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 upon whom the artist works; and it follows that when I speak of woman's inferiority to man in creative art I mean, not her inferiority in technique (whereon I am not competent to express opinion), but her incapacity to arouse in the ordinary human being such emotions of wonder, delight, and sorrow as men who have the requisite skill in creative art have power to arouse. I have thought it necessary to explain thus much lest my point of view be misunderstood, and I be credited with an attempt to usurp the functions of the trained critic.

Speaking, then, as one of the common herd—the public—I ask myself why it is that as a rule woman's art leaves me cold, woman's literature unconvinced, dissatisfied, and even irritated? And the only answer I can find is that they are artificial; that they are not a representation of life or beauty seen by a woman's eyes, but an attempt to render life or beauty as man desires that a woman should see and render it. The attempt is unconscious, no doubt; but it is there—thwarting, destroying, and annulling.

Perhaps it is necessary to be a woman oneself in order to understand how weak, false, and