What then is this thing called “masculinity”?
I could have started with an assertion instead of a question—the search for, not the certainty about “masculinity.”
Between the question and the statement lies one of the major fault lines in the culture wars of the twenty-first century. A query puts the other person, the interlocutor of this imaginary dialogue, in the position of knowing and so of controlling the discourse. The questioner is therefore subordinating the self to that other, making the self a provider of service—here the question itself, which provokes the interlocutor to the assertion of a point of view. It is, in short, not a very masculine way of starting off this essay because to be masculine is always to be assertive, always to know, always to control.
Or so they say, those people who take what I’ll call the masculinist side in the culture wars. From that perspective, to grant primacy to another is to feminize oneself, on the understanding that “femininity” is passivity. A little stroll through the index of Freud’s Civilization and Its Discontents underscores the point of view. The reader who looks up “feminine” in the index will be directed to the lemma, “masculine and feminine.” Already “feminine” is made passive, subservient to the index power of “masculine.” Under that heading, then, the reader will be further directed to consider as well “active and passive.” Go to the page indicated for “masculine and feminine” in the index, and Freud pulls the other finger, as our British friends might say: “For psychology the contrast between the sexes fades away into one between activity and passivity, in which we far too readily identify activity with maleness and passivity with femaleness.”
Freud doesn’t only pull the other one. He also seems to pull his punches a bit when he adds that the characteristics of activity and passivity that he has just associated with “maleness” and “femaleness” is “a view which is by no means universally confirmed in the animal kingdom.” Apparently “maleness” and “femaleness” do not trace activity and passivity “in the animal kingdom.”
To make the punch-pulling even more definitive, Freud adds that “every human being displays both male and female instinctual impulses, needs and attributes.” Psychology and biology are simply not commensurate.
It follows therefore that the lemmas in the index do not quite match the terms of Freud’s discussion. What he calls “maleness” and “femaleness” is ultimately the “anatomy,” as he says, the biology of male and female. But the “instinctual impulses, needs and attributes” of every human evidently do not coincide with the anatomy of the sexes. The psychology expressed in the notions of passivity/femininity and activity/masculinity does not coincide with biology/anatomy, maleness and femaleness.
Passivity and activity are, as Freud explicitly says, a matter of psychology. Those characteristics may well incorporate questions of anatomy as one element of masculinity and femininity, but biological/anatomical sex is simply one aspect of gender, masculinity and femininity. Although the index subsumes gender into sex, the analysis of male/female and of masculine/feminine in fact radically distinguishes between the two categories. Reading Freud’s comments carefully suggests that he is uncomfortable, at least, with distinguishing sex from gender. Nonetheless, it is also the case that psychology leads to questions of gender, of masculinity and femininity, and not of sex, “maleness” and “femaleness.”
What seems to be a pulling of punches, in other words, is Freud’s constant, uncomfortable elision of sex and gender. It’s an essential element of that troubling chapter four of Civilization and Its Discontents, in which Freud establishes the origins of male supremacy and activity—gendered categories—in the biology of sexual difference. In that chapter he concludes with what to him is an inevitably female subordination and passivity within cultural practices—the “civilization” of the books title. In biology we have sex; in cultural practice we have gender. But then Freud essentializes gender, making it essentially indistinguishable from sex.
It turns out, then, that in the current culture wars that we endure thanks to the desire on the part of some people to make America great again, which amounts taking the country back to the social realities of the eighteenth and nineteenth centuries, the right-wing essentialists are taking a Freudian approach to sex and gender. Without exception, over and over and over again, people in the right-wing camp conflate sex and gender. The conflation is omnipresent. The reporter who asks if there are more than two genders really means to ask whether there are more than two sexes. But the question is couched in terms of gender, and the respondent answers also in terms of gender: No, of course not—there are only two genders. And then the doubling down with the observation that one has either XX, “female,” chromosomes, or XY, “male,” chromosomes. The erroneous, reductive account of genetic variability aside, as with Freud, the right wing subsumes the psychology of gender into the biology of sex.
The conflation then takes the same direction as does the index of Civilization and Its Discontents. The male/masculine dyad is assertive, aggressive, dominant; the female/feminine dyad is passive, docile, subordinate. And to finish off the right-wing fantasy, that’s the way God planned it—Adam and Eve, you know.
What follows from those conflations is the assumption that culturally determined behaviors and attitudes are assumed to be the inevitable result of sexual rather than psychological differences. Male assertion/aggression/dominance means that men love weapons and violence and powerful cars and relations in which acquisition rather than relation is important. Historical practices in the marriage markets of the past demonstrate the point. Marriage is a matter of alliance—“Hey ho for alliance,” as Beatrice says in Much Ado About Nothing—and not of love or affection. Love, in fact, weakens the man, who then demonstrates that weakness much as Benedick does, also in Much Ado, by shaving himself so his cheeks are as smooth as a girl’s, and perfuming himself, and washing himself, and painting himself—with all of which Benedick’s friends, Claudio and Don Pedro, mock him when he comes to seek permission to woo Beatrice.
Before he falls in love, Benedick maintains the excellence of masculinity by observing how love has transformed Claudio himself:
I have known when there was no music with him [Claudio] but the drum and the fife; and now had herather hear the tabour and the pipe: I have known when he would have walked ten mile a-foot to see agood armour; and now will he lie ten nights awake, carving the fashion of a new doublet. He was wont to speak plain and to the purpose, like an honest man and a soldier; and now is he turned orthography; his words are a very fantastical banquet, just so many strange dishes.
Clearly love is dangerous to male assertion/aggression/dominance. The transformation is so radical that Benedick cannot conceive that he will ever be overcome with love—"love may transform me to an oyster; but I'll take my oath on it, till he have made an oyster of me, he shall never make me such a fool.”
It’s easy to miss in all this, but the transformations that Benedick ultimately exhibits—shaven, perfumed, washed, and painted—as well as what he perceives as Claudio’s transformations are in effect the feminization of the male. In point of a male’s behavior, love transforms the men, not into oysters but into feminine men. In other words, the play demonstrates repeatedly that sex, the maleness of Benedick and Claudio, is not the same thing as the gender that the men exhibit in their behavior and attitudes—in their psychology, in short.
The same thing works in relation to Beatrice. After the falling out of Claudio and his wife-to-be, Hero, caused by the very assertive, masculine manipulations of Don John, Beatrice expresses precisely the intersection of sex and gender:
O that I were a man for his [Don John’s] sake! or that I had any friend would be a man for my sake! Butmanhood is melted into courtesies, valour into compliment, and men are only turned into tongue, andtrim ones too: he is now as valiant as Hercules that only tells a lie and swears it. I cannot be a man with wishing, therefore I will die a woman with grieving.
In the language of our current century, “manhood” has become feminized while “womanhood” remains bound by the gendered rules of behavior.
The feminization of men that Beatrice underscores is, perhaps, an effect of what Freud would call “civilization.” There is no doubt that the assertion/aggression/dominance of men has become increasingly less acceptable. At the same time, “feminine” behaviors have become more and more acceptable, even required for men. Benedick scorns Claudio’s love of “the tabour and the pipe,” but in the court of Louis XIV, just some fifty or sixty years after Shakespeare wrote his play, a shaven, perfumed, washed, and painted king, in his high heels, would dance to music of Lully, Couperin, Charpentier, all more refined than the tune of a tabour and a pipe.
Men retain their social power, of course, from which stems the real basis for masculine assertion/aggression/dominance. As Mary Wollstonecraft points out in A Vindication of the Rights of Woman, the impetus of social training and expectations works to support the conflation of sex and gender. Even though Benedick and Claudio, Louis XIV and Cardinal Mazarin, and all the other “feminized” men of the past might be rendered weak by love, as Benedick puts it, or by the refinements of civilization, at the same time social practices recuperate masculine assertion/aggression/dominance.
Focused on the realities of how female behavior and attitudes are gendered “feminine,” Wollstonecraft writes,
I attribute to a false system of education, gathered from the books written on this subject by men, who, considering females rather as women than human creatures, have been more anxious to make them alluring mistresses than rational wives; and the understanding of the sex has been so bubbled by this specious homage, that the civilized women of the present century, with a few exceptions, are only anxious to inspire love, when they ought to cherish a nobler ambition, and by their abilities and virtues exact respect.
In short, the curriculum of female education forces a gendered femininity on the women who otherwise would be as capable of “masculine” behavior and attitudes as the men.
Wollstonecraft goes on to argue that some men “who are, like them [i. e. women], sent into the world before their minds have been stored with knowledge or fortified by principles,” end up, like women, “practic[ing] the minor virtues with punctilious politeness.” The men Wollstonecraft has in mind, paradoxically from a twenty-first century perspective, are soldiers, who
from continually mixing with society . . . gain, what is termed a knowledge of the world; and this acquaintance with manners and customs has frequently been confounded with a knowledge of the human heart.”
Wollstonecraft is describing the peculiar education of an aristocratic soldiery in late 18th and 19th century Britain. The younger sons of aristocrats, absent any hope of inheriting title and property, bought their way into the officer class and, with no training, no preparation, and no education to speak of, spent most of their time in the sitting rooms and ballrooms of high society, mixing with women, finding themselves “civilized” by their encounter with women. The result, then, is the feminization of the officer class that Wollstonecraft underscores. Wollstonecraft’s point is that social practice produces the psychology associated with femininity even though the sex/biology is male. Social practices in education work to construct gendered behavior.
Oddly, right wingers recognize the point that Wollstonecraft makes. They regularly mock feminine males and masculine women. That has been the case for a long long long time. One example, published in 1620: Hic Mulier: or, The Man-Woman. I’m attaching an image of the title page, both to get the full title in here as well as to highlight the frontispiece that substitutes for a colophon, showing a woman about to be shorn of all her hair and so made to look like the an in the portrait held by the woman on the right.

The title plays on the “false Latine” that combines the masculine demonstrative article hic, “this,” with the feminine pronoun, mulier, “woman.” The point is to demonstrate that
since the daies of Adam women were never so Masculine [as they now are]; Masculine in their genders and whole generations, from the Mother, to the youngest daughter; Masculine in Number, from one to multitudes; Masculine in Case [i .e clothing], even from the head to the foot; Masculine in Moode, from bold speech, to impudent action; and Masculine in Tense: for (without redresse) they were, are, and will be still most Masculine, most mankinde, and most monstrous.
The text goes on to mock women who take on masculine gender behavior and identities. As always with texts like this the implication is that the man who wrote it feels that his own masculine authority is undermined by such women, and that he is addressing an audience of men who feel similarly threatened. Think the bro-sphere of our modern world.
At the same time, the writer explicitly acknowledges that sex and gender are two different things. The woman is sexed female, as Jeannette Winterson might say in Sexing the Cherry, but their “case,” their clothing, their behavior, their attitudes—all of those are couched in terms of masculine identity.
I’ll point out in passing that Moll Cutpurse, the hero of The Roaring Girl, one of Thomas Middleton’s and Thomas Dekker’s city comedies, is masculine in exactly the same way as the pamphlet describes the “man-woman” that it mocks. But Moll is not mocked. She is a good human being, a woman who prefers to enact masculine attitudes and behaviors. And here she is, from the title page of the 1611 edition.

Not all men, it seems, felt as threatened by such women as is the pamphleteer.
At any rate, what our current right wingers don’t understand is that their mockery in effect acknowledges that sex and gender are two different things. In the end, then, the right wingers undermine their own reductive conflation of sex and gender.
And so I come back to the initial question: what is masculinity? From what I gather in Freud, Shakespeare, Wollstonecraft, Hic Mulier, and Middleton and Dekker, it is exactly parallel to femininity—a set of attitudes and behaviors imposed and policed by social discourses from which psychological identities derive.
What attitudes and behaviors fall in which category changes as discourses and practices change. Once upon a time childbirth was a quintessentially feminine activity, undertaken by women obviously, but overseen by midwives, aunties, gossips—all the women who might be of use. And then childbirth became a masculine activity, not because men gave birth but because male doctors arrogated the practice to themselves and made it a matter of domination and control. And now childbirth is swinging back—not so much to a feminine activity but to an ungendered one, over which women more than men have influence. So too so many other practices. Attending to the tabour and pipe is feminine until the king begins to do so, and then it's masculine—and eventually also ungendered. Cooking is feminine so long as it involves hearth and home, but when it intersects commerce and status it becomes a masculine endeavor undertaking by male chefs—until now, when in the orbit of commerce and status cooking too is a neutral activity.
So gender is infinitely malleable, and perhaps the binary of masculine and feminine is slowly dissolving under the influence of new discourses and new practices. In that context, of course male and female sex represent a discourse associated with gender. But not to make a mystery of things, sex and gender are not the same thing, not by a long shot.