been in love with her ever since he
knew her. They both abound with good sense, consummate virtue, and
a mutual esteem; and are a perpetual entertainment to one another.
Their family is under so regular an economy, in its hours of
devotion and repast, employment and diversion, that it looks like a
little commonwealth within itself. They often go into company, that
they may return with the greater delight to one another; and
sometimes live in town, not to enjoy it so properly as to grow weary
of it, that they may renew in themselves the relish of a country
life. By this means they are happy in each other, beloved by their
children, adored by their servants, and are become the envy, or
rather the delight, of all that know them.
How different to this is the life of Fulvia! She considers her
husband as her steward, and looks upon discretion and good
housewifery as little domestic virtues unbecoming a woman of
quality. She thinks life lost in her own family, and fancies
herself out of the world when she is not in the ring, the playhouse,
or the drawing-room. She lives in a perpetual motion of body and
restlessness of thought, and is never easy in any one place when she
thinks there is more company in another. The missing of an opera
the first night would be more afflicting to her than the death of a
child. She pities all the valuable part of her own sex, and calls
every woman of a prudent, modest, retired life, a poor-spirited,
unpolished creature. What a mortification would it be to Fulvia, if
she knew that her setting herself to view is but exposing herself,
and that she grows contemptible by being conspicuous!
I cannot conclude my paper without observing that Virgil has very
finely touched upon this female passion for dress and show, in the
character of Camilla, who, though she seems to have shaken off all
the other weaknesses of her sex, is still described as a woman in
this particular. The poet tells us, that after having made a great
slaughter of the enemy, she unfortunately cast her eye on a Trojan,
who wore an embroidered tunic, a beautiful coat of mail, with a
mantle of the finest purple. “A golden bow,” says he, “hung upon
his shoulder; his garment was buckled with a golden clasp, and his
head covered with a helmet of the same shining metal.” The Amazon
immediately singled out this well-dressed warrior, being seized with
a woman’s longing for the pretty trappings that he was adorned with:
- Totumque incauta per agmen,
Faemineo praedae et spoliorum ardebat amore.
AEn., xi. 781.
- So greedy was she bent
On golden spoils, and on her prey intent.










