Part 41

I have italicised the word “clumsily” because it touches the vital point of the question. Man owes his intellectual superiority largely to the fact that he does not need his hands for walking or climbing, but uses them as organs of delicate touch and as tools. To acquire this independence of the hands he needed feet, which enabled him to stand erect and walk along, not “clumsily,” but firmly, naturally, and therefore gracefully. Hence in course of time, through the effects of constant use, there was developed the callous cushion of the heel and toes; while, through discontinuance of the habit of climbing, the toes became reduced in size. In the ape’s foot, it is well known, the toes are almost as long as the fingers of the hand: a fact which led Blumenbach and Cuvier to classify apes as quadrumana or four-_handed_ animals. But Professor Huxley showed that this classification was based on erroneous reasoning. The resemblance between the hands and feet of apes is merely _physiological_ or functional—because hands and feet are used alike for climbing. But _anatomically_, in its bones and muscles, etc., the monkey’s apparent hind “hand” is a true foot no less than man’s. If the _physiological_ function, _i.e._ the opposability of the thumb to the other fingers, were taken as a ground of classification, then birds, who have such toes, would have no feet at all but only wings and hands.

There is a limit, however, beyond which the size of man’s toe’s cannot be reduced without injuring the foot’s usefulness and the grace of gait. The front part of the foot is distinguished for its yielding or elastic character. Hence, says Professor Humphrey, “in descending from a height, as from a chair or in walking downstairs, we alight upon the balls of the toes. If we alight upon the heels—for instance, if we walk downstairs on the heels—we find it an uncomfortable and rather jarring procedure. In walking and jumping, it is true, the heels come first in contact with the ground, but the weight then falls obliquely upon them, and is not fully borne by the foot till the toes also are upon the ground.”

One of the reasons why Grace is more rare even than Beauty on this planet is that the toes are cramped or even turned out of their natural position by tight, pointed, fashionable shoes, and are thus prevented from giving elasticity to the step. Instances are not rare (and by no means only in China) where the great toe is almost at right angles to the length of the foot. In walking, says Professor Flower, “the heel is first lifted from the ground, and the weight of the body gradually transferred through the middle to the anterior end of the foot, and the final push or impulse given with the great toe. It is necessary then that all these parts should be in a straight line with one another.”

It is a mooted question whether the toes should be slightly turned outward, as dancing-masters insist, or placed in straight parallel lines, as some physiologists hold. For the reason indicated in the last paragraph, physiologists are clearly right. With parallel or almost parallel great toes, a graceful walk is more easily attained than by turning out the toes. Even in standing, Dr. T. S. Ellis argues, the parallel position is preferable: “When a body stands on four points I know of no reason why it should stand more firmly if those points be unequally disposed. The tendency to fall forwards would seem to be even increased by widening the distance between the points in front, and it is in this direction that falls most commonly occur.”

EVOLUTION OF THE GREAT TOE

Perhaps the most striking difference between the feet of men and apes lies in the relative size of the first and second toes. In the ape’s foot the second toe is longer than the first, whereas in modern civilised man’s foot the first or great toe is almost always the longer. Not so, however, with savages, who are intermediate in this as in other respects between man and ape; and there are various other facts which seem to indicate that the evolution of the great toe, like that of the other extreme of the body—the head and brain—is still in progress.

There is a notion very prevalent among artists that the second toe should be longer than the first. This idea, Professor Flower thinks, is derived from the Greek canon, which in its turn was copied from the Egyptian, and probably originally derived from the negro. It certainly does not represent what is most usual in our race and time. “Among hundreds of bare, and therefore undeformed, feet of children I lately examined in Perthshire, I was not able to find one in which the second toe was the longest. Since in all apes—in fact, in all other animals—the first toe is considerably shorter than the second, a long first toe is a specially human attribute; and instead of being despised by artists, it should be looked upon as a mark of elevation in the scale of organised beings.”

Mr. J. P. Harrison, after a careful examination of the unrestored feet of Greek and Roman statues in various museums and art galleries, wrote an article in the _Journal of the Anthropological Institute of Great Britain_ (vol. xiii. 1884), in which he states that he was “led to the conviction that it was from Italy and not Greece that the long second toe affected by many English artists had been imported.” Among the Italians a longer second toe is common, as also among Alsatians; in England so rarely that its occurrence probably indicates foreign blood. Professor Flower, as we have seen, found no cases at all; Paget examined twenty-seven English males, in twenty-four of whom the great toe was the longer. “In the case of the female feet, in ten out of twenty-three subjects the first or great toe was longest, and _in ten females it was shorter_ than the second toe. In the remaining three instances the first and second toes were of equal length.”

Bear these last sentences in mind a moment, till we have seen what is the case with savages. Says Dr. Bruner: “A slight shortening of the great toe undoubtedly exists, not merely amongst the Negro tribes, but also in ancient and modern Egyptians, and even in some of the most beautiful races of Caucasian _females_.” And Mr. Harrison found this to be, with a few exceptions, a general trait of savages. The great toe was shorter than the second in skeletons of Peruvians, Tahitians, New Hebrideans, Savage islanders, Ainos, New Caledonians.

Must we therefore agree with Carl Vogt when he says, “We may be sure that, whenever we perceive an approach to the animal type, the female is nearer to it than the male”?

Perhaps, however, we can find a solution of the problem _somewhat_ less insulting to women than this statement of the ungallant German professor.

It is _Fashion_, the handmaid of ugliness, that has thus apparently caused almost half the women to approximate the simian type of the foot; _Fashion_, which, by inducing women for centuries to thrust their tender feet into Spanish boots of torture, has taken from their toes the freedom of action requisite for that free development and growth which is to be noticed in almost all the men.

Considering the great difference between the left and the right foot, it appears almost incredible, but is a sober fact, that until about half a century ago “rights and lefts” were not made even for the men, who now always wear them. But even to-day “they are not, it is believed, made use of by women, except in a shape that is little efficacious,” says Mr. Harrison; and concerning the Austrians Dr. Schaffer remarks, similarly, that “the like shoe for the left and right foot is still in use in the vast majority of cases.” No wonder women are so averse to taking exercise, and therefore lose their beauty at a time when it ought to be still in full bloom. For to walk in such shoes must be a torture forbidding all unnecessary movement.

Once more be it said—it is Fashion, the handmaid of ugliness, that is responsible for the inferior beauty of the average female foot, by preventing the free development and play of the toes which are absolutely necessary for a graceful walk.

To what an extent the woful rarity of a graceful gait is due to the shape of “fashionable” shoes is vividly brought out in a passage concerning the natives of Martinique, which appeared in a letter in the New York _Evening Post_: “Many of the quadroons are handsome, even beautiful, in their youth, and all the women of pure black and mixed blood walk with a lightness of step and a graceful freedom of motion that is very noticeable and pleasant to see. I say all the women; but I must confine this description to those who go shoeless, for when a negress crams her feet into even the best-fitting pair of shoes her gait becomes as awkward as the waddle of an Indian squaw, or of a black swan on dry land, and she minces and totters in such danger of falling forward that one feels constrained to go to her and say, ‘Mam’selle Ebène or Noirette, do, I beseech you, put your shoes where you carry everything else, namely, on the top of your well-balanced head, and do let me see you walk barefoot again, for I do assure you that neither your Chinese cousins nor your European mistresses can ever hope to imitate your goddess-like gait until they practise the art of walking with their high-heeled, tiny boots nicely balanced on _their_ heads, as you so often are pleased to do.’”

There is another lesson to be learned from this discussion, namely, that in trying to establish the principles of Beauty, it is better to follow one’s own taste than adhere blindly to Greek canons, and what are supposed to be Greek canons. The longer second toe, as we have seen, is not a characteristic of Greek art, but due apparently to restorations made in Italy where this peculiarity prevails. The Greeks, indeed, never hesitated to idealise and improve Nature if caught napping; and there can be little doubt that if in their own feet the first toe had been shorter than the second, they would have made it longer all the same in their statues, following the laws of gradation and curvature which a longer second toe would interrupt. For it is undeniable that, as Mr. Harrison remarks, “a model foot, according to Flaxman, is one in which the toes follow each other imperceptibly in a graceful curve from the first or great toe to the fifth.”

NATIONAL DIFFERENCES

The statement made above regarding the prevalence among Italians of a longer second toe enables us also to qualify the remark made in the _Westminster Review_ (1884), that “Even at the present day it is a fact well known to all sculptors that Italy possesses the finest models as regards the female hands and feet in any part of Europe; and that to the eye of an Italian the wrists and ankles of most English women would not serve as a study even for those revivalisms of the antique which are to be purchased in our streets for a few shillings.” Whatever may be true of wrists and ankles, the toes must be excepted, at least if a larger percentage of Italian than of English women have the second toe longer.

Although in matters where so many individual differences exist it is hazardous to generalise, the following remarks on national peculiarities in feet, made by a reviewer of Zachariae’s _Diseases of the Human Foot_, may be cited for what they are worth: “The French foot is meagre, narrow, and bony; the Spanish foot is small and elegantly curved, thanks to its Moorish blood.... The Arab foot is proverbial for its high arch; ‘a stream can run under his foot,’ is a description of its form. The foot of the Scotch is large and thick—that of the Irish flat and square—the English short and fleshy. The American foot is apt to be disproportionately small.”

BEAUTIFYING HYGIENE

Walking, running, and dancing are the most potent cosmetics for producing a foot beautiful in form and graceful in movement. It is possible that much walking does slightly increase the size of the foot, but not enough to become perceptible in the life of an individual; and it has been sufficiently shown that the standard of Beauty in a foot is not smallness but curved outlines, litheness, and grace of gait, these qualities being a thousand times more powerful “love-charms” than the smallest Chinese foot. Moreover, it is probable that _graceful_ walking has no tendency to enlarge the foot as a whole, but only the great toe; and a well-developed great toe is a distinctive sign of higher evolution.

It is useless for any one to try to walk or dance gracefully in shoes which do not allow the toes to spread and act like two sets of elastic springs. One of the most curious aberrations of modern taste is the notion that the shape of the natural foot is not beautiful—that it will look better if made narrowest in front instead of widest. Even were this so, it would not pay to sacrifice all grace to a slight gain in Beauty. But it is not so. It is only habit, which blunts perception, that makes us indifferent to the ugliness of the pointed shoes in our shop-windows, or even in many cases prefer them to naturally-shaped shoes. Were we once accustomed to properly-shaped hygienic boots, in which no part of the foot is cramped, our present shoes, with their unnatural curves where there should be none, and the absence of curves where they should be (“rights and lefts”), would seem as “awful” and “horrid” as the old crinoline does to the eyes of the present generation. As Professor Flower remarks: “The fact that the excessively pointed, elongated toes of the time of Richard II., for instance, were superseded by the broad, round-toed, almost elephantine, but most comfortable shoes seen in the portraits of Henry VIII. and his contemporaries, shows that there is nothing in the former essential to the gratification of the æsthetic instincts of mankind. Each form was, doubtless, equally admired in the time of its prevalence.”

The Germans claim that it was one of their countrymen, Petrus Camper, who first called attention, about a hundred years ago, to another objectionable peculiarity of the modern shoe—its high heels—ruinous alike to comfort, grace, and health (a number of female diseases being caused by them); yet they admit that Camper’s advice was hardly heeded by the Germans, and that it therefore serves them right that quite recently the modern hygienic shoe, with low, broad heels, has been introduced in Germany as the “English form,” the English having proved themselves less obtuse and conservative in this matter.

The heel is, however, capable of still further improvement. It is not elastic like the cushion of the heel, after which it should be modelled; and Dr. Schaffer’s suggestion that an elastic mechanism should be introduced in the heel is certainly worthy of trial. Everybody knows how much more lightly, gracefully, as well as noiselessly, he can walk in rubbers than in leather shoes; and this gain is owing to the superior elasticity of the heel and the middle part of the shoe, covering the arch, which should be especially elastic. It is pleasanter to walk in a meadow than on a stone pavement; but if we wear soles that are both soft and elastic we need never walk on a hard surface; for then, as Dr. Schaffer remarks, “we have the meadow in our boots.”

As the left foot always differs considerably from the right, it is not sufficient to have one measure taken. The fact that shoemakers do take but one measure shows what clumsy bunglers most of them are. As a rule, it is easier to get a fit from a large stock of ready-made boots than at a shoemaker’s.

The stockings, as well as the shoes, often cramp and deform the foot; and Professor Flower suggests that they should never be made with pointed toes, or similar forms for both sides. Digitated stockings, however, are a nuisance, for they hamper the free and elastic action of the toes. Woollen stockings are the best both for summer and winter use. No one who has ever experienced the comfort of wearing woollen socks (and underclothes in general), will ever dream of reverting to silk, cotton, or any other material.

Soaking the feet in water in which a handful of salt has been dissolved, several times a week, is an excellent way of keeping the skin in sound condition. For perfect cleanliness it does not suffice to change the socks frequently. As the author of the _Ugly Girl Papers_ remarks, “The time will come when we will find it as shocking to our ideas to wear out a pair of boots without putting in new lining as we think the habits of George the First’s time, when maids of honour went without washing their faces for a week, and people wore out their linen without the aid of a laundress.”

DANCING AND GRACE

Among the ancients dancing included graceful gestures and poses of all parts of the body, as well as facial expression. In Oriental dancing of the present day, likewise, graceful movements of the arms and upper part of the body play a more important _rôle_ than the lower limbs. Modern dancing, on the contrary, is chiefly an affair of the lower extremities. It is pre-eminently an exercise of the toes; and herein lies its hygienic and beautifying value, for, as we have seen, grace of gait depends chiefly on the firm litheness and springiness of the toes, especially the great toe. By their grace of gait one can almost always distinguish persons who have enjoyed the privilege of dancing-lessons, which have strengthened their toes and, by implication, many other muscles, not forgetting those of the arm, which has to hold the partner.

There are thousands of young women who have no opportunities for prolonged and exhilarating exercise except in ballrooms. In the majority of cases, unfortunately, Fashion, the handmaid of Ugliness and Disease, frustrates the advantages which would result from dancing by prescribing for ballrooms not only the smallest shoes, but the tightest corsets and the lowest dresses, which render it impossible or imprudent to breathe fresh air, without which exercise is of no hygienic value, and may even be injurious. But what are such trifling sacrifices as Health, Beauty, and Grace compared to the glorious consciousness of being fashionable!

DANCING AND COURTSHIP

The ballroom is Cupid’s camping ground, not only because it facilitates the acquisition of that grace by which he is so easily enamoured, but because it affords such excellent opportunities for Courtship and Sexual Selection. And this applies not only to the era of modern Romantic Love, but, from its most primitive manifestations in the animal world, dancing, like song, has been connected with love and courtship.

Darwin devotes several pages to a description of the love-antics and dances of birds. Some of them, as the black African weaver, perform their love-antics on the wing, “gliding through the air with quivering wings, which make a rapid whirring sound like a child’s rattle;” others remain on the ground, like the English white-throat, which “flutters with a fitful and fantastic motion;” or the English bustard, who “throws himself into indescribably odd attitudes whilst courting the female;” and a third class, the famous Bower-birds, perform their love-antics in bowers specially constructed and adorned with leaves, shells, and feathers. These are the earliest _ballrooms_ known in natural history; and it is quite proper to call them so, for, as Darwin remarks, they “are built on the ground for the sole purpose of courtship, for their nests are formed in trees.”

Passing on to primitive man, we again find him inferior to animals in not knowing that the sole proper function of dancing is in the service of Love, courtship, and grace. Savages have three classes of dance, two being performed by the men alone, the third by men and women. First come the war-dances, in which the grotesquely-painted warriors brandish their spears and utter unearthly howls, to excite themselves for an approaching contest. Second, the Hunter’s Dances, in which the game is impersonated by some of the men and chased about, which leads to many comic scenes; though there is a serious undercurrent of superstition, for they believe that such dances—a sort of saltatorial prayer—bring on good luck in the subsequent real chase. Third, the dance of Love, practised _e.g._ by the Brazilian Indians, with whom “men and women dance a rude courting dance, advancing in lines with a kind of primitive polka step” (Tylor.) That there is as little refinement and idealism in the savage’s dances as in his love-affairs in general is self-evident.

The civilised nations of antiquity, as we have seen, had no prolonged Courtship, and therefore no Romantic Love. Since young men and women were not allowed to meet freely, dancing was of course not esteemed as a high social accomplishment. It was therefore commonly relegated to a special class of women (or slaves), such as the Bayaderes of India and the Greek flute girls. Notwithstanding that even the Greek gods are sometimes represented as dancing, yet this art came to be considered a sign of effeminacy in men who indulged in it; and as for the Romans, their view is indicated in Cicero’s anathema: “No man who is sober dances, unless he is out of his mind, either when alone or in decent society, for dancing is the companion of wanton conviviality, dissoluteness, and luxury.”

In ancient Egypt, too, the upper classes were not allowed to learn dancing. And herein, as in so many things in which women are concerned, the modern Oriental is the direct descendant of the ancients. “In the eyes of the Chinese,” says M. Letourneau, “dancing is a ridiculous amusement by which a man compromises his dignity.”

Plato appears to have been the first who recognised the importance of dancing as affording opportunities for Courtship and pre-matrimonial acquaintance. But his advice remained unheeded by his countrymen. A view regarding dancing similar to Plato’s was announced by an uncommonly liberal theologian of the sixteenth century in the words, as quoted by Scherr, that “Dancing had been originally arranged and permitted with the respectable purpose of teaching manners to the young in the presence of many people, and enabling young men and maidens to form honest attachments. For in the dance it was easy to observe and note the habits and peculiarities of the young.”

Thus we see that, with the exception of the savage’s war-dances and hunting pantomimes, the art of dancing has at all times and everywhere been born of love; even the ancient religious dances having commonly been but a veil concealing other purposes, as among the Greeks. But all ceremonial dancing, like ceremonial kissing, has been from the beginning doomed to be absorbed and annihilated by the all-engrossing modern passion of Romantic Love.

True, as a miser mistakes the means for the end and loves gold for its own sake, so we sometimes see girls dance alone—possibly with a vaguely coy intention of giving the men to understand that they can get along without them. But their heart is not in it, and they never do it when there are men enough to go round. As for the men, they are too open and frank ever to veil their sentiments. They never dance except with a woman.