Studies in the Psychology of Sex, Volume 5 | Page 4

activity of the higher centers, a sort of side-tracking or long-circuiting of the primitive energy; ... Rosetti's poem, 'The Woodspurge,' gives a concrete example of the formation of such a symbol. Here the otherwise insignificant presentation of the three-cupped woodspurge, representing originally a mere side-current of the stream of consciousness, becomes the intellectual symbol or fetich of the whole psychosis forever after. It seems, indeed, as if the stronger the emotion the more likely will become the formation of an overlying symbolism, which serves to focus and stand in the place of something greater than itself; nowhere at least is symbolism a more characteristic feature than as an expression of the sexual instinct. The passion of sex, with its immense hereditary background, in early man became centered often upon the most trivial and unimportant features.... This symbolism, now become fetichistic, or symbolic in a bad sense, is at least an exercise of the increasing representative power of man, upon which so much of his advancement has depended, while it also served to express and help to purify his most perennial emotion." (Colin Scott, "Sex and Art," American Journal of Psychology, vol. vii, No. 2, p. 189.)
In the study of "Love and Pain" in a previous volume, the analysis of the large and complex mass of sexual phenomena which are associated with pain, gradually resolved them to a considerable extent into a special case of erotic symbolism; pain or restraint, whether inflicted on or by the loved person, becomes, by a psychic process that is usually unconscious, the symbol of the sexual mechanism, and hence arouses the same emotions as that mechanism normally arouses. We may now attempt to deal more broadly and comprehensively with the normal and abnormal aspects of erotic symbolism in some of their most typical and least mixed forms.
"When our human imagination seeks to animate artificial things," Huysmans writes in L��-bas, "it is compelled to reproduce the movements of animals in the act of propagation. Look at machines, at the play of pistons in the cylinders; they are Romeos of steel in Juliets of cast-iron." And not only in the work of man's hands but throughout Nature we find sexual symbols which are the less deniable since, for the most part, they make not the slightest appeal to even the most morbid human imagination. Language is full of metaphorical symbols of sex which constantly tend to lose their poetic symbolism and to become commonplace. Semen is but seed, and for the Latins especially the whole process of human sex, as well as the male and female organs, constantly presented itself in symbols derived from agricultural and horticultural life. The testicles were beans (fab?) and fruit or apples (poma and mala); the penis was a tree (arbor), or a stalk (thyrsus), or a root (radix), or a sickle (falx), or a ploughshare (vomer). The semen, again, was dew (ros). The labia majora or minora were wings (al?); the vulva and vagina were a field (ager and campus), or a ploughed furrow (sulcus), or a vineyard (vinea), or a fountain (fons), while the pudendal hair was herbage (plantaria).[4] In other languages it is not difficult to trace similar and even identical imagery applied to sexual organs and sexual acts. Thus it is noteworthy that Shakespeare more than once applies the term "ploughed" to a woman who has had sexual intercourse. The Talmud calls the labia minora the doors, the labia majora hinges, and the clitoris the key. The Greeks appear not only to have found in the myrtle-berry, the fruit of a plant sacred to Venus, the image of the clitoris, but also in the rose an image of the feminine labia; in the poetic literature of many countries, indeed, this imagery of the rose may be traced in a more or less veiled manner.[5]
The widespread symbolism of sex arose in the theories and conceptions of primitive peoples concerning the function of generation and its nearest analogies in Nature; it was continued for the sake of the vigorous and expressive terminology which it furnished both for daily life and for literature; its final survivals were cultivated because they furnished a delicately ?sthetic method of approaching matters which a growing refinement of sentiment made it difficult for lovers and poets to approach in a more crude and direct manner. Its existence is of interest to us now because it shows the objective validity of the basis on which erotic symbolism, as we have here to understand it, develops. But from first to last it is a distinct phenomenon, having a more or less reasoned and intellectual basis, and it scarcely serves in any degree to feed the sexual impulse. Erotic symbolism is not intellectual but emotional in its origin; it starts into being, obscurely, with but a dim consciousness or