The orgy is an institution which by no means has its significance only for the past. On the contrary, the high tension, the rigid routine, the gray monotony of modern life insistently call for moments of organic relief, though the precise form that that orgiastic relief takes must necessarily change with other social changes. As Wilhelm von Humboldt said, "just as men need suffering in order to become strong so they need joy in order to become good." Charles Wagner, insisting more recently (in his _Jeunesse_) on the same need of joy in our modern life, regrets that dancing in the old, free, and natural manner has gone out of fashion or become unwholesome. Dancing is indeed the most fundamental and primitive form of the orgy, and that which most completely and healthfully fulfils its object. For while it is undoubtedly, as we see even among animals, a process by which sexual tumescence is accomplished,[115] it by no means necessarily becomes focused in sexual detumescence but it may itself become a detumescent discharge of accumulated energy. It was on this account that, at all events in former days, the clergy in Spain, on moral grounds, openly encouraged the national passion for dancing. Among cultured people in modern times, the orgy tends to take on a purely cerebral form, which is less wholesome because it fails to lead to harmonious discharge along motor channels. In these comparatively passive forms, however, the orgy tends to become more and more pronounced under the conditions of civilization. Aristotle's famous statement concerning the function of tragedy as "purgation" seems to be a recognition of the beneficial effects of the orgy.[116] Wagner's music-dramas appeal powerfully to this need; the theatre, now as ever, fulfils a great function of the same kind, inherited from the ancient days when it was the ordered expression of a sexual festival.[117] The theatre, indeed, tends at the present time to assume a larger importance and to approximate to the more serious dramatic performances of classic days by being transferred to the day-time and the open-air. France has especially taken the initiative in these performances, analogous to the Dionysiac festivals of antiquity and the Mysteries and Moralities of the Middle Ages. The movement began some years ago at Orange. In 1907 there were, in France, as many as thirty open-air theatres ("Théâtres de la Nature," "Théâtres du Soleil," etc.,) while it is in Marseilles that the first formal open-air theatre has been erected since classic days.[118] In England, likewise, there has been a great extension of popular interest in dramatic performances, and the newly instituted Pageants, carried out and taken part in by the population of the region commemorated in the Pageant, are festivals of the same character. In England, however, at the present time, the real popular orgiastic festivals are the Bank holidays, with which may be associated the more occasional celebrations, "Maffekings," etc., often called out by comparatively insignificant national events but still adequate to arouse orgiastic emotions as genuine as those of antiquity, though they are lacking in beauty and religious consecration. It is easy indeed for the narrowly austere person to view such manifestations with a supercilious smile, but in the eyes of the moralist and the philosopher these orgiastic festivals exert a salutary and preservative function. In every age of dull and monotonous routine--and all civilization involves such routine--many natural impulses and functions tend to become suppressed, atrophied, or perverted. They need these moments of joyous exercise and expression, moments in which they may not necessarily attain their full activity but in which they will at all events be able, as Cyples expresses it, to rehearse their great possibilities.[119]