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d towers, ancient rooms, become symbols of great and dignified achievements; ceremonies come to be invested with a serious beauty and memorable charm. They become reminders of a "torch to be carried on," of a spirit to be cherished and kept alive, of a history to be carried on or a purpose or an ideal to be fulfilled. As we shall see in a moment, this sense for the past, which, as Santayana says, makes a man loyal to the sources of his being, has both its virtues and vices. It is of immense value in preserving continuity and cultural integration, in keeping many men continuously moving toward a single fixed end. It may also wrap dangerously irrelevant habits and institutions in a saving--and illusive--halo. There are, on the other hand, individuals with very little sense for tradition. This may be accounted for in some cases by a marked aesthetic insensibility, which sees in ritual, ceremony, or habit, merely the literal, without any appreciation at all of its symbolic significance.[1] In other cases, individuals are unsusceptible and hostile to tradition, because they have themselves been socially disinherited. This is illustrated not infrequently in the case of foreigners who, for one reason or another, have left and lost interest in their native land, and become men without a country. [Footnote 1: This is illustrated by the crass excesses of certain radical satirists of religious forms. Those who are the enemies of religion for economic, social, or intellectualistic reasons combine a singular sense of the literal absurdities of religious forms with a marked insensibility to their symbolic values. One may find interesting examples, from Voltaire to Robert Ingersoll.] There are others by temperament rebellious and iconoclastic, who combine a keen sense of present difficulties and problems with small reverence, use for, or interest in the past, and small imaginative sympathy with it. The past is to them a "sea of errors." They regard all past achievements as bad scribblings which must be erased, so that we may start with a clean slate. There have been included among such, great historical reformers. Bentham's enthusiasm for progress led him into most intemperate attacks on history and historical method. The most noted of the eighteenth-century philosophers saw nothing but evil in tradition. Such sentiments were echoed in the early nineteenth century by Shelley, Godwin, and their circle, as expressed, for exampl
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