The Wit of Women: Fourth Edition

The Story

The Wit of Women is a rich anthology and exploration of female humor, spanning centuries and continents, compiled and introduced by Kate Sanborn in the late 19th century. The book opens with a clear statement of purpose: to illuminate the often-neglected field of women’s wit, a domain traditionally overshadowed by the celebrated humor of men. Sanborn positions her work as a joyful discovery of a “fresh field” ripe for appreciation, promising readers a collection that both honors and surprises with the cleverness and sharpness of women’s humor.

The book’s structure is not a narrative in the traditional sense but rather a carefully curated journey through examples, anecdotes, epigrams, parodies, and sketches that showcase the wit of women from various eras and cultures. It begins with a historical and literary survey, highlighting notable female wits such as the French salonnières Madame du Deffand and Marguerite de Valois, whose cynical and concise remarks reveal a sophisticated, sometimes biting, humor. These early examples establish a tone of intellectual sharpness and social critique, often laced with irony and a keen awareness of human folly.

Moving forward, the book shifts to American soil, tracing the development of women’s wit in the young United States. Figures like Anne Bradstreet and Mercy Warren emerge as pioneers of literary humor and satire, their works reflecting both the earnestness and the social tensions of their times. Sanborn includes vivid sketches of rural and small-town life, where humor often arises from everyday struggles and local characters, such as the amusing disputes over a pig or the chaos of canal-boat travel. These scenes are rich with dialect and local color, grounding the wit in lived experience and community dynamics.

The book also delves into the social and political dimensions of women’s humor. It features satirical pieces on topics like Indian policy, women’s rights, and social conventions, revealing how humor serves as a tool for critique and resistance. Parodies of well-known literary works and public figures demonstrate women’s ability to engage with and subvert dominant cultural narratives. For example, the parodies of Kingsley’s “Three Fishers” and the playful imitations of other authors show a confident literary voice that is both playful and pointed.

Interspersed are dramatic sketches and dialogues that dramatize the challenges faced by women balancing domestic responsibilities with creative ambitions. Scenes from plays like “Nursery” and “Study” depict the interruptions and demands of family life, highlighting the tension between personal expression and societal expectations. These moments add emotional depth and realism to the collection, reminding readers that wit often arises not just from leisure but from navigating constraints.

The anthology concludes with a series of rapid-fire examples of repartee and badinage, illustrating the perennial strength of women’s conversational wit. These exchanges, often humorous and teasing, celebrate the social intelligence and verbal agility that women bring to everyday interactions. The book’s final pages offer a kaleidoscope of voices and styles, from the homespun humor of Uncle Ned and Aunt Anniky to the polished epigrams of literary figures, underscoring the diversity and vitality of women’s wit.

Throughout, Sanborn’s editorial voice is warm and admiring, yet precise and unpretentious. She neither romanticizes nor diminishes her subjects but presents them as complex individuals whose humor reflects their intelligence, struggles, and social contexts. The book ends on a note of hopeful anticipation, suggesting that the recognition of women’s wit is only beginning and that many more discoveries await.

The People

• Kate Sanborn: The compiler and editor, Sanborn is a literary guide and advocate for women’s humor. She wants to reveal and celebrate the wit of women, challenging the male-dominated literary canon. Her role is to gather, contextualize, and present these voices with respect and enthusiasm. She ends the book confident that women’s wit will gain wider recognition and appreciation.

• Madame du Deffand: A French salon hostess known for her sharp cynicism and sarcastic remarks. She embodies the intellectual wit of the French Enlightenment salons, unafraid to criticize even celebrated philosophers. Her wit is a weapon of social critique and personal defense, marked by brevity and a biting edge.

• Mercy Warren: An early American satirist whose work reflects the political and social issues of her time. She uses humor to engage with serious topics like trade and governance, blending satire with a patriotic spirit. Her wit is earnest but pointed, revealing the tensions of colonial and revolutionary America.

• Mrs. A. (from Julia Schayer’s drama): A fictional figure representing the struggles of women balancing domestic duties and creative work. She desires to write and contribute intellectually but is constantly interrupted by family demands and financial worries. Her story highlights the conflict between personal ambition and societal roles.

• Uncle Ned and Aunt Anniky: Characters from a humorous rural sketch, they represent the earthy, homespun wit of everyday people. Their quarrels and negotiations over a pig reveal the humor in ordinary life and human relationships, grounded in dialect and local customs.

• Miss Lucinda and Monsieur Leclerc: From a short story about a troublesome pig, Lucinda wishes to rid herself of the animal without harm, while Leclerc offers a mysterious, magical solution. Their interaction blends whimsy with practical concerns, illustrating the gentle humor found in small domestic dramas.

In Its Own Voice

The book offers many vivid lines that capture the spirit of women’s wit:

“A pipe is a pocket philosopher, a truer one than Socrates, for it never asks questions. Socrates must have been very tiresome, when one thinks of it.” This epigram by Ouida exemplifies the playful yet sharp humor women bring to philosophical reflection.

“You're right there, Tookey; there's allays two 'pinions: there's the 'pinion a man has of himsen, and there's the 'pinion other folks have on him. There'd be two 'pinions about a cracked bell if the bell could hear itself.” This homespun wisdom, rich in dialect, reveals the universal human experience of self-perception versus external judgment.

“Heaven knows what would become of our sociality if we never visited people we speak ill of; we should live like Egyptian hermits, in crowded solitude.” A wry observation on social hypocrisy and human nature’s contradictions.

“No female woman needn't think she was the equal of man; and I should go as a woman or stay to home.” This line from a spirited debate dramatizes the gender tensions and resistance women faced, voiced with humor and defiance.

“I 'clar to goodness, Massa Guy, If dat ain't really you! You say dat in your wash I sent You only one white vest; And as you'se passin' by you t'ought You'd call and get de rest.” A playful, rhythmic poem reflecting African American vernacular and humor, showing the cultural breadth of women’s wit.

What It's Really About

At its core, The Wit of Women is an argument for the recognition and appreciation of women’s humor as a vital and distinct cultural force. It challenges the prevailing notion that wit and humor are predominantly male traits, instead revealing a rich tradition of female wit that spans history, geography, and social class.

The book explores how women’s wit often arises in contexts of constraint—social, domestic, political—and serves as a means of coping, critique, and subtle resistance. Whether through epigrams, satire, parody, or everyday repartee, women’s humor negotiates the boundaries imposed by gender roles and societal expectations. It is both a mirror reflecting women’s lived realities and a sword cutting through hypocrisy and injustice.

The anthology also highlights the diversity of women’s wit: from the polished salons of 18th-century France to the rough-and-ready humor of rural America; from literary parodies to sharp social commentary; from playful domestic anecdotes to serious political satire. This variety underscores that women’s humor is not monolithic but multifaceted, shaped by culture, class, and individual personality.

Moreover, the book implicitly questions the cultural mechanisms that have historically marginalized or erased women’s contributions to humor and literature. By collecting and presenting these voices, Sanborn asserts the importance of reclaiming women’s place in the literary and cultural canon. The wit showcased here is not merely for entertainment but is a form of intellectual and social engagement.

Finally, the book touches on the tension between public and private spheres. Many excerpts reveal how women’s wit flourishes in private conversation, domestic settings, or informal social gatherings, spaces often overlooked by traditional literary history. This points to a broader theme about the value of everyday intelligence and the power of humor as a social glue and a form of empowerment.

Why Read It Today

The Wit of Women offers a unique window into the humor and intellect of women from a bygone era, making it a valuable read for those interested in literary history, gender studies, and cultural critique. Its warmth and precision invite readers into a world where laughter is both a weapon and a balm, where women’s voices emerge with clarity and charm.

Readers who appreciate historical perspectives on gender and humor will find this book rewarding. It reveals how women have long used wit to navigate and challenge their social worlds, often with subtlety and grace. The variety of styles—from epigrams to dialect sketches—provides a rich texture that keeps the reading experience lively and engaging.

However, the book’s 19th-century language, occasional dialect-heavy passages, and period attitudes may present challenges. Some humor relies on cultural references or social norms that feel distant or outdated today. Readers should approach it with patience and an eye for historical context, which enriches understanding and appreciation.

The Wit of Women also resonates with anyone interested in the power of humor as a form of social commentary and personal expression. It reminds us that wit is not confined to any one gender or class but is a universal human gift that can illuminate, critique, and connect.

Ultimately, what stays with the reader is the sense of discovery and recognition—of voices that have been overlooked but are no less sharp, funny, and insightful. The book encourages a broader appreciation of humor’s role in shaping culture and identity, especially the often-unseen contributions of women.

For those willing to engage with its length and style, The Wit of Women offers a rich, varied, and thoughtful celebration of female wit that continues to speak across the decades.