标题: WHAT IS KAREZZA? [打印本页] 作者: 猫123 时间: 2008-9-5 09:12 标题: WHAT IS KAREZZA?
often that which merely coincides is asserted to hold a relation of cause and effect. However I think I can see how, very easily, the ignorant or imperfect use of this art might lead to the above-described bad results. In ideal and successful Karezza the sexual passion is transmuted and sublimated, to a greater or less degree, into tenderness and love, and the thought is maintained that the orgasm is not desired or desirable. Now if a man, on the contrary, entered the embrace with the thought that he terribly desired the orgasm, but by the sheer force of will must prevent it; if he excited himself and his partner to the utmost sexual furore, but at last denied it culmination; caring nothing for love at any time, but for sex only all the time, I can see how, very reasonably, his denied passion might react disastrously on his nervous system, just as any strongly repressed emotion may. Just as a man who indulges in the most furious thoughts of rage, but clenches his fists and shuts his mouth tight, rather than express it, may burst a blood vessel or get an apoplexy. This may indeed be a sort of "male continence," on the physical side, but real Karezza, as I know it and would present it, is very different.
Real Karezza requires preparatory mental exercise. It requires first the understanding and conviction that the spiritual, the caressive, the tender side of the relation is much more important, much more productive of pleasure in fact, than the merely sexual, and that throughout the whole relation the sexual is to be held subordinate to this love side as its tool, its agent, its feeder. Sex is indeed required to furnish all it has to the feast, but strictly under the leadership of and to the glory of love.
It requires, second, the understanding and profound conviction that in this kind of love-feast the orgasm is a marplot, a kill-joy, an awkward and clumsy accident, and the end of everything for the time, therefore most undesired.
It requires, third, an understanding of the psychological law that all emotions are to a considerable extent capable of being "sublimated," that is expressed in a different direction and with reference to another object than that first intended. We have all seen orators or actors first arouse an audience to emotional intensity and then direct that emotion at pleasure to laughter or tears, to love or hate, revenge or pity, lust
