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desire to remain slender was actuated by a deep un¬
conscious desire to remain a child and to avoid responsi¬
bilities, and she would be amazed to know that her diet
and her disinterestedness in the world of business and
politics, her coyness, her cult of a perfect complexion,
her choice of filmy and fluttery dresses were all related,
all tools for the sculpture of the same figure of a grown-up
baby-doll. And even if she knew all these things she
would not know why she had chosen the ideal of being
a baby-doll from the whole host of other available designs,
nor why she persisted in pursuing this ideal in the face
of all common-sense data about the unattainability of
that goal in reality.
How to Know Tourself
A worm in a peach may knowr the inside of his peach
with a precise and “ scientific ” knowledge, but it
requires another worm, perhaps no better or more
knowing, to tell the first worm where his peach hangs on
the tree. Every individual knows something about
himself within the fixed pattern of his personality, but
usually he is unaware of the design of that pattern, that
is, its goal, its significant form, its tempo of progression,
and the material of the design. And what he knows least
of all is the relationship of his design to the designs of
other members of his family and to other members of his
social group. The mere collection of data about our¬
selves is an interesting, but rather useless pastime. This
is the so-called “ scientific ” method.
To follow the Socratic dictum fully, you must “ know
yourself” with the eyes of another person. This requires
two distinctly artistic processes—identification and
interpretation. Just as being a human being is a fine art,
so knowing human nature is an artistic process. That is
why poets, novelists, painters, generals, salesmen, and
office-boys have usually known more about human
nature than so-called “ scientists ”.
Because we are all human beings, because we are all