(1) A stiff, inflexible waist, with a coarsely exaggerated contour, in place of the slight and subtle curvature so becoming to woman. In other words, a violation of the first law of personal æsthetics—imposing the shape of a vulgar garment on the human form, instead of making the dress follow the outlines of the body.
(2) A sickly, sallow complexion, pale lips, a red nose, lack of buoyancy, general feebleness, lassitude, apathy, and stupidity, resulting from the fact that the compression of the waist induces an oxygen-famine. The eyes lose their sparkle and love-inspiring magic, the features are perceptibly distorted, the brow is prematurely wrinkled, and the expression and temper are soured by the constant discomfort that has to be silently endured.
(3) Ugly shoulders. A woman’s shoulders should be sloping and well rounded, like every other part of her body. Regarding the common feminine deformity of square shoulders, Drs. Brinton and Napheys remark, in their work on Personal Beauty, that “in four cases out of five it has been brought about by too close-fitting corsets, which press the shoulder-blades behind, and collar-bones in front, too far upwards, and thus ruin the appearance of the shoulders.”
(4) An ugly bust. Tight lacing “flattens and displaces the breasts.”
(5) Clumsiness. The corset is ruinous to grace. “Almost daily,” says Dr. Alice B. Stockham (Tokology), “women come to my office [in Chicago] burdened with bands and heavy clothing, every vital organ restricted by dress. It is not unusual to count from sixteen to eighteen thicknesses of cloth worn tightly about the pliable structure of the waist.” And Dr. Lennox Browne advances the following crushing argumentum ad feminam:—
“It is impossible for the stiffly-corseted girl to be other than inelegant and ungraceful in her movements. Her imprisoned waist, with its flabby muscles, has no chance of performing beautiful undulatory movements. In the ballroom the ungraceful motions of our stiff-figured ladies are bad enough; there is no possibility for poetry of motion; but nowhere is this more ludicrously and, to the thoughtful, painfully manifest than in the tennis court. Let any one watch the movements of ladies as compared with those of male players, and the absolute ugliness of the female figure, with its stiff, unyielding, deformed, round waist, will at once be seen. Ladies can only bend the body from the hip-joint. All that wonderfully contrived set of hinges, with their connected muscles, in the elastic column of the spine, is unable to act from the shoulders downwards; and their figures remind one of the old-fashioned modern Dutch doll.”
CORPULENCE AND LEANNESS
Many women consider the corset necessary as a figure-improver, especially if they suffer from excessive fatness. They will be surprised to hear that the corset is one of the principal causes of their corpulence. Says Professor M. Williams: “There is one horror which no lady can bear to contemplate, viz. fat. What is fat? It is an accumulation of unburnt body-fuse. How can we get rid of it when accumulated in excess? Simply by burning it away—this burning being done by means of the oxygen inhaled by the lungs. If, as Mr. Lennox Browne has shown, a lady with normal lung capacity of 125 cubic inches, reduces this to 78 inches by means of her stays, and attains 118 inches all at once on leaving them off, it is certain that her prospects of becoming fat and flabby as she advances towards middle age are greatly increased by tight lacing, and the consequent suppression of natural respiration.”
Thus corpulence may be put down as a sixth—or rather seventh—æsthetic disadvantage resulting from the use of corsets.
The reason why women, although inferior to men in muscular development, have softer and rounder forms, is because there is a greater natural tendency in women than in men towards the accumulation of fatty tissue under the skin. The least excess of this adipose tissue is, however, as fatal as emaciation to that admiration of Personal Beauty which constitutes the essence of Love. Leanness repels the æsthetico-amorous sense because it obliterates the round contours of beauty, exposes the sinews and bones, and thus suggests old age and disease. Corpulence repels it because it destroys all delicacy of form, all grace of movement, and in its exaggerated forms may indeed be looked upon as a real disease imperatively calling for medical treatment; as Dr. Oscar Maas shows most clearly and concisely in his pamphlet on the “Schwenninger Cure,” which should be read by all who suffer from obesity.