For this reason the sensible and becoming style of today gives place to the absurd, uncomfortable and hideous fashion of to-morrow, the aim being to constantly attract attention; and the reason is to be found in the desire to sexually please the taste of men. Nor do these efforts fail of their purpose when we consider that many men are somewhat enthusiastic over the distinctive charms of the feminine figure, and that some men are inflammably so. It can confidently be asserted that among the men in the ballroom no inconsiderable number are sexually stimulated by the sensuous attire of the women; and the most highly excited of all are, of course, the neurotic and lascivious ones, who consequently, in many instances, appear to the best advantage, and are especially popular with the ladies on account of their showing the liveliest and fullest appreciation of their charms. Hidden beauties are known to be most powerful in exciting the sexual fancy by provoking a sort of interested disappointment; and so a costume, perhaps not really immodest, may yet be so designed as to prove unduly fascinating.
Young girls who have been modestly brought up have been known to cry bitterly from a sense of natural womanliness the first time they have been made to appear in ball dress; their pure instincts shrinking from showing the great expanse of bare flesh, the dimple between the breasts, and the nude bosom and arms for, upon their first appearance, they fully realize that they are indecently clad for the society of men.
"In remarkable contrast with it [feminine modesty] there is occasional exposition of physical charms, conventionally sanctioned by the law of fashion, in which even the most discreet maiden allows herself to indulge in the ballroom. The reasons which lead to this display are evident [to be sexually attractive]. Fortunately, the modest girl is as little conscious of them as of the reason for the occasionally recurring mode of making certain portions of the body more prominent; to say nothing of corsets, etc." i Krafft Ebing, loe. tit., p. 15.
In some of these ballrooms one may see upward of an acre of bare shoulders and bosoms and arms, and it is impossible to doubt that many men are sexually inflamed in such an atmosphere. In fact, these accentuations of costuming are, at bottom, designed for that very purpose, though the unreflective portion of humanity do not realize it, and the women err unconsciously. "Were a pious Mussulman of Ferghana to be present at our balls, and see the bare shoulders of our wives and daughters, and the semi embraces of our round dances, he would silently wonder at the longsuffering of Allah, who had not long ago poured fire and brimstone on this sinful and shameless generation".
The beautiful attribute of feminine modesty is at the best put to a severe strain in the ballroom, for the women meet men, many of them impure, under circumstances which cannot bear analysis. Women are largely to blame for apathetically permitting such improperly seductive attire to be worn, and for receiving and even welcoming into their circles men who are known to be unfit for introduction to young girls; in no surer way could they contribute to the humiliation of their own sex.
Of course dancing is fun! Who can resist the fascination of the enchanting music which compels the muscles to move in graceful cadence? Of course it must be intoxi catingly pleasurable to feel that one is so beautiful and so attractive to the men; and, of course it is a treat for men to mix with women who should be at home in their boudoirs until more fittingly attired. But fun never excuses sin, nor can it be offered as a palliation for practices and customs which are scientifically known to be subversive of sexual control.
The mind naturally enjoys the measured cadence and the rhythmic steps of dancing to music, for harmony of sound and motion is more intensely sweet than either ^ O. Peschei, "The Races of Man," Eng. Trans., London, 1876. alone, and the enjoyment is naturally greater if two individuals of opposite sexes dance together, or if a number harmoniously execute certain evolutions of figures. But the trouble lies in the excess of enjoyment.
In the ballroom the girl feels secure because she knows that she is safe from the too-open demonstrations of her partner. Before others they can almost hug each other to music, place their arms round each other, and revel in the intoxicating fancies which are induced by the attractions of sex, of apparel, perfume, music, etc. And, in addition, there is often a vivaciousness of irresponsibility with all this which is further courted at the punch bowl; and alcohol is known to have a far more erotic effect on women than on men. Such scenes could not be enacted in private and without music.
"Who quarrels with dancing? But then, people must dance at their own risk. If Lucy Lamb, by dancing with young Boosey when he is tipsy, shows that she has no self respect, how can I, coolly talking with Mrs. Lamb in the corner, and gravely looking on, respect the young lady? Lucy tells me that if she dances with James she must dance with John. I cannot deny it, for I am not sufficiently familiar with the regulations of the mystery. Only this: If dancing with sober James makes it necessary to dance with tipsy John it seems to me, upon a hasty glance at the subject, that a self respecting Lucy would refrain from the dance with James. Why Lucy must dance with every man who asks her, whether he is in his senses, or knows how to dance, or is agreeable to her or not, is a profound mystery to Paul Potifar."