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 a perfect right to describe her in those terms; but no woman has the right so to describe herself.

For countless generations the thoughts, the energies, and aspirations of woman have been concentrated upon love and maternity; yet how many are the works of art in which she has immortalized either passion which have endured because they were stamped with the impress of her own individuality and experience? For all that love is her whole existence, no woman has ever sung of love as man has sung of it, has painted it, has embodied it in drama. And of her attitude towards maternity what has she told us in her art? Practically nothing that is illuminating, that is not obvious, that has not been already said for her—usually much better than she herself can say it. As a matter of fact, her description of her emotions when she is in love or bears children is not, as a rule, a firsthand description; it is a more or less careful, more or less intelligent copy of the masculine conception of her emotions under those particular circumstances. Thus the business-like aspect of love in woman, the social or commercial