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Updated: May 1, 2025
With regard to Indian erotic art generally, and more especially Vatsyayana, who appears to have lived some sixteen hundred years ago, information will be found in Valentino, "L'Hygiène conjugale chez les Hindous," Archives Générales de Médecine, Ap. 25, 1905; Iwan Bloch, "Indische Medizin," Puschmann's Handbuch der Geschichte der Medizin, vol. i; Heimann and Stephan, "Beiträge zur Ehehygiene nach der Lehren des Kamasutram," Zeitschaft für Sexualwissenschaft, Sept., 1908; also a review of Richard Schmidt's German translation of the Kamashastra of Vatsyayana in Zeitschrift für Ethnologie, 1902, Heft 2.
With her usual calmness Amelie had undone his clothes and dressed his wound. Manousse Heimann was there, fortunately, with his inseparable Canet. Like Christophe they had come out of curiosity to see the demonstration: they had been present at the affray and seen Olivier fall. Canet was blubbering like a child: and at the same time he was thinking: "What on earth am I doing here?"
This Frenchman, French, burgess and provincial to his very soul, had become the fidus Achates of a young Jewish doctor named Manousse Heimann, a Russian refugee, who, like so many of his fellow-countrymen, had the twofold gift of settling at once among strangers and making himself at home, and of being so much at his ease in any sort of revolution as to rouse wonder as to what it was that most interested him in it: the game or the cause.
In his earlier works the best of which are "The Jews," "Tavern-Keeper Heimann," "The Innocents," "The Prologue" and "The Assassin" he devoted himself to portraying, not isolated persons, but the immense Russian Jewish proletariat, with its sad past, its bloody present, and its exalted faith in the future.
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