Life is an adventure and all of us adventurers—saving that the word presses somewhat harder upon the woman than the man—most things do in fact, whereby she is given greater endurance—leaving to men the duty of caring for the women; and, if need be, looking death squarely and defiantly in the face. The world often puts the artificial before the actual; but under the dispensation of the Christian civilization—derived from the Hebraic—the family requiring a head, headship is assigned to the male. This male is commonly not much to speak of for beauty of form or decency of behavior. He is made purposely tough for work and fight. He gets toughened by outer contact. But back of all are the women, the children and the home. I have been fighting the woman’s battle for equality in the things that count, all my life. I would despise myself if I had not been. In contesting precipitate universal suffrage for women, I conceived that I was still fighting the woman’s battle. We can escape none of Nature’s laws. But we need not handicap ourselves with artificial laws. At best, life is an experiment, Death the final adventure. Feminism seems to me its next of kin; still we may not call the woman who assails the soap boxes—even those that antic about the White House gates—by the opprobrious terms of adventuress. Where such a one is not a lunatic she is a nuisance. There are women and women. We may leave out of account the shady ladies of history. Neither Aspasia nor Lucrezia Borgia nor the Marquise de Brinvilliers could with accuracy be called an adventuress. The term is of later date. Its origin and growth have arisen out of the complexities of modern society. In fiction Milady and Madame Marneffe come in for first honors—in each the leopard crossed on the serpent and united under a petticoat, beautiful and wicked—but since the Balzac and Dumas days the story-tellers and stage-mongers have made exceeding free with the type, and we have between Herman Merivale’s Stephanie de Mohrivart and Victorien Sardou’s Zica a very theater—or shall we say a charnel house—of the woman with the past; usually portrayed as the victim of circumstance; unprincipled through cruel experience; insensible through lack of conscience; sexless in soul, but a siren in seductive arts; cold as ice; hard as iron; implacable as the grave, pursuing her ends with force of will, intellectual audacity and elegance of manner, yet, beneath this brilliant depravity, capable of self-pity, yielding anon in moments of depression to a sudden gleam of human tenderness and a certain regret for the innocence she has lost.