The day when you think of ing home . Ah then my heart -will already be broken.
Roselind in Shakespeares "As You Like It" says to her cousin Celia:" coz, y pretty little coz, that thou k how many
fathom deep I am in love! But I ot be sounded: my affe hath an unknown bottom, like the bay of Pal. " Now the love of a woman, _of a wife for her husband in a and also the love of the man_of the husband for his wife in a, one truly say, is like Rosolinds love, many fathom deep and ot be sounded; it has an unknown bottom like the bay of Pal.
But, I will now speak of the difference which, I said, there is between the ese feminine ideal and the feminine ideal of the old Hebrew people. The Hebrew lover in the Songs of Solomon, thus addresses his lady-love: "Thou art beautiful,my love, as Tirzah, ely as Jerusalem, terrible as an army with banners " People who have seeiful dark-eyed Jewesses even to day, will aowledge the truth and graphiess of the picture which the old Hebrew lover here gives of the feminine ideal of his race. But in and about the ese feminine ideal, I want to say here, there is nothing terrible either in a physical or in a moral sense. Even the Helen of ese history, _the beauty, who with one glance brings down a city and with anlance destroys a kingdom she is terrible only mataphorically. In an essay on "the Spirit of the ese People, " I said that the one word which will sum up the total impression which the ese type of humanity makes upon you is the English word, "gentle. " If this is true of the real aman, it is truer of the real ese woman. In fact this "gentleness" of the real aman, in the ese woman, bees sweet meekness. The meekness, the submissiveness of the woman in a is like that of Miltons Eve in the "Paradise Lost, " who says to her husband,
God is thy law, thou, mio know no more Is woman s happiest knowledge and her praise .
Ihis quality of perfect meekness in the ese feminine ideal you will find in the feminine ideal of no other people, _of no
other civilisation, Hebrew, Greek or Roman. This perfect, divine meekness in the ese feminine ideal you will find only in one civilisation, _the Christian civilisation, when that civilisation in Europe reached its perfe, during the period of the Renaissance. If you will read the beautiful story of Griselda in Boccacios Decameron ahe true Christian feminine ideal shown there, you will then uand what this perfect submissiveness, this divine meekness, meeko the point of absolute selflessness, _in the ese feminine ideal means. In short, in this quality of divine meekness, the true Christian feminine ideal is the ese feminine ideal, with just a shade of difference. If you will carefully pare the picture of the Christian Madonna with, _not the Budhist Kuan Yin, _but with the pictures of women fairies and genii painted by famous ese artists, you will be able to see this differehe differeween the Christian feminine ideal, and the ese feminine ideal. The Christian Madonna is meek and so is the ese feminine ideal. The Christian Madonna is etherial and so is the ese feminine ideal. But the ese feminine ideal is more than all that; the ese feminine ideal is debonair. To have a ception of what this charm and grace expressed by the word debonair mean, you will have to go to a Greece,
_o ubi campi Spercheosque et virginibus bacchata Lais Taygeta!
In fact you will have to go to the fields of Thessaly and the streams of Spercheios, to the h