Especially where constructive ability is necessary, women have as yet not been eminent; they have created neither a philosophical system nor a new religion, neither a great musical work nor a monumental building, neither a classic drama nor an epic. On the other hand, the exact sciences, which would be considered a priori as little adapted to women, for example mathematics, astronomy, and physics, are exactly those in which thus far they have most distinguished themselves. This contains a warning against too precipitate conclusions about the intellectual life of woman. Not until several generations of women—with the same privileges of education as man, with the same encouragement from home and society—have exercised their faculty for discovery and their inventive and creative faculties can we really know whether the present inferiority of woman in this respect is a provision of nature or not; whether her genius was only hampered in its expression or whether, as I believe, it is ordinarily of a different kind from that of man. In art there are several fields which the woman movement did not need to open for the first time to woman: dramatic art, music, and the dance. Indirectly, however, the woman movement has transformed the position of women occupied in these lines by increasing the respect for all good work of woman and raising the requirements for woman’s education in general. The woman movement has also exercised an immediate influence upon certain artists of the present time. Thus Eleanora Duse said to me that her most cherished desire has been to represent and interpret the new types of women, although the dramatists of to-day have rarely given her the material she desired wherewith to create characters by which she could reveal the soul of the new woman and elevate man’s, as well as woman’s own, ideal of woman. In the dance, women have been, especially in America, creative in connection with its forms and have been thereby also revelations of the new spiritual life of woman which has found expression in these forms. Great women singers, through Wagner’s operas and ballad-singing, have given voice to the primeval yearning of the woman soul, as that yearning now assumes form in the new woman. And in interpretations at the hands of great pianists or violinists, not one classic musical work failed to furnish similar revelations.