her program and her methods. If she is to attract attention, she must be extreme. The campaigner is like the actor—he must exaggerate to get his effect over the footlights. Moreover, there are natures like that of the actor who could not play Othello unless his whole body was blackened. Nor is the extravagance of the methods, which the militant lady follows to put over her program, so foreign to her nature as it may seem. The suffragette adapts to her needs a form of feminine coquetry as old as the world. To defy and denounce the male has always been one of woman's most successful provocative ways!
However much certain of the assumptions in her program may seem to be against its success, there is much for it. It gives her a scapegoat—an outside, personal, attackable cause for the limitations and defeats she suffers. And there
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