The man, for instance, who deserts his family that he may cultivate an artistic sensibility, or acquire what he considers more fulness of life for himself, must always arouse our contempt.

Breaking the marriage tie as Ibsen's "Nora" did, to obtain a larger self-development, or holding to it as George Eliot's "Romola" did, because of the larger claim of the state and society, must always remain two distinct paths.

The collision of interests, each of which has a real moral basis and a right to its own place in life, is bound to be more or less tragic.

It is the struggle between two claims, the destruction of either of which would bring ruin to the ethical life.
Curiously enough, it is almost exactly this contradiction which is the tragedy set forth by the Greek dramatist, who asserted that the gods who watch over the sanctity of the family bond must yield to the higher claims of the gods of the state.

The failure to recognize the social claim as legitimate causes the trouble; the suspicion constantly remains that woman's public efforts are merely selfish and captious, and are not directed to the general good.