The Scarcity Myth
Over the years, this forum has rubbished various myths about weight and aesthetics, but of all of the absurd fictions that have been devised to excuse or rationalize the modern suppression of plus-size beauty in favour of the androgynous, underweight standard, surely the most idiotic myth is that curvaceousness was preferred in the past because food (and therefore feminine fullness) was supposedly formerly "scarce," while today it is "plentiful."
What kind of unformed mind, devoid of any historical knowledge or psychological insight, could actually believe such nonsense? One stands in awe of the thoroughness of Marxist brainwashing, which has so completely permeated modern discourse as to dupe people into accepting materialist explanations for everything--even for essential impulses that have nothing whatsoever to do with material conditions.
Let us speak directly to our female readers at this point. Women, be assured of this fact: When a man views a woman, he does not make a material calculation to determine whether or not he is supposed to be attracted to her. Her beauty simply seizes him immediately, or it doesn't. The male impulse of attraction is not pegged to the scarcity or abundance of food at any given time. Such a proposition is ludicrous. (Think about it: "There are lots of restaurants in town, therefore I will not be attracted to that bombshell's voluptuous bust and alluring hips." Does any rational person actually believe that men are programmed this way?)
A man's impulse of attraction is triggered when he sees the ideal that exists in his heart incarnated in human form. Variable material conditions cannot affect such a deep-seated impulse, any more than they can change him from being right-handed to being left-handed.
We have directed this point at our female readers because the nonsensical "beauty-due-to-scarcity" myth may have permeated public consciousness precisely because women are more significantly involved in public discourse today than they were in the past. If one accepts the rather indisputable premise that men and women, as a general rule, view the world in substantively different ways, (and evolutionary biology teaches us that this is so,) then we confront the truism that men tend to be more Idealistic in their philosophical makeup while women tend to be more Materialistic.
In H. Rider Haggard's classic novel She (1887), the title character, Ayesha, makes the following observation:
Passion is to men what gold and power are to women--the weight upon their weakness. [. . .] For man can be bought with woman’s beauty, if it be but beautiful enough; and woman’s beauty can be ever bought with gold, if only there be gold enough. So was it in my day, and so it will be to the end of time.
Taking "gold" as a symbol for material properties in general, we recognize the root of the absurd "beauty-as-scarcity" myth. If the basis of women's attraction, generally speaking, is material in nature, then it is understandable that women would accept a materialistic explanation for the root of beauty, even though that explanation is actually inapplicable to the other gender.
The supreme irony, however, is that even if this materialistic fiction were true as far as human psychology is concerned (though it is not), it would still be false on the basis of its underlying premise, which is that food was supposedly so scarce in the past that full-figured femininity was a status symbol of class distinction.
Michel Rouche [has] asserted that the typical Carolingian--including the peasants--had access to a monotonous, but abundant, supply of foodstuffs and may have consumed an average of 6,000 - 9,000 calories per day. Richard Hodges [has] likewise decided that Anglo-Saxon Peasants were reasonably well fed.
With the exception of Marxist historians, who falsify history to calumniate the nobility and to create victims out of the peasants whenever possible, most historical opinion acknowledges that food was generally abundant among the serf and peasant classes of the Middle Ages, and throughout the succeeding centuries.
These paintings destroy the myth that plus-size beauty was rare because food was supposedly scarce. In general, peasant women throughout Europe had plenty to eat, and their robust curves attest to this.
Generally speaking, food, like plus-size beauty, was reasonably plentiful in past ages. It may have come from the farm as opposed to the supermarket, but it was certainly available.
Indeed, whenever peasants are depicted in European paintings from the Middle Ages onwards, food often figures prominently in the images.
In this painting, notice the huge hearth in the centre of the dwelling, as well as the bowls laid out on the table, and the woman churning butter.
While breads, cereals and vegetables (in plentiful supply) were the staples of the peasant diet, even meat was sometimes available. This painting shows one animal being bled, another carved.
The following series of images comes from a cycle of 12 calendar paintings, one for each month, depicting seasonal peasant activities. Note the milking of the cow, the churning of butter, and the storing of bread.
Observe the abundant sheaves of what at harvest time, as well as the robust figures of the women in this canvas.
Consider the well-fed bodies of the peasants, as well as the abundant fowl, fruits and vegetables.
Countless paintings from the Middle Ages onwards show peasants carousing during weddings and other village festivals, and in each of these images, the figures of the women who are depicted--whatever their age--tend to be markedly plus-size.
We all know that Rubens depicted the aristocrats of his day looking eponymously rubenesque, but when he rendered the peasantry of his own time, he showed that they tended to be just as full-figured as the nobles. Note this lady's plump shoulders, as well as the curve under her chin.
Sketches and drawings of European female peasantry throughout the centuries show them looking quite fleshy and well-fed.
Many contemporary paintings show peasants frequenting taverns and inns, and here too the womens' figures appear quite round, and definitely plus-size.
In this detail, note the abundant proportions of the women's bodies.
Here are several more tavern scenes featuring well-fed girls of the peasant class:
Images showing peasant women hard at work similarly acknowledge their swelling curves and robust bodies.
Observe the halo of plump flesh around the midsection of the woman to the right in this painting:
Painters throughout history have lovingly depicted the chubby faces of peasant girls, faces that absolutely glow with robust beauty. With the lavish fleshiness of the subject's facial features, this is one of the prettiest portraits that we have ever seen:
Consider how angelic and radiant this peasant girl appears, thanks to the rosy plumpness of her face.
The easily identifiable Germanic features of this peasant girl testify to her love of hearty food and a good life.
How we wish that we had a larger version of the following painting, to better display the plump facial features of this gorgeous girl.
As the 20th century dawned, Western art succumbed to the corrupting forces of modernism, but images from the early 1900s depicting the peasantry of the day still show the chubby, hale beauty of their facial features and figures.
Note the fullness of her round arms:
Even paintings of the youngest peasant girls, scarcely older than children, show them possessing adorably plump, well-fed faces.
As paintings from throughout Western history demonstrate, food was widely available to the European lower classes (except in times of famine), and peasant women of all ages, from childhood to eld, possessed robust, genuinely plus-size physiques. Historically, fuller female figures were every bit as common as