The question was not, Why had she been born? - the answer to that came simply enough; she had been born in consequence of the satisfying of her parents' instincts. The question was, What had she been born for? Finding herself in the world, a new person who had never lived before, but who was obliged to live then, she had wanted to know what was to be the purport of her existence. Mrs. Yorke had pointed her to motherhood; she had said nothing about men and women's love.... But Chrystal could answer the question for herself now. It is the cultivation of all the faculties that makes a human being complete.The passions, the affections, the physical, mental, and moral powers, must all be exercised. She had children, two acquaintances, books, and active enjoyment, but she could not be content. The New Woman wanted the New Man.
As a manifesto from 1896, that's not bad - there's little here that a modern woman, let alone a modern feminist, would quarrel with. The sequence of events that the anonymous "Exponent" has chosen to illustrate her manifesto is a bit more questionable: it smacks of too much selfishness, as even the sympathetic reviewer in The University Magazine and Free Review of 1897 felt bound to point out. Chrystal enters (albeit consentingly) into a more or less arranged marriage with a man who has poor health, and bears a sickly child by him. Admittedly she does not abandon the child, but she does abandon the man; she then has an affair with a man she does not love, in order to have a healthy child, whom she quite obviously favours over the first; finally, she finds a man philosophically aligned with her, and marries him for love and has a third, and most favoured child by him. The trouble is, in carrying out this highly mechanical demonstration of the steps of enlightenment in adjusting the relations between the sexes, the author manages to create a heroine who is at best unlikeable and at worst inhuman. It's a tricky business, when arguing against a social order that demands women submerge their own needs and desires in unselfish service to everyone else, to find the point at which self-assertion becomes mere selfishness, and this author, alas, didn't quite land on it. Chrystal's Progress, like that of the Pilgrim, is not the story of a real human being, but a series of scenes illustrating philosophical points.
Still, it's a fascinating document of its time. I found the title in the University of Toronto Libary catalogue, and read it (in a scan of that library's copy) on the Internet Archive.