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importance of the blush, and the emotional confusion behind it, as the sanction of modesty is shown by the significant fact that, by lulling emotional confusion, it is possible to inhibit the sense of modesty. In other words, we are here in the presence of a fear—to a large extent a sex-fear—impelling to concealment, and dreading self-attention; this fear naturally disappears, even though its ostensible cause remains, when it becomes apparent that there is no reason for fear.

That is the reason why nakedness in itself has nothing to do with modesty or immodesty; it is the conditions under which the nakedness occurs which determine whether or not modesty will be roused. If none of the factors of modesty are violated, if no embarrassing self-attention is excited, if there is a consciousness of perfect propriety alike in the subject and in the spectator, nakedness is entirely compatible with the most scrupulous modesty. A. Duval, a pupil of Ingres, tells that a female model was once quietly posing, completely nude, at the École des Beaux Arts. Suddenly she screamed and ran to cover herself with her garments. She had seen a workman on the roof gazing inquisitively at her through a skylight.^[66] And Paola Lombroso describes how a lady, a diplomatist's wife, who went to a gathering where she found herself the only woman in evening dress, felt, to her own surprise, such sudden shame that she could not keep back her tears.

      It thus comes about that the emotion of modesty necessarily depends on the feelings of the people around. The absence of the emotion by no means signifies immodesty, provided that the reactions of modesty are at once set in motion under the stress of a spectator's eye that is seen to be lustful, inquisitive, or reproachful. This is proved to be the case among primitive peoples everywhere. The Japanese woman, naked as in daily life she sometimes is, remains unconcerned because she excites no disagreeable attention, but the inquisitive and unmannerly European's eye at once causes her to feel confusion. Stratz, a physician, and one, moreover, who had long lived among the Javanese who frequently go naked, found that naked Japanese women felt no embarrassment in his presence.

      It is doubtless as a cloak to the blush that we must explain the curious influence of darkness in restraining the manifestations of modesty, as many lovers have discovered, and as we may notice in our cities after dark. This influence of darkness in inhibiting modesty is a very ancient observation. Burton, in the Anatomy of Melancholy, quotes from Dandinus the saying "Nox facit impudentes," directly associating this with blushing, and Bargagli, the Siennese novelist, wrote in the sixteenth century that, "it is commonly said of women, that they will do in the dark what they would not do in the light." It is true that the immodesty of a large city at night is to some extent explained by the irruption of prostitutes at that time; prostitutes, being habitually nearer to the threshold of immodesty, are more markedly affected by this influence. But it is an influence to which the most modest women are, at all events in some degree, susceptible. It has, indeed, been said that a woman is always more her real self in the dark than in the glare of daylight; this is part of what Chamberlain calls her night-inspiration.

      "Traces of the night-inspiration, of the influence of the primitive fire-group, abound in woman. Indeed, it may be said (the life of Southern Europe and of American society of to-day illustrates this point abundantly) that she is, in a sense, a night-being, for the activity, physical and moral, of modern women (revealed e.g. in the dance and the nocturnal intellectualities of society) in this direction is remarkable. Perhaps we may style a good deal of her ordinary day-labor as rest, or the commonplaces and banalities of her existence, her evening and night life being the true side of her activities" (A. F. Chamberlain, "Work and Rest," Popular Science Monthly, March, 1902). Giessler, who has studied the general influence of darkness on human psychic life, reaches conclusions which harmonize with these (C. M. Giessler, "Der Einfluss der Dunkelheit auf das Seelenleben des Menschen," Vierteljahrsschrift für wissenschaftliche Philosophie, 1904, pp. 255–279). I have not been able to see Giessler's paper, but, according to a summary of it, he comes to the result that in the dark the soul's activities are nearer to its motor pole than to its sensitive pole, and that there is a tendency for phenomena belonging to the early period of development to be prominent, motor memory functioning more than representative memory, attention more than apperception, imagination more than logical thinking, egoistic more than altruistic morals.

It is curious to note that short-sightedness, naturally, though illogically, tends to exert the same influence as darkness in this respect; I am assured by short-sighted persons of both sexes that they are much more liable to the emotions of shyness and modesty with their glasses than without them; such persons with difficulty realize that they are not so dim to others as others are to them. To be in the company of a blind person seems also to be a protection against shyness.^[67] It is interesting to learn that congenitally blind children are as sensitive to appearances as normal children, and blush as readily.^[68] This would seem to be due to the fact that the habitually blind have permanently adjusted their mental focus to that of normal persons, and react in the same manner as normal persons; blindness is not for them, as it is for the short-sighted without their glasses, a temporary and relative, almost unconscious refuge from clear vision.

It is, of course, not as the mere cloak of a possible blush that darkness gives courage; it is because it lulls detailed self-realization, such conscious self-realization being always a source of fears, and the blush their definite symbol and visible climax. It is to the blush that we must attribute a curious complementary relationship between the face and the sacro-pubic region as centres of anatomical modesty. The women of some African tribes who go naked, Emin Bey remarked, cover the face with the hand under the influence of modesty. Martial long since observed (Lib. iii, LXVIII) that when an innocent girl looks at the penis she gazes through her fingers. Where, as among many Mohammedan peoples, the face is the chief focus of modesty, the exposure of the rest of the body, including sometimes even the sacro-pubic region, and certainly the legs and thighs, often becomes a matter of indifference.^[69]

This concealment of the face is more than a convention; it has a psychological basis. We may observe among ourselves the well-marked feminine tendency to hide the face in order to cloak a possible blush, and to hide the eyes as a method of lulling self-consciousness, a method fabulously attributed to the ostrich with the same end of concealment.^[70] A woman who is shy with her lover will sometimes experience little or no difficulty in showing any part of her person provided she may cover her face. When, in gynecological practice, examination of the sexual organs is necessary, women frequently find evident satisfaction in concealing the face with the hands, although not the slightest attention is being directed toward the face, and when an unsophisticated woman is betrayed into a confession which affects her modesty she is apt to turn her back to her interlocutor. "When the face of woman is covered," it has been said, "her heart is bared," and the Catholic Church has recognized this psychological truth by arranging that in the confessional the penitent's face shall not be visible. The gay and innocent freedom of southern women during Carnival is due not entirely to the permitted license of the season or the concealment of identity, but to the mask that hides the face. In England, during Queen Elizabeth's reign and at the Restoration, it was possible for respectable women to be present at the theatre, even during the performance of the most free-spoken plays, because they wore masks. The fan has often subserved a similar end.^[71]

      All such facts serve to show that, though the forms of modesty may change, it is yet a very radical constituent of human nature in all stages of civilization, and that it is, to a large extent, maintained by the mechanism of blushing.

[64] Melinaud ("Pourquoi Rougit-on?" Revue des Deux Mondes, 1 Octobre, 1893) points out that blushing is always associated with fear, and indicates, in the various conditions under which it may arise—modesty, timidity, confusion—that we have something to conceal which we fear may be discovered.

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