spread, like a thicket of hawthorns, eglantines, and honeysuckles, the women who are known rather by what they stimulated men to write, than by what they wrote themselves—the women whose tact, wit, and personal radiance created the atmosphere of the Salon, where literature, philosophy, and science, emancipated from the trammels of pedantry and technicality, entered on a brighter stage of existence.
What were the causes of this earlier development and more abundant manifestation of womanly intellect in France? The primary one, perhaps, lies in the physiological characteristics of the Gallic race—the small brain and vivacious temperament which permit the fragile system of woman to sustain the superlative, activity requisite for intellectual creativeness; while, on the other hand, the larger brain and slower temperament of the English and Germans are, in the womanly organization, generally dreamy and passive. The type of humanity in the latter may be grander, but it requires a larger sum of conditions to produce a perfect specimen. Throughout the animal world, the higher the organization, the more frequent is the departure from the normal form; we do not often see imperfectly developed or ill-made insects, but we rarely see a perfectly developed, well-made man. And thus the physique of a woman may suffice as the substratum for a superior Gallic mind, but is too thin a soil for a superior Teutonic one. Our theory is borne out by the fact that among our own country-women those who distinguish themselves by literary production more frequently approach the Gallic than the Teutonic type; they are intense and rapid rather than comprehensive. The woman of large capacity can seldom rise beyond the absorption of ideas; her physical conditions refuse to support the energy required for spontaneous activity; the voltaic-pile is not strong enough to produce crystallizations; phantasms of great ideas float through her mind, but she has not the spell which will arrest them, and give them fixity. This, more than unfavorable external circumstances, is, we think, the reason why woman has not yet contributed any new form to art, any discovery in
