The art of sound pictures (1930)

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FEELINGS AND EMOTIONS 177 of state of the utmost importance in order to be with his beautiful mistress. b. A freshman college girl feels a passionate attraction for a sophomore girl in the same school. She says she “has a crush” on the older girl. She sends flowers to the sophomore, writes little notes to her, sends her candy. Gradually, she begins to imitate the style of dress of the older girl, cuts her hair similarly, imitates her handwriting. If the sophomore is studious, the freshman begins to take an active interest in her studies. Or, if she is frivolous, her admirer tries to emulate her frivolity. This process may go on until the freshman girl becomes almost wholly and ludicrously absorbed in her attempt to model herself and all her activities in imitation of her “crush.” In following the course of such “crushes,” it is easy to see how the various expressions of submission increase cumulatively, replacing inducement. B. Subtle Behavior I. Illustrations a. The classic description of the subtler expressions of passion is contained in the “Second Sapphic Fragment.” Sappho’s description of her own bodily expression of passion is remarkably accurate, from the psychological point of view: For when I see thee but a little, I have no utterance left, my tongue is broken down, and straightway a subtile fire has run under my skin, with my eyes I have no sight, my ears ring, sweat pours down and a trembling seizes all my body; I am paler than grass, and seem in my madness little better than one dead? II. Physiological Expressions a. Lowering of the eyes, bowing the head, turning the face away, either sudden flushing or sudden pallor of the face may be regarded as common expressions of female passion and adolescent passion of both sexes. Any bodily posture or attitude of bashfulness should also be included in this group. 2 H. T. Wharton, “Second Sapphic Fragnaent,” Sappho, reprint of fourth edition (London, 1907), p. 65.