In our time it has been said, that one of the reasons why the young man does not marry is often that he is fearful of the superiority of the college-bred young woman. He knows that he himself has no more intelligence than is absolutely necessary for the proper conduct of life, and he fears that his "breaks" in grammar, in literature, in taste for art, in social things, may make him the laughing-stock of the educated woman. We would be reasonably sure, most of us, that at least this is the first time in the world's history that anything like this has happened. It is rather interesting, however, to read some of the reflections of the Roman satiric poets on the state of affairs that developed in Rome as a consequence of study and lectures and at least supposed scholarship becoming the fashion. "I hate the woman," says Juvenal, "who is always turning back to the grammatical rules of Palaemon and consulting them; the feminine antiquary who recalls verses unknown to me, and corrects the words of an unpolished friend which even a man would not observe. Let a husband be allowed to make a solecism in peace." I recommend the reading of Juvenal to the college young woman of the modern time, not only for its classic but for its social value. Among the Greeks the position of women was quite different from what is usually supposed. It is only too often the custom to think that the Greek women, confined to a great degree to their {238} houses, sharing little in the public discussions, coming very slightly into public in any way, were more or less despised by the men and tolerated, but surely not much respected. The place of women in life at any time can be best judged from the position assigned them by the dramatic poets of any period. The larger the mind of the dramatic poet, the more of a genius he is, the more surely does his estimate expressed in literature represent life as he saw it. Ruskin pointed out that Shakespeare has no heroes and many heroines; that, while he has no men that stand in unmarred perfection of character, "there is scarcely a play that has not a perfect woman in it, steadfast in grave hope and errorless purpose; conceived in the highest heroic type of humanity." What is thus true of Shakespeare is just as true of the great dramatic poets of the Greeks. In practically all the extant plays of AEschylus, Sophocles and Euripides, women are the heroines. They are represented as nobler, braver, more capable of suffering, with a better appreciation of their ethical surroundings and the realities of life, than the men around them. As much as Antigone is superior to her quarrelsome brothers, as Alcestis rises above her selfish husband, as Tecmessa is superior to and would have saved Ajax if only he had permitted her, so everywhere do we find women occupying not a place of equality but a position of superiority.