William Moulton Marston

Marston was born in the Cliftondale section of Saugus, Massachusetts, the son of Annie Dalton (née Moulton) and Frederick William Marston.[4][5] Marston was educated at Harvard University, graduating Phi Beta Kappa and receiving his B.A. in 1915, an LL.B. in 1918, and a PhD in psychology in 1921. While a student at Harvard, Marston sold his first script, The Thief, to filmmaker Alice Guy-Blaché, who directed the film in 1913. After teaching at American University in Washington, D.C., and Tufts University in Medford, Massachusetts, Marston traveled to Universal Studios in California in 1929, where he spent a year as Director of Public Services and taught at the University of Southern California.[6]

William Marston (right) in 1922, testing his lie detector invention

Marston had two children each with both his wife Elizabeth Holloway Marston and partner Olive Byrne.[7] Elizabeth gave birth to a son, Pete, and a daughter, Olive Ann. Olive Byrne gave birth to two sons. Elizabeth supported the family financially while Olive Byrne stayed home to take care of all four children.[7] Marjorie Wilkes Huntley was a third woman who occasionally lived with them, and who would go on to become office executive under H. G. Peter.[8]

Marston was the creator of the systolic blood pressure test, which became one component of the modern polygraph invented by John Augustus Larson in Berkeley, California. Marston's wife, Elizabeth Holloway Marston, suggested a connection between emotion and blood pressure to William, observing that, "[w]hen she got mad or excited, her blood pressure seemed to climb".[9]

Although Elizabeth is not listed as Marston's collaborator in his early work, Lamb, Matte (1996), and others refer directly and indirectly to Elizabeth's own work on her husband's research. She also appears in a picture taken in his laboratory in the 1920s (reproduced by Marston, 1938).[10][11]

Marston set out to commercialize Larson's invention of the polygraph, when he subsequently embarked on a career in entertainment and comic book writing and appeared as a salesman in ads for Gillette Razors, using a polygraph motif. From his psychological work, Marston became convinced that women were more honest than men in certain situations and could work faster and more accurately. During his lifetime, Marston championed the latent abilities and causes of the women of his day.[12]

Marston was also a writer of essays in popular psychology. In 1928, he published a book entitled Emotions of Normal People, a defense of many sexual taboos, using much of Byrne's original research she had done for her doctorate. He dedicated the work to her, Holloway, his mother, his aunt, and Huntley. It received almost no attention from the rest of the academic community other than a review, written by Byrne herself, under her alternate name Olive Richard in The Journal of Abnormal and Social Psychology.[8][13]

Emotions of Normal People also elaborated on the DISC Theory. Marston viewed people behaving along two axis, with their attention being either passive or active, depending on the individual's perception of his or her environment as either favorable or antagonistic. By placing the axis at right angles, four quadrants form, with each describing a behavioral pattern:[14]

• Dominance produces activity in an antagonistic environment
• Inducement produces activity in a favorable environment
• Submission produces passivity in a favorable environment
• Compliance produces passivity in an antagonistic environment.

Assessment Tools and the DISC Theoretical Model Based on the theories presented in "Emotions of Normal People" (1929) and "Integrative Psychology" (1931), Marston and Walter V. Clarke laid the foundation for a comprehensive assessment tool aimed at describing and predicting human behavior. Clarke continued to develop this initial tool, now known as AVA (Activity Vector Analysis), with a clear focus on the advantages and benefits it brought both in the military and workplace settings.

From its initial tests and applications, Clarke's tool proved invaluable due to the quantity and quality of information it provided. However, the operational/mathematical process that administrators had to follow, from the moment the person being evaluated completed the form to when results were obtained for interpretation, made the process slow and complex. The work was done manually and took the evaluator nearly two hours from the moment the evaluated person completed the form until the results were available.

In the late 1960s, Dr. John Greier of the University of Minnesota conducted studies on the Marston/Clarke model and made several modifications, all with the goal of simplifying the mathematical process from the form to the results. His studies aimed to simplify this mathematical process to make the tool more straightforward and applicable. This is how the model known in the market as DiSC was born, which is a simplification or synthesis of the original Marston and Clarke model, which is the "complete" one governing the "pure" tools.

The change introduced by Greier was the modification of the Form. Although this change significantly reduced the time between the form being completed by the evaluated person and the results to be interpreted, it led to the loss of a significant amount of valuable information for interpretation. Some of the indicators that were lost in this simplification are described below:

Intensity of the Axes: The original form proposed by Marston and Clarke allowed not only the measurement of the four tendencies but also their corresponding intensities. Tools that use this form can measure not only the tendency of behavior but also the intensities of these behaviors. For example, being "direct and competitive" is not the same as being so direct and so competitive that it becomes "authoritarian and arrogant."

Self-Dominance Vector (or Self-Control): This axis is related to Emotional Intelligence and measures whether the individual can control their feelings and emotions. The simplified version of DiSC only measures the four tendencies, while the pure tools include this 5th Vector.

Level of Energy & Activity: This measures the "quantum of available energy" an individual possesses. It is an indicator in itself, with its main contribution being to measure the individual's "satisfaction in their current job" or whether it generates "demotivation or stress" by comparing the energy the individual "has" with the energy they are "applying or using."

So, we find two types of tests based on Marston/Clarke's studies:

The "complete" or "pure" tools, such as AVA (Activity Vector Analysis) by Bizet Group, PI (Predictive Index), and PDA (Personal Development Analysis) by PDA International.

DISC tools based on Greier's studies, such as the Cleaver Assessment, DISC Index, AEC DISC, THT - The Colors Method by Thomas International, Human Side, Success Insights, Carlson Learning, and the DISC Behavioral Tendencies Test (TTCD), among others, known today as DISC.

Today, all these tools are modern, systematic, highly effective, and proven. They have been developed by companies and researchers who have taken Marston's (or John Greier's) studies and created their own assessment methodologies for the Human Resources market.

Marston posited that there is a masculine notion of freedom that is inherently anarchic and violent and an opposing feminine notion based on "Love Allure" that leads to an ideal state of submission to loving authority.[15]

On October 25, 1940, an interview conducted by his partner Olive Byrne (under the pseudonym "Olive Richard") was published in The Family Circle (titled "Don't Laugh at the Comics"), in which Marston said that he saw "great educational potential" in comic books. (A follow-up article was published two years later in 1942.[16]) The interview caught the attention of comics publisher Max Gaines, who hired Marston as an educational consultant for National Periodical Publications and All-American Publications, two of the companies that would later merge to form DC Comics.[17]

In the early 1940s, the DC Comics line was dominated by superpower-endowed male characters such as the Green Lantern and Superman, as well as Batman, with his high-tech gadgets. According to the Fall 2001 issue of the Boston University alumni magazine, it was the idea of Marston's wife, Elizabeth Holloway Marston, to create a female superhero. Marston recommended an idea for a new kind of superhero, one who would conquer not with fists or firepower, but with love. "Fine," said Elizabeth. "but make her a woman."[18][19]

Marston introduced the idea to Max Gaines, co-founder with Jack Liebowitz of All-American Publications. Given the go-ahead, Marston developed Wonder Woman, basing her character on the unconventional, liberated, powerful modern women of his day.[1][20] Marston's pseudonym, Charles Moulton, combined his own and Gaines's middle names.[21]

In a 1943 issue of The American Scholar, Marston wrote: "Not even girls want to be girls so long as our feminine archetype lacks force, strength, and power. Not wanting to be girls, they don't want to be tender, submissive, peace-loving as good women are. Women's strong qualities have become despised because of their weakness. The obvious remedy is to create a feminine character with all the strength of Superman plus all the allure of a good and beautiful woman."[22]

In 2017, a majority of Marston's personal papers arrived at the Schlesinger Library at the Radcliffe Institute for Advanced Study at Harvard University; this collection helps to tell the backstory of "Wonder Woman," including his unorthodox personal life with two idealistic and strong women, Olive Byrne and Elizabeth Marston, with a connection to Margaret Sanger, one of the most influential feminists of the twentieth century.[23]

Marston's character was a native of an all-female utopia of Amazons who became a crime-fighting U.S. government agent, using her superhuman strength and agility, and her ability to force villains to submit and tell the truth by binding them with her magic lasso.[24] Her appearance was believed by some to be based somewhat on Olive Byrne, and her heavy bronze bracelets (which she used to deflect bullets) were inspired by bracelets worn by Byrne.[25]

After her name "Suprema, the Wonder Woman" was replaced with simply "Wonder Woman," which was a popular term at the time that described women who were exceptionally gifted, the character made her debut in All Star Comics #8 in December 1941. Wonder Woman next appeared in Sensation Comics #1 (January 1942), and six months later, Wonder Woman #1 debuted.[24] Except for four months in 1986, the series has been in print ever since. The stories were initially written by Marston and illustrated by newspaper artist Harry Peter. During his life Marston had written many articles and books on various psychological topics, but his last six years of writing were devoted to his comics creation.[26]

William Moulton Marston's philosophy of diametric opposites has bled into the design of his Wonder Woman mythology. This theme of diametrics took the form of his emphasis of particular masculine and feminine configurations as well as dominance and submission.[31]

Marston's "Wonder Woman" is an early example of bondage themes that were entering popular culture in the 1930s.[1] Physical and mental submission appears again and again throughout Marston's comics work, with Wonder Woman and her criminal opponents frequently being tied up (or otherwise restrained), and her Amazonian sisters engaging in frequent wrestling and bondage play. These elements were softened by later writers of the series, who dropped such characters as the Nazi-like blonde female slaver Eviless completely, despite her having formed the original Villainy Inc. of Wonder Woman's enemies (in Wonder Woman #28, the last by Marston).[32]

Though Marston had described female nature as being more capable of submission emotion, in his other writings and interviews,[23] he referred to submission as a noble practice. He did not shy away from the sexual implications, saying:

The only hope for peace is to teach people who are full of pep and unbound force to enjoy being bound... Only when the control of self by others is more pleasant than the unbound assertion of self in human relationships can we hope for a stable, peaceful human society... Giving to others, being controlled by them, submitting to other people cannot possibly be enjoyable without a strong erotic element.[33]

One of the purposes of these bondage depictions was to induce eroticism in readers as a part of what he called "sex love training." Through his Wonder Woman comics, he aimed to condition readers to become more readily accepting of loving submission to loving authorities rather than being so assertive with their own destructive egos. About male readers, he later wrote: "Give them an alluring woman stronger than themselves to submit to, and they'll be proud to become her willing slaves!"[34]

Marston combined these themes with others, including restorative and transformative justice, rehabilitation, regret, and their roles in civilization. These appeared often in his depiction of the near-ideal Amazon civilization of Paradise Island, and especially its "Reform Island" penal colony, which played a central role in many stories and was the "loving" alternative to retributive justice of the world run by men. These themes are particularly evident in his last story, in which prisoners freed by Eviless, who have responded to Amazonian rehabilitation and now have good dominance/submission, stop her and restore the Amazons to power.[35]

Some of these themes continued on in Silver Age characters, who may have been influenced by Marston, notably Saturn Girl and Saturn Queen, who (like Eviless and her female army) are also from Saturn, are also clad in tight, dark red bodysuits, are also blond or red-haired, and also have telepathic powers.[36]

Wonder Woman's golden Lasso of Truth and in particular one of the Amazon queens' scions of the Girdle of Aphrodite or Venus which Marston first fictionally encountered as Wonder Woman's 'Magic Girdle of Aphrodite' then reaching back to its origin called her Golden Girdle of Gaea, were the focus of many of the early stories and have the same capability to reform people for good in the short term that Transformation Island and prolonged wearing of Venus Girdles offered in the longer term. The Venus Girdle was an allegory for Marston's theory of "sex love" training, where people can be "trained" to embrace submission through eroticism.[37]

• Biographical entry in Jaques Cattell, (ed.), American Men of Science: A Biographical Directory, Seventh Edition, (Lancaster, 1944), pp. 1173–1174.
• Brown, Matthew J. (2016). ""Love Slaves and Wonder Women: Radical Feminism and Social Reform in the Psychology of William Moulton Marston"". Feminist Philosophy Quarterly. 2 (1). doi:10.5206/fpq/2016.1.1.
• Bunn, Geoffrey C. "The Lie Detector, Wonder Woman and Liberty: The Life and Works of William Moulton Marston,", History of the Human Sciences, 10 (1997): pp. 91–119.
• Daniels, Les (2000). Wonder Woman: The Complete History. San Francisco, California: Chronicle Books. pp. 1–96. ISBN 0-8118-3121-3.
• Gillespie, Nick. "William Marston's Secret Identity: The strange private life of Wonder Woman's creator." Reason, May 2001.
• Glen, Joshua. "Wonder-working power." Boston Globe, April 4, 2004.
• Held, Jacob M. (ed.). Wonder Woman and Philosophy: The Amazonian Mystique. (Book); Wiley-Blackwell, 2017. ISBN 1119280753. pp. 1–240.
• Jett, Brett. "Who Is Wonder Woman?", " (Manuscript) (2009): 1–101.
• Lamb, Marguerite. "Who Was Wonder Woman? Long-ago LAW alumna Elizabeth Marston was the muse who gave us a superheroine." Boston University, Fall 2001.
• Lepore, Jill (2014). The Secret History of Wonder Woman. New York: Alfred A. Knopf. ISBN 9780385354042.
• Malcolm, Andrew H."She's Behind the Match For That Man of Steel". New York Times. February 18, 1992.
• Moore, Mark Harrison. The Polygraph and Lie Detection. Committee to Review the Scientific Evidence on the Polygraph (National Research Council, U.S.), 2003.
• Richard, Olive. "Our Women Are Our Future", (Article), Family Circle, August 14, 1942.
• Rosenberg, Robin S. "Wonder Woman As Émigré – Why would Wonder Woman leave her idyllic existence on Paradise Island?", (Article) (2010): pp. 1–35.
• Rosenberg, Robin S. "Wonder Woman: Compassionate Warrior for Peace", (Chapter of book) (2013): pp. 1–35.
• Valcour, Francinne. "Training "love leaders": William Moulton Marston, Wonder Woman and the "new woman" of the 1940s", (Dissertation) (1999): 1–150.
• Valcour, Francinne. "Manipulating The Messenger: Wonder Woman As An American Female Icon", (Dissertation) (2006): 1–372.