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Henrik Ibsen, the hater of all social shams, was probably the first to realize this great truth.Nora leaves her husband, not---as the stupid critic would have it---because she is tired of her responsibilities or feels the need of woman’s rights, but because she has come to know that for eight years she had lived with a stranger and borne him children.
Marriage and love have nothing in common; they are as far apart as the poles; are, in fact, antagonistic to each other.
No doubt some marriages have been the result of love.
As to the knowledge of the woman---what is there to know except that she has a pleasing appearance?
We have not yet outgrown the theologic myth that woman has no soul, that she is a mere appendix to man, made out of his rib just for the convenience of the gentleman who was so strong that he was afraid of his own shadow.
On rare occasions one does hear of a miraculous case of a married couple falling in love after marriage, but on close examination it will be found that it is a mere adjustment to the inevitable.
Certainly the growing-used to each other is far away from the spontaneity, the intensity, and beauty of love, without which the intimacy of marriage must prove degrading to both the woman and the man.
THE popular notion about marriage and love is that they are synonymous, that they spring from the same motives, and cover the same human needs.
Like most popular notions this also rests not on actual facts, but on superstition.
The thoughtful social student will not content himself with the popular superficial excuse for this phenomenon.
He will have to dig down deeper into the very life of the sexes to know why marriage proves so disastrous.