Hugh Morris Art of Kissing | Page 9

flower.
THE EYELASH KISS
A variation of this eye kiss can be practiced as a tender diversion. After an intense period
of "soul or "vacuum kissing" has been indulged in and both lovers lie back tiredly,
looking into each other's eyes , the-young man should lean over the face of the girl. But,
instead of implanting his lips on hers, he should bring his cheek into direct contact with
her cheek again. Then, when this is done, he should lower his eyelash so that they
enmesh with the eyelash of his partner. This, of course, is done one eye at a time. And
when the enmeshing process is complete, each should gently raise and lower his or her
eyelids. The contact of the hair of the eyelash is one that is almost indescribable. Suffice
it to say, it is a charming bypath in the meadows of love that is pleasant, provocative and
yet not exhausting.
THE "PAIN" KISS
A while back, mention was made of the "Pain kiss." It is with this seemingly paradoxical
pleasure that we shall deal with now. First of all, it is necessary to explain that, although
an act can be painful, it can still be pleasurable. The explanation is merely another
indication of the variability of human nature. To begin, there are some people who derive
an extreme pleasure out of being whipped or burned or beaten. There is no rational
explanation for this strange, delight. The fact remains that they react pleasurably to pain.
These people are called masochists. Similarly, there are other people who derive the same
pleasure out of being the ones who inflict pain or perform the beating. Their abnormality,
too, is inexplicable. They are called sadists.
The point is this: these people have these strange desires in extremes. But normal people
have similar desires but they are not so strong. They are present only in minute degrees.
That is why some of us deliberately uncover ourselves in cold weather or continue to pick
at a sore tooth although the act pains us. It is for this reason that most of us are able to
derive pleasure from the "pain kiss."
The "pain kiss" is simply a tiny bite, a love nip.
Catullus, who knew his kissing, if we are to judge from the many poems he left on the
subject, once rote:
Whom wilt thou for thy lover choose?
Whose shall they call thee, false one, whose?
Who shall thy darted kisses sip,
While thy keen love-bites scar his lip?

THE ART OF KISSING
Get any book for free on: www.Abika.com 17THE "NIP" KISS
Horace, another Roman, whose kissing proclivities have come down through the ages
because of his love poems, also wrote something about the "nip-kiss" when he said:
Or on thy lips, the fierce, fond boy
Marks with his teeth the furious joy.
So you see, it is perfectly normal people, if you can call poets normal people, who
indulge in the "pain kiss" and derive intense pleasure from it. Punishment, after all, can
be more than painful. For instance, in another poem, a poet says:
And if she dared her lips to pout,
Like many pert young misses,
I'd wind my arms her waist about
And punish her with kisses.
Naturally, in the "nip-kiss" the kisser is not supposed to open his mouth like the maw of a
lion. and then sink his fangs into the delicate-flesh of the kissee. Ridiculous! The
procedure is the same as the ordinary kiss except that, instead of closing your lips with
the kiss, you leave them slightly. open and, as though you were going to nibble on a
delicious tid-bit, take a playful nip into either the nape of the neck, the cheek or the lips.
just a nip is enough. And the resultant pleasure, I assure you, will more than compensate
for the slight inconvenience of pain.
Now there might be some of you who may wonder why such kissing subterfuges and
substitutes are necessary. It is only that man is a questing animal. He is never satisfied
with the ordinary and commonplace because the commonplace, after a time, becomes
very boring. Not that I mean to infer that the usual "lip-kiss" is commonplace..
Absolutely not. The "lip-kiss," as I have mentioned before, is the piece de resistance, the
main course in the "banquet of love" as the poet, Qvid, called it. But imagine a meal in
which there were seven courses of filet mignon or seven courses of lobster. You'd get sick
and tired of a tender filet after the third course, wouldn't you? And after the second
lobster, you wouldn't be able to look a lobster in the eye, that is, providing a lobster has
eyes. So you see why it