The Necessity of Virtue for the Modern Woman

“The knight is a man of blood and iron, a man familiar with the sight of smashed faces and the ragged stumps of lopped-off limbs; he is also a demure, almost a maidenlike, guest in hall, a gentle, modest, unobtrusive man. He is not a compromise or happy mean between ferocity and weakness; he is fierce to the nth and meek to the nth.”  — C.S. Lewis, The Necessity of Chivalry 

This quote, profound in modernity, is taken from C.S. Lewis’ short, journalistic essay “The Necessity of Chivalry” wherein he argues for the biblical, masculine paragon found in knights of old. His argument, penetrating, decisive, and radical, inspires men to disregard their natural condition of choice between extreme “meekness” or “ferocity” and instead become transformed into great works of art: “The man who combines both characters—the knight—is a work not of nature but of art…something that needs to be achieved, not something that can be relied upon to happen.” His argument stirs adventure within the hearts of men who read and romance upon the women who imagine it. 

Profound. Necessary. 

Almost instantly, I think upon modern topics such as the manosphere , which encourages the extreme ferocity that rose in popularity as a counter to what Lewis describes as “A “liberal” or “enlightened” tradition which regards the combative side of man’s nature as a pure, atavistic evil.” Lewis denies the extremes of both, claiming a true knight is one who masters the better of these characteristics. 

Imagine a culture where men see the obstacles of their daily lives as adventures with nasty, terrible beasts for them to conquer—ferocity—yet understand their strength is meant for the defense of good, true, and beautiful—meekness. Is this not the essence of chivalry, of biblical masculinity? 

Culture can change under this mindset, and I hope the men of today choose to achieve the art of knighthood. Moreover, I hope the older knights who’ve sought adventure and won will encourage younger men to battle. 

For me though, I am no man. 

I cannot change the culture by becoming great art or by being “fierce to the nth and meek to the nth.” This is not my place.

What is? 

If I believe men ought to resemble the chivalrous knights of old, then women must likewise become the fair and virtuous maidens for whom kingdoms were built, banners were raised, and wars were waged. In order to change culture, women must be the reason for a knight’s achievement. Not the art, but the muse. 

And so, here is my humble attempt at showing, like Lewis, “that this old tradition is practical and vital.” 

The Necessity of Virtue 

No person can teach another how to be virtuous. A person is not simply virtuous by default, it is a habit formed through conscious effort with thoughtfulness, integrity, and stewardship of others’ awareness. Virtue is a process of refinement. It cannot be taught, only formed. The necessity of virtue then becomes not how to embody it, but why one should value it. 

Some of the greatest stories written feature virtuous women, but the best description is found in Proverbs: “Who can find a virtuous woman? For her price is far above rubies.” (KJ21). This opening line of the reputable biblical passage used frequently as the standard for Christian women, qualifies a principle necessary for fair maidens. The value of her virtue is placed as higher than rare, precious jewels clarifying that virtue within women is counter to her natural state. A woman’s natural state—devoid of virtue—is common. This implies that like chivalry, virtue is something to be obtained and refined, not merely understood. If every woman born was already virtuous, then a knight’s purpose would falter. His defensive strength would wane until it meant nothing. A virtuous maiden—or princess—is rare, treasured, and honored. 

Fairytales may not entirely be reality, but like most forms of fiction, fairytales exist to describe immense difficulties often found in life. Characters in good fiction show readers how to overcome, be resilient, and grow to the challenges which will indubitably present themselves. Fairytales may not be “real life” but they exist to teach us how to live a life that’s honest, meaningful, and true. Little girls adore the princesses and fair maidens in these stories, it’s necessary to write them so the merits of femininity are ordered properly. 

Most little girls meet their first princess through movies (Disney) where traditional princesses are characterized as vulnerable and modern princesses as capable. The truth of virtue relies on a balance between the two qualities. A few short years into adulthood, women realize it takes grit, thoughtfulness, and resilience to persist in this world. Hardship is inevitable. Tragedy is on a timeline. Knights cannot rescue maidens from every hardship, and far too often they arrive late—after damage has ensued. Long suffering is an essential skill that equips maidens to become capable. Capable women are virtuous women. Far more worthy is the woman who knows how to suffer well. Such is the role of a maiden.

Yet it is disingenuous to categorize princesses as overly capable, strong, or herculean. Not merely because these characteristics yield unrelatable, but because this is a mischaracterization of virtuous womanhood. Maidens are far more vulnerable than knights. Knights carry greater strength mentally and physically so that they are able to slay dragons, seek adventure, and battle evil. Maidens carry the greater risk of being in danger due to their innate vulnerability. 

Yet those maidens who feign to equip themselves with endurance throughout hardship become overly vulnerable, believing they cannot do anything for themselves relying—or expecting—a knight to serve her weakness as a slave serves his master. Stories depicting princesses or maidens as utterly helpless in the face of adversity forget to honor the dignity of the mind. If a maiden relents to being powerless, she loses agency of her life and choices. This mindset marks her as a victim and ensnares her emotionally. She stays trapped in a void of anxious self-pity. 

By nature, women fall into those patterns—wallowing victims or cruel manipulators. Literature supports this: Guinevere committed adultery, Jezebel murdered men for power, Medea spitefully murdered her own children, Scarlet O’Hara weaponized victimhood therefore ruining every relationship in her life, Potiphar’s wife wished to seduce Joseph, Helen of Troy watched for ten years as a bloody war waged over her, Daisy Buchanan impassively dismissed her part in Gatsby’s demise, Cleopatra exploited her sensuality to maintain status, and Sarah attempted to manipulate the will of God by giving her servant to her husband. Such is the ambition of women—by nature—in defiance of virtue. 

A maiden defies the natural state of woman as a manipulative and vain seductress. Instead, choosing to grow in virtue, refining her into a treasure more precious than jewels.

Just as chivalry balances bloodlust and meekness, virtue balances vulnerability and capability. This is the line between Guineveres and Éowyns, Jezebels and Mary Magdalens, Daisies and Esthers, witches and princesses. 

If society cannot produce Proverbs 31 women, humanity falls into two sections—those who manipulate and seduce others for personal gain or out of insecurity, and women who use vulnerability as a shield for frantic, anxiety-ridden behavior. 

Perhaps the most profound and practical thing about knights and princesses is that they cannot live without the greatest parts of each other. The greatest thing a knight can be for a princess is safe. He cannot be these things without both ferocity and meekness, that is chivalry. Likewise, the greatest thing a princess can be for a knight is tenderhearted. She cannot be this without vulnerability and capability, that is virtue. A knight’s solution is to become art, the maiden’s solution is to become something greater—his muse. 

A knight’s purpose is to be strong so that he can protect, build, and honor. This is his art. There is no purpose—no art—in great strength if only to ravage, discard, and burn. His purpose is to defend the essence of beauty, his fair maiden—his muse. This is his reason, his catalyst. She is the very crux of the kingdom he builds for her, if she is lost, culture is lost. Without her, his strength becomes corrupted, his purpose grows grey, and his kingdom crumbles. 

Virtue, when valued, refines a maiden and cultivates a muse more precious than jewels.

Through this, culture creates Esthers, Antigones, Miriams, Phoebes, Éowyns, Priscillas, and Proverbs 31 women.

When a young girl sees a princess or fair maiden as a pillar of virtue and understands her duty is to make decisions which reflect the truth, goodness, and beauty, she is far less likely to remain in her natural state, choosing promiscuity, betrayal, or victimhood for her future. 

Little girls and young ladies need fairytales where princesses are pillars of virtue. Yes, they need mentors and real-life feminine role models worthy of admiration; such women help heal a world divided between promiscuity and modesty, gossips and encouragers, witches and princesses. But most importantly, culture must create fair maidens who treasure virtue, so that when chivalrous knights arise, they find something still worthy of defending.