| The first excerpt represents the past or something you must release, and is drawn from Pivot of Civilization by Margaret Sanger: No. I, pp. 839 et seq.
[7] Cf. New York Times, June 4, 1921.
[8] ``Studies in the Psychology of Sex,'' Vol. VI. p. 20.
CHAPTER IV: The Fertility of the Feeble-Minded
What vesture have you woven for my year?
O Man and Woman who have fashioned it
Together, is it fine and clean and strong,
Made in such reverence of holy joy,
Of such unsullied substance, that your hearts
Leap with glad awe to see it clothing me,
The glory of whose nakedness you know?
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Hidden Masterpiece by Honore de Balzac: by a song which recalls his fatherland. The contempt which the old man
affected to pour upon the noblest efforts of art, his wealth, his
manners, the respectful deference shown to him by Porbus, his work
guarded so secretly,--a work of patient toil, a work no doubt of
genius, judging by the head of the Virgin which Poussin had so naively
admired, and which, beautiful beside even the Adam of Mabuse, betrayed
the imperial touch of a great artist,--in short, everything about the
strange old man seemed beyond the limits of human nature. The rich
imagination of the youth fastened upon the one perceptible and clear
clew to the mystery of this supernatural being,--the presence of the
artistic nature, that wild impassioned nature to which such mighty
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The third excerpt represents the future or something you must embrace, and is drawn from The Soul of the Far East by Percival Lowell: European waiters in particular with much abstract love of mathematics,
for example. In the second place, there is an essential difference
in the attitude of the two subjects upon personality. Emotionally,
science appeals to nobody, art to everybody. Now the emotions
constitute the larger part of that complex bundle of ideas which we
know as self. A thought which is not tinged to some extent with
feeling is not only not personal; properly speaking, it is not even
distinctively human, but cosmical. In its lofty superiority to man,
science is unpersonal rather than impersonal. Art, on the other hand,
is a familiar spirit. Through the windows of the senses she finds
her way into the very soul of man, and makes for herself a home there.
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