It is significant that the Kamilaroi, in vindication of their obscene art, have hit upon the very same apology which was adduced in defence of the French literature of the eighteenth century. But in both cases, among the primitives as well as in civilised communities, the supposed beneficial effects of erotic art seem to be very questionable. Where dances, dramas, and songs speak only of sensual pleasure, they will soon kill intellectual inquisitiveness as well as zeal for work. Sir Henry Johnston, who has more right than any one else to speak about the populations of Africa, thinks that the sudden arrest in the intellectual development of African boys which can generally be noticed at the time of puberty is a result of the overpowering sexual stimulation to which they are at that time exposed.[387] As the same cause, _i.e._ an art and a social life which are full of erotic suggestions, operates in many savage tribes, it may perhaps account to some extent for the fact, recently commented upon by Kidd, that, notwithstanding the marvellous teachableness of primitive children, savages always prove inferior to white men after the attainment of maturity.[388] And it gives a reason for the tendency—fruitless, no doubt, but none the less sincere—which is to be found among some of the strongest nations, the ancient Maori, for instance, to repress and quench by all possible means the development of an art that aims deliberately at erotic stimulation.[389] CHAPTER XVIII ART AND WORK In our treatment of erotic art we have been led far away from the connection between art and the maintenance of species. Whatever the case may be for animals and those primitive men whose sexual life is restricted within a short and fixed pairing season, an artificial stimulation of the erotic feelings is no _biological_ requirement for the existing tribes of man. Where art has mainly served this purpose, it has not, as has been shown, by any means exercised a beneficial influence on the race. The most typical illustrations in the last chapter were therefore found in the artistic productions of degenerate tribes which no doubt would, if brought into conflict with less licentious neighbours, prove inferior in the struggle for existence. And all these instances afford invaluable arguments to those philosophers who consider art as a checking and weakening factor in progress. It is hoped, however, that the present chapter will contribute towards the refutation of such one-sided views. We intend to adduce instances from various stages of culture which will bring out the importance of art as a favouring factor in the struggle for life.