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“Fine Dignity, Picturesque Beauty, and Serious Purpose”:

The Reorientation of Suffrage Media in the Twentieth Century

Emily Scarbrough, Author

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The Martyr

It is my sincere hope that you will understand and appreciate the martyrdom
involved, for it was the conscious voluntary gift of beautiful, strong and
young hearts. But it was never martyrdom for its own sake. It was martyrdom
used for a practical purpose.[1]


Inez Milholland Boissevain led the woman’s suffrage parade in March, 1913. She evoked the heraldry of the middle ages with a laurel upon her head and a chorus of trumpets behind her. The woman was an activist, a socialist, a lawyer, a Vassar graduate, and it was claimed, “The Most Beautiful Suffragette.” She led the parade dressed in armor, riding a milk-white horse. The suffragists wanted her to look like a modern Joan of Arc. Like the popular Christian icon, Milholland died young and became a martyr to her cause.

Milholland began her campaign for woman’s suffrage during a 1908 election parade for President Taft. She began shouting “Votes for Women!” Milholland delivered a speech along the sidelines and pulled attention away
from onlookers who began to gather and listen to her. She was known as “The girl who broke up the Taft Parade.”[2] She was a gifted orator, but was an even better symbol for the movement. If Nina Allender create an illustrated, idealized vision of woman suffrage, 
Inez Milholland embodied her. Milholland led parades and toured the nation, speaking on behalf of woman suffrage. She became a media icon, appearing in newspapers talking about her life and her love, Eugen Boissevain – a wealthy coffee bean importer from Holland. Milholland announced to newspapers that she was the one to propose.

            Martyrdom, then, came in the form of Inez Milholland Boissevain’s death. She was touring in the state of
California, speaking on behalf of suffrage. She asked “President Wilson, how long must this go on?” as a part of the last speech she ever made in public.[3] She collapsed upon the stage. Milholland spent about a month in the hospital
before she died. Aplastic anemia had rendered her body unable to produce red blood cells. Despite blood transfusions, Milholland died November 25, 1916. She immediately became a martyr for the suffrage cause. Newspapers lamented her death:

Unselfish? Almost to a fault. Her’s was indeed an example. An
example for the idle rich girl who is poor indeed, whose rime hangs heavy
because it is full of nothingness. An example for the pretty girl who believes
that all life means is to smile and dress. An example for the woman of brains
who hides them under her marcel wave because she has become a parasite. An
example for the woman who thinks that she can gain love when she acquires a
man’s bank account. An example for all womanhood – Inez Milholland Boissevain.[4]


            Even poet Carl Sandburg mourned the loss of Milholland:


They are crying salt tears 


Over the beautiful beloved body


Of Inez Milholland, 


Because they are glad she lived,


Because she loved open-armed,


Throwing love for a cheap thing 


Belonging to everybody ---- 


Cheap as sunlight 


And morning air.[5]


            Milholland’s death was a shock to many. She was a young woman who had appeared healthy, yet her body had failed her. Even in death, Milholland became a symbol of the fragility of womanhood. She epitomized everything that the suffrage movement had asked of her. She became an icon for the movement, and her last public words became a rallying cry. Picketers outside of the White House held banners asking the president, “How long must women wait for liberty?”



[1] Doris Stevens, Jailed for Freedo (New York: Boni & Liveright Publishing, 1920), vii-viii.

[2] “Mrs. Boissevain Will Be Taken East for Burial,” Chicago Tribune, November 27, 1916, 13.

[3] Linda Lumsden, Inez: The Life and Times of Inez Milholland (Indianapolis: Indiana University Press, 2004), 163.

[4] Sophie Irene Loeb, “The Example of Inez Milholland,” The Evening World, November 29, 1916, 10.

[5] Carl Sandburg, “Repetitions,” Cornhuskers (New York: Henry Holt and Co., 1918), 47.
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