Frederic Remington The Cowboy painting

Frederic Remington The Cowboy paintingFrederic Remington Against the Sunset paintingThomas Kinkade venice painting
parties become exalted by an enthusiasm approaching ecstasy, a feeling of glorious power and perfect safety no words can adequately describe. And this, I insist, depends mainly on the woman.
Under such conditions of realized power and ability almost any movements, on either side, are possible, provided they are ordinary, expected, and carrying a sort of rhythm. Remember that Karezza is, in its way, a form of the dance. But no movement should be too often repeated without a break. Change is in every way pleasing and desirable. Steady repetition excites to the orgasm, or tires, satiates, chafes or bruises. No movement at any time should be jerky or unexpectedly sudden. Lawless, nervous, unregulated flouncings and wrigglings should be barred as from a waltz. They properly belong to epileptic states of
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the orgasmal embrace, and for that very reason have no place in Karezza, which is the opposite. There should be often, long, tender, restful pauses - alternations of "storm and peace," as one