It is certain also that a great many neurasthenic people, and particularly those who are sexually neurasthenic, are peculiarly susceptible to olfactory influences. A number of eminent poets and novelists—especially, it would appear, in France—seem to be in this case. Baudelaire, of all great poets, has most persistently and most elaborately emphasized the imaginative and emotional significance of odor; the Fleurs du Mal and many of the Petits Poèmes en Prose are, from this point of view, of great interest. There can be no doubt that in Baudelaire's own imaginative and emotional life the sense of smell played a highly important part; and that, in his own words, odor was to him what music is to others. Throughout Zola's novels—and perhaps more especially in La Faute de l'Abbé Mouret—there is an extreme insistence on odors of every kind. Prof. Leopold Bernard wrote an elaborate study of this aspect of Zola's work[[44]]; he believed that underlying Zola's interest in odors there was an abnormally keen olfactory sensibility and large development of the olfactory region of the brain. Such a supposition is, however, unnecessary, and, as a matter of fact, a careful examination of Zola's olfactory sensibility, conducted by M. Passy, showed that it was somewhat below normal.[[45]] At the same time it was shown that Zola was really a person of olfactory psychic type, with a special attention to odors and a special memory for them; as is frequently the case with perfumers with less than normal olfactory acuity he possessed a more than normal power of discriminating odors; it is possible that in early life his olfactory acuity may also have been above normal. In the same way Nietzsche, in his writings, shows a marked sensibility, and especially antipathy, as regards odors, which has by some been regarded as an index to a real physical sensibility of abnormal keenness; according to Möbius, however, there was no reason for supposing this to be the case.[[46]] Huysmans, who throughout his books reveals a very intense preoccupation with the exact shades of many kinds of sensory impressions, and an apparently abnormally keen sensibility to them, has shown a great interest in odors, more especially in an oft-quoted passage in A Rebours. The blind Milton of "Paradise Lost" (as the late Mr. Grant Allen once remarked to me), dwells much on scents; in this case it is doubtless to the blindness and not to any special organic predisposition that we must attribute this direction of sensory attention.[[47]] Among our older English poets, also, Herrick displays a special interest in odors with a definite realization of their sexual attractiveness.[[48]] Shelley, who was alive to so many of the unusual æsthetic aspects of things, often shows an enthusiastic delight in odors, more especially those of flowers. It may, indeed, be said that most poets—though to a less degree than those I have mentioned—devote a special attention to odors, and, since it has been possible to describe smell as the sense of imagination, this need not surprise us. That Shakespeare, for instance, ranked this sense very high indeed is shown by various passages in his works and notably by Sonnet LIV: "O, how much more doth beauty beauteous seem?"—in which he implicitly places the attraction of odor on at least as high a level as that of vision.[[49]]
A neurasthenic sensitiveness to odors, specially sexual odors, is frequently accompanied by lack of sexual vigor. In this way we may account for the numerous cases in which old men in whom sexual desire survives the loss of virile powers—probably somewhat abnormal persons at the outset—find satisfaction in sexual odors. Here, also, we have the basis for olfactory fetichism. In such fetichism the odor of the woman alone, whoever she may be and however unattractive she may be, suffices to furnish complete sexual satisfaction. In many, although not all, of those cases in which articles of women's clothing become the object of fetichistic attraction, there is certainly an olfactory element due to the personal odor attaching to the garments.[[50]]
Olfactory influences play a certain part in various sexually abnormal tendencies and practices which do not proceed from an exclusively olfactory fascination. Thus, cunnilingus and fellatio derive part of their attraction, more especially in some individuals, from a predilection for the odors of the sexual parts. (See, e.g., Moll, Untersuchungen über die Libido Sexualis, bd. 1, p. 134.) In many cases smell plays no part in the attraction; "I enjoy cunnilingus, if I like the girl very much," a correspondent writes, "in spite of the smell." We may associate this impulse with the prevalence of these practices among sexual inverts, in whom olfactory attractions are often specially marked. Those individuals, also, who are sexually affected by the urinary and alvine excretions ("renifleurs," "stereoraires," etc.) are largely, though not necessarily altogether, moved by olfactory impressions. The attraction was, however, exclusively olfactory in the case of the young woman recorded by Moraglia (Archivio di Psichiatria, 1892, p. 267), who was irresistibly excited by the odor of the fermented urine of men, and possibly also in the case narrated to Moraglia by Prof. L. Bianchi (ib. p. 568), in which a wife required flatus from her husband.
The sexual pleasure derived from partial strangulation (discussed in the study of "Love and Pain" in a previous volume) may be associated with heightened olfactory sexual excitation. Dr. Kiernan, who points this out to me, has investigated a few neuropathic patients who like to have their necks squeezed, as they express it, and finds that in the majority the olfactory sensibility is thus intensified.
Even in ordinary normal persons, however, there can be no doubt that personal odor tends to play a not inconsiderable part in sexual attractions and sexual repulsions. As a sexual excitant, indeed, it comes far behind the stimuli received through the sense of sight. The comparative bluntness of the sense of smell in man makes it difficult for olfactory influence to be felt, as a rule, until the preliminaries of courtship are already over; so that it is impossible for smell ever to possess the same significance in sexual attraction in man that it possesses in the lower animals. With that reservation there can be no doubt that odor has a certain favorable or unfavorable influence in sexual relationships in all human races from the lowest to the highest. The Polynesian spoke with contempt of those women of European race who "have no smell," and in view of the pronounced personal odor of so many savage peoples as well as of the careful attention which they so often pay to odors, we may certainly assume, even in the absence of much definite evidence, that smell counts for much in their sexual relationships. This is confirmed by such practices as that found among some primitive peoples—as, it is stated, in the Philippines—of lovers exchanging their garments to have the smell of the loved one about them. In the barbaric stages of society this element becomes self-conscious and is clearly avowed; personal odors are constantly described with complacency, sometimes as mingled with the lavish use of artificial perfumes, in much of the erotic literature produced in the highest stages of barbarism, especially by Eastern peoples living in hot climates; it is only necessary to refer to the Song of Songs, the Arabian Nights, and the Indian treatises on love. Even in some parts of Europe the same influence is recognized in the crudest animal form, and Krauss states that among the Southern Slavs it is sometimes customary to leave the sexual parts unwashed because a strong odor of these parts is regarded as a sexual stimulant. Under the usual conditions of life in Europe personal odor has sunk into the background; this has been so equally under the conditions of classic, mediæval, and modern life. Personal odor has been generally regarded as unæsthetic; it has, for the most part, only been mentioned to be reprobated, and even those poets and others who during recent centuries have shown a sensitive delight and interest in odors—Herrick, Shelley, Baudelaire, Zola, and Huysmans—have seldom ventured to insist that a purely natural and personal odor can be agreeable. The fact that it may be so, and that for most people such odors cannot be a matter of indifference in the most intimate of all relationships, is usually only to be learned casually and incidentally. There can be no doubt, however, that, as Kiernan points out, the extent to which olfaction influences the sexual sphere in civilized man has been much underestimated. We need not, therefore, be surprised at the greater interest which has recently been taken in this subject. As usually happens, indeed, there has been in some writers a tendency to run to the opposite extreme, and we cannot, with Gustav Jäger, regard the sexual instinct as mainly or altogether an olfactory matter.
Of the Padmini, the perfect woman, the "lotus woman," Hindu writers say that "her sweat has the odor of musk," while the vulgar woman, they say, smells of fish (Kama Sutra of Vatsyayana). Ploss and Bartels (Das Weib, 1901, p. 218) bring forward a passage from the Tamil Kokkôgam, minutely describing various kinds of sexual odor in women, which they regard as resting on sound observation.
Four things in a woman, says the Arab, should be perfumed: the mouth, the armpits, the pudenda, and the nose. The Persian poets, in describing the body, delighted to use metaphors involving odor. Not only the hair and the down on the face, but the chin, the mouth, the beauty spots, the neck, all suggested odorous images. The epithets applied to the hair frequently refer to musk, ambergris, and civet. (Anis El-Ochchâq translated by Huart, Bibliothèque de l'Ecole des Hautes Etudes, fasc. 25, 1875.)
The Hebrew Song of Songs furnishes a typical example of a very beautiful Eastern love-poem in which the importance of the appeal to the sense of smell is throughout emphasized. There are in this short poem as many as twenty-four fairly definite references to odors,—personal odors, perfumes, and flowers,—while numerous other references to flowers, etc., seem to point to olfactory associations. Both the lover and his sweetheart express pleasure in each other's personal odor.
"My beloved is unto me," she sings, "as a bag of myrrh
That lieth between my breasts;
My beloved is unto me as a cluster of henna flowers
In the vineyard of En-gedi."
And again: "His cheeks are as a bed of spices [or balsam], as banks of sweet herbs." While of her he says: "The smell of thy breath [or nose] is like apples."