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1 I | destroying nearly thirty thousand human lives. The story of Hamaguchi
2 II | utter what belongs to all human experience rather than to
3 III | awe.~ Considered as a human work alone, the garden is
4 III | that all this had a~{p. 51}~human designer some thousand years
5 III | power of enchantment puts human grace under contribution.
6 III | that the real, warm, honest human emotions seem to them vulgar;
7 IV | names are but symbols of human sensations having nothing
8 IV | incalculable. What is the human body? A form built up out
9 IV | individuals called cells. And the human soul? A composite of quintillions
10 IV | that in whatsoever time all human minds accord in thought
11 V | Japanese representations of the human figure, and also (though
12 V | too come into play) of the human face. The general types
13 V | age; but they are types of human conditions, not of personality.
14 V | manifestation in some modern human being of the Greek ideal
15 V | of the highest possible human faculties. In modern art
16 VII | with the power of assuming human shape, and of making musical
17 IX | exactly the same in any two human beings. Yet through such
18 IX | from the skin! Even the human brain itself, by the modern
19 IX | Western thinker. How much of human unhappiness has been caused,
20 IX | of tolerance, no sense of human brotherhood, no wakening
21 IX | arise. The most powerful of human passions is the last to
22 IX | uttermost limit of possible human knowledge. But as much of
23 IX | tested within the limit of human knowledge is found to accord
24 IX | The conditions of human and of animal being belong
25 IX(1)| the thought of Galton that human beings "may contribute more
26 IX(1)| ourselves to consider each human or other personality as
27 XI | totally foreign to common human experience, then no representation
28 XI | some horror too vast for human brain to hold. For, as I
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