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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

truth in this view, which my correspondent regarded as purely 

hypothetical. 

 

In this connection I may, perhaps, mention a moral quality which is very 

often associated with dramatic aptitude, and also with minor degrees of 

nervous degeneration, and that is vanity and the love of applause. While 

among a considerable section of inverts it is not more marked than among 

the non-inverted, if not, indeed, less marked, among another section it is 

found in an exaggerated degree. In at least one of my cases vanity and 

delight in admiration, both as regards personal qualities and artistic 

productions, reach an almost morbid extent. And the quotations from 

letters written by various others of my subjects show a curious 

complacency in the description of their personal physical characters, 

markedly absent in other cases. It is suggested by Alexander Schmid, on 

the basis of Adler's views, that this vanity, which sometimes in the 

inverted artist becomes an exalted pride, as of a guardian of sacred 

mysteries, may be regarded as an effort to secure a compensation for the 

consciousness of feminine defect.[222] 

 

The extreme type of this preoccupation with personal beauty is 

represented by the history of himself sent by a young Italian of 

good family to Zola in the hope--itself a sign of vanity--that 

the distinguished novelist would make it the subject of one of 

his works. The history is reproduced in the _Archives 

d'Anthropologie Criminelle_ (1894) and in _L'Homosexualite et les 

Types Homosexuels_ (1910) by "Dr. Laupts" (G. Saint-Paul). I 

quote the following passage: "At the age of 18 I was, with few 

differences, what I am now (at 23). I am rather below the medium 

height (1.65 metres), well proportioned, slender, but not lean. 

My torso is superb; a sculptor could find nothing against it, and 

would not find it very different from that of Antinotis. My back 

is very arched, perhaps too much so; and my hips are very 

developed; my pelvis is broad, like a woman's; my knees slightly 

approximate; my feet are small; my hands superb; the fingers 

curved back and with glistening nails, rosy and polished, cut 

squarely like those of ancient statues. My neck is long and 

round, the nape charmingly adorned with downy hairs. My head is 

charming, and at 18 was more so. The oval of it is perfect and 

strikes all by its infantine form. At 23 I am to be taken for 17 

at most. My complexion is white and rosy, deepening at the 

faintest emotion. The forehead is not beautiful; it recedes 

slightly and is hollow at the temples, but, fortunately, it is 

half-covered by long hair, of a dark blonde, which curls 

naturally. The head is perfect in form, because of the curly 

hair, but on examination there is an enormous protuberance at the 

occiput. My eyes are oval, of a gray blue, with dark chestnut 

eyelashes and thick, arched eyebrows. My eyes are very liquid, 

but with dark circles, and bistered; and they are subject to 

slight temporary inflammation. My mouth is fairly large, with 

thick red lips, the lower pendent; they tell me I have the 

Austrian mouth. My teeth are dazzling, though three are decayed 

and stopped; fortunately, they cannot be seen. My ears are small 

and with very colored lobes. My chin is very fat, and at 18 it 

was smooth and velvety as a woman's; at present there is a slight 

beard, always shaved. Two beauty spots, black and velvety, on my 

left cheek, contrast with my blue eyes. My nose is thin and 

straight, with delicate nostrils and a slight, almost insensible 

curve. My voice is gentle, and people always regret that I have 

not learned to sing." This description is noteworthy as a 

detailed portrait of a sexual invert of a certain type; the 

whole history is interesting and instructive. 

 

Certain peculiarities in taste as regards costume have rightly or wrongly 

been attributed to inverts,--apart from the tendency of a certain group to 

adopt feminine habits,--and may here be mentioned. Tardieu many years ago 

referred to the taste for keeping the neck uncovered. This peculiarity may 

occasionally be observed among inverts, especially the more artistic among 


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