In the Rights of Men, Wollstonecraft challenges Burke's rhetoric as much as, or more, than his political theory. She begins by redefining the sublime and the beautiful, terms he had established in his Enquiry into the Sublime and Beautiful.[64] While Burke associates the beautiful with weakness and femininity, and the sublime with strength and masculinity, Wollstonecraft writes, "for truth, in morals, has ever appeared to me the essence of the sublime; and, in taste, simplicity the only criterion of the beautiful."[65] With this sentence, she calls into question Burke's gendered definitions; convinced that they are harmful, she argues later in the Rights of Men:
You may have convinced [women] that littleness and weakness are the very essence of beauty; and that the Supreme Being, in giving women beauty in the most supereminent [sic] degree, seemed to command them, by the powerful voice of Nature, not to cultivate the moral virtues that might chance to excite respect, and interfere with the pleasing sensations they were created to inspire. Thus confining truth, fortitude, and humanity, within the rigid pale of manly morals, they might justly argue, that to be loved, woman's high end and great distinction! they should 'learn to lisp, to totter in their walk, and nick-name God's creatures.' Never, they might repeat after you, was any man, much less a woman, rendered amiable by the force of those exalted qualities, fortitude, justice, wisdom, and truth; and thus forewarned of the sacrifice they must make to those austere, unnatural virtues, they would be authorised to turn all their attention to their persons, systematically neglecting morals to secure beauty.[66]
As Wollstonecraft scholar Claudia Johnson has written, "As feminist critique, these passages have never really been surpassed."[1] Burke, Wollstonecraft maintains, describes womanly virtue as weakness, thus leaving women no substantive roles in the public sphere and relegating them to uselessness.[67]
Wollstonecraft applies this feminist critique to Burke's language throughout the Reflections. As Johnson argues, "her pamphlet as a whole refutes the Burkean axiom 'to make us love our country, our country ought to be lovely'"; Wollstonecraft successfully challenges Burke's rhetoric of the beautiful with the rhetoric of the rational.[68] She also demonstrates how Burke embodies the worst of his own ideas. He becomes the hysterical, illogical, feminine writer, and Wollstonecraft becomes the rational, masculine writer. Ironically, in order to effect this transposition, Wollstonecraft herself becomes passionate at times, for example, in her description of slavery (quoted above).[69]
