Scheherazade
goes West: different cultures, different harems
Fatema Mernisi
Washington Square Press, 2001
p. 26
…the Scheherazade ballet … made me understand that women's obsequiousness,
their readiness to obey, is a distinctive feature of the Western harem fantasy.
…the second distinctive feature of the Western harem: Intellectual exchange
with women is an obstacle to erotic pleasure. Yet in real or imagined Muslim
harem, cerebral confrontation with women is necessary to achieve orgasm. Could
it be that things are so different in the West? I wondered. Could it be that
cultures manage emotions differently when it comes to structuring erotic
response?
p. 51
…Civilizations will flourish when men learn to have an intimate dialogue with
those closest to them, the women who share their beds. … Any reflection on
modernity as a chance to eliminate despotic violence in the Muslim world today
necessarily takes the form of a plea for feminism. …the debate on democracy
soon drifts into a debate on women's rights and vice verse. The mysterious bond
existing between pluralism and feminism is today's troubled Islamic world was
eerily and vividly foreshadowed by the Scheherazade-Shahrayar tales.
p. 55
…the Arab elite, often encouraged by their despotic rulers, condemned The
Thousand and One Nights to oral history for centuries and prevented it from
gaining the credentials of a written heritage. Not until the nineteenth century,
one hundred years after the Europeans, who had the written text as early as
1704, were the tales finally published in Arabic! And none of the first editors
were Arabs!
The first edition of the Arabic text was published in Calcutta in 1814 by a
Muslim Indian, Sheik Ahmad Shirawani, who was an instructor of Arabic at
Calcutta's Fort Williams College. The second edition of the Arabic text is the
1824 Breslau (Germany) edition and the editor was Maximilian Habicht. A decade
later, Arab publishers began making money with the written text of the Nights,
starting with the Egyptian Bulaq edition printed in Cairo in 1934.
p. 90-1
According to Kant, a "normal" woman's brain is programmed to "the
finer feeling." She must relinquish "the deep understanding, abstract
speculations, or branches of knowledge useful but dry" and leave them to
men. Writes Kant: "Laborious learning, even if a woman should greatly
succeed in it, destroys the merits that are proper top her sex, and because of
their rarity they can make of her an object of cold admiration; but at the same
time they will weaken the charms with which she exercises her great power over
the other sex." The discovery of Kant's split between beauty and brains
scared me at first. What a terrible choice Kant's woman has to face, I
thought-beauty or intelligence. It is as cruel a choice as the fundamentalist's
thread: veiled and safe, or unveiled and assaulted.
…
Kant's message is quite basic: Femininity is the beautiful, masculinity is the
sublime. The sublime is, of course, the capacity to think, to rise higher than
the animal and the physical world. And you'd better keep the distinction
straight, because a woman who dares to be intelligent is punished on the spot:
She is ugly. The tone in Kant's book is as cutting as that of a Muslim Imam. The
only difference between an Imam and Kant, who is considered to be "the
chief luminary of the German Enlightenment," is that the philosopher's
frontier does not concern the division of space into private (women) and public
(men) realms, but into beauty (women) and intelligence (men). Unlike Harun
Ar-Rachid, a caliph who equated beauty with erudition, and paid astronomical
sums for the witty jarya in his harem, Kant's ideal woman was speechless. For
not only does great knowledge wipe out a woman's charm, according to Kant, but
exhibiting such knowledge kills femininity altogether: "A woman who has a
head full of Greek, like Mme Dacier, or carries on fundamental controversies
about mechanics, like the Marquise de Chatelet, might as well even have a
beard." Madame Dacier (1654-1720) translated the Iliad, the Odyssey, and
other Greek and Latin classics into French, and the Marquise de Chatelet, the
companion of Voltaire, won a prize in 1738 from the French Academy of Science
for an essay on the nature of fire.
p. 93-4
The Caliph asked Tawaddud:
"What is your name?" to which she answered,
"My name is Tawaddud." He then inquired,
"O Tawaddud, in what branches of knowledge dost thou excel?" to which
she answered,
"O my lord, I am versed in syntax and poetry and jurisprudence and exegesis
and philosophy; and I am skilled in music and the knowledge of the Divine
ordinance and in arithmetic and geodesy and geometry and the fables of the
ancients…and I have studied the exact sciences, geometry and philosophy and
medicine and logic and rhetoric and composition; and I have leant many things by
rote and am passionately fond of poetry. I can play the lute and know its gamut
and notes and notations and the crescendo and diminuendo. If I sing and dance, I
seduce, and if I dress and scent myself, I slay. In summary, I have reached a
pitch of perfection such as can be estimated only by those of them who are
firmly noted in knowledge."
In this dialogue between the master and the slave, Tawaddud tries to sell
herself. The few minutes of attention that the Caliph grants her is her chance
to compete not only with other women in the harem but also with all the male
scholars and artists swirling around the palace, hoping to entertain the ruler.
A harem woman had no other alternative but to invest in her intellect. To follow
Kant's advice, and cultivate intellectual mediocrity, would have been suicidal.
…
Isn't it strange, I thought upon reading this, that in the medieval Orient,
depots like Harun Ar-Rashid appreciated defiantly intelligent slave-girls, while
in enlightened eighteenth-century Europe, philosophers like Kant dreamt of
silent women! Such a bizarre separation between feeling and reasoning! In Kant's
enlightened West, the world is not populated by a single race of humans who
share the capacity to feel and think, but by two distinct kinds of creatures:
those who feel (women) and those who think (men).
p. 185
The seventeenth century, Christiane went on-that century of enlightenment, when
humanism and the cult of reason flourished-was also the century of Moliere and
other like-minded men, who achieved enormous success by belittling educated
women. …women who aspired to educate themselves about scientific discoveries
were portrayed as ugly and repulsive.
p. 186
"Yes, sure, women get the jobs," Christiane said. "But everywhere
you see powerful men surrounding themselves with younger women to destabilize
the older and more mature women who have reached higher positions. A French
company might be housed in a modern glass building on the Champs Elysees, but
inside, the atmosphere is still that of a repressive harem. Men feel insecure or
jealous when women in senior positions insist on earning as much as they
do."
p. 192
The basis of misogyny is actually quite weak, resting only on the distribution
of space. If the women invade the public space, male supremacy is seriously
jeopardized. And in actuality, modern Muslim men have already lost their power
base, as their monopoly over public space has been eroded with the massive
entrance of women into scientific fields and the professions. … In oil-fuelled
fundamental regimes, women's appetite for scientific fields is ever stronger:
One third of all the scientists and technicians in the Islamic Republic of Iran
are veiled ladies (32.6%). Kuwait's oil-drenched sheiks still deny women the
right to vote, but 36% of the country's scientific "manpower" is
female. Indonesian and Malaysian women also seem insatiable, holding down 40%
and 44.5% of their respective countries' scientific positions.
p. 201
…I prayed and meditated, though I did so while standing in the ocean. This is
a small but essential detail whose meaning probably escapes my dear colleague:
Modern Muslin women have gained access to the ocean. They have pulverized the
harem frontier and gained access to public spaces. Veiled or unveiled, we women
are in the streets today by the millions. To meditate in a harem, sitting inside
four walls, is completely different from meditating while standing in the
Atlantic waves. In the ocean, I feel connected to the cosmos-I am as powerful as
Scheherazade's "Lady with the Feather Dress." With access to
state-paid education, computers, and the Internet, Muslim women have gained
wings.
p. 213
…I have finally found the answer to my harem enigma. Unlike the Muslim man,
who uses space to establish male domination by excluding women from the public
arena, the Western man manipulates time and light. He declares that in order to
be beautiful, a woman must look fourteen years old. If she dares to look fifty,
or worse, sixty, she is beyond the pale. By putting the spotlight on the female
childe and framing her as the ideal of beauty, he condemns the mature woman to
invisibility. In fact, the modern Western man enforces Immanuel Kan's
nineteenth-century theories: To be beautiful, women have to appear childish and
brainless. When a woman looks mature and self-assertive, or allows her hips to
expand, she is condemned as ugly. Thus, the walls of the European harem separate
youthful beauty from ugly maturity.
These Western attitudes, I thought, are even more dangerous and cunning than the
Muslim ones because the weapon used against women is time. Time is less visible,
more fluid than space. The Western man uses images and spotlights to freeze
female beauty within idealized childhood, and forces the women to perceive
aging-that normal unfolding of the years-as a shameful devaluation. …This
Western time-defined veil is even crazier than the space-defined one enforced by
the Ayatollahs.
The violence embodied in the Western harem is less visible than in the Eastern
harem because aging is not attacked directly, but rather masked an aesthetic
choice. Yes, I suddenly felt not only very ugly but also quite useless in that
store, where, if you had big hips, you were simply out of the picture. You
drifted into the fringes of nothingness. By putting the spotlight on the
prepubescent female, the Western man veils the older, more mature woman,
wrapping her in shrouds of ugliness.
p. 218
…"A cultural fixation on female thinness is not an obsession about female
beauty," explains Wolf. It is "an obsession about female obedience.
Dieting is the most potent political sedative in women's history; a quietly mad
population is a tractable one." … '…concerns with weight leads to a
"virtual collapse of self-esteem and sense of effectiveness' … constantly
reminding women of their physical appearance destabilizes them emotionally
because it reduces them to exhibited objects.
p. 219
…Being frozen into the passive position of an object whose very existence
depends on the eye of its beholder turns the educated modern Western woman into
a harem slave.