With regard to Indian erotic art generally, and more especially Vatsyayana, who appears to have lived some sixteen hundred years ago, information will be found in Valentino, "L'Hygiène conjugale chez les Hindous," Archives Générales de Médecine, Ap. 25, 1905; Iwan Bloch, "Indische Medizin," Puschmann's Handbuch der Geschichte der Medizin, vol. i; Heimann and Stephan, "Beiträge zur Ehehygiene nach der Lehren des Kamasutram," Zeitschaft für Sexualwissenschaft, Sept., 1908; also a review of Richard Schmidt's German translation of the Kamashastra of Vatsyayana in Zeitschrift für Ethnologie, 1902, Heft 2. There has long existed an English translation of this work. In the lengthy preface to the French translation Lamairesse points out the superiority of Indian erotic art to that of the Latin poets by its loftier spirit, and greater purity and idealism. It is throughout marked by respect for women, and its spirit is expressed in the well-known proverb: "Thou shalt not strike a woman even with a flower." See also Margaret Noble's Web of Indian Life, especially Ch. III, "On the Hindu Woman as Wife," and Ch. IV, "Love Strong as Death."
The advice given to husbands by Guyot (Bréviaire de l'Amour Expérimental, p. 422) closely conforms to that given, under very different social conditions, by Zacchia and Vatsyayana. "In a state of sexual need and desire the woman's lips are firm and vibrant, the breasts are swollen, and the nipples erect. The intelligent husband cannot be deceived by these signs. If they do not exist, it is his part to provoke them by his kisses and caresses, and if, in spite of his tender and delicate excitations, the lips show no heat and the breasts no swelling, and especially if the nipples are disagreeably irritated by slight suction, he must arrest his transports and abstain from all contact with the organs of generation, for he would certainly find them in a state of exhaustion and disposed to repulsion. If, on the contrary, the accessory organs are animated, or become animated beneath his caresses, he must extend them to the generative organs, and especially to the clitoris, which beneath his touch will become full of appetite and ardor."
The importance of the preliminary titillation of the sexual organs has been emphasized by a long succession alike of erotic writers and physicians, from Ovid (Ars Amatoria end of Bk. II) onwards. Eulenburg (Die Sexuale Neuropathie, p. 79) considers that titillation is sometimes necessary, and Adler, likewise insisting on the preliminaries of psychic and physical courtship (Die Mangelhafte Geschlechtsempfindung des Weibes, p. 188), observes that the man who is gifted with insight and skill in these matters possesses a charm which will draw sparks of sensibility from the coldest feminine heart. The advice of the physician is at one in this matter with the maxims of the erotic artist and with the needs of the loving woman. In making love there must be no haste, wrote Ovid:—
"Crede mihi, non est Veneris properanda voluptas,
Sed sensim tarda prolicienda mora."
"Husbands, like spoiled children," a woman has written, "too often miss the pleasure which might otherwise be theirs, by clamoring for it at the wrong time. The man who thinks this prolonged courtship previous to the act of sex union wearisome, has never given it a trial. It is the approach to the marital embrace, as well as the embrace itself, which constitutes the charm of the relation between the sexes."
It not seldom happens, remarks Adler (op. cit., p. 186), that the insensibility of the wife must be treated—in the husband. And Guyot, bringing forward the same point, writes (op. cit., p. 130): "If by a delay of tender study the husband has understood his young bride, if he is able to realize for her the ineffable happiness and dreams of youth, he will be beloved forever; he will be her master and sovereign lord. If he has failed to understand her he will fatigue and exhaust himself in vain efforts, and finally class her among the indifferent and cold women. She will be his wife by duty, the mother of his children. He will take his pleasure elsewhere, for man is ever in pursuit of the woman who experiences the genesic spasm. Thus the vague and unintelligent search for a half who can unite in that delirious finale is the chief cause of all conjugal dissolutions. In such a case a man resembles a bad musician who changes his violin in the hope that a new instrument will bring the melody he is unable to play."
The fact that there is thus an art in love, and that sexual intercourse is not a mere physical act to be executed by force of muscles, may help to explain why it is that in so many parts of the world defloration is not immediately effected on marriage.[[404]] No doubt religious or magic reasons may also intervene here, but, as so often happens, they harmonize with the biological process. This is the case even among uncivilized peoples who marry early. The need for delay and considerate skill is far greater when, as among ourselves, a woman's marriage is delayed long past the establishment of puberty to a period when it is more difficult to break down the psychic and perhaps even physical barriers of personality.
It has to be added that the art of love in the act of courtship is not confined to the preliminaries to the single act of coitus. In a sense the life of love is a continuous courtship with a constant progression. The establishment of physical intercourse is but the beginning of it. This is especially true of women. "The consummation of love," says Sénancour,[[405]] "which is often the end of love with man is only the beginning of love with woman, a test of trust, a gage of future pleasure, a sort of engagement for an intimacy to come." "A woman's soul and body," says another writer,[[406]] "are not given at one stroke at a given moment; but only slowly, little by little, through many stages, are both delivered to the beloved. Instead of abandoning the young woman to the bridegroom on the wedding night, as an entrapped mouse is flung to the cat to be devoured, it would be better to let the young bridal couple live side by side, like two friends and comrades, until they gradually learn how to develop and use their sexual consciousness." The conventional wedding is out of place as a preliminary to the consummation of marriage, if only on the ground that it is impossible to say at what stage in the endless process of courtship it ought to take place.
A woman, unlike a man, is prepared by Nature, to play a skilful part in the art of love. The man's part in courtship, which is that of the male throughout the zoölogical series, may be difficult and hazardous, but it is in a straight line, fairly simple and direct. The woman's part, having to follow at the same moment two quite different impulses, is necessarily always in a zigzag or a curve. That is to say that at every erotic moment her action is the resultant of the combined force of her desire (conscious or unconscious) and her modesty. She must sail through a tortuous channel with Scylla on the one side and Charybdis on the other, and to avoid either danger too anxiously may mean risking shipwreck on the other side. She must be impenetrable to all the world, but it must be an impenetrability not too obscure for the divination of the right man. Her speech must be honest, but yet on no account tell everything; her actions must be the outcome of her impulses, and on that very account be capable of two interpretations. It is only in the last resort of complete intimacy that she can become the perfect woman,
"Whose speech Truth knows not from her thought,