great lady in the castle hall, but he himself lorded it over the wife who drudged in his own home. On his knees he gazed up in devotion at the ethereal virgin, but when she ceased to be a virgin, he asserted himself by cursing her as a demon sent from hell to seduce and torment him. All this was possible because the woman was outside the orbit of the man's life, never on the same plane, necessarily higher or lower. It became difficult if woman was man's equal, absurdly impossible if she was of identical nature with him.
The medieval romantic tradition has come down to us so laden with beauty and mystery that we are apt to think, as we see it melt away, that human achievements are being permanently depreciated. That illusion occurs in every age of transition. It was notably so in the eighteenth century, which represented a highly important stage in the emancipation of women. To some that century seems to have been given up to empty gallantry and facile pleasure. Yet it was not only the age in which women for the first time succeeded in openly attaining their supreme social influence, 17 it was an age of romantic love, and the noble or poignant love-stories which have reached us from the records of that period surpass those of any other age.
If we believe with Goethe that the religion of the future consists in a triple reverence—the reverence for what is above us, the reverence for what is below us, and the reverence for our equals 18—we need not grieve overmuch if one form of this reverence, the first, and that which Goethe regarded as the earliest and crudest, has lost its exclusive claim.
Reverence is essential to all romantic love. To bring down the Madonna and the Virgin from their pedestals to share with men the common responsibilities and duties of life is not to divest them of the claim to reverence. It is merely the sign of a change in the form of that reverence, a change which heralds a new romantic love.