VI.

It seems probable that a form of erotic symbolism somewhat similar to exhibitionism is to be found in the rare cases in which sexual gratification is derived from throwing ink, acid or other defiling liquids on women's dresses. Thoinot has recorded a case of this kind (Attentats aux Moeurs, 1898, pp. 484,et seq.). An instructive case has been presented by Moll. In this case a young man of somewhat neuropathic heredity had as a youth of 16 or 17, when romping with his young sister's playfellows, experienced sexual sensations on chancing to see their white underlinen. From that time white underlinen and white dresses became to him a fetich and he was only attracted to women so attired. One day, at the age of 25, when crossing the street in wet weather with a young lady in a white dress, a passing vehicle splashed the dress with mud. This incident caused him strong sexual excitement, and from that time he had the impulse to throw ink, perchloride of iron, etc., on to ladies' white dresses, and sometimes to cut and tear them, sexual excitement and ejaculation taking place every time he effected this. (Moll, "Gutachten über einem Sexual Perversen [Besudelungstrieb],"Zeitschrift für Medizinalbeamte, Heft XIII, 1900). Such a case is of considerable psychological interest. Thoinot considers that in these cases the fleck is a fetich. That is an incorrect account of the matter. In this case thewhite garments constituted the primary fetich, but that fetich becomes more acutely realized, and at the same time both parties are thrown into an emotional state which to the fetichist becomes a mimicry of coitus, by the act of defilement. We may perhaps connect with this phenomenon the attraction which muddy shoes often exert over the shoe-fetichist, and the curious way in which, as we have seen (p. 18), Restif de la Bretonne associates his love of neatness in women with his attraction to the feet, the part, he remarks, least easy to keep clean.Garnier applied the termsadi-fetichismto active flagellation and many similar manifestations such as we are here concerned with, on the grounds that they are hybrids which combine the morbid adoration for a definite object with the impulse to exercise a more or less degree of violence. From the standpoint of the conception of erotic symbolism I have adopted there is no need for this term. There is here no hybrid combination of two unlike mental states. We are simply concerned with states of erotic symbolism, more or less complete, more or less complex.

Garnier applied the termsadi-fetichismto active flagellation and many similar manifestations such as we are here concerned with, on the grounds that they are hybrids which combine the morbid adoration for a definite object with the impulse to exercise a more or less degree of violence. From the standpoint of the conception of erotic symbolism I have adopted there is no need for this term. There is here no hybrid combination of two unlike mental states. We are simply concerned with states of erotic symbolism, more or less complete, more or less complex.

The conception of exhibitionism as a process of erotic symbolism, involves a conscious or unconscious attitude of attention in the exhibitionist's mind to the psychic reaction of the woman toward whom his display is directed. He seeks to cause an emotion which, probably in most cases, he desires should be pleasurable. But from one cause or another his finer sensibilities are always inhibited or in abeyance, and he is unable to estimate accurately either the impression he is likely to produce or the general results of his action, or else he is moved by a strong impulsive obsession which overpowers his judgment. In many cases he has good reason for believing that his act will be pleasurable, and frequently he finds complacent witnesses among the low-class servant girls, etc.

It may be pointed out here that we are quite justified in speaking of a penis-fetichism and also of a vulva-fetichism. This might be questioned. We are obviously justified in recognizing a fetichism which attaches itself to the pubic hair, or, as in a case with which I am acquainted, to the clitoris, but it may seem that we cannot regard the central sexual organs as symbols of sex, symbols, as it were, of themselves. Properly regarded, however, it is the sexual act rather than the sexual organ which is craved in normal sexual desire; the organ is regarded merely as the means and not as the end. Regarded as a means the organ is indeed an object of desire, but it only becomes a fetich when it arrests and fixes the attention. An attention thus pleasurably fixed, a vulva-fetichism or a penis-fetichism, is within the normal rangeof sexual emotion (this point has been mentioned in the previous volume when discussing the part played by the primary sexual organs in sexual selection), and in coarse-grained natures of either sex it is a normal allurement in its generalized shape, apart from any attraction to the person to whom the organs belong. In some morbid cases, however, this penis-fetichism may become a fully developed sexual perversion. A typical case of this kind has been recorded by Howard in the United States. Mrs. W., aged 39, was married at 20 to a strong, healthy man, but derived no pleasure from coitus, though she received great pleasure from masturbation practiced immediately after coitus, and nine years after marriage she ceased actual coitus, compelling her husband to adopt mutual masturbation. She would introduce men into the house at all times of the day or night, and after persuading them to expose their persons would retire to her room to masturbate. The same man never aroused desire more than once. This desire became so violent and persistent that she would seek out men in all sorts of public places and, having induced them to expose themselves, rapidly retreat to the nearest convenient spot for self-gratification. She once abstracted a pair of trousers she had seen a man wear and after fondling them experienced the orgasm. Her husband finally left her, after vainly attempting to have her confined in an asylum. She was often arrested for her actions, but through the intervention of friends set free again. She was a highly intelligent woman, and apart from this perversion entirely normal. (W. L. Howard, "Sexual Perversion,"Alienist and Neurologist, January, 1896.) It is on the existence of a more or less developed penis-fetichism of this kind that the exhibitionist, mostly by an ignorant instinct, relies for the effects he desires to produce.

The exhibitionist is not usually content to produce a mere titillated amusement; he seeks to produce a more powerful effect which must be emotional whether or not it is pleasurable. A professional man in Strassburg (in a case reported by Hoche[59]) would walk about in the evening in a long cloak, and when he met ladies would suddenly throw his cloak back under a street lamp, or igniting a red-fire match, and thus exhibit his organs. There was an evident effort—on the part of a weak, vain, and effeminate man—to produce a maximum of emotional effect. The attempt to heighten the emotional shock is also seen in the fact that the exhibitionist frequently chooses a church as the scene of his exploits, not during service, for healways avoids a concourse of people, but perhaps toward evening when there are only a few kneeling women scattered through the edifice. The church is chosen, often instinctively rather than deliberately, from no impulse to commit a sacrilegious outrage—which, as a rule, the exhibitionist does not feel his act to be—but because it really presents the conditions most favorable to the act and the effects desired. The exhibitionist's attitude of mind is well illustrated by one of Garnier's patients who declared that he never wished to be seen by more than two women at once, "just what is necessary," he added, "for an exchange of impressions." After each exhibition he would ask himself anxiously: "Did they see me? What are they thinking? What do they say to each other about me? Oh! how I should like to know!" Another patient of Garnier's, who haunted churches for this purpose, made this very significant statement: "Why do I like going to churches? I can scarcely say.But I know that it is only there that my act has its full importance. The woman is in a devout frame of mind, and she must see that such an act in such a place is not a joke in bad taste or a disgusting obscenity;that if I go there it is not to amuse myself; it is more serious than that!I watch the effect produced on the faces of the ladies to whom I show my organs. I wish to see them express a profound joy. I wish, in fact, that they may be forced to say to themselves:How impressive Nature is when thus seen!"

Here we trace the presence of a feeling which recalls the phenomena of the ancient and world-wide phallic worship, still liable to reappear sporadically. Women sometimes took part in these rites, and the osculation of the male sexual organ or its emblematic representation by women is easily traceable in the phallic rites of India and many other lands, not excluding Europe even in comparatively recent times. (Dulaure in hisDivinités Génératicesbrings together much bearing on these points;cf.: Ploss and Bartels,Das Weib, vol. i, Chapter XVII, and Bloch,Beiträge zur Psychopathia Sexualis, Teil I, pp. 115-117. Colin Scott has some interesting remarks on phallic worship and the part it has played in aiding human evolution, "Sex and Art,"American Journal of Psychology, vol. vii, No. 2, pp. 191-197. Irving Rosse describes some modern phallic rites in which both men and women took part, similar to those practiced in vaudouism, "Sexual Hypochondriasis,"Virginia Medical Monthly, October, 1892.)Putting aside any question of phallic worship, a certain pride and more or less private feeling of ostentation in the new expansion and development of the organs of virility seems to be almost normal at adolescence. "We have much reason to assume," Stanley Hall remarks, "that in a state of nature there is a certain instinctive pride and ostentation that accompanies the new local development. I think it will be found that exhibitionists are usually those who have excessive growth here, and that much that modern society stigmatizes as obscene is at bottom more or less spontaneous and perhaps in some cases not abnormal. Dr. Seerley tells me he has never examined a young man largely developed who had the usual strong instinctive tendency of modesty to cover himself with his hands, but he finds this instinct general with those whose development is less than the average." (G. Stanley Hall,Adolescence, vol. ii, p. 97.) This instinct of ostentation, however, so far as it is normal, is held in check by other considerations, and is not, in the strict sense, exhibitionism. I have observed a full-grown telegraph boy walking across Hampstead Heath with his sexual organs exposed, but immediately he realized that he was seen he concealed them. The solemnity of exhibitionism at this age finds expression in the climax of the sonnet, "Oraison du Soir," written at 16 by Rimbaud, whose verse generally is a splendid and insolent manifestation of rank adolescence:—

Putting aside any question of phallic worship, a certain pride and more or less private feeling of ostentation in the new expansion and development of the organs of virility seems to be almost normal at adolescence. "We have much reason to assume," Stanley Hall remarks, "that in a state of nature there is a certain instinctive pride and ostentation that accompanies the new local development. I think it will be found that exhibitionists are usually those who have excessive growth here, and that much that modern society stigmatizes as obscene is at bottom more or less spontaneous and perhaps in some cases not abnormal. Dr. Seerley tells me he has never examined a young man largely developed who had the usual strong instinctive tendency of modesty to cover himself with his hands, but he finds this instinct general with those whose development is less than the average." (G. Stanley Hall,Adolescence, vol. ii, p. 97.) This instinct of ostentation, however, so far as it is normal, is held in check by other considerations, and is not, in the strict sense, exhibitionism. I have observed a full-grown telegraph boy walking across Hampstead Heath with his sexual organs exposed, but immediately he realized that he was seen he concealed them. The solemnity of exhibitionism at this age finds expression in the climax of the sonnet, "Oraison du Soir," written at 16 by Rimbaud, whose verse generally is a splendid and insolent manifestation of rank adolescence:—

"Doux comme le Seigneur du cèdre et des hysopes,Je pisse vers les cieux bruns très haut et très loin,Avec l'assentiment des grands héliotropes."(J. A. Rimbaud,Œuvres, p. 68.)

"Doux comme le Seigneur du cèdre et des hysopes,Je pisse vers les cieux bruns très haut et très loin,Avec l'assentiment des grands héliotropes."

(J. A. Rimbaud,Œuvres, p. 68.)

In women, also, there would appear to be traceable a somewhat similar ostentation, though in them it is complicated and largely inhibited by modesty, and at the same time diffused over the body owing to the absence of external sexual organs. "Primitive woman," remarks Madame Renooz, "proud of her womanhood, for a long time defended her nakedness which ancient art has always represented. And in the actual life of the young girl to-day there is a moment when by a secret atavism she feels the pride of her sex, the intuition of her moral superiority, and cannot understand why she must hide its cause. At this moment, wavering between the laws of Nature and social conventions, she scarcely knows if nakedness should or should not affright her. A sort of confused atavistic memory recalls to her a period before clothing was known, and reveals to her as a paradisaical ideal the customs of that human epoch." (Céline Renooz,Psychologie Comparée de l'Homme et de la Femme, p. 85.) It may be added that among primitive peoples, and even among some remote European populations to-day, the exhibition of feminine nudity has sometimes been regarded as a spectacle with religious or magic operation. (Ploss,Das Weib, seventh edition, vol. ii,pp. 663-680; Havelock Ellis,Man and Woman, fourth edition, p. 304.) It is stated by Gopcevic that in the long struggle between the Albanians and the Montenegrians the women of the former people would stand in the front rank and expose themselves by raising their skirts, believing that they would thus insure victory. As, however, they were shot down, and as, moreover, victory usually fell to the Montenegrians, this custom became discredited. (Quoted by Bloch,Op. cit., Teil II, p. 307.)With regard to the association, suggested by Stanley Hall, between exhibitionism and an unusual degree of development of the sexual organs, it must be remarked that both extremes—a very large and a very small penis—are specially common in exhibitionists. The prevalence of the small organ is due to an association of exhibitionism with sexual feebleness. The prevalence of the large organ may be due to the cause suggested by Hall. Among Mahommedans the sexual organs are sometimes habitually exposed by religious penitents, and I note that Bernhard Stern, in his book on the medical and sexual aspects of life in Turkey, referring to a penitent of this sort whom he saw on the Stamboul bridge at Constantinople, remarks that the organ was very largely developed. It may well be in such a case that the penitent's religious attitude is reinforced by some lingering relic of a more fleshly ostentation.

With regard to the association, suggested by Stanley Hall, between exhibitionism and an unusual degree of development of the sexual organs, it must be remarked that both extremes—a very large and a very small penis—are specially common in exhibitionists. The prevalence of the small organ is due to an association of exhibitionism with sexual feebleness. The prevalence of the large organ may be due to the cause suggested by Hall. Among Mahommedans the sexual organs are sometimes habitually exposed by religious penitents, and I note that Bernhard Stern, in his book on the medical and sexual aspects of life in Turkey, referring to a penitent of this sort whom he saw on the Stamboul bridge at Constantinople, remarks that the organ was very largely developed. It may well be in such a case that the penitent's religious attitude is reinforced by some lingering relic of a more fleshly ostentation.

It is by a pseudo-atavism that this phallicism is evoked in the exhibitionist. There is no true emergence of an ancestrally inherited instinct, but by the paralysis or inhibition of the finer and higher feelings current in civilization, the exhibitionist is placed on the same mental level as the man of a more primitive age, and he thus presents the basis on which the impulses belonging to a higher culture may naturally take root and develop.

Reference may here be made to a form of primitive exhibitionism, almost confined to women, which, although certainly symbolic, is absolutely non-sexual, and must not, therefore, be confused with the phenomena we are here occupied with. I refer to the exhibition of the buttocks as a mark of contempt. In its most primitive form, no doubt, this exhibitionism is a kind of exorcism, a method of putting evil spirits, primarily, and secondarily evil-disposed persons, to flight. It is the most effective way for a woman to display sexual centers, and it shares in the magical virtues which all unveiling of the sexual centers is believed by primitive peoples to possess. It is recorded that the women of some peoples in the Balkan peninsula formerly used this gesture against enemies in battle. In the sixteenth century so distinguished a theologian as Luther when assailed by the Evil One at night was able to put the adversary to flight by protruding his uncovered buttocksfrom the bed. But the spiritual significance of this attitude is lost with the decay of primitive beliefs. It survives, but merely as a gesture of insult. The symbolism comes to have reference to the nates as the excretory focus, the seat of the anus. In any case it ignores any sexual attractiveness in this part of the body. Exhibitionism of this kind, therefore, can scarcely arise in persons of any sensitiveness or æsthetic perception, even putting aside the question of modesty, and there seems to be little trace of it in classic antiquity when the nates were regarded as objects of beauty. Among the Egyptians, however, we gather from Herodotus (Bk. II, Chapter LX) that at a certain popular religious festival men and women would go in boats on the Nile, singing and playing, and when they approached a town the women on the boats would insult the women of the town by injurious language and by exposing themselves. Among the Arabs, however, the specific gesture we are concerned with is noted, and a man to whom vengeance is forbidden would express his feelings by exposing his posterior and strewing earth on his head (Wellhausen,Rests Arabischen Heidentums, 1897, p. 195). It is in Europe and in mediæval and later times that this emphatic gesture seems to have flourished as a violent method of expressing contempt. It was by no means confined to the lower classes, and Kleinpaul, in discussing this form of "speech without words," quotes examples of various noble persons, even princesses, who are recorded thus to have expressed their feelings. (Kleinpaul,Sprache ohne Worte, pp. 271-273.) In more recent times the gesture has become merely a rare and extreme expression of unrestrained feeling in coarse-grained peasants. Zola, in the figure of Mouquette inGerminal, may be said to have given a kind of classic expression to the gesture. In the more remote parts of Europe it appears to be still not altogether uncommon. This seems to be notably the case among the South Slavs, and Krauss states that "when a South Slav woman wishes to express her deepest contempt for anyone she bends forward, with left hand raising her skirts, and with the right slapping her posterior, at the same time exclaiming: 'This for you!'" (Κρυπτάδια, vol. vi, p. 200.)A verbal survival of this gesture, consisting in the contemptuous invitation to kiss this region, still exists among us in remote parts of the country, especially as an insult offered by an angry woman who forgets herself. It is said to be commonly used in Wales. ("Welsh Ædœlogy," Κρυπτάδια, vol. ii, pp. 358,et seq.) In Cornwall, when addressed by a woman to a man it is sometimes regarded as a deadly insult, even if the woman is young and attractive, and may cause a life-long enmity between related families. From this point of view the nates are a symbol of contempt, and any sexual significance is excluded. (The distinction is brought out by Diderot inLe Neveu de Rameau:"Lui:—Il y a d'autres jours ou il ne m'en coûterait rien pour être vil tantqu'on voudrait; ces jours-là, pour un liard, je baiserais le cul à la petite Hus.Moi:—Eh! mais, l'ami, elle est blanche, jolie, douce, potelée, et c'est un acte d'humilité auquel un plus delicat que vous pourrait quelquefois s'abaisser.Lui:—Entendons-nous; c'est qu'il y a baiser le cul au simple, et baiser le cul au figuré.")It must be added that a sexual form of exhibitionism of the nates must still be recognized. It occurs in masochism and expresses the desire for passive flagellation. Rousseau, whose emotional life was profoundly affected by the castigations which as a child he received from Mlle Lambercier, has in hisConfessionstold us how, when a youth, he would sometimes expose himself in this way in the presence of young women. Such masochistic exhibitionism seems, however, to be rare.

A verbal survival of this gesture, consisting in the contemptuous invitation to kiss this region, still exists among us in remote parts of the country, especially as an insult offered by an angry woman who forgets herself. It is said to be commonly used in Wales. ("Welsh Ædœlogy," Κρυπτάδια, vol. ii, pp. 358,et seq.) In Cornwall, when addressed by a woman to a man it is sometimes regarded as a deadly insult, even if the woman is young and attractive, and may cause a life-long enmity between related families. From this point of view the nates are a symbol of contempt, and any sexual significance is excluded. (The distinction is brought out by Diderot inLe Neveu de Rameau:"Lui:—Il y a d'autres jours ou il ne m'en coûterait rien pour être vil tantqu'on voudrait; ces jours-là, pour un liard, je baiserais le cul à la petite Hus.Moi:—Eh! mais, l'ami, elle est blanche, jolie, douce, potelée, et c'est un acte d'humilité auquel un plus delicat que vous pourrait quelquefois s'abaisser.Lui:—Entendons-nous; c'est qu'il y a baiser le cul au simple, et baiser le cul au figuré.")

It must be added that a sexual form of exhibitionism of the nates must still be recognized. It occurs in masochism and expresses the desire for passive flagellation. Rousseau, whose emotional life was profoundly affected by the castigations which as a child he received from Mlle Lambercier, has in hisConfessionstold us how, when a youth, he would sometimes expose himself in this way in the presence of young women. Such masochistic exhibitionism seems, however, to be rare.

While the manifestations of exhibitionism are substantially the same in all cases, there are many degrees and varieties of the condition. We may find among exhibitionists, as Garnier remarks, dementia, states of unconsciousness, epilepsy, general paralysis, alcoholism, but the most typical cases, he adds, if not indeed the cases to which the term properly belongs, are those in which it is an impulsive obsession. Krafft-Ebing[60]divides exhibitionists into four clinical groups: (1) acquired states of mental weakness, with cerebral or spinal disease clouding consciousness and at the same time causing impotence; (2) epileptics, in whom the act is an abnormal organic impulse performed in a state of imperfect consciousness; (3) a somewhat allied group of neurasthenic cases; (4) periodical impulsive cases with deep hereditary taint. This classification is not altogether satisfactory. Garnier's classification, placing the group of obsessional cases in the foreground and leaving the other more vaguely defined groups in the background, is probably better. I am inclined to consider that most of the cases fall into one or other of two mixed groups. The first class includes cases in which there is more or less congenital abnormality, but otherwise a fair or even complete degree of mental integrity; they are usually young adults, they are more or less precisely conscious of the end they wish to attain, and it is often only with a severe struggle that they yield to their impulses. In the second class thebeginnings of mental or nervous disease have diminished the sensibility of the higher centers; the subjects are usually old men whose lives have been absolutely correct; they are often only vaguely aware of the nature of the satisfaction they are seeking, and frequently no struggle precedes the manifestation; such was the case of the overworked clergyman described by Hughes,[61]who, after much study, became morose and absent-minded, and committed acts of exhibitionism which he could not explain but made no attempt to deny; with rest and restorative treatment his health improved and the acts ceased. It is in the first class of cases alone that there is a developed sexual perversion. In the cases of the second class there is a more or less definite sexual intention, but it is only just conscious, and the emergence of the impulse is due not to its strength but to the weakness, temporary or permanent, of the higher inhibiting centers.

Epileptic cases, with loss of consciousness during the act, can only be regarded as presenting a pseudo-exhibitionism. They should be excluded altogether. It is undoubtedly true that many cases of real or apparent exhibitionism occur in epileptics.[62]We must not, however, too hastily conclude that because these acts occur in epileptics they are necessarily unconscious acts. Epilepsy frequently occurs on a basis of hereditary degeneration, and the exhibitionism may be, and not infrequently is, a stigma of the degeneracy and not an indication of the occurrence of a minor epileptic fit. When the act of pseudo-exhibitionism is truly epileptic, it will usually have no psychic sexual content, and it will certainly be liable to occur under all sorts of circumstances, when the patient is alone or in a miscellaneous concourse of people. It will be on a level with the acts of the highly respectable young woman who, at the conclusion of an attack ofpetit mal, consisting chiefly of a sudden desire to pass urine, onone occasion lifted up her clothes and urinated at a public entertainment, so that it was with difficulty her friends prevented her from being handed over to the police.[63]Such an act is automatic, unconscious, and involuntary; the spectators are not even perceived; it cannot be an act of exhibitionism. Whenever, on the other hand, the place and the time are evidently chosen deliberately,—a quiet spot, the presence of only one or two young women or children,—it is difficult to admit that we are in the presence of a fit of epileptic unconsciousness, even when the subject is known to be epileptic.

Even, however, when we exclude those epileptic pseudo-exhibitionists who, from the legal point of view, are clearly irresponsible, it must still be remembered that in every case of exhibitionism there is a high degree of either mental abnormality on a neuropathic basis, or else of actual disease. This is true to a greater extent in exhibitionism than in almost any other form of sexual perversion. No subject of exhibitionism should be sent to prison without expert medical examination.

[54]

Lasège first drew attention to this sexual perversion and gave it its generally accepted name, "Les Exhibitionistes,"L'Union Médicale, May, 1877. Magnan, on various occasions (for example, "Les Exhibitionistes,"Archives de l'Anthropologie Criminelle, vol. v, 1890, p. 456), has given further development and precision to the clinical picture of the exhibitionist.

[55]

B. Ball.La Folie Erotique, p. 86.

[56]

Moll,Untersuchungen über die Libido Sexualis, bd. i, p. 661.

[57]

"Exhibitionism in its most typical form is," Garnier truly says, "asystematic act, manifesting itself as thestrange equivalent of a sexual connection, or itssubstitution." The brief account of exhibitionism (pp. 433-437) in Garnier's discussion of "Perversions Sexuelles" at the International Medical Congress at Paris in 1900 (Section de Psychiatrie: Comptes-Rendus) is the most satisfactory statement of the psychological aspects of this perversion with which I am acquainted. Garnier's unrivalled clinical knowledge of these manifestations, due to his position during many years as physician at the Depôt of the Prefecture of Police in Paris, adds great weight to his conclusions.

[58]

The symbolism of coitus involved in flagellation has been touched on by Eulenburg (Sexuale Neuropathie, p. 121), and is more fully developed by Dühren (Geschlechtsleben in England, bd. ii, pp. 366,et seq.).

[59]

A. Hoche,Neurologische Centralblatt, 1896, No. 2.

[60]

Op. cit., pp. 478,et seq.

[61]

C. H. Hughes, "Morbid Exhibitionism,"Alienist and Neurologist, August, 1904. Another somewhat similar American case, also preceded by overwork, and eventually adjudged insane by the courts, is recorded by D. S. Booth,Alienist and Neurologist, February, 1905.

[62]

Exhibitionism in epilepsy is briefly discussed by Féré,L'Instinct Sexuel, second edition, pp. 194-195.

[63]

W. S. Colman, "Post-Epileptic Unconscious Automatic Actions,"Lancet, July 5, 1890.

The Forms of Erotic Symbolism are Simulacra of Coitus—Wide Extension of Erotic Symbolism—Fetichism Not Covering the Whole Ground of Sexual Selection—It is Based on the Individual Factor in Selection—Crystallization—The Lover and the Artist—The Key to Erotic Symbolism to be Found in the Emotional Sphere—The Passage to Pathological Extremes.

We have now examined several very various and yet very typical manifestations in all of which it is not difficult to see how, in some strange and eccentric form—on a basis of association through resemblance or contiguity or both combined—there arises a definite mimicry of the normal sexual act together with the normal emotions which accompany that act. It has become clear in what sense we are justified in recognizing erotic symbolism.

The symbolic and, as it were, abstracted nature of these manifestations is shown by the remarkable way in which they are sometimes capable of transference from the object to the subject. That is to say that the fetichist may show a tendency to cultivate his fetich in his own person. A foot-fetichist may like to go barefoot himself; a man who admired lame women liked to halt himself; a man who was attracted by small waists in women found sexual gratification in tight-lacing himself; a man who was fascinated by fine white skin and wished to cut it found satisfaction in cutting his own skin; Moll's coprolagnic fetichist found a voluptuous pleasure in his own acts of defecation. (See,e.g., Krafft-Ebing,Op. cit., p. 221, 224, 226; Hammond,Sexual Impotence, p. 74;cf.ante, p. 68.) Such symbolic transference seems to have a profoundly natural basis, for we may see a somewhat similar phenomenon in the well-known tendency of cows to mount a cow in heat. This would appear to be, not so much a homosexual impulse, as the dynamic psychic action of an olfactory sexual symbol in a transformed form.We seem to have here a psychic process which is a curious reversal of that process ofEinfühlung—the projection of one's own activities into the object contemplated—which Lipps has so fruitfully developed as the essence of every æsthetic condition. (T. Lipps,Æsthetik, Teil I, 1903.) ByEinfühlungour own interior activity becomes the activityof the object perceived, a thing being beautiful in proportion as it lends itself to ourEinfühlung. But by this action of erotic symbolism, on the other hand, we transfer the activity of the object into ourselves.

We seem to have here a psychic process which is a curious reversal of that process ofEinfühlung—the projection of one's own activities into the object contemplated—which Lipps has so fruitfully developed as the essence of every æsthetic condition. (T. Lipps,Æsthetik, Teil I, 1903.) ByEinfühlungour own interior activity becomes the activityof the object perceived, a thing being beautiful in proportion as it lends itself to ourEinfühlung. But by this action of erotic symbolism, on the other hand, we transfer the activity of the object into ourselves.

When the idea of erotic symbolism as manifested in such definite and typical forms becomes realized, it further becomes clear that the vaguer manifestations of such symbolism are exceedingly widespread. When in a previous volume we were discussing and drawing together the various threads which unite "Love and Pain," it will now be understood that we were standing throughout on the threshold of erotic symbolism. Pain itself, in the sense in which we slowly learned to define it in this relationship—as a state of intense emotional excitement—may, under a great variety of special circumstances, become an erotic symbol and afford the same relief as the emotions normally accompanying the sexual act. Active algolagnia or sadism is thus a form of erotic symbolism; passive algolagnia or masochism is (in a man) an inverted form of erotic symbolism. Active flagellation or passive flagellation are, in exactly the same way, manifestations of erotic symbolism, the imaginative mimicry of coitus.

Binet and also Krafft-Ebing[64]have argued in effect that the whole of sexual selection is a matter of fetichism, that is to say, of erotic symbolism of object. "Normal love," Binet states, "appears as the result of a complicated fetichism." Tarde also seems to have regarded love as normally a kind of fetichism. "We are a long time before we fall in love with a woman," he remarks; "we must wait to see the detail which strikes and delights us, and causes us to overlook what displeases us. Only in normal love the details are many and always changing. Constancy in love is rarely anything else but a voyage around the beloved person, a voyage of exploration and ever new discoveries. The most faithful lover does not love the same woman in the same way for two days in succession."[65]

From that point of view normal sexual love is the sway of a fetich—more or less arbitrary, more or less (as Binet terms it) polytheistic—and it can have little objective basis. But, as we saw when considering "Sexual Selection in Man" in the previous volume, more especially when analyzing the notion of beauty, we are justified in believing that beauty has to a large extent an objective basis, and that love by no means depends simply on the capricious selection of some individual fetich. The individual factor, as we saw, is but one of many factors which constitute beauty. In the study of sexual selection that individual factor was passed over very lightly. We now see that it is often a factor of great importance, for in it are rooted all these outgrowths—normal in their germs, highly abnormal in their more extreme developments—which make up erotic symbolism.

Erotic symbolism is therefore concerned with all that is least generic, least specific, all that is most intimately personal and individual, in sexual selection. It is the final point in which the decreasing circle of sexual attractiveness is fixed. In the widest and most abstract form sexual selection in man is merely human, and we are attracted to that which bears most fully the marks of humanity; in a less abstract form it is sexual, and we are attracted to that which most vigorously presents the secondary sexual characteristics; still narrowing, it is the type of our own nation and people that appeals most strongly to us in matters of love; and still further concentrating we are affected by the ideal—in civilization most often the somewhat exotic ideal—of our own day, the fashion of our own city. But the individual factor still remains, and amid the infinite possibilities of erotic symbolism the individual may evolve an ideal which is often, as far as he knows and perhaps in actuality, an absolutely unique event in the history of the human soul.

Erotic symbolism works in its finer manifestations by means of the idealizing aptitudes; it is the field of sexual psychology in which that faculty of crystallization, on which Stendhal loved to dwell, achieves its most brilliant results. In the solitary passage in which we seem to see a smile on the face of the austerepoet of theDe Rerum Naturâ, Lucretius tells us how every lover, however he may be amused by the amorous extravagances of other men, is himself blinded by passion: if his mistress is black she is a fascinating brunette, if she squints she is the rival of Pallas, if too tall she is majestic, if too short she is one of the Graces,tota merum sal; if too lean it is her delicate refinement, if too fat then a Ceres, dirty and she disdains adornment, a chatterer and brilliantly vivacious, silent and it is her exquisite modesty.[66]Sixteen hundred years later Robert Burton, when describing the symptoms of love, made out a long and appalling list of the physical defects which the lover is prepared to admire.[67]

Yet we must not be too certain that the lover is wrong in this matter. We too hastily assume that the casual and hasty judgment of the world is necessarily more reliable, more conformed to what we call "truth," than the judgment of the lover which is founded on absorbed and patient study. In some cases where there is lack of intelligence in the lover and dissimulation in the object of his love, it may be so. But even a poem or a picture will often not reveal its beauty except by the expenditure of time and study. It is foolish to expect that the secret beauty of a human person will reveal itself more easily. The lover is an artist, an artist who constructs an image, it is true, but only by patient and concentrated attention to nature; he knows the defects of his image, probably better than anyone, but he knows also that art lies, not in the avoidance of defects, but in the realization of those traits which swallow up defects and so render them non-existent. A great artist, Rodin, after a life spent in the study of Nature, has declared that for art there is no ugliness in Nature. "I have arrived at this belief by the study of Nature," he said; "I can only grasp the beauty of the soul by the beauty of the body, but some day one will come who will explain what I only catch a glimpse of and will declare how the whole earth is beautiful, and all human beings beautiful. I have never been able to say this in sculpture so well as I wishand as I feel it affirmed within me. For poets Beauty has always been some particular landscape, some particular woman; but it should be all women, all landscapes. A negro or a Mongol has his beauty, however remote from ours, and it must be the same with their characters. There is no ugliness. When I was young I made that mistake, as others do; I could not undertake a woman's bust unless I thought her pretty, according to my particular idea of beauty; to-day I should do the bust of any woman, and it would be just as beautiful. And however ugly a woman may look, when she is with her lover she becomes beautiful; there is beauty in her character, in her passions, and beauty exists as soon as character or passion becomes visible, for the body is a casting on which passions are imprinted. And even without that, there is always the blood that flows in the veins and the air that fills the lungs."[68]

The saint, also, is here at one with the lover and the artist. The man who has so profoundly realized the worth of his fellow men that he is ready even to die in order to save them, feels that he has discovered a great secret. Cyples traces the "secret delights" that have thus risen in the hearts of holy men to the same source as the feelings generated between lovers, friends, parents, and children. "A few have at intervals walked in the world," he remarks, "who have, each in his own original way, found out this marvel.... Straightway man in general has become to them so sweet a thing that the infatuation has seemed to the rest of their fellows to be a celestial madness. Beggars' rags to their unhesitating lips grew fit for kissing, because humanity had touched the garb; there were no longer any menial acts, but only welcome services.... Remember by how much man is the subtlest circumstance in the world; at how many points he can attach relationships; how manifold and perennial he is in his results. All other things are dull, meager, tame beside him."[69]

It may be added that even if we still believe that lover and artist and saint are drawing the main elements of their conceptions from the depths of their own consciousness, there is a sense in which they are coming nearer to the truth of things than those for whom their conceptions are mere illusions. The aptitude for realizing beauty has involved an adjustment of the nerves and the associated brain centers through countless ages that began before man was. When the vision of supreme beauty is slowly or suddenly realized by anyone, with a reverberation that extends throughout his organism, he has attained to something which for his species, and for far more than his species, is truth, and can only be illusion to one who has artificially placed himself outside the stream of life.

In an essay on "The Gods as Apparitions of the Race-Life," Edward Carpenter, though in somewhat Platonic phraseology, thus well states the matter: "The youth sees the girl; it may be a chance face, a chance outline, amid the most banal surroundings. But it gives the cue. There is a memory, a confused reminiscence. The mortal figure without penetrates to the immortal figure within, and there rises into consciousness a shining form, glorious, not belonging to this world, but vibrating with the agelong life of humanity, and the memory of a thousand love-dreams. The waking of this vision intoxicates the man; it glows and burns within him; a goddess (it may be Venus herself) stands in the sacred place of his temple; a sense of awe-struck splendor fills him, and the world is changed." "He sees something" (the same writer continues in a subsequent essay, "Beauty and Duty") "which, in a sense, is more real than the figures in the street, for he sees something that has lived and moved for hundreds of years in the heart of the race; something which has been one of the great formative influences of his own life, and which has done as much to create those very figures in the street as qualities in the circulation of the blood may do to form a finger or other limb. He comes into touch with a very real Presence or Power—one of those organic centers of growth in the life of humanity—and feels this larger life within himself, subjective, if you like, and yet intensely objective. And more. For is it not also evident that the woman, the mortal woman who excites his Vision,hassome closest relation to it, and is, indeed, far more than a mere mask or empty formula which reminds him of it? For she indeed has within her, just as much as theman has, deep subconscious Powers working; and the ideal which has dawned so entrancingly on the man is in all probability closely related to that which has been working most powerfully in the heredity of the woman, and which has most contributed to moldherform and outline. No wonder, then, that her form should remind him of it. Indeed, when he looks into her eyes he seesthroughto a far deeper life even than she herself may be aware of, and yet which is truly hers—a life perennial and wonderful. The more than mortal in him beholds the more than mortal in her; and the gods descend to meet." (Edward Carpenter,The Art of Creation, pp. 137, 186.)

It is this mighty force which lies behind and beneath the aberrations we have been concerned with, a great reservoir from which they draw the life-blood that vivifies even their most fantastic shapes. Fetichism and the other forms of erotic symbolism are but the development and the isolation of the crystallizations which normally arise on the basis of sexual selection. Normal in their basis, in their extreme forms they present the utmost pathological aberrations of the sexual instinct which can be attained or conceived. In the intermediate space all degrees are possible. In the slightest degree the symbol is merely a specially fascinating and beloved feature in a person who is, in all other respects, felt to be lovable; as such its recognition is a legitimate part of courtship, an effective aid to tumescence. In a further degree the symbol is the one arresting and attracting character of a person who must, however, still be felt as a sexually attractive individual. In a still further degree of perversion the symbol is effective, even though the person with whom it is associated is altogether unattractive. In the final stage the person and even all association with a person disappear altogether from the field of sexual consciousness; the abstract symbol rules supreme.

Long, however, before the symbol has reached that final climax of morbid intensity we may be said to have passed beyond the sphere of sexual love. A person, not an abstracted quality, must be the goal of love. So long as the fetich is subordinated to the person it serves to heighten love. But love must be based on a complexus of attractive qualities, or it has nostability.[70]As soon as the fetich becomes isolated and omnipotent, so that the person sinks into the background as an unimportant appendage of the fetich, all stability is lost. The fetichist now follows an impersonal and abstract symbol withersoever it may lead him.

It has been seen that there are an extraordinary number of forms in which erotic symbolism may be felt. It must be remembered, and it cannot be too distinctly emphasized, that the links that bind together the forms of erotic symbolism are not to be found in objects or even in acts, but in the underlying emotion. A feeling is the first condition of the symbol, a feeling which recalls, by a subtle and unconscious automatic association of resemblance or of contiguity, some former feeling. It is the similarity of emotion, instinctively apprehended, which links on a symbol only partially sexual, or even apparently not sexual at all, to the great central focus of sexual emotion, the great dominating force which brings the symbol its life-blood.[71]

The cases of sexual hyperæsthesia, quoted at the beginning of this study, do but present in a morbidly comprehensive and sensitive form those possibilities of erotic symbolism which, in some degree, or at some period, are latent in most persons. They are genuinely instinctive and automatic, and have nothing in common with that fanciful and deliberate play of the intelligence around sexual imagery—not infrequently seen in abnormal and insane persons—which has no significance for sexual psychology.

It is to the extreme individualization involved by the developments of erotic symbolism that the fetichist owes his morbid and perilous isolation. The lover who is influenced by all the elements of sexual selection is always supported by the fellow-feeling of a larger body of other human beings; he has behind him his species, his sex, his nation, or at the very least a fashion. Even the inverted lover in most cases is soon able to createaround him an atmosphere constituted by persons whose ideals resemble his own. But it is not so with the erotic symbolist. He is nearly always alone. He is predisposed to isolation from the outset, for it would seem to be on a basis of excessive shyness and timidity that the manifestations of erotic symbolism are most likely to develop. When at length the symbolist realizes his own aspirations—which seem to him for the most part an altogether new phenomenon in the world—and at the same time realizes the wide degree in which they deviate from those of the rest of mankind, his natural secretiveness is still further reinforced. He stands alone. His most sacred ideals are for all those around him a childish absurdity, or a disgusting obscenity, possibly a matter calling for the intervention of the policeman. We have forgotten that all these impulses which to us seem so unnatural—this adoration of the foot and other despised parts of the body, this reverence for the excretory acts and products, the acceptance of congress with animals, the solemnity of self-exhibition—were all beliefs and practices which, to our remote forefathers, were bound up with the highest conceptions of life and the deepest ardors of religion.

A man cannot, however, deviate at once so widely and so spontaneously in his impulses from the rest of the world in which he himself lives without possessing an aboriginally abnormal temperament. At the very least he exhibits a neuropathic sensitiveness to abnormal impressions. Not infrequently there is more than this, the distinct stigmata of degeneration, sometimes a certain degree of congenital feeble-mindedness or a tendency to insanity.

Yet, regarded as a whole, and notwithstanding the frequency with which they witness to congenital morbidity, the phenomena of erotic symbolism can scarcely fail to be profoundly impressive to the patient and impartial student of the human soul. They often seem absurd, sometimes disgusting, occasionally criminal; they are always, when carried to an extreme degree, abnormal. But of all the manifestations of sexual psychology, normal and abnormal, they are the most specifically human. More than any others they involve thepotently plastic force of the imagination. They bring before us the individual man, not only apart from his fellows, but in opposition, himself creating his own paradise. They constitute the supreme triumph of human idealism.

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