The nature of the female
One needs only to see the way she is built to realize that woman is not intended for great mental or for great physical labor. She expiates the guilt of life not through activity but through suffering, through the pains of childbirth, caring for the child and subjection to the man, to whom she should be a patient and cheering companion. Great suffering, joy, exertion, is not for her: her life should flow by more quietly, trivially, gently than the man's without being essentially happier or unhappier.
Women are suited to being the nurses and teachers of our earliest childhood precisely because they themselves are childish, silly and short-sighted, in a word big children, their whole lives long: a kind of intermediate stage between the child and the man, who is the actual human being, ‘man.’ One has only to watch a girl playing with a child, dancing and singing with it the whole day, and then ask oneself what, with the best will in the world, a man could do in her place.
Natural weapons
In the girl nature has had in view what could in theatrical terms be called a stage-effect: it has provided her with superabundant beauty and charm for a few years at the expense of the whole remainder of her life, so that during these years she may so capture the imagination of a man that he is carried away into undertaking to support her honorably in some form or another for the rest of her life, a step he would seem hardly likely to take for purely rational considerations. Thus nature has equipped women, as it has all its creatures, with the tools and weapons she needs for securing her existence, and at just the time she needs them; in doing which nature has acted with its usual economy. For just as the female ant loses its wings after mating, since they are then superfluous, indeed harmful to the business of raising the family, so the woman usually loses her beauty after one or two childbeds, and probably for the same reason.
Female truth
The fundamental defect of the female character is a lack of a sense of justice. This originates first and foremost in their want of rationality and capacity for reflexion but it is strengthened by the fact that, as the weaker sex, they are driven to rely not on force but on cunning: hence their instinctive subtlety and their ineradicable tendency to tell lies: for, as nature has equipped the lion with claws and teeth, the elephant with tusks, the wild boar with fangs, the bull with horns and the cuttlefish with ink, so it has equipped woman with the power of dissimulation as her means of attack and defence, and has transformed into this gift all the strength it has bestowed on man in the form of physical strength and the power of reasoning. Dissimulation is thus inborn in her and consequently to be found in the stupid woman almost as often as in the clever one. To make use of it at every opportunity is as natural to her as it is for an animal to employ its means of defence whenever it is attacked, and when she does so she feels that to some extent she is only exercising her rights. A completely truthful woman who does not practice dissimulation is perhaps an impossibility, which is why women see through the dissimulation of others so easily it is inadvisable to attempt it with them. – But this fundamental defect which I have said they possess, together with all that is associated with it, gives rise to falsity, unfaithfulness, treachery, ingratitude, etc. Women are guilty of perjury far more often than men. It is questionable whether they ought to be allowed to take an oath at all.
Feminine charms
Only a male intellect clouded by the sexual drive could call the stunted, narrow-shouldered, broad-hipped and short-legged sex the fair sex: for it is with this drive that all its beauty is bound up. More fittingly than the fair sex, women could be called the unaesthetic sex. Neither for music, nor poetry, nor the plastic arts do they possess any real feeling or receptivity: if they affect to do so, it is merely mimicry in service of their effort to please. This comes from the fact that they are incapable of taking a purely objective interest in anything whatever, and the reason for this is, I think, as follows. Man strives in everything for a direct domination over things, either by comprehending or by subduing them. But woman is everywhere and always relegated to a merely indirect domination, which is achieved by means of man, who is consequently the only thing she has to dominate directly. Thus it lies in the nature of women to regard everything simply as a means of capturing a man, and their interest in anything else is only simulated, is no more than a detour, i.e. amounts to coquetry and mimicry.
Absence of genius
Nor can one expect anything else from women if one considers that the most eminent heads of the entire sex have proved incapable of a single truly great, genuine and original achievement in art, or indeed of creating anything at all of lasting value: this strikes one most forcibly in regard to painting, since they are just as capable of mastering its technique as we are, and indeed paint very busily, yet cannot point to a single great painting; the reason being precisely that they lack all objectivity of mind, which is what painting demands above all else. Isolated and partial exceptions do not alter the case: women, taken as a whole, are and remain thorough and incurable philistines: so that, with the extremely absurd arrangement by which they share the rank and title of their husband, they are a continual spur to his ignoble ambitions. They are sexus sequior, the inferior second sex in every respect: one should be indulgent toward their weaknesses, but to pay them honour is ridiculous beyond measure and demeans us even in their eyes.
