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Table of contents
THE FIRST WOMAN, AND HER ANTEDILUVIAN DESCENDANTS-1
THE FIRST WOMAN, AND HER ANTEDILUVIAN DESCENDANTS-2
THE FIRST WOMAN, AND HER ANTEDILUVIAN DESCENDANTS-3
THE FIRST WOMAN, AND HER ANTEDILUVIAN DESCENDANTS-4
THE FIRST WOMAN, AND HER ANTEDILUVIAN DESCENDANTS-5
THE FIRST WOMAN, AND HER ANTEDILUVIAN DESCENDANTS-6
THE FIRST WOMAN, AND HER ANTEDILUVIAN DESCENDANTS-7
DEGREES OF SENTIMENTAL ATTACHMENT AT DIFFERENT PERIODS-8
A VIEW OF MATRIMONY IN THREE DIFFERENT LIGHTS
FEMALE FRIENDSHIP
A LETTER TO A NEW MARRIED MAN
ITALIAN DEBAUCHERY
CUSTOM IN THE MOGUL EMPIRE
ANECDOTE OF CAESAR
POWER OF PHILTRES AND CHARMS
LAPLAND AND GREENLAND LADY
ART OF DETERMINING THE PRECISE FIGURE, THE DEGREE OF BEAUTY,THE HABITS, AND THE AGE, OF WOMEN, NOTWITHSTANDING THE AIDS AND DISGUISES OF DRESS
THE IDEAL OF FEMALE BEAUTY; OR A DESCRIPTION OF THE FAMOUS STATUE OF THE VENUS DE MEDICI
AN ESSAY ON MATRIMONY-1
AN ESSAY ON MATRIMONY-2
Three Contributions to the Theory of Sex. PREFACE
THE SEXUAL ABERRATIONS-1.1
DEVIATION IN REFERENCE TO THE SEXUAL AIM-1.2
GENERAL STATEMENTS APPLICABLE TO ALL PERVERSIONS-1.3
PARTIAL IMPULSES AND EROGENOUS ZONES-1.4
THE INFANTILE SEXUALITY-2.1
THE SEXUAL AIM OF THE INFANTILE SEXUALITY-2.2
THE INFANTILE SEXUAL INVESTIGATION-2.3
THE SOURCES OF THE INFANTILE SEXUALITY-2.4
THE TRANSFORMATION OF PUBERTY-3
THE THEORY OF THE LIBIDO-3.1
SUMMARY-3.2
SUMMARY-3.3
INDEX-1
INDEX-2
INDEX-3

constant themes. Her amusements, like those of a magpie, are only 

hopping over the same spots, prying into the same corners, and devouring 

the same species of prey. The simple and beautiful delineations of 

nature, in her countenance, gestures and whole deportment, are 

habitually arranged, distorted, or concealed, by the affected adoption 

of whatever grimace or deformity is latest or most in vogue. 

 

She accustoms her face to a simper, which every separate feature in it 

belies. She spoils, perhaps, a blooming complexion with a profusion of 

artificial coloring, she distorts the most exquisite shape by loads or 

volumes of useless drapery. She has her head, her arms, her feet, and 

her gait, equally touched by art and affectation, into what is called 

the _taste_, the _ton_, or the _fashion_. 

 

She little considers to what a torrent of ridicule and sarcasm this mode 

of conduct exposes her; or how exceedingly cold and hollow that ceremony 

must be, which is not the language of a warm heart. She does not reflect 

how insipid those smiles are, which indicate no internal pleasantry; nor 

how awkward those graces, which spring not from habits of good-nature 

and benevolence. Thus, pertness succeeds to delicacy, assurance to 

modesty, and all the vagaries of a listless to the sensibilities of an 

ingenuous mind. 

 

With her, punctilio is politeness; dissipation, life; and levity, 

spirit. The miserable and contemptible drudge of every tawdry innovation 

in dress or ceremony, she incessantly mistakes extravagance for taste, 

and finery for elegance. 

 

Her favorite examples are not those persons of acknowledged sincerity, 

who speak as they feel, and act as they think; but such only as are 

formed to dazzle her fancy, amuse her senses, or humor her whims. Her 

only study is how to glitter or shine, how to captivate and gratify the 

gaze of the multitude, or how to swell her own pomp and importance. To 

this interesting object all her assiduities and time are religiously 

devoted. 

 

How often is debility of mind, and even badness of heart concealed under 

a splendid exterior! The fairest of the species, and of the sex, often 

want sincerity; and without sincerity every other qualification is 

rather a blemish, than a virtue, or excellence. Sincerity operates on 

the moral, somewhat like the sun on the natural world; and produces 

nearly the same effects on the dispositions of the human heart, which he 

does on inanimate objects. Wherever sincerity prevails and is felt, all 

the smiling and benevolent virtues flourish most, disclose their 


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