Intercourse Quotes (displaying: 1 - 30 of 90 quotes )
The bourgeois period of history has to create the material basis of the new world? on the one hand universal intercourse founded upon the mutual dependency of mankind, and the means of that intercourse; on the other hand the development of the productive powers of man and the transformation of material production into a scientific domination of natural agencies. Bourgeois industry and commerce create these material conditions of a new world in the same way as geological revolutions have created the surface of the earth. When a great social revolution shall have mastered the results of the bourgeois epoch, the market of the world and the modern powers of production, and subjected them to the common control of the most advanced peoples, then only will human progress cease to resemble that hideous, pagan idol, who would not drink the nectar but from the skulls of the slain.
One could not but play for a moment with the thought of what might have happened if Charlotte Bront had possessed say three hundred a year? but the foolish woman sold the copyright of her novels outright for fifteen hundred pounds; had somehow possessed more knowledge of the busy world, and towns and regions full of life; more practical experience, and intercourse with her kind and acquaintance with a variety of character. In those words she puts her finger exactly not only upon her own defects as a novelist but upon those of her sex. at that time. She knew, no one better, how enormously her genius would have profited if it had not spent itself in solitary visions over distant fields; if experience and intercourse and travel had been granted her. But they were not granted; they were withheld; and we must accept the fact that all those good novels, VILLETTE, EMMA, WUTHERING HEIGHTS, MIDDLEMARCH, were written by women without more experience of life than could enter the house of a respectable clergyman; written too in the common sitting-room of that respectable house and by women so poor that they could not afford to, buy more than a few quires of paper at a time upon which to write WUTHERING HEIGHTS or JANE EYRE.
Their [girls] sexual energy, their evaluation of adolescent boys and other girls goes thwarted, deflected back upon the girls, unspoken, and their searching hungry gazed returned to their own bodies. The questions, Whom do I desire? Why? What will I do about it? are turned around: Would I desire myself? Why?...Why not? What can I do about it?The books and films they see survey from the young boy's point of view his first touch of a girl's thighs, his first glimpse of her breasts. The girls sit listening, absorbing, their familiar breasts estranged as if they were not part of their bodies, their thighs crossed self-consciously, learning how to leave their bodies and watch them from the outside. Since their bodies are seen from the point of view of strangeness and desire, it is no wonder that what should be familiar, felt to be whole, become estranged and divided into parts. What little girls learn is not the desire for the other, but the desire to be desired. Girls learn to watch their sex along with the boys; that takes up the space that should be devoted to finding out about what they are wanting, and reading and writing about it, seeking it and getting it. Sex is held hostage by beauty and its ransom terms are engraved in girls' minds early and deeply with instruments more beautiful that those which advertisers or pornographers know how to use: literature, poetry, painting, and film.This outside-in perspective on their own sexuality leads to the confusion that is at the heart of the myth. Women come to confuse sexual looking with being looked at sexually ("Clairol...it's the look you want"); many confuse sexually feeling with being sexually felt ("Gillete razors...the way a woman wants to feel"); many confuse desiring with being desirable. "My first sexual memory," a woman tells me, "was when I first shaved my legs, and when I ran my hand down the smooth skin I felt how it would feel to someone else's hand." Women say that when they lost weight they "feel sexier" but the nerve endings in the clitoris and nipples don't multiply with weight loss. Women tell me they're jealous of the men who get so much pleasure out of the female body that they imagine being inside the male body that is inside their own so that they can vicariously experience desire. Could it be then that women's famous slowness of arousal to men's, complex fantasy life, the lack of pleasure many experience in intercourse, is related to this cultural negation of sexual imagery that affirms the female point of view, the culture prohibition against seeing men's bodies as instruments of pleasure? Could it be related to the taboo against representing intercourse as an opportunity for a straight woman actively to pursue, grasp, savor, and consume the male body for her satisfaction, as much as she is pursued, grasped, savored, and consumed for his?
The particular value attached of virginity is a fabrication of the male, due partly to superstition, partly to masculine vanity, and partly, of course, to a disinclination to father someone else's child. Women, I should say, have ascribed importance to it chiefly because the value men place on it, and also from fear of consequences. I think I am right in saying that a man, to satisfy a need as natural as eating his dinner when he is hungry, may have sexual intercourse without any particular feeling for the object of his appetite; whereas with a woman sexual intercourse, without something in the nature, if not of love, at least of sentiment, is merely a tiresome business which she accepts as obligation, or from the wish to give pleasure.
Why are poets so apt to choose their mates, not for any similarity of poetic endowment, but for qualities which might make the happiness of the rudest handicraftsman as well as that of the ideal craftsman of the spirit? Because, probably, at his highest elevation, the poet needs no human intercourse; but he finds it dreary to descend, and be a stranger.
Art is the process of evoking pity and terror, which is not abstract at all but very human. What the self-styled modern artists are doing is a sort of unemotional pseudointellectual masturbation . . . whereas creative art is more like intercourse, in which the artist must seduce -- render emotional -- his audience, each time.
Anybody may blame me who likes, when I add further, that, now and then, when I took a walk by myself in the grounds; when I went down to the gates and looked through them along the road; or when, while Adele played with her nurse, and Mrs. Fairfax made jellies in the storeroom, I climbed the three staircases, raised the trap-door of the attic, and having reached the leads, looked out afar over sequestered field and hill, and along dim sky-line - that then I longed for a power of vision which might overpass that limit; which might reach the busy world, towns, regions full of life I had heard of but never seen - that then I desired more of practical experience than I possessed; more of intercourse with my kind, of acquaintance with variety of character, than was here within my reach.
So he worked. He lost weight; he walked light on the earth. Lack of physical labor, lack of variety of occupation, lack of social and sexual intercourse, none of these appeared to him as lacks, but as freedom. He was the free man: he could do what he wanted to do when he wanted to do it for as long as he wanted to do it. And he did. He worked. He work/played.
In love one should exercise economy of intercourse. None of us can love for ever. Love will be stronger and will last longer if there are impediments of its gratification. If a lover is prevented from enjoying his love by absence, difficulty of access, or by the caprice or coldness of his beloved, he can find a little consolation in the thought that when his wishes are fulfilled his delight will be intense. But love being what it is, should there be no hindrances, he will pay no attention to the considerations of prudence; and his punishment will be satiety. The love that lasts longest is the love that is never returned.
you cannot be friends either with boy or man unless you give yourself away in the process, and Mr. Pembroke did not commend this. He, for “personal intercourse,” substituted the safer “personal influence,” and gave his junior hints on the setting of kindly traps, in which the boy does give himself away and reveals his shy delicate thoughts, while the master, intact, commends or corrects them. Originally Rickie had meant to help boys in the anxieties that they undergo when changing into men: at Cambridge he had numbered this among life’s duties. But here is a subject in which we must inevitably speak as one human being to another, not as one who has authority or the shadow of authority, and for this reason the elder school-master could suggest nothing but a few formulae. Formulae, like kindly traps, were not in Rickie’s line, so he abandoned these subjects altogether and confined himself to working hard at what was easy.
Menuret repeats an observation of Forestier's that clearly shows how an excessive loss of a humor, by drying out the vessels and fibers, may provoke a state of mania; this was the case of a young man who 'having married his wife in the summertime, became maniacal as a result of the excessive intercourse he had with her.
The only thing--I tell you this straight from the heart--that disgusts me in Salzburg is that one can't have any proper social intercourse with those people--and that music does not have a better reputation...For I assure you, without travel, at least for people from the arts and sciences, one is a miserable creature!...A man of mediocre talents always remains mediocre, may he travel or not--but a man of superior talents, which I cannot deny myself to have without being blasphemous, becomes--bad, if he always stays in the same place. If the archbishop would trust me, I would soon make his music famous; that is surely true.