[…] the one who impressed me most [was] a rumba dancer […] known for dancing to the rhythm of Cuban drums in a bikini with silver fringes while somehow circumgyrating at variable and independent speeds, each of her enormous tits […]

Among the waltzings, and the droppings, and the swarmings of the sounds, Pierre now heard the tones above deftly stealing and winding among the myriad serpentinings of the other melody: […]

In a time of violent religious excitement the transference was easy from fabledom, Teutonic barbarism, &c., to Christian convents.

In the second case, the religious symbol ties or binds the self not to the social order but to self-transcendence. In such cases the self is understood not as a mirror of the sociocosmic order but as reality radically open to the infinite.