the art of kissing | Page 3

being the protector of his wife
and, after they are born, of his children. Therefore, he must always be \
the one who takes the initiative. He
must be strong, he must be willing, he must be physically able to take c\
are of his charges, He must be the
aggressor.
It is, therefore, necessary that the man be taller than the woman. The p\
sychological reason for this is that
he must always give the impression of being his woman's superior, both m\
entally and especially
physically. The physical reason, with which we are more concerned, is th\
at if he is taller that his woman,
he is better able to kiss her. He must be able to sweep her into his str\
ong arms, and tower 6ver her, and
look down into her eyes, and cup her chin in his fingers and 1 hen, bend\
over her face and plant his
eager, virile lips on her moist, slightly parted, inviting ones. All of \
this he must do with the vigor of an
assertive male. And, all of these are impossible where. the woman is the\
taller of the-two. For when the
situation is reversed, the kiss becomes only a ludicrous banality. The p\
hysical mastery is gone, the male
prerogative is gone, everything is gone but the fact that two lips are t\
ouching two other lips. Nothing can
be more disappointing.
PREPARING FOR THE KISS
A paragraph back, we mentioned that the woman's lips were slightly parte\
d when she awaited the lips of
her lover. There was a reason for using this description. Always, in any\
sort of kiss, just before the male's
lips settle onto the lips of his partner, the female's lips should be sl\
ightly parted. One reason for this is
that cherry-red lips serve as a charming frame for a row of gleaming, wh\
ite, even teeth. The picture that
The Art of Kissing
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confronts the kisser is one that draws him onward. And even, months late\
r, when he thinks back to the
kiss in the retrospect, he will remember that pretty little picture of t\
he pearls of teeth nestling in their
frame of-cherries.
The deliciousness of a long-remembered kiss was beautifully expressed in\
a poem 'called, "Three
Kisses," in which occurred the verse:I gently raised her sweet, pure face,
Her eyes with radiant, love sight filled.
That trembling kiss I'll ne'er forget
Which both our hearts with rapture filled.
Another reason for-parting the lips is that there is a definite gratific\
ation the male obtains from the
delicious odor that emanates from his loved one's mouth. John Secundus, \
in describing a kiss,. said - that
!& lover's kiss was like: "... every aromatic breeze That wafts from Africa's spicy trees;"
The odor of a woman's hair can send shivers of joy coursing up and down \
a man's spine. The odor of her
body can convulse him with throes of passion. Odors are as necessary to \
love as is love, itself. That is
why it is so essential that the lips be parted just before the kiss. And\
that is why the breath should be kept
always sweet and pure so that, when the lips art opened, the breath will\
be like an "aromatic breeze."
Sometimes it is advisable to touch the corners of the mouth with perfume\
. But be certain that there is
only the faintest suggestion of an odor and no more. Another thing, lips\
tick is definitely out in the kiss,
because it comes off so readily. A very light coat of lipstick should be\
worn so that, when it does come
off, it will not serve to betray you. Similarly, the teeth should be kep\
t cleaned and polished. Nothing can
dampen a young man's ardor, or a young woman's for that matter, than a r\
ow of brown-stained, unkempt
teeth.
HOW TO APPROACH A GIRL
In kissing a girl whose experience with osculation is limited, it is a g\
ood thing to work up to the kissing
of the lips. Only an arrant fool seizes hold of such a girl, when they a\
re comfortably seated on the sofa,
and suddenly shoves his face into her's and smacks her lips' Naturally, \
the first thing he should do is to
arrange it so that the girl is seated against the arm of the sofa while \
he is seated at her side. In this way,
she cannot edge away from -him when he becomes serious in his attentions\
. This done, on some pretext
or another, such as a gallant attempt to adjust the cushions behind her,\
he manages to insinuate his arm,
first around the back of the sofa and then, gradually, around her should\
ers. If she flinches, don't worry. If
she flinches and makes an outcry, don't worry. If she flinches, makes an\
outcry and tries to get up from
the sofa, don't worry. Hold her gently but firmly, and allay her fears w\
ith kind, reassuring words.
Remember what Shakespeare said about "a woman's no! However., if she fli\
nches and makes an outcry,
a loud, stentorian outcry, mind you, and starts to scratch your