MY FATHER'S LAWYER
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'étendue—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 Pressé—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, Derrière 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 Galère—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 Clystère—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 à la Revêche—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.