Feminine Genius Quotes

One is not born a genius, one becomes a genius; and the feminine situation has up to the present rendered this becoming practically impossible.

If art is not to be life-enhancing, what is it to be? Half the world is feminine--why is there resentment at a female-oriented art? Nobody asks The Tale of Genji to be masculine! Women certainly learn a lot from books oriented toward a masculine world. Why is not the reverse also true? Or are men really so afraid of women's creativity (because they are not themselves at the center of creation, cannot bear children) that a woman writer of genius evokes murderous rage, must be brushed aside with a sneer as 'irrelevant'?

The male orientation of classical Athens was inseparable from its genius. Athens became great not despite but because of its misogyny.

Jo thought sometimes that Bethie liked to play at being a rebel, when the truth was that her sister had a genius for conformity, for making herself the best, most stylish example of whatever version of femininity was currently in fashion.

Excuse me while I throw this down, I’m old and cranky and tired of hearing the idiocy repeated by people who ought to know better. Real women do not have curves. Real women do not look like just one thing. Real women have curves, and not. They are tall, and not. They are brown-skinned, and olive-skinned, and not. They have small breasts, and big ones, and no breasts whatsoever. Real women start their lives as baby girls. And as baby boys. And as babies of indeterminate biological sex whose bodies terrify their doctors and families into making all kinds of very sudden decisions. Real women have big hands and small hands and long elegant fingers and short stubby fingers and manicures and broken nails with dirt under them. Real women have armpit hair and leg hair and pubic hair and facial hair and chest hair and sexy moustaches and full, luxuriant beards. Real women have none of these things, spontaneously or as the result of intentional change. Real women are bald as eggs, by chance and by choice and by chemo. Real women have hair so long they can sit on it. Real women wear wigs and weaves and extensions and kufi and do-rags and hairnets and hijab and headscarves and hats and yarmulkes and textured rubber swim caps with the plastic flowers on the sides. Real women wear high heels and skirts. Or not. Real women are feminine and smell good and they are masculine and smell good and they are androgynous and smell good, except when they don’t smell so good, but that can be changed if desired because real women change stuff when they want to. Real women have ovaries. Unless they don’t, and sometimes they don’t because they were born that way and sometimes they don’t because they had to have their ovaries removed. Real women have uteruses, unless they don’t, see above. Real women have vaginas and clitorises and XX sex chromosomes and high estrogen levels, they ovulate and menstruate and can get pregnant and have babies. Except sometimes not, for a rather spectacular array of reasons both spontaneous and induced. Real women are fat. And thin. And both, and neither, and otherwise. Doesn’t make them any less real. There is a phrase I wish I could engrave upon the hearts of every single person, everywhere in the world, and it is this sentence which comes from the genius lips of the grand and eloquent Mr. Glenn Marla: There is no wrong way to have a body. I’m going to say it again because it’s important: There is no wrong way to have a body. And if your moral compass points in any way, shape, or form to equality, you need to get this through your thick skull and stop with the “real women are like such-and-so” crap. You are not the authority on what “real” human beings are, and who qualifies as “real” and on what basis. All human beings are real. Yes, I know you’re tired of feeling disenfranchised. It is a tiresome and loathsome thing to be and to feel. But the tit-for-tat disenfranchisement of others is not going to solve that problem. Solidarity has to start somewhere and it might as well be with you and me

Sometimes I think the truest proof of genius is not just what one great mind produces with it, but what it draws out of the others who encounter it.

And one woman wrote, in 1850, in the book Greenwood Leaves: “True feminine genius is ever timid, doubtful, and clingingly dependent; a perpetual childhood.” Another book, Recollections of a Southern Matron: “If any habit of his annoyed me, I spoke of it once or twice, calmly, then bore it quietly.” Giving women “Rules for Conjugal and Domestic Happiness,” one book ended with: “Do not expect too much.

Our age is not only Jewish, but also the most 'feminine'; an age in which art represents only a sudarium of its humors; the age of the most gullible anarchism, without any understanding of the State and of justice; the age of the collectivist ethics of the species; the age in which history is viewed with the most astonishing lack of seriousness [historical materialism]; the age of capitalism and of Marxism; the age in which history, life, and science no longer mean anything, apart from economics and technology; the age when genius could be declared a form of madness, while it no longer possesses even one great artist or philosopher; the age of the least originality and its greatest pursuit; the age which can boast of being the first to have exalted eroticism, but not in order to forget oneself, the way the Romans or the Greeks did in their Bacchanalia, but in order to have the illusion of rediscovering oneself and giving substance to one’s vanity.

...maybe being an artist is also really about the work. It’s not about standing up and trumpeting one’s own genius to a throng of adoring inferiors, agog with admiration. Maybe an artist is simply one who does an artist’s work, over and over. A process, not a paragon.

Generally, a mood will run its course in an inteligent man; if a woman doesn't puncture it prematurely, the man will puncture it himself. He will regain his senses somewhere along the way; he will say, "Now wait, we had better think about this." That is, if his wife hasn't said five minutes before, "Now, dear, don't you think we had better think about this?" Because then he won't, of course. If a woman is needling, it is doubly hard for a man to come out of a mood. That intensifies it. A man is really in a kind of travail when he is in a mood. He needs help, not needling, but feminine help. He probably won't thank you for it, but inside he will be awfully grateful. When a woman has to deal with a man in a mood, she generally does the wrong thing. She generally gets her animus out, that nasty thing, and says, "Now, look, this is utter nonsense, stop it. We don't need any more fishline leader." That is just throwing gasoline on the fire. There will be an anima-animus exchange, and all will be lost. The two are in the right hand and in the left hand of the goddess Maya, and you might as well give up for the afternoon. There is, however, a point of genius that a woman can bring forth if she is capable of it and willing to do it. If she will become more feminine than the mood attacking the man , she can dispel it for him. But this is a very, very difficult thing for a woman to do. Her automatic response is to let out the sword of the animus and start hacking away. But if a woman can be patient with a man and not critical, but represent for him a true feminine quality, then, as soon as his sanity is sufficiently back for him to comprehend such subtleties, he will likely come out of his mood. A wife can help a great deal if she will function from her feminine side in this way. She has to have a mature feminity to do this, a femininity that is strong enough to stand in the face of this spurious femininity the man is producing.

He [Shakespeare] was a wordsmith who loved to act and to see things from many points of view.(...) His genius lay in being able to see all sides of an argument.

Creativity in a man is directly linked with his inner feminine capacity for growth and creation. Genius in a man is his interior feminine capacity to give birth; it is his masculinity which gives him capacity for putting that creativity into form and structure in the outer world.

Perhaps for one second you would sit on the lid of your irreducible ego and listen to me. I regard you, masculine or feminine, as the greatest genius the world has ever produced. I agree you have a superior knowledge of your own affairs and are far more capable than the Consulate, for example, of weighing up the risks. Suppose even, for the sake of conjecture, that I don’t give a brass bagcheek whether the first Tartar you meet doesn’t drag you back to his tents and elect you Broody Mother to the whole bloody tribe. All I am saying is that, first, if anything happens to you, I’ve got to face Francis Crawford and also your uncle.

Emotions aren’t a bug in the programming, something left over from your malfunctioning lizard brain or incomplete childhood. You do not have these weird, unwieldy emotions that happen mysteriously to you, and you simply need to tolerate them, like that crazy uncle you have to sit next to at Thanksgiving dinner. Your emotions aren’t a mistake; they are some of the best parts of you. Feelings aren’t a design flaw; they are divine in origin.

Lots of talk lately about the GREAT AMERICAN NOVEL that seems to be exclusively masculine. And how many of the characters in the GENIUS BOOKS are likable? Is Holden Caulfield likable? Is Meursault in The Stranger? Is Henry Miller? Is any character in any of these system novels particularly likable? Aren’t they usually loathsome but human, etc., loathsome and neurotic and obsessed? In my memory, all the characters in Jonathan Franzen are total douchebags (I know, I know, I’m not supposed to use that, feminine imagery, whatever, but it is SO satisfying to say and think). How about female characters in the genius books? Was Madame Bovary likable? Was Anna Karenina? Is Daisy Buchanan likable? Is Daisy Miller? Is it the specific way in which supposed readers HATE unlikable female characters (who are too depressed, too crazy, too vain, too self-involved, too bored, too boring), that mirrors the specific way in which people HATE unlikable girls and women for the same qualities? We do not allow, really, the notion of the antiheroine, as penned by women, because we confuse the autobiographical, and we pass judgment on the female author for her terrible self-involved and indulgent life. We do not hate Scott Fitzgerald in “The Crack-Up” or Georges Bataille in Guilty for being drunken and totally wading in their own pathos, but Jean Rhys is too much of a victim.

I'm a victim of penis envy (said Laura) so I can't ever be happy or lead a normal life. My mother worked as a librarian when I was little and that's not feminine. She thinks it's deformed me. The other day a man came up to me in the bus and called me sweetie and said, "Why don't you smile? God loves you!" I just stared at him. But he wouldn't go away until I smiled, so finally I did. Everyone was laughing. I tried once, you know, went to a dance all dressed up, but I felt like such a fool. Everyone kept making encouraging remarks about my looks as if they were afraid I'd cross back over the line again; I was trying , you know, I was proving their way of life was right, and they were terrified I'd stop. When I was five I said, "I'm not a girl, I'm a genius," but that doesn't work, possibly because other people don't honor the resolve. Last year I finally gave up and told my mother I didn't want to be a girl but she said Oh no, being a girl is wonderful. Why? Because you can wear pretty clothes and you don't have to do anything; the men will do it for you. She said that instead of conquering Everest, I could conquer the conqueror of Everest and while he had to go climb the mountain, I could stay home in lazy comfort listening to the radio and eating chocolates. She was upset, I suppose, but you can't imbibe someone's success by fucking them.

How does your Grace prefer to be addressed?” asked Charm. After all, “Major Nathair” and as a man was how they had been introduced, but they had appeared in a gown in the ladies’ gallery at the Assembly Hall and been referred to as a woman by Count Seabrough. Charm’s guest hadn’t sat down, and now leaned elegantly against the conservatory’s framework. Long and elegant. As if they were a man and this utterly unthreatened, completely self-assured. As if they owned the space they took up by the right of their mere existence, instead of existing in a space borrowed from others. And that, oh genius that it was, was the surest part of the guise. The major knew their worth to a point of surety that, in a woman, would be overweaning arrogance. As a woman they would not be beautiful. It was their audacity that made them breathtaking. Major Nathair’s thin lips curled up in amusement. “Do you know, no one has ever asked me that?” “That seems a sad lack of manners in those who have the good fortune to be closely enough acquainted with you. Obviously, I shall refer to you as masculine if I speak of you as Major Nathair to others, and in feminine if I have any reason to refer to Your Grace by your Imperial title; but as this is a private space, and Orchard House is very good at keeping secrets, is there a manner of address you prefer?

maybe being an artist is also really about the work. It’s not about standing up and trumpeting one’s own genius to a throng of adoring inferiors, agog with admiration. Maybe an artist is simply one who does an artist’s work, over and over. A process, not a paragon.

Therefore, it is not off the point if, along with the forgotten feminine principles, there are no longer good carpets at the kings court and they need one, for they have again to find the pattern in of life. In this way the story tells us that the subtlety of the inventions of the unconscious and the secret design woven into a human life are infinitely more intelligent than human consciousness and more subtle and superior than man could invent. One is again and again overwhelmed by the genius of that unknown mysterious something in our psyche which is the inventor of our dreams, It picks elements from day impressions, from something the dreamer has read the evening before in the paper, or from a childhood memory, and makes a nice kind of potpourri out of it, and only when you have interpreted its meaning do you see the subtlety and the genius of each dream composition. Every night we have that carpet weaver at work within us, who makes those fantastically subtle patterns, so subtle that, unfortunately often after an hour's attempt to interpret them, we are unable to find out the meaning. We are just too clumsy and stupid to follow up the genius of that unknown spirit of the unconscious which invents dreams. But we can understand that this carpet is more subtly woven than any human could ever achieve.

CCC 970: "Mary's function as mother of men in no way obscures or diminishes this unique mediation of Christ, but rather shows its power. But the Blessed Virgin's salutary influence on men . . . flows forth from the superabundance of the merits of Christ, rests on his mediation, depends entirely on it, and draws all its power from it.

Mary, I depend on you totally as a child on its mother, that in return you may possess me, protect me, and transform me into Jesus. May the light of your faith dispel the darkness of my mind; may your profound humility take the place of my pride; may your contemplation replace the distractions of my wandering imagination; and may your virtues take the place of my sins. Lead me deeper into the mystery of the cross that you may share your experience of Jesus’s thirst with me. O most pure heart of Mary, allow me to enter your heart, to share your interior life. You see and know my needs, help me to do “whatever Jesus tells me” … that my human needs may be changed into thirst for God alone. I desire to discover, satiate, and proclaim Jesus’s thirst, but I know all too well my weakness, nothingness, and sin. Mother, may this covenant of consecration with you be the hidden strength in my life that you may use me to satiate your Son to the full. Let this be my only joy…and you will be the cause of that joy.” – St. Teresa of Calcutta (Mother Teresa. Angelo D. Scolozzi, editor. Thirsting

For the moment all discipline seems painful rather than pleasant; later it yields the peaceful fruit of righteousness to those who have been trained by it.

Strive for peace with all men, and for the holiness without which no one will see the Lord.

Her calmness through her sufferings serve as a testament to a virtuous soul that knew Heaven is infinitely better than earth—and if God permits bodily death, it is so that more good can be brought from it.

Even Margaret’s beloved Wordsworth fell short on the issue; for him, she quoted ruefully, the ideal woman should not be “Too bright and good / For Human nature’s daily food.” Margaret drew on examples from ancient myth, wherein “the idea of female perfection is as fully presented as that of male,” to show that women had been accorded greater respect in earlier times. In Egyptian mythology, “Isis is even more powerful than Osiris,” and “the Hindoo goddesses reign on the highest peaks of sanctification.” In Greek myth, “not only Beauty, Health and the Soul are represented under feminine attributes, but the Muses, the inspirers of all genius,” and “Wisdom itself . . . are feminine.” Margaret’s dream was to bring the dispirited “individual man” together with the disempowered woman—unite the two sides of the Great Hall’s classroom—and create, by merging the best attributes of each, “fully” perfected souls. Then, a nation of men and women will for the first time exist, she might have said, amending Waldo Emerson’s visionary claim.

Let go of your plans. The first hour of your morning belongs to God. Tackle the day’s work that he charges you with, and he will give you the power to accomplish it.

The important key for Christian women to combat the prideful and false “neo-feminist” mantras in the secular world is to recall that God is never supposed to be “in balance” with everything else in our life. The glory of God must flood every corner of our lives. That’s the very definition of Him being our Lord. He’s everywhere and sees everything, so we live our lives accordingly. We don’t turn our femininity into an idol.

Everyone around us has equal dignity, and we can’t trample over it through a pursuit of power and control; in fact, we want to magnify the Lord so that others recognize their own dignity!

Lord, keep your grace in my heart. Live in me so that Your grace may be mine. Make it that I may bear everyday some flowers and new fruit.” – St. Gianna

Genius of the head won't do any good to the world if there is no love - what's needed is genius of the heart.

...unlike Aretha, [Al Green's] only rival vocally, Al never sold himself short in the studio. Where the albums follow the vagaries of genius, the hits exploit Al's personal production line, every one a perfect soul record and a perfect pop record in whatever order suits your petty little values. Brashly feminine and seductively woman-friendly, he breaks free in a register that darts and floats and soars into falsetto with startling frequency and beguiling ease. He's so gorgeous, so sexy, so physically attractive that only masochists want to live without him.

Our age is not only Jewish, but also the most “feminine”; an age in which art represents only a sudarium of its humors; the age of the most gullible anarchism, without any understanding of the State and of justice; the age of the collectivist ethics of the species; the age in which history is viewed with the most astonishing lack of seriousness [historical materialism]; the age of capitalism and of Marxism; the age in which history, life, and science no longer mean anything, apart from economics and technology; the age when genius could be declared a form of madness, while it no longer possesses even one great artist or philosopher; the age of the least originality and its greatest pursuit; the age which can boast of being the first to have exalted eroticism, but not in order to forget oneself, the way the Romans or the Greeks did in their Bacchanalia, but in order to have the illusion of rediscovering oneself and giving substance to one’s vanity.

When a marriage begins the partners are like two discrete circles overlapping a little. The division between the two is great and each has specific tasks. As the marriage partners grow older, each learns a bit of the other's genius, and finally the two circles overlap more and more.