My face Was On Fire!

Caviceo spirted out his venerean exudation, and I felt irrigated by a burning rain…. Just as Caviceo slackened, I experienced a sort of voluptuous itch as though I were making water; involuntarily I draw my buttocks back a little, and in an instant I felt with supreme pleasure something flowing from me which tickled me deliciously. My eyes failed me, my breath came thick, my face was on fire, and I felt my whole body melting. “Ah! ah! ah! my Caviceo, I shall faint away”, I cried; “hold my soul—it is escaping from my body” ( M.Clasical Erotologia / Cap I, Of Copulation)

The Instrument

Once on a time a youth, wishing to become a smith, quitted his village and hired himself as an apprentice to a farrier. His master was a busy man, all the beds in his house being filled by his workmen, and when evening came he was sore pressed to find sleeping quarters for his apprentice. Reflecting long, he thus finally argued:—

“In each bed are several persons; my daughter alone hath one to herself. With her will I put the youth to sleep. His parents are good people, and I have known him from boyhood. There is no danger.”

When these two were in bed together, the youth began to caress the daughter, a maid nigh unto sixteen years, and since she did not repulse him, he lost no time in showing her how one makes love. The daughter found the business very much to her liking, and Pierre (for so the apprentice was named) gave her several lessons in this pretty game. She did not tire, and wished that the play might last the whole night long; but Pierre, awearied, would fain have slept. Anon, when he began to grow drowsy, she pinched him and snuggled up to him; but he did not respond to her allurements.

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“Pierre,” said she, “dost play no more with thine implement?”

“No—’tis used up,” quoth Pierre.

“‘Tis a pity,” said the girl. “Why is it not more solid? Would it cost much to have another?”

“Yea—at least three or four hundred francs.”

“I myself have not that sum; but I know where my father keepeth his money, and on the morrow I will give thee the wherewithal to procure another. What dost thou call it?”

“‘Tis called an ‘instrument’,”26 quoth Pierre.

In the morning the girl, taking her father’s money, gave it to the apprentice, who hied him to the town and made pretence of buying another instrument; and when night came, he played on his instrument to the infinite satisfaction of the girl.

On the morrow the apprentice received a letter, wherein he learned that his mother lay ill and desired to see him. He started on his journey forthwith. Anon the girl appeared, and not seeing the apprentice, inquired:

“Where is Pierre?”

And they answered her that he was gone and would return no more. Whereat she sped after him, and when she perceived him afar off, cried out:—

“Pierre! Pierre! At least leave me the instrument!”

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Pierre, who was in a field at the moment, wrenched up a big turnip, and casting it into a swamp at the feet of the girl, cried out:—

“Take it—’tis there!”

And while the girl sought the instrument, he continued on his way.

With both her eyes she looked, but of Pierre’s instrument could perceive no vestige. Anon she sat down on the edge of the swamp and gave herself up to tears. Presently there chanced to pass the vicar, who made inquiry as to the cause of her grief.

“Oh! thy reverence!” she made answer. “The instrument hath fallen in the swamp and I cannot recover it. A sad pity, for ‘tis a precious instrument and cost three or four hundred francs.”

“Let us both seek,” quoth the vicar. “I will aid thee.”

He tucked up his gown, and both fell to seeking in the swamp, which was somewhat deep. Anon the girl turned her head, and perceiving the vicar with his garments tucked up above his hips, cried out:—

“Ah! thy reverence! No need for further search! ‘Tis thou who hast the instrument ‘twixt thy legs!” (The Way of a Virgin / The instrument) 

Hard as horn

………………………..In the beginning he pushes in with gentle blows, then quicker, and at last with such force I could not doubt that I was in great danger. His member was hard as horn, and he forced it in so cruelly, that I cried out, “You will tear me to pieces.” He stopped a moment from his work. “I implore you to be quiet, my dear”, he said, “it can only be done this way; endure it without flinching.” Again his hand slid under my buttocks, drawing me nearer, for I had made a feint to draw back, and without more delay plied me with such fast and furious blows that I was near fainting away. (M.Clasical Erotologia / Cap I, Of Copulation).

The cult of aphrodita

POLYTHEISM is not a stable religion. It changes with the growth of civilization, and we do not know a time in which it was not constantly in a state of transition.

The myths which connect Aphrodite in one place with Adonis, in others with Mars, Hephæstos, Anchises and other gods or mortals, were originally several different developments of the same fundamental idea, the love story of the goddess of love. This is quite natural and ought to be expected, but when in the days of a more international communication these myths were told in different shapes in all localities, they in their combination served greatly to undermine the respect for the goddess and to degrade the conception of her even as early as in the time when the Homeric epics were composed. Nevertheless, since the sarcasm remained limited for a long time to the circle of heretics and scoffers, the noble conception of Aphrodite was preserved down to the latest days of paganism.

In other words Venus was originally the mother{69} of mankind. She was at once the Queen of Heaven or Juno, the Magna Mater or Venus Genetrix, the educator and teacher or Pallas Athene, the eternal virgin or Diana, and the all-nourishing earth-goddess, Demeter or Ceres; and this view had better be stated inversely, that the original mother of mankind became differentiated in the course of history into these several activities of womanhood, as Juno, Venus, Diana, Ceres and Athene, which divinities were again reunited in Christianity in the form of Mary, the Queen of Heaven, the Mother of God, the Lady as an authority and guide in life, and the Eternal Virgin.

Aphrodite was worshiped in a prehistoric age, and the origin of her cult is plainly traceable to the Orient, especially to Phenicia and further back to Pamphylia, Syria, Canaan and Babylon. The Phenician Astarte was imported to the islands of the Ægean Sea, to Cythera, Paphos and Amathus. Hence even in the Hellenistic age she was still honored with the names Cytherea, Paphia and Amathusia.(the cult of aphrodita/ paul carus /The Venus of Milo: an archeological study of the goddess of womanhood)

The garden of th goddess

The temple of Aphrodite-Astarte stood outside the gates of the town, in an immense park, full of flowers and shade. The Nile water, conveyed by seven aqueducts, induced an extraordinary verdure all the year round.

The gardens were more than a valley, more than a country; they were a complete world enclosed by bounds of stone and governed by a goddess, the soul and centre of this universe. All around it stood a circular terrace, eighty stades long and thirty-two feet high. This was not a wall, it was a colossal “cité,” composed of fourteen hundred houses. A corresponding number of prostitutes inhabited this sacred town, and in this unique spot were represented seventy different nationalities.

The plan of the sacred houses was uniform and as follows: the door, of red copper (a metal consecrated to the goddess), bore a phallos-shaped knocker which fell upon a receiving-plate in relief, the image of the cteis; and beneath was graved the courtesan’s name, with the initials of the usual formula:…….(Ancient Manners; Also Known As Aphrodite / Louÿs, Pierre)

Nymph Girl

This accomplished nymph has just attained her eighteenth year, and fraught with every perfection, enters a volunteer in the field of Venus. She plays on the piano forte, sings, dances, and is mistress of every Manoeuvre in the amorous contest that can enhance the coming pleasure; is of the middle stature, fine auburn hair, dark eyes, and very inviting countenance, which ever seems to beam delight and love. In bed she is all the heart can wish, or eye admire, every limb is symmetry, every action under cover truly amorous; her price is two pounds two.(Harrist List of Covent-Garden Ladies)

Blue eyes girl

To all lovers of carrots we would re- commend this fair complex, and blue ey’d nymph; she is now steering into the nineteenth year, and has very little of the vulgarity too often found in the sister- hood, but would be rather silent than speak nonsense: the mere sensualist will not find her quite to his fancy, but she will please the delicate and sensible, who can spend the dull pause of joy with her agreeably, till call’d by nature to repeti- tion; in which, as well as in conservation, we are informed she is equally charming.(Harrist List of Covent-Garden Ladies)

A fine tall woman!

It is remarkable, that her lovers are most commonly of a diminutive size. The vanity of surmounting such a fine tall woman, is, doubtless, an incentive to many, to so unmatch themselves, that they are content to be like a sweet-bread on a breast of veal. Yet, notwithstand- ing her size, we hear her low countries are far from being capacious, but like a well made boot, is drawn on the leg with some difficulty, and fits so close, as to give great pleasure to the wearer; it is about two years since her boot has been ac- customed to wear legs in it, and though often soaled, (sold) yet never wears out.(Harris’s List of Covent Garden Ladies / number36)

The origin of woman.

THE problem of womanhood has found different expressions in different ages. In prehistoric times all great questions were answered mythologically. Cosmogeny and anthropogeny, including gynecogeny, were expressed in stories of gods, while in later periods the same facts remained and found different solutions in religious dogmas and still later in scientific investigations.

The same subjects have been treated in a different spirit during the Christian era and again differently still under the influence of a scientific world-conception. Socrates respected the gods but he no longer believed in them as personalities. He explained them as signifying some facts of experience. To him love found expression in a belief in Aphrodite and in her powerful son, Eros. Further, his disciple Plato explains to us the significance of love and devotes a special dialogue to a discussion of its meaning in every aspect. This dialogue of Plato’s, the Symposium, may truly be characterized as the most poetical and most interesting discussion of{122} Greek philosophy. It tells of a banquet to which Agathon has invited his friends, among whom we find the philosopher Socrates, the poet Aristophanes (the disciple of Socrates), Pausanias, Phaedrus and some others. After dinner Phaedrus proposes to make speeches in honor of love, and Pausanias begins by drawing a distinction between heavenly and earthly love, extolling the former and giving scant praise to the latter. Aristophanes is the next speaker, but, being prevented by a severe hiccup from taking up the discussion, gives precedence to Eryximachus, the physician. This speaker approves the distinction made by Pausanias, but generalizes the conception of love by regarding it as a universal principle, bringing about the harmony that regulates nature in the course of the seasons in its relations of moist and dry, hot and cold, etc., and whose absence is marked by diseases of all sorts. Aristophanes, having recovered from his hiccup, proposes to offer a new explanation setting forth a novel theory of the origin of human nature.(The cult of aphrodita/ paul carus /The Venus of Milo: an archeological study of the goddess of womanhood)

Perfect mistress

This lady, we are told, is remarkably fond of musick, and there is no tune within compass of the flute but she plays with the greatest dexterity; she is perfect mistress of all the graces, is never out in stopping, and is full as well skilled in pricking; altho’ the principal part of her music is played in duets, and every duet in a natural key, she has not the smallest objection to two flats; she has a variety of sweet notes, and many pleasing airs, and generally chooses the lowest part; every shake and quaver she feels in- stinctively, and sometimes has played the same tune over twice, before her partner has gone through it once, without the least deviation from true concord; she does not allow of any cross barrs, and is particularly partial to the Tacit flute; her moving stars are as black and as round as the end of a Crotchet; no flower that blows is like her cheek, or scatters such perfume as her breath: no advice can controul her love; she does as she will with her swain, presses him away to the copse, puts the wanton God where the bee sucks into her pleasant native plains, soon after you feel the graceful move and find how sweet it is in the low-lands; and should it be in sable night, she loves to restore the drooping plant, thinks variety is charming, and always gives one kind kiss before she parts; and as she is now only nineteen, can sing a French as well as an English song, and has a very good friend, whose name she at present assumes: you must not approach her shrine without being well fortifyed with root of all evil.(Harris’s List of Covent Garden Ladies / number 48)

Philtres of Love!!

In Greek mythology, Andromache, the wife of the Trojan warrior Hector, was accused by Hermione, wife of Neoptolemus, of gaining his love by means of love-potions. Euripides, the tragic poet (c. 485–406 B.C.), refers to the situation in his drama Andromache:

Not of my philtres thy lord hateth thee,

But that thy nature is no mate for his.

That is the love-charm: woman, ’tis not beauty

That witcheth bridegrooms, nay, but nobleness.

Philtres were in actual use beyond mythological times.Xenophon (c. 430–354 B.C.), the Greek historian, author of Memorabilia, alludes to the practice:

“They say,” replied Socrates, “that there are certain incantations which those who know them chant to whomsoever they please, and thus make them their friends; and that there are also love potions which those who know them administer to whomso they will; and are in consequence loved by them.”

In ancient orgiastic cults, particularly those dedicated to Dionysus and to the Syrian Baal, religious frenzies were accompanied or stimulated by drugs, fermented drink, by rhythmic dance movements, by tambourine, drum, and flute music that culminated in ecstatic self-mutilation followed by wild sexual debaucheries. (LOVE POTIONS THROUGH THE AGES / HARRY E. WEDECK)

The Real GFE experience

I needed to blow off some steam so I ventured off to Paris to explore. I looked specifically for women who provided a GFE. I wanted to meet someone who could hold a conversation and provide me with some local color. My ideal date involves an intelligent women who seeks to please, and be pleased. I found April here and booked a date. We started the date with some local cuisine for lunch and afterwards did some sightseeing around the city, hand in hand. April was excellent private tour guide and my nervousness started to fade away as we were walking around the city. After the tour we arrived my hotel room for the final part of the date. April is very pretty girl-next-door type of girl with wonderful smile and some nice assets. There are many things to do and see in Paris, but April was the highlight of my trip and I had my all time best escorting experience with her. She clearly loves what she does and I highly recommend her to anyone visiting Paris.

Classical Erotology

In fact the fellator as well as the cunnilingue may be called eaters of filth, as in the passage of Galen quoted previously, where both of them are called coprophagi (dung-eaters). Bæticus however has only to do with the female pit; he is a cunnilingue, not a fellator. On the contrary, the lewd tongue of Tongilion (III., 84) is that of a fellator, not of a cunnilingue; for the tongue of a cunnilingue plays the part of a lover, being active; while that of a fellator acts the part of a prostitute, remaining passive. Sometimes for want of attention the most learned commentators are at fault in elucidating these playful passages. One of the twin brothers, who in our friend of Bilbilis (the poet Martial) (III., 88), are licking different groins, was a cunnilingue. The neighbor of Priapus, “by whose fault it is unhappy Landacé swears she can hardly walk, she is so enlarged,” is covertly designated as a cunnilingue (Priapeia LXXVIII.); yet for all that Scioppius maintains he was only a fornicator; but why should we turn away from the proper sense of the word on account of the enlarged aperture? As if the vulva could not be enlarged, or relaxed by the tongue of the cunnilingue equally as much as by active co-habitation!  (Manual of Classical Erotology (De figuris Veneris). Autor : Friedrich Karl Forberg)

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