The Muse Phenomenon

The muse phenomenon is a small facet reflecting a systemic issue. Societal bias undervalues women’s intellectual and creative labor. Muses, originating from the nine goddesses in Greek mythology, are symbols of beauty, passion, allure, and support. Though phrased as an honor, the trope of the female muse is one of the most subtle and destructive ways in which a woman’s validity has been hidden from history. Rather than being recognized as artists in their own right, the label of “muse” is essentially a dismissal. This trope serves to undermine their intellectual contributions by reducing their role. Women are allowed to be inspiration, but never the inspired.

 

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In reality, many of these women were not simply galvanizing figures but active creators whose works were plagiarized or co-opted. This theft operating in a myriad of ways, their literary legacies were absorbed into the reputation of male counterparts. Worse yet, these men were typically close enough to the women to get away with it, usually husbands, brothers, collaborators, and mentors. The impact of this betrayal coming from a family member or close confidant is infinitely more devastating. Because family is considered a respite from the public sphere and seen as a symbol of unconditional love, trust, community, and belonging, enacting justice is often more difficult. 

 

Sometimes, women’s works were directly plagiarized and published under a male name, as was the case with Zelda Fitzgerald, whose writing was often lifted by her husband, F. Scott Fitzgerald. Other times, their creative labor was dismissed as a “helping hand” rather than a key part of the artistic process. For instance, Dorothy Wordsworth’s poetic and prose writings deeply influenced her brother William Wordsworth’s poetry, but she was relegated to the role of a quiet supporter rather than a literary force in her own right. 

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Even when these women were able to publish under their own names, it was rarely considered artistic innovation. The belief that women’s writing was inherently confessional and limited to domestic or romantic themes allowed male critics and historians to downplay their creative and intellectual agency. This pattern is especially evident in the case of Sidonie-Gabrielle Colette, whose early work was stolen and published under her husband's name. Though later in her life she made a career as an author, her work was always considered merely autobiographical rather than literary genius as her first few novels were.   ​

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Women are much more than reflections of another’s work, though this societally held belief contributes to their barriers to be celebrated as such. Though certainly damaging, this marginalization is an indicator of larger issues at play. Access to formal education, professional opportunities, healthcare and financial independence are all vital to both basic health as well as creative excellence. Without them, establishing oneself as recognized authors or artists was close to impossible, and so the cycle continues.