erotic

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I found this at sensotheque today. Couldn’t have put it better myself. See Facebook group subscription at the bottom of the page.

http://sensotheque.blogspot.com/2009/04/sensualist-manifesto.html 

Wednesday, April 22, 2009

The Sensualist Manifesto

1. For a true Sensualist the five senses are the highest gift. Experiencing sensual pleasure through savouring, sniffing, observing, listening and touching is their lifelong leitmotiv. Sensualists enjoy poking their noses in their lover’s armpits, love drinking the bodily fluids, revel in the soft scrubbing of skin-against-skin. Sensualists never express the word ‘sex(uality)’. Sensuality however is their mantra, eroticism their adage, tickling their addiction.

2. For a Sensualist lust equals zest for life. No libido means no energy, no creativity, no inventivity. Lust is the catalyst of their lives. They consider love-making as a language, just as fit as any other language to penetrate the darkest regions of somebody else’s mind and soul. Their heated view on things is not restricted to the bedroom. Their entire life is covered with a veil of sensual sensation. Sensualists immediately recognise each other through the poignant, passionate look in the eyes.

3. Sensualists practise slow sex, analogous to slow food, which is also focused on reawakening the senses, slowly and devotedly, by serving quality and originality. Sensualists prefer desire above fulfilment, the endless scrutinizing of each others’ bodies above a quick and simple fuck. The Walhalla for a sensualist is reaching an orgasm without even touching the other. A penetrating look can do so much more than a real penetration. Sensualists invest an abundance of time in letting the longing grow fiercer and fiercer. They drift on the energy that derives from suggestion and abstention.

4. Sensualists dote on slow sex but this doesn’t say anything about the pace of their lovemaking. They are fond of the contrast between fast and terribly slow, between ruthless and soothing, animal and cerebral, intense and superficial, distant and intolerably intimate, between being restrained and eager, between hitting and healing, biting and kissing, sizzling and freezing. It is this entire spectrum of feelings and sensations that oscillatory cranks up their lust.

5. Language is the aphrodisiac par excellence for a Sensualist. Sensualists are word junkies that send each other elongated eropoetic writings. They read arousing literature to each other and poetry compilations are used tot facilitate the traffic between the sheets instead of the habitual lubricant. Sensualists can be touched deeply by one well thought-out sentence and enjoy months of pleasurable old-fashioned correspondence. Tickle their brain (their most erogenous zone) and their bodies react instantly. Though sensualists are cerebral creatures, their sensual summit is situated in animal regions. The utter fulfilment lies in letting the beast go, letting it sweep away the monocracy of the mind. The ultimate objective of a Sensualist is to reach a complete symbiosis with a partner, becoming one body instead of two, no longer knowing where the self ends and the other begins.

6. Sensualists view lovemaking as a form of art, a skill that can be learned and honed through practise, careful observation and discussion. Every new love is a new step in the continuous perfecting of a Sensualists bedroom arts and techniques. Sensualists do not restrain their love lives to one exclusive partner or one sexual orientation. Their sensual explorations are characterised by a diversity of people, bodies, sexual practises and roles. They travel around their lover’s body, map it meticulously, know every inch of it. Sensualists are light-fingered; excel in keeping tongue, timing and rhythm.

7. Sensualists regard the body as one huge erogenous zone. Hands, feet, armpits, kneeholes and earlobes, glans penis and clitoris, nipples and tits: they are all one and the same. Fingers intertwine and almost reach an orgasm, toes are licked as though life depends on it. A Sensualist uses the body as the primal instrument for sensual pleasure; accessories add a nice touch but not really necessary. Much more important than masks, rose petals, candles and electric devices is imagination. Sensualists prefer the suggestive power of fantasy above the brutal in-your-face of pornography.

Would you like to subscribe to this Manifesto? Please join the Facebook group: http://www.facebook.com/home.php#/group.php?gid=52190222407

Please copy paste & spread the word!

~ Het Sensualistisch Manifest in het Nederlands: klik hier

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 0093-cow-wigmore-st.jpg

 Wigmore Street, London, 2008.

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Erotica and bulls? Erotica and cows? How’s it all connected?

Some time ago I read William Irwin Thompson’s The Time Falling Bodies Take to Light. I like his kind of imaginative scholarship - highly speculative, but grounded in the tangible remains of the deep human past. You don’t have to believe a word of it to find it stimulating. And who knows, he could be right.

One of his major themes is the place of the bull in the development of European culture - the harnessing by humans of that vital reproductive energy of the bull to energize their own reproductive efforts. The cow, too, appears to have an important place in the European story.

The next few posts will draw on some of the literature dealing with this topic.

Dürer  - Life of the Virgin

(Above) Albrecht Dürer - Life of the Virgin

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Some resources to be brought to the discussion:

Bulls and archaeological evidence: William Irwin Thompson’s The Time Falling Bodies Take to Light, New York: St. Martin’s Griffin, 1996

More bulls and archaeological evidence: Cook, Arthur Bernard. Zeus: A Study in Ancient Religion. Cambridge: Cambridge UP, 1914.

 Bullfight: Georges Bataille’s The Story of the Eye

Milk: huehueteotl on human evolution

Europa:  In Wikipedia 

More Bulls: Sexculturas

 abduction-of-europa-euro-parl-strasbourg.jpg

Abduction of Europa, European Parliament, Strasbourg

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Satyr 3

A remarkable thing about the Barberini Faun is the way it presents the perfect body, the complete sensuality, with only the face portraying something disturbing. The dedication to the dissolute life produces something far from the good life or the life well lived - it produces a life bordering on a nightmare, or a life lived under a great weight. So says the Barberini Faun. A similar distortion of expression can be found in the other sculptures of satyrs at the Glyptothek. Age appears to deepen the malaise. The youngest faun has even a suggestion of hope in its expression. But this is lost in the Barberini Faun who is imprisoned irremediably, but not necessarily unwillingly, within his own indulgence. The second sculpture makes no reference to hope - neither present nor absent. It is at an intermediary stage. The dissolute is there, certainly, but the frown, also present in the Barberini Faun, has not yet mastered the somewhat fragile smile.

The second satyr of the three below is particularly interesting as it has on me a strong effect that I have long noticed, but which is often hard to identify. It takes us a very short while to get a first impression from a face, but it is not instant. Looking at this sculpture the very first impression is that of a smile, and yet within a couple of seconds my brain has processed other aspects of the mouth and face generally that lead my overall impression to adjust very rapidly from viewing a happy and beautiful person to viewing someone far removed from happiness and also probably far removed from from beauty, though it is hard to describe exactly the final impression. I can feel that change take place - but the process itself is quite unconscious. It’s kind of like watching a movie, except nothing in the object perceived is changing, all the change is going on as my mind takes a moment or two to read the face. Interestingly, too, the concluding point is incomplete - I am left wondering what my overall impression is - I am uncertain as to its meaning. That makes the face attract my attention, as I’d like to know more about it - it makes me search it. But it is also a very uncertain process because there are contradictions between happiness, beauty, and further strange emotions in the face. As a part of the process, my desire to see beauty is thwarted, but I find it hard to put a coherent alternative in place. The face is not ugly, but…? I am left hanging on to my desire to see beauty, even to the point of trying to project it back into the face, but my efforts are given little support.

I wonder if the sculptor was aware of all (or some) of these things, whether it is just my own reaction, or worse, my own invention? It is not hard to imagine the sculptor has sought to make a face of contradictions, but is this little two second movie with its tantalizingly incomplete conclusion a part of his intention? Any thoughts on these things?

 faun-bronze-small.jpg

 

 faun-marble-1-small.jpg

 

 faun-marble-2-small.jpg

 

 barberini-small-20.jpg

See also Satyr 2 and Satyr 1.

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Satyr 2

20-10-08 - Having recently been to Europe I am pleased to add the following pictures of the Barberini Faun, taken at the Glyptothek, Munich. (See previous post at Satyr 1)

Barberini 1

 Barberini 2a

 Barberini 2c

Barberini 4a

 Barberini 5

 Barberini 6

 Barberini 7

 Barberini 8a

 Barberini 8b

 barberini-small-9.jpg

barberini-small-10.jpg

 barberini-small-11a.jpg

 

 barberini-small-12.jpg

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 barberini-small-20.jpg

 barberini-small-21.jpg

 barberini-small-22.jpg

 barberini-small-23.jpg

barberini-small-11b.jpg

 barberini-small-24.jpg

 barberini-small-25.jpg

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Albert-Birot

Pierre Albert-Birot, autoportrait, 1916
Dessin de couverture de
L’Homme Coupe

Wikipedia: Pierre Albert-Birot (stub)

Short biography (French)

Sound recordings: Pierre Albert-Birot

Website devoted to Albert-Birot (very slow to load)

 

Les Soliloques Napolitains

Les Soliloques Napolitains - Albert-Birot - Title page

Title page

(click here for enlargement of illustration)

Les Soliloques Napolitains, by Pierre Albert-Birot and Jean Lurçat, is a short book of illustrated poems. There are eight illustrations in total by Lurçat including the cover illustration, and sixteen poems by Albert-Birot, which really form one continuing phantasy of a woman as she stimulates herself - at first with her imagination and fingers, and then with her imagination and a dildo. Finally she comes - indicated by lines radiating from her vagina like the beams of light from the sun, or the sparkle of a jewel. The book bears the date 1822, but it makes no attempt to imitate the style of 1822. It was published in or around 1922.

Albert-Birot lived from 1876 to 1967 - hence I am frugal with the illustrations!

For a while there will be a photograph of another drawing from Les Soliloques Napolitains here.

The First Book of Grabinoulor


The First Book of Grabinoulor

Dalkey Archive Press - Grabinoulor

There is little I can say about Grabinoulor that is not said in this review.

Here is a section of text from Grabinoulor (trans by Barbara Wright) from Review of Contemporary Fiction Spring 2007, Vol. 27 Issue 1, p93-95. The excerpt, from which this small part was taken, runs to around 1250 words.

On a shut-in November evening Grabinoulor’s feet were sploshing about in the Paris mud and that evening he distressed his shoes no end they were quite astonished at having to plough through such black mud when such white snow was falling for Grabinoulor’s shoes are full of logic even when his feet are inside them nevertheless although he was perfectly conscious–which is something that happens even to people who are not in the least conscientious–of how humiliating this state was for his shoes and indirectly for himself too he couldn’t do anything that evening other than place his feet on the ground as there was so little space between the earth and the sky and that was why even though he was Grabinoulor it took him a long time to reach the theatre which high-flown declamators were supposed to transport with all its listeners to the environs of the infinite but a gentleman with a nose a mouth round cheeks spectacles ears and a fine mirror-like pate simply by speaking brought the ceiling down on to the head of everybody sitting in the theatre and it was Grabinoulor who was the most inconvenienced by this…

ÇA NE SE FAIT PAS - IT ISN’T DONE

By Pierre Albert-Birot

ÇA NE SE FAIT PAS - IT ISN’T DONE - Albert-Birot

This image is from Manifesto: A Century of Isms by Mary Ann Caws at Google Books. The image is at p144, but I have linked to p143 for another Albert-Birot work.

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Graffiti

 

Ribeira de Piscos, Foz Coa, Portugal

Figure of Magdalenian man at Ribeira de Piscos

The above figure is discussed in an article by J. Angulo Cuesta and M. García Diez entitled ‘Diversity and meaning of Palaeolithic phallic male representations in Western Europe‘. (See also article ‘Cave paintings show aspects of sex beyond the reproductive‘.) The figure is said to be ejaculating.

In his book The Nature of Paleolithic Art Dale Guthrie discusses rock drawings of this kind (though not necessarily this drawing) as a kind of graffiti. An article at livescience, ‘Ancient Cave Art Full of Teenage Graffiti‘, provides a brief introduction to Guthrie’s book.

The art of ejaculation continues to be celebrated at Garmskiss, and, in an entry at the blog {feuilleton}, John Coulthart has gathered together some great pictures of art, both old and new, that depict ejaculation in all its glory.

In the meantime graffiti has moved on. The new graffiti can be seen at the site Wooster Collective.

On cave art more generally, Matthias Schulz observes in ‘Pornography in Clay‘ at Spiegel Online:

The walls of the La Marche cave in western France are literally blanketed with erotic images, 14,000-year-old drawings reminiscent of the Kamasutra. One image of a head plunging between a woman’s thighs seems to portray oral sex. Another shows a standing couple, their bodies entwined, while the man’s penis penetrates his partner.

Nowadays we are more likely to find such depictions in books, films and on the internet than on the secret walls of our cities - with the notable exception of the backs of toilet doors!

For more prehistoric erotic art fun see also Adonis from Chernitz / Lake Constance. Also see Historia del arte erotico.

 

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The ‘Adonis from Chernitz’ was found in 2003 near Leipzig. The figure was made from clay around 7,200 years ago. Another fragment, thought to be the thigh of a woman, was found at the same site. Archaeologists speculate that the two figures may have been used together to depict the act of copulation. Below I have provided links to a few useful articles. These point to many more prehistoric sites bearing depictions of sex, and discuss the social environments that might have existed to produce such depictions .

Adonis von Zschernitz

Adonis von Zschernitz / Adonis from Chernitz

(Click on pic above for larger version, and you might need to click on that version to magnify it still more.)

Adonis from Chernitz - five pics

Adonis von Zschernitz / Adonis from Chernitz

Adonis and Venus from Chernitz

Adonis and Venus

Articles about Adonis from Chernitz

News articles

Pornography in Clay, Matthias Schulz, Spiegel Online International

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Erotica May Date Back to Stone Age, Jennifer Viegas, ABC Online

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Journals and books

There are no links to articles from journals and books, but the following might help you track something down:

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Germania (mentioned in the Viegas article, but no article available online that I could find)

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Adonis Chernitz - Archaeo

ARCHÆO 1, 2004

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Adonis Chernitz - Archaeonaut 4

Louis D. Nebelsick/Jens Schulze-Forster/Harald Stäuble, ‘Adonis von Zschernitz’, Archaeonaut 4 (here)

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Adonis Chernitz - Archäologie an einer

Von Peißen nach Wiederitzsch - Archäologie an einer Erdgas-Trasse

Lake Constance

In his article in Spiegel International, Pornography in Clay, Schulz mentions a find on the shores of Lake Constance:

An archeological dig on the banks of Lake Constance has produced something just as spectacular as the erotic clay figures from Saxony. Researchers discovered a temple whose walls were once adorned with protruding clay breasts. The “cult temple,” uncovered by archeologists from the southern German city of Ludwigshafen, is almost 6,000 years old.

…The mysterious ancient temple on the banks of Lake Constance proves that special erotic rituals already existed at this early juncture, long before Egypt’s pyramids were built. “The cult building stood on pylons directly on the shore,” explains archeologist Helmut Schlichtherle. The interior was painted with white dots. But the site’s truly unique feature is that eight large clay breasts seemed to grow out of the walls, evoking images of a place devoted to the erotic.

There is more evidence that the temple was once a place filled with billowing smoke and ecstasy. Bits of fabric, perhaps parts of priestly robes, were found. Also among the rubble was an imposing ceremonial vessel filled with birch resin, a substance that produces a bewitching scent when heated. Perhaps birch resin was the incense of the Stone Age.

For more information about lake dwellings see Helmut Schlichtherle, Lake Dwellings in South-Western Germany, Living on the Lake in Prehistoric Europe: 150 Years of Lake-dwelling Research, by Francesco Menotti (ed)

Underwater Archaeology

See an interesting page on underwater sites at www.abc.se

See also a review by Arne Emil Christensen in Nautical Archaeology (Journal of the of The Nautical Archaeology Society) of ‘The Proceedings of the 2nd International Congress on Underwater Archaeology’ (IKUWA). The congress was held in 2004. The review mentions a paper that discusses the Lake Constance site:

In the ‘Cult Site’ section, this reviewer was most impressed by the very careful excavation work of a site in Ludwigshafen, Bodensee, Switzerland. Here the clay daub of a burned house showed traces of white paint. The oldest dendro-date from the site is 3861 BC. The reconstructed decorative motifs contain lifesize female figures with the breasts sculpted in relief. The author discusses whether this is a case of cult in a private house or a cult building, suggesting the latter solution.

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Satyr 1

 

Satyr

Satyr - Barberini Faun

(courtesy manofroma)

20-10-08 - See a rather more elaborate display of this sculpture at Satyr 2.

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This blog operates under the motto of ‘virtue, happiness and erotica‘. I contend that we are currently living in an age where, in the West, happiness is the guiding principle, having displaced virtue around the end of the 1700s. While the timeline is somewhat more complex than that, I happen to come from a society where, after around 1830, there can be little doubt that most of the institutions were built from a foundation of Benthamite happiness rather than the old model of virtue - be it the virtuous citizen, or the virtuous aristocracy. Virtue was important to happiness, but happiness was primary.

Soon I will be posting chapters from John Adams’ “Sketches of the History, Genius, Disposition, Accomplishments, Employments, Customs, Virtues, and Vices, of the Fair Sex in All Parts of the World, Interspersed with Many Singular and Entertaining Anecdotes,” published in 1807. The advertisement page (directly after the title page) declares the guiding principle of the book to be:

“Virtue alone is happiness below—”

Adams - title page

Adams - advertisement page

According to this motto (is ‘motto’ the right word?) virtue is primary, happiness follows. In fact Western history can be understood as a battle between virtue and happiness, with virtue having been the primary guiding principle for most of the last 2,500 years.(1) Epicurus v Stoicism, and also Epicurus v the Platonic philosopher king, who is a character of ultimate virtue (think the Pope, or a monarch).

In Georges Bataille’s The Story of the Eye there is an episode that occurs in a church in Seville. The priest, a representative of the culture of virtue, is thoroughly destroyed and desecrated by three characters (trinity!!??) indulging in a lusty pursuit of the culture of pleasure. (The politics of happiness are (broadly) built on the idea that we pursue pleasure for our happiness, and are (generally) repelled from that which causes us pain.)

Here is the relevant text. I put it up believing that it will not destroy the book for you. The book is short and masterful and would itself survive any desecration!

One can readily imagine my stupor at watching Simone kneel down by the cabinet of the lugubrious confessor. While she confessed her sins, I waited, extremely anxious to see the outcome of such an unexpected action. I assumed this sordid creature was going to burst from his booth, pounce upon the impious girl, and flagellate her. I was even getting ready to knock the dreadful phantom down and treat him to a few kicks; but nothing of the sort happened: the booth remained closed, Simone spoke on and on through the tiny grilled window, and that was all.

I was exchanging sharply interrogatory looks with Sir Edmund when things began to grow clear: Simone was slowly scratching her thigh, moving her legs apart; keeping one knee on the prayer stool, she shifted one foot to the floor, and she was exposing more and more of her legs over her stockings while still murmuring her confession. At times she even seemed to be tossing off. I softly drew up at the side to try and see what was happening: Simone really was masturbating, the left part of her face was pressed against the grille near the priest’s head, her limbs tensed, her thighs splayed, her fingers rummaging deep in the fur; I was able to touch her, I bared her cunt for an instant. At that moment, I distinctly heard her say:

“Father, I still have not confessed the worst sin of all.”

A few seconds of silence.

“The worst sin of all is very simply that I’m tossing off while talking to you.”

More seconds of whispering inside, and finally almost aloud:

“If you don’t believe me, I can show you.”

And indeed, Simone stood up and spread one thigh before the eye of the window while masturbating with a quick, sure hand.

“All right, priest,” cried Simone, banging away at the confessional, “what are you doing in your shack there? Tossing off, too?”

But the confessional kept its peace.

“Well, then I’ll open.”

And Simone pulled out the door.

Inside, the visionary, standing there with lowered head, was mopping a sweat-bathed brow. The girl groped for his cock under the cassock: he didn’t turn a hair. She pulled up the filthy black skirt so that the long cock stuck out, pink and hard: all he did was throw back his head with a grimace, and a hiss escaped through his teeth, but he didn’t interfere with Simone, who shoved the bestiality into her mouth and took long sucks on it.

Sir Edmund and I were immobile in our stupor. For my part, I was spellbound with admiration, and I didn’t know what else to do, when the enigmatic Englishman resolutely strode to the confessional and, after edging Simone aside as delicately as could be, dragged the larva out of its hole by its wrists, and flung it brutally at our feet: the vile priest lay there like a cadaver, his teeth to the ground, not uttering a cry. We promptly carried him to the vestry.

His fly was open, his cock dangling, his face livid and drenched with sweat, he didn’t resist, but breathed heavily: we put him in a large wooden armchair with architectural decorations.

Señores,” the wretch snivelled, “you must think I am a hypocrite.”

“No,” replied Sir Edmund with a categorical intonation.

Simone asked him: “What’s your name?”

“Don Aminado,” he answered.

Simone slapped the sacerdotal pig, which gave him another hard-on. We stripped off all his clothes, and Simone crouched down and pissed on them like a bitch. Then she wanked and sucked the pig while I urinated in his nostrils. Finally, to top off this cold exaltation, I fucked Simone in the arse while she violently sucked his cock.

Meanwhile, Sir Edmund, contemplating the scene with his characteristic poker face, carefully inspected the room where we had found refuge. He glimpsed a tiny key hanging from a nail in the woodwork.

“What is that key for?” he asked Don Aminado.

From the expression of dread on the priest’s face, Sir Edmund realised it was the key to the tabernacle.

The Englishman returned a few moments later, carrying a ciborium of twisted gold, decorated with a quantity of angels as naked as cupids. The wretched Don Aminado gaped at this receptacle of consecrated hosts on the floor, and his handsome moronic face, already contorted because Simone was flagellating his cock with her teeth and tongue, was now fully gasping and panting.

After barricading the door, Sir Edmund rummaged through the closets until he finally lit upon on a large chalice, whereupon he asked us to abandon the wretch for an instant.

“Look,” he explained to Simone, “the eucharistic hosts in the ciborium, and here the chalice where they put white wine.”

“They smell like come,” said Simone, sniffing the unleavened wafers.

“Precisely,” continued Sir Edmund. “The hosts, as you see, are nothing other than Christ’s sperm in the form of small white biscuits. And as for the wine they put in the chalice, the ecclesiastics say it is the blood of Christ, but they are obviously mistaken. If they really thought it was the blood, they would use red wine, but since they employ only white wine, they are showing that at the bottom of their hearts they are quite aware that this is urine.”

The lucidity of this logic was so convincing that Simone and I required no further explanation. She, armed with the chalice and I with the ciborium, the two of us marched over to Don Aminado, who was still inert in his armchair, faintly agitated by a slight quiver through his body.

Simone began by slamming the base of the chalice against his skull, which jolted him and left him utterly dazed. Then she resumed sucking him, which provoked his ignoble rattles. After bringing his senses to a height of fury with Sir Edmund ’s help and mine, she gave him a hard shake.

“That’s not all,” she said in a voice that brooked no reply. “It’s time to piss.”

And she struck his face again with the chalice, but at the same time she stripped naked before him and I finger-fucked her.

Sir Edmund’s gaze, fixed on the stunned eyes of the young cleric, was so imperious that the thing went off with barely any hitch; Don Aminado noisily poured his urine into the chalice, which Simone held under this thick cock.

“And now, drink,” commanded Sir Edmund.

The paralysed wretch drank with a well-nigh filthy ecstasy at one long gluttonous draft. Again Simone sucked and wanked him; he continued gurgling desperately and revelling in it. With a demented gesture, he bashed the sacred chamber pot against a wall. Four robust arms lifted him up and, with open thighs, his body erect, and yelling like a pig being slaughtered, he spurted his come on the hosts in the ciborium, which Simone held in front of him while masturbating him.

In the next chapter things get even more extreme for the priest.

With a wonderful symmetry all this occurs in Seville, the same location as for Fénelon’s golden age society in Télémaque (Telemachus) (Vol 1, p150), written in 1699, one of the most influential political works during the following century. Télémaque is all about the virtuous ruler, and Fénelon’s golden age in southern Spain is the ultimate virtuous society. Note that Fénelon is one of those referred to in the above Advertisment.

Many thanks to Jahsonic for introducing me to this book via his wiki, art and popular culture. At his entry on Bataille he states: ‘ Along with Gilles Deleuze, Bataille is a patron saint of this wiki.’ Rightly so.

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(1) There is a nice little use of the virtue/happiness dichotomy in Alexander Dumas (père), Pictures of Travel in the South of France, London, Offices of the National Illustrated Library, p 109 (no date, but the travels were between 1834 and 1836, and the book was originally published in French around 1842 ):

[After seeking refuge from the rain at an inn at St. Péray, on the road between Vienne and Valence, Dumas and his travelling companion Jadin, prepare themselves for the dubious benefit of some house wine, having previously that day sampled a very pleasing hermitage.]

[The inn] was full of people who, caught like us in the storm, were treating themselves to some nice looking white wine, and waiting for the storm to pass over. While we were drying our clothes, Jadin and I looked at each other to know whether we should do the same. The hermitage we had drank in the morning prepared us badly for the wine of a public-house; however, as the external damp went off, we felt the necessity of warmth inside. We therefore determined to ask our hostess, half from necessity and half in payment for her hospitality, for the usual bit of bread and cheese and bottle of new wine, which were brought us immediately. In all doubtful cases, like the present, it was always Jadin who sacrificed himself. He half filled his glass, held it to the light, turned it round, examined it in every way, and, satisfied with his inspection, raised it to his mouth with more confidence. As for me, I followed his movements with the anxiety of a man who, without putting himself forwards, must share the good or bad fate of his travelling companion. I saw Jadin silently taste his first mouthful, then a second, then a third, then empty his glass and fill it again, all without uttering a word, and with an increasing astonishment which had something religious and grateful about it. Then he began to try it again, with the same precautions, and appeared to finish it with the same enjoyment.

“Well!” said I, still waiting.

“True happiness is only to be found in virtue,” answered Jadin, gravely; “we are virtuous, and heaven rewards us; taste the wine.”

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D’Hancarville - Veneres et Priapi

Go to links page for other D’Hancarville illustrations.

D’Hancarville - Veneres et Priapi - picture 61

Picture 61 (above)

D’Hancarville - Veneres et Priapi - text 61

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D’Hancarville - Veneres et Priapi - picture 62

Picture 62 (above)

D’Hancarville - Veneres et Priapi - text 62

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D’Hancarville - Veneres et Priapi - picture 63

Picture 63 (above)

D’Hancarville - Veneres et Priapi - text 63

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D’Hancarville - Veneres et Priapi - picture 64

Picture 64 (above)

D’Hancarville - Veneres et Priapi - text 64 and 65

D’Hancarville - Veneres et Priapi - picture 65

Picture 65 (above)

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D’Hancarville - Veneres et Priapi - picture 66

Picture 66 (above)

D’Hancarville - Veneres et Priapi - text 66

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D’Hancarville - Veneres et Priapi - picture 67

Picture 67 (above)

D’Hancarville - Veneres et Priapi - text 67

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D’Hancarville - Veneres et Priapi - picture 68

Picture 68 (above)

D’Hancarville - Veneres et Priapi - text 68

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D’Hancarville - Veneres et Priapi - picture 69

Picture 69 (above)

D’Hancarville - Veneres et Priapi - text 69

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D’Hancarville - Veneres et Priapi - picture 70

Picture 70 (above)

D’Hancarville - Veneres et Priapi - text 70

 

 

 

 

 

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