It is important to remember, however, that while erotic symbolism becomes fantastic and abnormal in its extreme manifestations, it is in its essence absolutely normal. It is only in the very grossest forms of sexual desire that it is altogether absent. Stendhal described the mental side of the process of tumescence as a crystallization, a process whereby certain features of the beloved person present points around which the emotions held in solution in the lover's mind may concentrate and deposit themselves in dazzling brilliance. This process inevitably tends to take place around all those features and objects associated with the beloved person which have most deeply impressed the lover's mind, and the more sensitive and imaginative and emotional he is the more certainly will such features and objects crystallize into erotic symbols. "Devotion and love," wrote Mary Wollstonecraft, "may be allowed to hallow the garments as well as the person, for the lover must want fancy who has not a sort of sacred respect for the glove or slipper of his mistress. He would not confound them with vulgar things of the same kind." And nearly two centuries earlier Burton, who had gathered together so much of the ancient lore of love, clearly asserted the entirely normal character of erotic symbolism. "Not one of a thousand falls in love," he declares, "but there is some peculiar part or other which pleaseth most, and inflames him above the rest.... If he gets any remnant of hers, a busk-point, a feather of her fan, a shoe-tie, a lace, a ring, a bracelet of hair, he wears it for a favor on his arm, in his hat, finger, or next his heart; as Laodamia did by Protesilaus, when he went to war, sit at home with his picture before her: a garter or a bracelet of hers is more precious than any Saint's Relique, he lays it up in his casket (O blessed Relique) and every day will kiss it: if in her presence his eye is never off her, and drink he will where she drank, if it be possible, in that very place," etc.[[9]]

Burton's accuracy in describing the ways of lovers in his century is shown by a passage in Hamilton's Mémoires de Gramont. Miss Price, one of the beauties of Charles II's court, and Dongan were tenderly attached to each other; when the latter died he left behind a casket full of all possible sorts of love-tokens pertaining to his mistress, including, among other things, "all kinds of hair." And as regards France, Burton's contemporary, Howell, wrote in 1627 in his Familiar Letters concerning the repulse of the English at Rhé: "A captain told me that when they were rifling the dead bodies of the French gentlemen after the first invasion they found that many of them had their mistresses' favors tied about their genitories."

Schurig (Spermatologia, p. 357) at the beginning of the eighteenth century knew a Belgian lady who, when her dearly loved husband died, secretly cut off his penis and treasured it as a sacred relic in a silver casket. She eventually powdered it, he adds, and found it an efficacious medicine for herself and others. An earlier example, of a lady at the French court who embalmed and perfumed the genital organs of her dead husband, always preserving them in a gold casket, is mentioned by Brantôme. Mantegazza knew a man who kept for many years on his desk the skull of his dead mistress, making it his dearest companion. "Some," he remarks, "have slept for months and years with a book, a garment, a trifle. I once had a friend who would spend long hours of joy and emotion kissing a thread of silk which she had held between her fingers, now the only relic of love." (Mantegazza, Fisiologia dell' Amore, cap. X.) In the same way I knew a lady who in old age still treasured in her desk, as the one relic of the only man she had ever been attracted to, a fragment of paper he had casually twisted up in a conversation with her half a century before.

The tendency to treasure the relics of a beloved person, more especially the garments, is the simplest and commonest foundation of erotic symbolism. It is without doubt absolutely normal. It is inevitable that those objects which have been in close contact with the beloved person's body, and are intimately associated with that person in the lover's mind, should possess a little of the same virtue, the same emotional potency. It is a phenomenon closely analogous to that by which the relics of saints are held to possess a singular virtue. But it becomes somewhat less normal when the garment is regarded as essential even in the presence of the beloved person.[[10]]

While an extremely large number of objects and acts may be found to possess occasionally the value of erotic symbols, such symbols most frequently fall into certain well-defined groups. A vast number of isolated objects or acts may be exceptionally the focus of erotic contemplation, but the objects and acts which frequently become thus symbolic are comparatively few.

It seems to me that the phenomena of erotic symbolism may be most conveniently grouped in three great classes, on the basis of the objects or acts which arouse them.

I. PARTS OF THE BODY.—

A. Normal: Hand, foot, breasts, nates, hair, secretions and excretions, etc.

B. Abnormal: Lameness, squinting, pitting of smallpox, etc. Paidophilia or the love of children, presbyophilia or the love of the aged, and necrophilia or the attraction for corpses, may be included under this head, as well as the excitement caused by various animals.

II. INANIMATE OBJECTS.[[11]]—