Even Hohenemser--who argues that for the perfect man there could
be no shame, because shame rests on an inner conflict in one's
own personality, and "the perfect man knows no inner
conflict"--believes that, since humanity is imperfect, modesty
possesses a high and, indeed, symptomatic value, for "its
presence shows that according to the measure of a man's ideal
personality, his valuations are established."
Dugas goes further, and asserts that the ideals of modesty
develop with human development, and forever take on new and finer
forms. "There is," he declares, "a very close relationship
between naturalness, or sincerity, and modesty, for in love,
naturalness is the ideal attained, and modesty is only the fear
of coming short of that ideal. Naturalness is the sign and the
test of perfect love. It is the sign of it, for, when love can
show itself natural and true, one may conclude that it is
purified of its unavowable imperfections or defects, of its alloy
of wretched and petty passions, its grossness, its chimerical
notions, that it has become strong and healthy and vigorous. It
is the ordeal of it, for to show itself natural, to be always
true, without shrinking, it must have all the lovable qualities,
and have them without seeking, as a second nature. What we call
'natural,' is indeed really acquired; it is the gift of a
physical and moral evolution which it is precisely the object of
modesty to keep.
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