of the female, but not invariably.  Among spiders, for instance, it is usually the male who feels fear, and very reasonably, for he is much weaker than the female.  “Courtship by the male spider” says T.H.  Montgomery ("The Courtship of Araneads,” American Naturalist, March, 1910, p. 166), “results from a combination of the state of desire for and fear of the female.”  It is by his movements of fear that he advertises himself to the female as a male, and it is by the same movements that he is unconsciously impelled to display prominently his own ornamentation.

We are thus brought to those essential facts of primitive courtship with which we started.  But we are now able to understand more clearly how it is that alien emotional states became abnormally associated with the sexual life.  Normally the sexual impulse is sufficiently reinforced by the ordinary active energies of the organism which courtship itself arouses, energies which, while they may be ultimately in part founded on anger and fear, rarely allow these emotions to be otherwise than latent.  Motion, it may be said, is more prominent than emotion.

Even normally a stimulant to emotional activities is pleasurable, just as motion itself is pleasurable.  It may even be useful, as was noted long ago by Erasmus Darwin; he tells of a friend of his who, when painfully fatigued by riding, would call up ideas arousing indignation, and thus relieve the fatigue, the indignation, as Darwin pointed out, increasing muscular activity.[136]

It is owing to this stimulating action that discomfort, even pain, may be welcomed on account of the emotional waves they call up, because they “lash into movement the dreary calm of the sea’s soul,” and produce that alternation of pain and enjoyment for which Faust longed.  Groos, who recalls this passage in his very thorough and profound discussion of the region wherein tragedy has its psychological roots, points out that it is the overwhelming might of the storm itself, and not the peace of calm after the storm, which appeals to us.  In the same way, he observes, even surprise and shock may also be pleasurable, and fear, though the most depressing of emotional states, by virtue of the joy produced by strong stimuli is felt as attractive; we not only experience an impulse of pleasure in dominating our environment, but also have pleasure in being dominated and rendered helpless by a higher power.[137] Hirn, again, in his work on the origins of art, has an interesting chapter on “The Enjoyment of Pain,” a phenomenon which he explains by its resultant reactions in increase of outward activity, of motor excitement.  Anger, he observes elsewhere, is “in its active stage a decidedly pleasurable emotion.  Fear, which in its initial stage is paralyzing and depressing, often changes in time when the first shock has been relieved by motor reaction....  Anger, fear, sorrow, notwithstanding their distinctly painful initial stage, are often not only not avoided, but even deliberately sought."[138]