II.
Modesty an Agglomeration of Fears—Children in Relation to Modesty—Modesty in Animals—The Attitude of the Medicean Venus—The Sexual Factor of Modesty Based on Sexual Periodicity and on the Primitive Phenomena of Courtship—The Necessity of Seclusion in Primitive Sexual Intercourse—The Meaning of Coquetry—The Sexual Charm of Modesty—Modesty as an Expression of Feminine Erotic Impulse—The Fear of Causing Disgust as a Factor of Modesty—The Modesty of Savages in Regard to Eating in the Presence of Others—The Sacro-Pubic Region as a Focus of Disgust—The Idea of Ceremonial Uncleanliness—The Custom of Veiling the Face—Ornaments and Clothing—Modesty Becomes Concentrated in the Garment—The Economic Factor in Modesty—The Contribution of Civilization to Modesty—The Elaboration of Social Ritual.
That modesty—like all the closely-allied emotions—is based on fear, one of the most primitive of the emotions, seems to be fairly evident.[4] The association of modesty and fear is even a very ancient observation, and is found in the fragments of Epicharmus, while according to one of the most recent definitions, "modesty is the timidity of the body." Modesty is, indeed, an agglomeration of fears, especially, as I hope to show, of two important and distinct fears: one of much earlier than human origin, and supplied solely by the female; the other of more distinctly human character, and of social, rather than sexual, origin.
A child left to itself, though very bashful, is wholly devoid of modesty.[5] Everyone is familiar with the shocking inconvenances of children in speech and act, with the charming ways in which they innocently disregard the conventions of modesty their elders thrust upon them, or, even when anxious to carry them out, wholly miss the point at issue: as when a child thinks that to put a little garment round the neck satisfies the demands of modesty. Julius Moses states that modesty in the uncovering of the sexual parts begins about the age of four. But in cases when this occurs it is difficult to exclude teaching and example. Under civilized conditions the convention of modesty long precedes its real development. Bell has found that in love affairs before the age of nine the girl is more aggressive than the boy and that at that age she begins to be modest.[6] It may fairly be said that complete development of modesty only takes place at the advent of puberty.[7] We may admit, with Perez, one of the very few writers who touch on the evolution of this emotion, that modesty may appear at a very early age if sexual desire appears early.[8] We should not, however, be justified in asserting that on this account modesty is a purely sexual phenomenon. The social impulses also develop about puberty, and to that coincidence the compound nature of the emotion of modesty may well be largely due.
The sexual factor is, however, the simplest and most primitive element of modesty, and may, therefore, be mentioned first. Anyone who watches a bitch, not in heat, when approached by a dog with tail wagging gallantly, may see the beginnings of modesty. When the dog's attentions become a little too marked, the bitch squats firmly down on the front legs and hind quarters though when the period of œstrus comes her modesty may be flung to the air and she eagerly turns her hind quarters to her admirer's nose and elevates her tail high in the air. Her attitude of refusal is equivalent, that is to say, to that which in the human race is typified by the classical example of womanly modesty in the Medicean Venus, who withdraws the pelvis, at the same time holding one hand to guard the pubes, the other to guard the breasts.[9] The essential expression in each case is that of defence of the sexual centers against the undesired advances of the male.[10]
Stratz, who criticizes the above statement, argues (with photographs of nude women in illustration) that the normal type of European surprised modesty is shown by an attitude in which the arms are crossed over the breast, the most sexually attractive region, while the thighs are pressed together, one being placed before the other, the shoulder raised and the back slightly curved; occasionally, he adds, the hands may be used to cover the face, and then the crossed arms conceal the breasts. The Medicean Venus, he remarks, is only a pretty woman coquetting with her body. Canova's Venus in the Pitti (who has drapery in front of her, and presses her arms across her breast) being a more accurate rendering of the attitude of modesty. But Stratz admits that when a surprised woman is gazed at for some time, she turns her head away, sinks or closes her eyes, and covers her pubes (or any other part she thinks is being gazed at) with one hand, while with the other she hides her breast or face. This he terms the secondary expression of modesty. (Stratz, Die Frauenkleidung, third ed., p. 23.)
It is certainly true that the Medicean Venus merely represents an artistic convention, a generalized tradition, not founded on exact and precise observation of the gestures of modesty, and it is equally true that all the instinctive movements noted by Stratz are commonly resorted to by a woman whose nakedness is surprised. But in the absence of any series of carefully recorded observations, one may doubt whether the distinction drawn by Stratz between the primary and the secondary expression of modesty can be upheld as the general rule, while it is most certainly not true for every case. When a young woman is surprised in a state of nakedness by a person of the opposite, or even of the same, sex, it is her instinct to conceal the primary centers of sexual function and attractiveness, in the first place, the pubes, in the second place the breasts. The exact attitude and the particular gestures of the hands in achieving the desired end vary with the individual, and with the circumstances. The hand may not be used at all as a veil, and, indeed, the instinct of modesty itself may inhibit the use of the hand for the protection of modesty (to turn the back towards the beholder is often the chief impulse of blushing modesty, even when clothed), but the application of the hand to this end is primitive and natural. The lowly Fuegian woman, depicted by Hyades and Deniker, who holds her hand to her pubes while being photographed, is one at this point with the Roman Venus described by Ovid (Ars Amatoria, Book II):—
"Ipsa Venus pubem, quoties velamnia ponit,
Protegitur læva semireducta manus."
It may be added that young men of the lower social classes, at all events in England, when bathing at the seaside in complete nudity, commonly grasp the sexual organs with one hand, for concealment, as they walk up from the sea.
The sexual modesty of the female animal is rooted in the sexual periodicity of the female, and is an involuntary expression of the organic fact that the time for love is not now. Inasmuch as this fact is true of the greater part of the lives of all female animals below man, the expression itself becomes so habitual that it even intrudes at those moments when it has ceased to be in place. We may see this again illustrated in the bitch, who, when in heat, herself runs after the male, and again turns to flee, perhaps only submitting with much persuasion to his embrace. Thus, modesty becomes something more than a mere refusal of the male; it becomes an invitation to the male, and is mixed up with his ideas of what is sexually desirable in the female. This would alone serve to account for the existence of modesty as a psychical secondary sexual character. In this sense, and in this sense only, we may say, with Colin Scott, that "the feeling of shame is made to be overcome," and is thus correlated with its physical representative, the hymen, in the rupture of which, as Groos