In his famous Descent of Man, wherein he first set forth the doctrine of sexual selection, Darwin injured an essentially sound principle by introducing into it a psychological confusion whereby the physiological sensory stimuli through which sexual selection operates were regarded as equivalent to æsthetic preferences. This confusion misled many, and it is only within recent years (as has been set forth in the ‘Analysis of the Sexual Impulse’ in the previous volume of these Studies) that the investigations and criticisms of numerous workers have placed the doctrine of sexual selection on a firm basis by eliminating its hazardous æsthetic element. Love springs up as a response to a number of stimuli to tumescence, the object that most adequately arouses tumescence being that which evokes love; the question of æsthetic beauty, although it develops on this basis, is not itself fundamental and need not even be consciously present at all. When we look at these phenomena in their broadest biological aspects, love is only to a limited extent a response to beauty; to a greater extent beauty is simply a name for the complexus of stimuli which most adequately arouses love.
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