Mediaeval theologians had a special name for this faculty--Penetrative Virginity--which McClintock and Strong's _Cyclopedia of Biblical Literature_ defines as

"such an extraordinary or perfect gift of chast.i.ty, to which some have pretended that it overpowered those by whom they have been surrounded, and created in them an insensibility to the pleasures of the flesh. The Virgin Mary, according to some Romanists, was possessed of this gift, which made those who beheld her, notwithstanding her beauty, to have no sentiments but such as were consistent with chast.i.ty."

In the eyes of refined modern lovers, every spotless maiden has that gift of penetrative virginity. The beauty of her face, or the charm of her character, inspires in him an affection which is as pure, as chaste, as the love of flowers. But it was only very gradually and slowly that human beauty gained the power to inspire such a pure love; the proof of which a.s.sertion is to be unfolded in our next section.

XIV. ADMIRATION OF PERSONAL BEAUTY

"When beauty fires the blood, how love exalts the mind," exclaimed Dryden; and Romeo asks:

Did my heart love till now? forswear it, sight!

For I ne'er saw true beauty till this night.

In full-fledged romantic love of the masculine type the admiration of a girl's personal beauty is no doubt the most entrancing ingredient.

But such love is rare even to-day, while in ordinary love-affairs the sense of beauty does not play nearly so important a role as is commonly supposed. In woman's love, as everybody knows, the regard for masculine beauty usually forms an unimportant ingredient; and a man's love, provided sympathy, adoration, gallantry, self-sacrifice, affection, and purity enter into it, may be of the genuine romantic type, even though he has no sense of beauty at all. And this is lucky for the prospects of love, since, even among the most civilized races to-day, the number of men and women who, while otherwise refined and estimable, have no real appreciation of beauty, personal or otherwise, is astonishingly large.

DARWIN'S UNFORTUNATE MISTAKE

This being true of the average man and woman among the most cultured races, we ought to be able to conclude, as a matter of course and without the necessity of argumentation, that the admiration of personal beauty has still less to do with the motives that lead a savage to marry this or that girl, or a savage girl to prefer this or that suitor. Strange to say, this simple corollary of the doctrine of evolution has been greatly obscured by Darwin himself, by his theory of s.e.xual selection, which goes so far as to attribute the beauty of the male _animals_ to the continued preference by the females of the more showy males, and the consequent hereditary transmission of their colors and other ornaments. When we bear in mind how unimportant a role the regard for personal beauty plays even among the females of the most advanced human beings, the idea that the females of the lower animals are guided in their pairing by minute subtle differences in the beauty of masculine animals seems positively comic. It is an idea such as could have emanated only from a mind as unesthetic as Darwin's was.

So far as animals are concerned, Alfred Russell Wallace completely demolished the theory of s.e.xual selection,[46] after it had created a great deal of confusion in scientific literature. In regard to the lower races of man this confusion still continues, and I therefore wish to demonstrate here, more conclusively than I did in my first book (60, 61, 327-30), that among primitive men and women, too, the sense of beauty does not play the important role attributed to it in their love-affairs. "The Influence of Beauty in determining the Marriages of Mankind" is one of the topics discussed in the _Descent of Man_. Darwin tries to show that, "especially" during the earlier period of our long history, the races of mankind were modified by the continued selection of men by women and women by men in accordance with their peculiar standards of beauty. He gives some of the numerous instances showing how savages "ornament" or mutilate their bodies; adding:

"The motives are various; the men paint their bodies to make themselves appear terrible in battle; certain mutilations are connected with religious rites, or they mark the age of p.u.b.erty, or the rank of the man, or they serve to distinguish the tribes. Among savages the same fashions prevail for long periods, and thus mutilations, from whatever cause first made, soon come to be valued as distinctive marks. _But self-adornment, vanity, and the admiration of others seem to be the commonest motives_."

Among those who were led astray by these views of Darwin is Westermarck, who declares (257, 172) that "in every country, in every race, beauty stimulates pa.s.sion," and that

"it seems to be beyond doubt that men and women began to ornament, mutilate, paint, and tattoo themselves chiefly in order to make themselves attractive to the opposite s.e.x--that they might court successfully, or be courted"

--an opinion in which Grosse follows him, in his interesting treatise on the _Beginnings of Art_ (111, etc.), thereby marring his chapter on "Personal Decoration." In the following pages I shall show, on the contrary, that when we subject these primitive customs of "ornamentation" and mutilation to a critical examination we find in nearly every case that they are either not at all or only indirectly (not esthetically), connected with the relations of the s.e.xes; and that neither does personal beauty exist as a rule among savages, nor have they the esthetic sense to appreciate its exceptional occurrence.

They nearly always paint, tattoo, decorate, or mutilate themselves without the least reference to courtship or the desire to please the other s.e.x. It is the easiest thing in the world to fill page after page--as Darwin, Westermarck, Grosse, and others have done--with the remarks of travellers regarding the addiction of savages to personal "ornamentation"; but this testimony rests, as we shall see, on the unwarranted a.s.sumptions of superficial observers, who, ignorant of the real reasons why the lower races paint, tattoo, and otherwise "adorn"

themselves, recklessly inferred that they did it to "make themselves beautiful." The more carefully the customs and traditions of these races are studied, the more obvious becomes the non-esthetic and non-erotic origin of their personal "decorations." In my extensive researches, for every single fact that seemed to favor the s.e.xual selection theory I have found a hundred against it; and I have become more and more amazed at the extraordinary _sang froid_ with which its advocates have ignored the countless facts that speak against it while boosting into prominence the very few that at first sight appear to support it. In the following pages I shall attempt to demolish the theory of s.e.xual selection in reference to the lower races of man as Wallace demolished it in reference to animals; premising that the ma.s.s of c.u.mulative evidence here presented is only a very small part of what might be adduced on my side. Let us consider the different motives for personal "decoration" in succession.

"DECORATION" FOR PROTECTION

Many of the alleged personal "decorations" of inferior races are merely measures to protect themselves against climate, insects, etc.

The Maoris of New Zealand besmear themselves with grease and red ochre as a defence against the sand-flies.[47] The Andaman islanders plaster themselves with a mixture of lard and colored earth to protect their skins from heat and mosquitoes.[48] Canadian Indians painted their faces in winter as a protection against frost-bite. In Patagonia

"both s.e.xes smear their faces, and occasionally their bodies with paint, the Indians alleging as the reasons for using this cosmetic that it is a protection against the effects of the wind; and I found from personal experience that it proved a complete preservative from excoriation or chapped skin."[49]

C. Bock notes that in Sumatra rice powder is lavishly employed by many of the women, but "not with the object of preserving the complexion or reducing the color, but to prevent perspiration by closing the pores of the skin."[50] Baumann says of the African Bakongo that many of their peculiar ways of arranging the hair "seem to be intended less as ornamental head-dresses than as a bolster for the burdens they carry on their heads;"[51] and Squier says that the reason given by the Nicaraguans for flattening the heads of their children is that they may be better fitted in adult life to bear burdens.[52]

WAR "DECORATIONS"

Equally remote as the foregoing from all ideas of personal beauty or of courtship and the desire to inspire s.e.xual pa.s.sion is the custom so widely prevalent of painting and otherwise "adorning" the body for war. The Australians diversely made use of red and yellow ochre, or of white pigment for war paint.[53] Caesar relates that the ancient Britons stained themselves blue with woad to give themselves a more horrid aspect in war. "Among ourselves," as Tylor remarks, "the guise which was so terrific in the Red Indian warrior has comedown to make the circus clown a pattern of folly,"[54] Regarding Canadian Indians we read that

"some may be seen with blue noses, but with cheeks and eyebrows black; others mark forehead, nose, and cheeks with lines of various colors; one would think he beheld so many hobgoblins. They believe that in colors of this description they are dreadful to their enemies, and that otherwise their own line of battle will be concealed as by a veil; finally, that it hardens the skin of the body, so that the cold of the winter is easily borne."[55]

The Sioux Indians blackened their faces when they went on the warpath.

They

"highly prize personal bravery, and therefore constantly wear the marks of distinction which they received for their exploits; among these are, especially, tufts of human hair attached to the arms and legs, and feathers on their heads."[56]

When Sioux warriors return from the warpath with scalps "the squaws as well as the men paint with vermilion a semicircle in front of each ear."[57] North Carolina Indians when going to war painted their faces all over red, while those of South Carolina, according to DeBrahm, "painted their faces red in token of friendship and black in expression of warlike intentions." "Before charging the foe," says Dorsey, "the Osage warriors paint themselves anew. This is called the death paint." The Algonquins, on the day of departure for war, dressed in their best, coloring the hair red and painting their faces and bodies red and black. The Cherokees when going to war dyed their hair red and adorned it with feathers of various colors.[58] Bancroft says (I., 105) that when a Thlinkit arms himself for war he paints his face and powders his hair a brilliant red. "He then ornaments his head with a white eagle feather as a token of stern, vindictive determination."

John Adair wrote of the Chickasaws, in 1720, that they "readily know achievements in war by the blue marks over their b.r.e.a.s.t.s and arms, they being as legible as our alphabetical characters are to us"--which calls attention to a very frequent use of what are supposed to be ornaments as merely part of a language of signs. Irving remarks in _Astoria,_ regarding the Arikara warriors, that "some had the stamp of a red hand across their mouths, a sign that they had drunk the life-blood of an enemy." In Schoolcraft we read (II., 58) that among the Dakotas on St. Peter's River a red hand means that the wearer has been wounded by an enemy, while a black hand indicates "I have slain an enemy." The Hidatsa Indians wore eagle feathers "to denote acts of courage or success in war"; and the Dakotas and others indicated by means of special spots or colored bars in their feathers or cuts in them, that the wearer had killed an enemy, or wounded one, or taken a scalp, or killed a woman, etc. A black feather denoted that an Ojibwa woman was killed. The marks on their blankets had similar meanings.[59] Peter Carder, an Englishman captive among the Brazilians, wrote:

"This is to be noted, that how many men these savages doe kill, so many holes they will have in their visage, beginning first in the nether lippe, then in the cheekes, thirdly, in both their eye-browes, and lastly in their eares."[60]

Of the Abipones we read that,

"distrusting their courage, strength, and arms, they think that paint of various colors, feathers, shouting, trumpets, and other instruments of terror will forward their success."[61]

Fancourt(314) says of the natives of Yucatan that "in their wars, and when they went to their sacrificial dances and festivals, they had their faces, arms, thighs, and legs painted and naked." In Fiji the men bore a hole through the nose and put in a couple of feathers, nine to twelve inches long, which spread out over each side of the face like immense mustaches. They do this "to give themselves a fiercer appearance."[62] Waitz notes that in Tahiti mothers compressed the heads of their infant boys "to make their aspect more terrible and thus turn them into more formidable warriors." The Tahitians, as Ellis informs us, "went to battle in their best clothes, sometimes perfumed with fragrant oil, and adorned with flowers."[63] Of the wild tribes in Kondhistan, too, we read that "it is only, however, when they go out to battle ... that they adorn themselves with all their finery."[64]

AMULETS, CHARMS, MEDICINES.

The African tribes along the Congo wear on their bodies

"the horn, the hoof, the hair, the teeth, and the bones of all manner of quadrupeds; the feathers, beaks, claws, skulls, and bones of birds; the heads and skins of snakes; the sh.e.l.ls and fins of fishes, pieces of old iron, copper, wood, seeds of plants, and sometimes a mixture of all, or most of them, strung together."

Unsophisticated travellers speak of these things as "ornaments"

indicating the strange "sense of beauty" of these natives. In reality, they have nothing to do with the sense of beauty, but are merely a manifestation of savage superst.i.tion. In Tuckey's _Zaire_, from which the above citation is made (375), they are properly cla.s.sed as fetiches, and the information is added that in the choice of them the natives consult the fetich men. A picture is given in the book of one appendage to the dress "which the weaver considered an infallible charm against poison." Others are "considered as protection against the effects of thunder and lightning, against the attacks of the alligator, the hippopotamus, snakes, lions, tigers," etc., etc.

Winstanley relates (II., 68) that in Abyssinia

"the Mateb, or baptismal cord, is _de rigueur_, and worn when nothing else is. It formed the only clothing of the young at Seramba, but was frequently added to with amulets, sure safeguards against sorcery."

Concerning the Bushmen, Mackenzie says:

"Certain marks on the face, or bits of wood on his hair, or tied around his neck, are medicines or charms to be taken in sickness, or proximity to lions, or in other circ.u.mstances of danger."[65]

Bastian relates that in many parts of Africa every infant is tattooed on the belly, to dedicate it thereby to a certain fetich.[66] The inland negroes mark all sorts of patterns on their skins, partly "to expel evil influences."[67] The Nicaraguans punctured and scarified their tongues because, as they explained to Oviedo, it would bring them luck in bargains. The Peruvians, says Cieza, pulled out three teeth of each jaw in children of very tender age because that would be acceptable to the G.o.ds; and Garcila.s.sa notes that the Peruvians pulled out a hair of an eyebrow when making an offering. Jos. d'Acosta also describes how the Peruvians pulled out eyelashes and eyebrows and offered them to the deities. The natives of Yucatan, according to Fancourt, wore their hair long as "a sign of idolatry."[68] When Franklin relates that Chippewayan Indians "prize pictures very highly and esteem any they can get," we seem to have come across a genuine esthetic sense, till we read that it makes no difference how badly they are executed, and that they are valued "as efficient charms."[69]

All Abipones of both s.e.xes

"pluck up the hair from the forehead to the crown of the head, so that the forepart of the head is bald almost for the s.p.a.ce of two inches; this baldness they ... account a religious mark of their nation."[70]

The Point Barrow Eskimos believe that clipping their hair on the back of the head in a certain way "prevents snow-blindness in the spring."

These Eskimos painted their faces when they went whaling, and the Kadiaks did so before any important undertaking, such as crossing a wide strait, chasing the sea-otter, etc.[71] In regard to the amulets or charms worn by Eskimos, Crantz says:

"These powerful preventives consist in a bit of old wood hung around their necks, or a stone, or a bone, or a beak or claw of a bird, or else a leather strap tied round their forehead, breast, or arm."[72]

Marcano says that "the Indians of French Guiana paint themselves in order to drive away the devil when they start on a journey or for war."[73] In his treatise on the religion of the Dakotas, Lynd remarks:

"Scarlet or red is the religious color for sacrifices....

The use of paint, the Dakotas aver, was taught them by the G.o.ds. Unkteh taught the first medicine men how to paint themselves when they worshipped him and what colors to use.

Takushkanshkan (the moving G.o.d) whispers to his favorites what colors to use. Heyoka hovers over them in dreams, and informs them how many streaks to employ upon their bodies and the tinge they must have. No ceremony of worship is complete without the wakan, or sacred application of paint."[74]