Havelock Ellis

Havelock Ellis

Summary

Portrait of Havelock Ellis Havelock Ellis Love and Pain — Volume 6 (1913)

But anger and fear are not less fundamental in the sexual life. Courtship on the male's part is largely a display of combativity, and even the very gestures by which the male seeks to appeal to the female are often those gestures of angry hostility by which he seeks to intimidate enemies. On the female's part courtship is a skillful manipulation of her own fears, and, as we have seen elsewhere, when studying the phenomena of modesty, that fundamental attitude of the female in courtship is nothing but an agglomeration of fears.
Source: Wikisource

Portrait of Havelock Ellis Havelock Ellis Love and Pain — Volume 6 (1913)

In civilized life one but rarely feels it. A woman's pleasure in being afraid of a husband or lover may be an equivalent of a man's love of adventure; and the fear of children for their parents may be the dawning of the love of adventure. In a woman this desire of adventure receives a serious check when she begins to realize what she might be subjected to by a man if she gratified it.
Source: Wikisource

Portrait of Havelock Ellis Havelock Ellis Love and Pain — Volume 6 (1913)

We see the process very well illustrated by the occasional action of the emotion of anger. In animals the connection between love and anger is so close that even normally, as Groos points out, in some birds the sight of an enemy may call out the gestures of courtship. [139] As Krafft-Ebing remarks, both love and anger "seek their object, try to possess themselves of it, and naturally exhaust themselves in a physical effect on it; both throw the psychomotor sphere into the most intense excitement, and by means of this excitement reach their normal expression."
Source: Wikisource

Get perspective with Kwize: daily news enlightened by great literature