high plane; but the last element is the main evil, self-expression.
This impulse is inherently and ineradicably masculine. It rests on that
most basic of distinctions between the sexes, the centripetal and
centrifugal forces of the universe. In the very nature of the
sperm-cell and the germ-cell we find this difference: the one attracts,
gathers, draws in; the other repels, scatters, pushes out. That
projective impulse is seen in the male nature everywhere; the constant
urge toward expression, to all boasting and display. This spirit, like
all things masculine, is perfectly right and admirable in its place.

It is the duty of the male, as a male, to vary; bursting forth in a
thousand changing modifications--the female, selecting, may so
incorporate beneficial changes in the race. It is his duty to thus
express himself--an essentially masculine duty; but masculinity is one
thing, and art is another. Neither the masculine nor the feminine has
any place in art--Art is Human.

It is not in any faintest degree allied to the personal processes of
reproduction; but is a social process, a most distinctive social
process, quite above the plane of sex. The true artist transcends his
sex, or her sex. If this is not the case, the art suffers.

Dancing is an early, and a beautiful art; direct expression of emotion
through the body; beginning in subhuman type, among male birds, as the
bower-bird of New Guinea, and the dancing crane, who swing and caper
before their mates. Among early peoples we find it a common form of
social expression in tribal dances of all sorts, religious, military,
and other. Later it becomes a more explicit form of celebration, as
among the Greeks; in whose exquisite personal culture dancing and music
held high place.