Peter began speaking. His voice was well placed.
You could hear every syllable. And he looked straight up at Sue. She noted this, and pressed closer to the man at her side.
“This is an unfashionable play (thus Peter). If you like it, I am of course deeply pleased. I did not write it to please you. It is a preachment. For some years I have quietly observed the modern young woman, the more or less self-supporting bachelor girl, the girl who places her independence, her capricious freedom, her 'rights' above all those functions and duties to others on which woman's traditional quality, her finest quality, must rest. She is not interested in marriage, this bachelor girl, because she will surrender no item in her program of self indulgence. She is not interested in motherhood, because that implies self-abnegation. She talks economic independence while profiting by her sex-attraction. She uses men by disturbing them, confusing them; and thus shrewdly makes her own way. She plays with life, producing nothing. She builds no home, she rears no young. She talks glibly the selfish philosophy of Nietzsche, of Artzibasheff. She bases her self-justifying faith on the hideous animalism of Freud. She asserts her right, as she says, to give love, not to sell it in what she terms the property marriage. She speaks casually of 'the free relation' in love. She will not use the phrase 'free love'; but that, of course, is what she means.
“No nation can become better that the quality of its womanhood, of its motherhood. No nation without an ideal, a standard of nobility, can endure. We have come upon the days, these devastating days of war, when each nation is put to the test. Each nation must now exhibit its quality or die. This quality, in the last analysis, is capacity for sacrifice. It is endurance, and self-abnegation in the interest of all. It is surrender—the surrender to principle, order, duty, without which there can be no victory. The woman, like the man, who will not live for her country may yet be forced to die for her country.
“The educated young woman of to-day, the bachelor girl, the 'modern' girl, will speak loudly of her right to vote, her right to express herself,—that is her great phrase, 'self-expression'!—her intellectual superiority to marriage and motherhood. She will insist on what she calls freedom. For that she will even become militant. These phrases, and the not very pleasant life they cover, mean sterility, they mean anarchism, they mean disorganization, and perhaps death. They are the doctrine of the truffler, the woman who turns from duty to a passionate pursuit of enjoyment. They are eating, those phrases, like foul bacteria, at the once sound heart of our national life.
“So you see, in presenting this little picture of a girl who thought freedom—for herself—was everything, and of the havoc she wrought in one perhaps representative home, I have not been trying to entertain you. I have been preaching at you. If, inadvertently, I have entertained you as well, so much the better. For then my little sermon will have a wider audience.”
And, deliberately, he walked off stage.
On the stairs, moving slowly down from the gallery, Sue and the Worm looked at each other.