We have deemed it superfluous to report in this connection all the instances which show that among sundry tribes of mankind self-decoration is executed especially with a view of pleasing. For copious collections of such facts it is sufficient to refer to the works of Westermarck and Joest. Other interesting instances have later been communicated by Finsch, Stirling, Stoke, and others.[344] While necessarily sceptical with regard to theories on sexual preference as a universal, art-creating influence, we have of course no reason to doubt the accuracy of individual statements. From the point of view of the present research we have only to emphasise the fact that there is no possibility of deciding with any certainty in how great a degree considerations for the favour of the opposite sex have influenced the development of self-decoration. CHAPTER XVII EROTIC ART When from the discouraging examination of decorative arts as connected with sexual selection we turn our attention to the department of poetry and drama, we reasonably expect to attain some less ambiguous results. In every work of literary art one should think that the subject ought to afford some indication as to its purpose. The dances, songs, and pantomimes of the lower tribes are, however, in this respect not very instructive. No doubt there can be quoted a great number of artistic manifestations in which love is represented or described in all its phases. But we are not thereby justified in assuming that these dramas, pantomimes, and poems were called into existence by the preferences of the other sex. It would be absurd to adduce the pornographic art of modern times as proof of sexual selection. And it is equally absurd to cite in favour of Darwin’s thesis travellers’ tales of indecent dances or ceremonies in which no mention is made of the presence of the opposite sex.