orld" accepts it as established.

If a man paints the sea, it is not to make you see and feel as a
sight of that same ocean would, but to make you see and feel how
he, personally, was affected by it; a matter surely of the narrowest
importance. The ultra-masculine artist, extremely sensitive,
necessarily, and full of the natural urge to expression of the sex, uses
the medium of art as ingenuously as the partridge-cock uses his wings in
drumming on the log; or the bull moose stamps and bellows; not narrowly
as a mate call, but as a form of expression of his personal sensations.

The higher the artist the more human he is, the broader his vision,
the more he sees for humanity, and expresses for humanity, and the less
personal, the less ultra-masculine, is his expression.

V. MASCULINE LITERATURE.

When we are offered a "woman's" paper, page, or column, we find it
filled with matter supposed to appeal to women as a sex or class; the
writer mainly dwelling upon the Kaiser's four K's--Kuchen, Kinder,
Kirche, Kleider. They iterate and reiterate endlessly the discussion
of cookery, old and new; of the care of children; of the overwhelming
subject of clothing; and of moral instruction. All this is recognized as
"feminine" literature, and it must have some appeal else the women would
not read it. What parallel have we in "masculine" literature?

"None!" is the proud reply. "Men are people! Women, being 'the sex,'
have their limited feminine interests, their feminine point of view,
which must be provided for. Men, however, are not restricted--to them
belongs the world's literature!"

Yes, it has belonged to them--ever since there was any. They have
written it and they have read it. It is only lately that women,
generally speaking, have been taught to read; still more lately that
they have been allowed to write. It is but a little while since Harriet
Martineau concealed her writing beneath her sewing when visitors came
in--writing was "masculine"--sewing "feminine."

We have not, it Is true, confined men to a narrowly construed "masculine
sphere," and composed a special literature suited to it. Their effect on
literature has been far wider than that, monopolizing this form of
art with special favor. It was suited above all others to the dominant
impulse of self-expression; and being, as we have seen essentially
and continually "the sex;" they have impressed that sex upon this art
overwhelmingly; they have given the