"...there was an enormous body of masculine opinion to the effect that nothing could be expected of women intellectually. Even if her father did not read out loud these opinions, any girl could read them for herself; and the reading, even in the nineteenth century, must have lowered her vitality, and told profoundly upon her work. There would always have been that assertion – you cannot do this, you are incapable of doing that – to protest against, to overcome. Probably for a novelist this germ is no longer of much effect; for there have been women novelists of merit. But for painters it must still have some sting in it; and for musicians, I imagine, is even now active and poisonous in the extreme. The woman composer stands where the actress stood in the time of Shakespeare. Nick Greene, I thought, remembering the story I had made about Shakespeare's sister, said that a woman acting put him in mind of a dog dancing. Johnson repeated the phrase two hundred years later of women preaching. And here, I said, opening a book about music, we have the very words used again in this year of grace, 1928, of women who try to write music. "Of Mlle. Germaine Tailleferre one can only repeat Dr. Johnson's dictum concerning a women preacher, transposed into terms of music. "Sir, a woman's composing is like a dog's walking on his hind legs. It is not done well, but you are surprised to find it done at all." So accurately does history repeat itself.
Thus, I concluded, shutting Mr. Oscar Browning's life and pushing away the rest, it is fairly evident that even in the nineteenth century a woman was not encouraged to be an artist. One the contrary, she was snubbed, slapped, lectured and exhorted. Her mind must have been strained and her vitality lowered by the need of opposing this, of disproving that. For here again we come within range of that very interesting and obscure masculine complex, which has had so much influence upon the women's movement; that deep-seated desire, not so much that she shall be inferior as that he shall be superior, which plants him wherever one looks, not only in front of the arts, but barring the way to politics too, even when the risk to himself seems infinitesimal and the suppliant humble and devoted. Even Lady Bessborough, I remembered, with all her passion for politics, must humbly bow herself and write to Lord Granville Leveson-Gower: "... notwithstanding all my violence in politics and talking so much on that subject, I perfectly agree with you that no woman has any business to meddle with that or any other serious business, farther than giving her opinion (if she is ask'd)." And so she goes on to spend her enthusiasm where it meets no obstacle whatsoever upon that immensely important subject, Lord Granville's maiden speech in the House of Commons. The spectacle is certainly a strange one, I thought. The history of men's opposition to women's emancipation is more interesting perhaps than the story of that emancipation itself. An amusing book might be made of it if some young student at Girton or Newnham would collect examples and deduce a theory – but she would need thick gloves on her hands, and bars to protect her of solid gold."