The disrespect shown by the clergy towards marriage as compared with the celibate condition, has influenced thought in many singular directions. England's married women under the combined influence of church and state deprecate the claim of suffrage for themselves, although asking it for single women and widows.[75]
The bill referred to in the Memorial, 49 Vic., extended Parliamentary franchise to single women alone.
Second Sec. For all purposes of and incidental to the voting for members to serve in Parliament, women shall have the same rights as men, and all enactments relating to, or concerned in such election shall be construed accordingly. Provided that nothing in this Act contained shall enable women under coverture to be registered or to vote at such elections.
The word "coverture" expresses a married woman's subordinate condition, both civilly and religiously.[76] It means, under the power of the husband; controlled by the husband; possessing neither personal nor individual rights; a being not allowed to use her own judgment unless such judgment is ratified by the husband. Under coverture, the wife can make no contract without the husband's consent, the law holding her incompetent. A woman under coverture is an irresponsible being except in case of crime. When married women refuse to seek the same freedom for themselves they ask for single women, they practically endorse the judgment of church and state in favor of celibacy. When married women thus ignore their equality with single women, they practically condemn that relation, practically affirm the superior purity of a celibate condition.[77] The low estimate of women in England as late as the seventeenth and eighteenth centuries is shown in its literature, especially that emanating from its great universities. The betrayal of women formed the basis of story and song; not content with portraying their own vices, these men did not hesitate to put a plea against chastity in the mouths of mere children. Of such character is "A Ballad" emanating from this source, but professing to have been "composed by Miss Nelly Pentwenzle, a young lady of 15," to be sung to the tune of "Scraps of Pudding."
A periodical entitled _The Old Woman's Magazine_ printed in London, without date, but from internal evidence shown to belong to the latter part of the eighteenth century, forcibly protests against the destruction of innocence, which was the chief amusement of the men of this period. It asks: