Summary

Portrait of Edward Bellamy Edward Bellamy Miss Ludington's Sister — Chapter II (1884)

For if our past selves, who were dead before we were alive, had no souls, then why suppose our present selves have any? Childhood, youth, and manhood are the sweetest, the fairest, the noblest, the strongest of the persons who together constitute an individual. Are they soulless? Do they go down in darkness to oblivion while immortality is reserved for the withered soul of age? If we must believe that there is but one soul to all the persons of an individual it would be easier to believe that it belongs to youth or manhood, and that age is soulless.
Source: Wikisource

Portrait of Edward Bellamy Edward Bellamy Miss Ludington's Sister — Chapter II (1884)

Or is it maintained that, although there is such utter diversity-- physical, mental, moral--between infancy and manhood, youth and age, nevertheless, there is a certain essence common to them all, and persisting unchanged through them all, and that this is the soul of the individual? But such an essence as should be the same in the babe and the man, the youth and the dotard, could be nothing more than a colourless abstraction, without distinctive qualities of any kind--a mere principle of life like the fabled jelly protoplasm. Such a fancy reduces the hope of immortality to an absurdity.
Source: Wikisource

Portrait of Edward Bellamy Edward Bellamy Miss Ludington's Sister — Chapter II (1884)

And so it was, that never straying beyond the confines of the eerie village, and having no companion but Miss Ludington, the boy fell scarcely less than she under the influence of the beautiful girl who was the presiding genius of the place.
As he grew older, far from losing its charm, Ida's picture laid upon him a new spell. Her violet eyes lighted his first love-dreams. She became his ideal of feminine loveliness, drawing to herself, as the sun draws mist, all the sentiment and dawning passion of the youth. In a word, he fell in love with her.
Source: Wikisource

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