x from the
degradation of parasitism. In behalf of this doctrine she has expended
all that eloquence and passion which have made her one of the figures in
modern literature and a spokesman for all women who have not learned to
speak that hieratic language which is heard, as the inexpressive speech
of daily life is not heard, across space and time.

Miss Isadora Duncan stands as representative of the renaissance in
dancing. She has brought back to us the antique beauty of an art of
which we have had only relics and memento in classic sculpture and
decoration. She has made us despise the frigid artifice of the ballet,
and taught us that in the natural movements of the body are contained
the highest possibilities of choregraphic beauty. It has been to many of
us one of the finest experiences of our lives to see, for the first
time, the marble maiden of the Grecian urn come to life in her, and all
the leaf-fringed legends of Arcady drift before our enamored eyes. She
has touched our lives with the magic of immemorial loveliness.

But to class Olive Schreiner as a sociologist and Isadora Duncan as a
dancer, to divorce them by any such categories, is to do them both an
injustice. For they are sister workers in the woman's movement. They
have each shown the way to a new freedom of the body and the soul.

The woman's movement is a product of the evolutionary science of the
nineteenth century. Women's rebellions there have been before, utopian
visions there have been, which have contributed no little to the modern
movement by the force of their tradition and ever-living spirit. No Joan
of Arc has led men to victory, no Lady Godiva has sacrificed her
modesty--nay, even, no courtesan has taught a feeble king how to rule
his country--without feeding the flame of feminine aspiration. But it is
modern science which, by giving us a new view of the body, its
functions, its needs, its claim upon the world, has laid the basis for a
successful feminist movement. When the true history of this movement is
written it will contain more about Herbert Spencer and Walt Whitman,
perhaps, than about Victoria Woodhull and Tennessee Claflin. In any
case, it is to the body that one looks for the Magna Charta of feminism.

The eye--that is to say--is guarantor for the safety of art in a future
regime under the dominance of women; and the ear for poetry. These have
their functions and their needs, and the woman of the future will not
deny them.

I