The moment she was naked, she knelt down before the object of her adoration (the position she assumed slightly opening the lips of her slit, and giving me a glimpse of the coral interior) and, taking his instrument in her hands, she nestled it between her breasts, and bending her head forward, kissed it again and again. She then rose to her feet again and making him lie with his back on the bed, she kissed his whole body, now it was his staff, now it was his testicles-now she even caressed his buttocks. She placed one of his feet against her mount and, dividing the lips with her fingers, forced his toe into her coral sheath and moved herself rapidly up and down on it. This curious proceeding was very exciting to behold and her lascivious caresses caused Alphonse's instrument to assume a prodigious state of erection. Now she got on the top of him and, turning her bottom to his face, impaled herself on his staff. I saw its bulbous head distinctly separate the luscious lips of her slit, and then beheld it slowly disappear in her sensitive vagina. But she only kept it there for a minute, for jumping up again she placed it between the fleshy cushions of her buttocks, and holding it there with her hand, moved her bottom up and down. Then she suddenly turned around and rubbed her white belly against it-now she put it between her swelling thighs-now her armpit. In fact, there was no part of her body to which she did not conduct it. These manipulations were more than the young Frenchman could bear. He suddenly rose up and pressing her palpitating body in his arm, he laid her on her back on the bed. She opened her lovely thighs to the widest extent and revealed to him all the delights of the domain of Venus. How can I describe the spectacle that we saw from our hiding place! An eminence shaded with a mass of hair as black as jet, the beauties of which the most delicate pencil could not trace. In a moment he was between her magnificent thighs. Eudoxie seized his member and guided it into the delicious interior of her rosy con. It grasped his penis like a glove. Eudoxie was almost wild with excitement, she breathed short, and her bubbies rose and fell in the most delicious confusion. Their images were reflected in the mirrors surrounding the apartment. It was a glorious sight. There lay Eudoxie extended on the bed, her head reposing on the pillow, and her long hair streaming by the side of the bed. One of her legs rested on the ground while the other was a little elevated, by this means extending her thighs to the widest capacity. Alphonse was between them, his staff buried in her con, with one of his hands molding a globe of snow while the other was passed round her body. How delicious the contact appeared to be.
He suddenly leaned forward and imprinted a thousand kisses on her lips; he then withdrew himself slowly from her, only, however, to plunge more deeply into the innermost recesses of her con. So delicious, so transporting, so celestial was the pleasure that they both felt, that Eudoxie threw her legs around his loins and pressed him closely to her and they twisted and writhed in each other's arms. Eudoxie suddenly exclaimed:
"O Ciel! quel transport! O, O, O!" (O heavens! what transport.)
And finishing with a prolonged sigh, she poured down her tribute to the god of love, and then with a few convulsive heaves of her divine bottom, she let go her hold and fainted away. He also emitted copiously and fell annihilated by her side. In a few moments they had both recovered. Eudoxie wiped Alphonse perfectly dry and her lover performed the same office for her. Neither of them appeared to be satisfied, for I could see that the Frenchman's instrument was still in a state of fierce erection and Eudoxie, by her touches and manipulations, proved that she was as amorous as ever. They now performed a strange action which only shows how foolish young people can be when they sincerely love each other.
Eudoxie went to a cupboard and took from it a bottle of champagne. She now placed herself on the edge of the bed in a half reclined position. Alphonse sat on the floor with his head underneath her thighs so that his mouth came in contact with her hairy mount. Eudoxie now uncorked the champagne and, drinking a glass herself, she poured another glass on her belly in such a manner that it ran down to her slit, and from there into Alphonse's mouth. He swallowed it with the greatest gusto and the operation was continued until the bottle was emptied. This sight, strange as it was, inflamed me wonderfully. The parties were so beautiful and every portion of their bodies so scrupulously clean that all disgust was removed. The bottle was no sooner empty than they again proceeded to satisfy their amorous desires. Alphonse lay on the ground, resting his head on a low stool. She straddled his face so that her Mons Veneris came in contact with his mouth. As she stood exactly opposite our place of concealment, we could see his tongue enter in and out of her luscious sheath; while he was feting her con, he advanced a finger into the narrow passage adjacent to the legitimate road and kept time with his tongue and finger. Every time his tongue came in contact with her clitoris, a convulsive shudder ran through her and her bottom moved responsively to his titillations. At last they both succumbed-he from the force of imagination and she from the actual contact of his organ of speech on her excited clitoris.
It was now quite late, and after Alphonse had departed, the house closed for the night. I bade my friend an affectionate farewell and returned to my hotel. The next day I started for home.
Chapter IV
When I arrived home I busied myself putting my father's papers in order, and was so absorbed by the occupation that not even an amorous thought entered my head. This took me a whole week and I had only just finished when Mr. Ralph Pitman was announced. I received him very cordially and treated him so freely that he soon felt quite at home. He had been there but two days when we so far understood each other that he ventured to kiss me. I made no resistance. From his manner of kissing I saw that he was of an excessively amorous temperament, and the fact that I had been ten days without indulgence in sexual pleasure made me very desirous of tasting his capabilities in the school of Venus.
The next day I entered the library rather suddenly and found my friend deeply engaged in a book. When he saw me he hastily endeavored to conceal the volume.
"What are you reading, Mr. Pitman?" I asked.
"Something that I cannot show you, Miss Percival," he replied.
"Nonsense," I returned. "You need not be afraid, I can look at anything."
"You will not be angry or offended if I show you this book?" he exclaimed.
"Certainly not-I wish to see it, and rest assured that whatever it may contain will neither offend me nor shock me."
"Then take it and judge for yourself," he answered after a moment's pause, at the same time giving me a burning kiss which sent a thrill through me.
I opened the book and found it to be one of a most lascivious character, filled with amorous pictures. I gloated over these engravings and felt my blood all on fire. The engravings were from steel plates and represented the famous thirty-two positions of Aretino. As they were extremely curious I will give a short description of them to the reader. Their titles were in French and consisted of as follows: first, La Patte Debout represented a man and woman standing face to face with his instrument plunged deeply in her coral cavity; second, La Grue-the same position, but with one of the legs raised in the air; third, La Porte de Devant represented a woman seated with a man standing between her thighs, her lustful crevice completely filled by his instrument, while her legs closely embraced his ribs; fourth, Le Cheval Fondu represented a girl on her hands and knees, while a man was embracing her from behind, her head being reclined forward and her bottom elevated; fifth, L'allemande the same position with the addition that the man has his hands on her con; sixth, La Brebis-the same position with the woman resting her hands on the ground; seventh, Faire des Chandelles de Suif-the girl seated across the thighs of the man; eight, A L'arbre-the same position but with the girls legs raised, and with her feet placed against the man's buttocks; ninth, L'enfant Qui Dort-the girl leaning against the man's stomach, her shoulders against his right arm, and her two legs resting on his right thigh; tenth, L'?tendue-the girl lying down on her back and the man standing between her thighs, embrace her in front, in which position he can see his instrument working in her con, eleventh, Au dos Press? — a girl seated on a man's highs with her legs wrapped around his loins; twelfth, Cornuse-the same position, where a man rests one of the girl's thighs on his arm and presses the other down against his buttock; thirteenth, Se Seoir Au Col-the same position when he raises one leg in the air; fourteenth, Chaussebotte, a man taking the two lips of the girl's con, and drawing them on his penis; fifteenth, Courir la Bague-a man running towards a girl with thighs extended to receive him, and in this manner inserting his instrument into her con; sixteenth, A la Plaine-the woman extended all her length on her back, with the man lying between her extended thighs; seventeenth, A la Grenouille-the same position with the woman resting her feet on his heels; eighteenth, La Jannette-the man lying all his length on the top of a woman; nineteenth, A L'ondrenette-when the girl stoops forward and the man embraces her in a standing posture from behind; twentieth, Au Profil-a girl and her companion lying on their sides; twenty-first, A la Botte Badine-the man with one of his legs resting on the woman's flank; twenty-second, Derri?re en Con-a woman lying with her back to a man, with one of her legs raised in the air; twenty-third, Riche en Fleuve-the man lying across a woman, belly to belly; twenty-fourth, Chevaucher l'Asne-the woman lying on the top of a man with his instrument in her con; twenty-fifth, A la Gal?re-the same position with her side turned to the man; twenty-sixth, Chevaucher en Bast-the woman lying across him; twenty-seventh, A la Mauresque-the man seated on the bed with his legs open, the woman seated in the same position, but with her thighs resting on his; twenty-eighth, Au Clyst?re-the girl with her bottom brought to the edge of the bed, separating her buttocks with her hands, and the man standing behind, imbedded in the trou de son cul; twenty-ninth, Sonner du Cul-the woman seated on the edge of the bed with her feet resting against the wall, and during the act of coition she keeps raising one leg and lowering the other; thirtieth, Les Jambes au col? la Rev?che-the woman lying on her face with her legs resting on the man's shoulders; thirty-first, La Cloche represented a man reclining on the ground, resting on his hands and feet-his belly uppermost, while the woman is seated in a basket without a bottom, so that her con comes through the open space, to which was affixed a pulley, so that every time the rope was pulled it brought the woman's notch in contact with the man's penis, and the amorous combat is finished by continual pulling on the rope; thirty-second, Branler la Pique represented a man with his finger in a girl's con, and by his touches making her discharge-while she was doing the same thing for him. In this manner they enjoyed pleasure without conjunction, either standing, sitting or lying.