Page:Emma Goldman - The Social Significance of the Modern Drama - 1914.djvu/70

 wife, at least, does not pretend to play an important role in the life of her husband. But the Berthas deceive themselves and others with the notion that the " emancipated " wife is a great moral force, an inspiration to the man. Whereas in reality she is often a cold-blooded exploiter of the work and ideas of the man, a heavy handicap to his life-purpose, retarding his growth as effectively as did her grandmothers in the long ago. Bertha takes advantage of Axel's affection to further her own artistic ambitions, just as the Church and State married woman uses her husband's love to advance her social ambitions. It never occurs to Bertha that she is no less despicable than her legally married sister. She cannot understand Axel's opposition to an art that clamors only for approval, distinction and decorations.

However, Axel can not resist Bertha's pleadings. He visits the patron saint of the salon, who, by the way, is not M. Roubey, but Mme. Roubey; for she is the " President of the Woman-Painter Protective Society." What chance would Bertha have with one of her own sex in authority? Hence her husband must be victimized. During Axel's absence Bertha learns that his picture has been refused by the salon, while hers is accepted. She is not in the least disturbed, nor at all concerned over the effect of the news on Axel. On the contrary, she is rather pleased because " so