In the early 'nineties there was a penny weekly paper called _Woman_, of a mildly "feministic" type, which took for its motto "Forward, but not too fast." There was no reason to suspect its founders of deliberately choosing two adjectives, each of which bore an ambiguous meaning; taken in their literal sense they aptly epitomize the spirit of Feminism in the early years of a phase which began with "emancipation novels" and ended in a resort to physical force. Yet even at the outset the more sober representatives of the movement were being forced into the background to make way for the more strident spokeswomen of the doctrine of equal rights. The prim spinster and the apostles of culture were replaced by the women who were frankly "out" to shock public opinion and flout decorum, who rode bicycles in knickerbockers and wrote "problem" novels. The "New Woman," so constantly referred to in these years, had many variations--athletic, literary, worldly, but was always bent on "self-expression." The fashionable type was caricatured in _Dodo_; the rebellious daughter was glorified in Grant Allen's story, now only remembered in its title--_The Woman who Did_. Ibsen was very much in the air, and his remark that the modern daughter felt the need for "a mild kind of _Wanderjahr_" impelled _Punch_ to discourse on "Rosamund and the _Wanderjahr_" (a good deal "after" Miss Edgeworth's story of _Rosamund and the Purple Jar_). His views are non-committal but apparently unsympathetic. On the other hand, he welcomed somewhat prematurely the admission of women to the Fellowship of the Royal Geographical Society, recognized their skill and endurance as Alpine climbers, applauded their adoption of the calling of gardeners, hailed the appearance of a Women's Eight on the Thames--coached, it should be added, by a distinguished member of his staff--and duly chronicled the first inter-'Varsity Women's hockey match in 1894. The first illustration of a woman bicycling in knickerbockers occurs in the same year. Under the heading "The 'Arden-ing Process," Orlando addresses his companion: "Tired, Rosalind?" and she replies with quite unfeminine brevity: "Pneumatically." No attempt is made to represent the new garb as unbecoming, as in the days of "Bloomerism," but rather the reverse. [Illustration: THE 'ARDEN-ING PROCESS ORLANDO: "Tired, Rosalind?" ROSALIND: "Pneumatically."]