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Table of contents
PREFACE
INTRODUCTION-1.1
INTRODUCTION-1.2
INTRODUCTION-1.3
INTRODUCTION-1.4
INTRODUCTION-1.5
INTRODUCTION-1.6
INTRODUCTION-1.7
FOOTNOTES-1
FOOTNOTES-2
THE STUDY OF SEXUAL INVERSION
SEXUAL INVERSION IN MEN-1
SEXUAL INVERSION IN MEN-2
SEXUAL INVERSION IN MEN-3
HISTORY-1-2-3-4
HISTORY-5
HISTORY-6
HISTORY-7-8
HISTORY-9
HISTORY-10-11-12
HISTORY-13-14
HISTORY-15
HISTORY-16-17-18-19
HISTORY-20
HISTORY-21 (begin)
HISTORY-21 (end)
HISTORY-22-23-24
HISTORY-25
HISTORY-26
HISTORY-27
HISTORY-28-29-30-31-32
HISTORY-33
SEXUAL INVERSION IN WOMEN-1
SEXUAL INVERSION IN WOMEN-2
SEXUAL INVERSION IN WOMEN-3
SEXUAL INVERSION IN WOMEN-4
HISTORY-34-35-36-37
HISTORY-38
HISTORY-39.1
HISTORY-39.2
HISTORY-39.3
HISTORY-39.4
FOOTNOTES
THE NATURE OF SEXUAL INVERSION-1
THE NATURE OF SEXUAL INVERSION-2
THE NATURE OF SEXUAL INVERSION-3
THE NATURE OF SEXUAL INVERSION-4
FOOTNOTES
THE THEORY OF SEXUAL INVERSION-1
THE THEORY OF SEXUAL INVERSION-2
THE THEORY OF SEXUAL INVERSION-3
CONCLUSIONS-1
CONCLUSIONS-2
CONCLUSIONS-3
CONCLUSIONS-4
FOOTNOTES
APPENDIX A
APPENDIX B-1
APPENDIX B-2-3-4
INDEX OF AUTHORS

(as also, it may be added, his disposition to homosexuality) to 

the same disposition to which he owes his musical aptitude. 

Moreover, the musician is frequently one-sided in his gifts, and 

the possession of a single hypertrophied aptitude is itself 

closely related to the neuropathic and psychopathic diathesis. 

 

The tendency to dramatic aptitude--found among a large proportion of my 

subjects who have never been professional actors--has attracted the 

attention of previous investigators in this field.[221] Thus, Moll refers 

to the frequency of artistic, and especially dramatic, talent among 

inverts, and remarks that the cause is doubtful. After pointing out that 

the lie which they have to be perpetually living renders inverts always 

actors, he goes on to say:-- 

 

Apart from this, it seems to me that the capacity and the 

inclination to conceive situations and to represent them in a 

masterly manner corresponds to an abnormal predisposition of the 

nervous system, just as does sexual inversion; so that both 

phenomena are due to the same source. 

 

I am in agreement with this statement; the congenitally inverted may, I 

believe, be looked upon as a class of individuals exhibiting nervous 

characters which, to some extent, approximate them to persons of artistic 

genius. The dramatic and artistic aptitudes of inverts are, therefore, 

partly due to the circumstances of the invert's life, which render him 

necessarily an actor,--and in some few cases lead him into a love of 

deception comparable with that of a hysterical woman,--and partly, it is 

probable, to a congenital nervous predisposition allied to the 

predisposition to dramatic aptitude. 

 

One of my correspondents has long been interested in the 

frequency of inversion among actors and actresses. He knew an 

inverted actor who told him he adopted the profession because it 

would enable him to indulge his proclivity; but, on the whole, he 

regards this tendency as due to "hitherto unconsidered 

imaginative flexibilities and curiosities in the individual. The 

actor, _ex hypothesi_, is one who works himself by sympathy 

(intellectual and emotional) into states of psychological being 

that are not his own. He learns to comprehend--nay, to live 

himself into--relations which were originally alien to his 

nature. The capacity for doing this--what makes a born 

actor--implies a faculty for extending his artistically acquired 

experience into life. In the process of his trade, therefore, he 

becomes at all points sensitive to human emotions, and, sexuality 

being the most intellectually undetermined of the appetites after 

hunger, the actor might discover in himself a sort of sexual 

indifference, out of which a sexual aberration could easily 

arise. A man devoid of this imaginative flexibility could not be 

a successful actor. The man who possesses it would be exposed to 

divagations of the sexual instinct under esthetical or merely 

wanton influences. Something of the same kind is applicable to 

musicians and artists, in whom sexual inversion prevails beyond 

the average. They are conditioned by their esthetical faculty, 

and encouraged by the circumstances of their life to feel and 

express the whole gamut of emotional experience. Thus they get an 

environment which (unless they are sharply otherwise 

differentiated) leads easily to experiments in passion. All this 

joins on to what you call the 'variational diathesis' of men of 

genius. But I should seek the explanation of the phenomenon less 

in the original sexual constitution than in the exercise of 

sympathetic, assimilative emotional qualities, powerfully 

stimulated and acted on by the conditions of the individual's 

life. The artist, the singer, the actor, the painter, are more 

exposed to the influences out of which sexual differentiation in 

an abnormal direction may arise. Some persons are certainly made 

abnormal by nature, others, of this sympathetic artistic 

temperament, may become so through their sympathies plus their 

conditions of life." It is possible there may be some element of 


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