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himself---that she has lusts and weaknesses much as he does. Even hatred of another<br />

involves a certain idealization of them: we see the object of our hatred as a villain who<br />

knows exactly what he is doing, when in truth he is a weak person who is acting out of<br />

fear and confusion. And our hatred of people is often borne of betrayal, this being why<br />

former friends are often the objects of the most<br />

If we saw people as they are, instead of seeing them through the lens of our<br />

idealizations, we would neither love nor hate them; and so long as we do have<br />

emotional attachments <strong>to</strong> them, we do not see them for what they are. More generally,<br />

so long as we relate <strong>to</strong> the world in an emotion- as opposed <strong>to</strong> reason-based manner,<br />

we understand it in terms of fairy tales and therefore do not see it as it is. As we age,<br />

the fairy tales in question change form: the five-year-old boy believes that he is<br />

Superman, whereas his 35-year-old counterpart believes that he will be the next Bill<br />

Gates, but neither is any less deluded than the other.<br />

These principles are not specific <strong>to</strong> any culture or era. They hold universally.<br />

They are hold neither more nor less of the United States <strong>to</strong>day than they did of Sumer<br />

or Sparta---or, indeed, than they did of Russian in the late 19 th century, this being the<br />

setting of Tols<strong>to</strong>y’s The Death of Ivan Ilych, which, like Hahn’s In Childhood, is about<br />

parting with infantile illusions. The difference is that Ivan Ilych is about the<br />

rationalizations that adults use <strong>to</strong> cloak their continued acceptance of fairy tales,<br />

whereas Hahn’s poem is much less concerned with those rationalizations than with the<br />

child’s naïve and uncritical acceptance of those fairy tales themselves.

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