by what we see among highly fed domesticated animals, and among
the lazy classes of human society, whose sexual instincts are at once both
unnaturally stimulated and unnaturally repressed, when we imagine that the
instinct of detumescence is normally ever craving to be satisfied, and
that throughout nature it can always be set off at a touch whenever the
stimulus is applied. So far from the instinct of tumescence naturally
needing to be crushed, it needs, on the contrary, in either sex to be
submitted to the most elaborate and prolonged processes in order to bring
about those conditions which detumescence relieves. A state of tumescence
is not normally constant, and tumescence must be obtained before
detumescence is possible.[35] The whole object of courtship, of the mutual
approximation and caresses of two persons of the opposite sex, is to
create the state of sexual tumescence.

It will be seen that the most usual method of attaining tumescence--a
method found among the most various kinds of animals, from insects and
birds to man--is some form of the dance. Among the Negritos of the
Philippines dancing is described by A.B. Meyer as "jumping in a circle
around a girl and stamping with the feet"; as we have seen, such a dance
is, essentially, a form of courtship that is widespread among animals.
"The true cake-walk," again, Stanley Hall remarks, "as seen in the South
is perhaps the purest expression of this impulse to courtship antics seen
in man."[36] Muscular movement of which the dance is the highest and most
complex expression, is undoubtedly a method of auto-intoxication of the
very greatest potency. All energetic movement, indeed, tends to produce
active congestion. In its influence on the brain violent exercise may thus
result in a state of intoxication even resembling insanity. As Lagrange
remarks, the visible effects of exercise--heightened color, bright eyes,
resolute air and walk--are those of slight intoxication, and a girl who
has waltzed for a quarter of an hour is in the same condition as if she
had drunk champagne.[37] Groos regards the dance as, above all, an
intoxicating play of movement, possessing, like other methods of
intoxication,--and even apart from its relationship to combat and
love,--the charm of being able to draw us out of our everyday life and
lead us into a self-created dream-world.[38] That the dance is not only a
narcotic, but also a powerful stimulant, we may clearly realize from the
ex