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 hears his voice. At first so timid and fearful in his presence that a look causes her to blush and tremble, a word magnetizes her from head to foot, she soon feels at ease only by his side. All other companions are displeasing to her. Then, in proportion to the innocence and purity of her nature, she yields herself to the most delightful intimacy — the most absolute confidence. She says whatever she thinks, whatever she feels; or, what she does not dare to say, she looks. It is her very innocence which constitutes her danger. And this innocence — even that which falls — is a great and holy thing. It is its profanation only which should be anathematized. The object of all this blind passion may be a graceless puppet, a stupid ignoramus, a worthless scoundrel — or, worse than all, a libertine.

If obstacles are thrown in her way — if she be imprudently crossed in the indulgence of her love, she speedily becomes cunning and provident in the interest of her passion. She finds the most incredible resources in her instincts, in her woman-nature a degree of assurance and skill in evading the penetrating eyes of a mother, or the perspicacity of a father which are truly astonishing. She finds methods of giving natural and satisfactory explanations to the most difficult situations. She readily ascertains, and with marvelous art conciliates all those who may be of service to her in the furtherance of her desires. The character of Juliet affords a truthful view of the wonderful rapidity with which the young girl passes from artless timidity to the most cunning duplicity.

To cure these attachments when unfortunate in their object, time alone is necessary — time, which so surely brings its disenchantments after the irrevocable step, is equally potent to prevent ill-assorted unions if only the indispensable management be judiciously employed