Venus Beauty Quotes

[The Old Astronomer to His Pupil] Reach me down my Tycho Brahe, I would know him when we meet, When I share my later science, sitting humbly at his feet; He may know the law of all things, yet be ignorant of how We are working to completion, working on from then to now. Pray remember that I leave you all my theory complete, Lacking only certain data for your adding, as is meet, And remember men will scorn it, 'tis original and true, And the obloquy of newness may fall bitterly on you. But, my pupil, as my pupil you have learned the worth of scorn, You have laughed with me at pity, we have joyed to be forlorn, What for us are all distractions of men's fellowship and smiles; What for us the Goddess Pleasure with her meretricious smiles. You may tell that German College that their honor comes too late, But they must not waste repentance on the grizzly savant's fate. Though my soul may set in darkness, it will rise in perfect light; I have loved the stars too fondly to be fearful of the night. What, my boy, you are not weeping? You should save your eyes for sight; You will need them, mine observer, yet for many another night. I leave none but you, my pupil, unto whom my plans are known. You 'have none but me,' you murmur, and I 'leave you quite alone'? Well then, kiss me, -- since my mother left her blessing on my brow, There has been a something wanting in my nature until now; I can dimly comprehend it, -- that I might have been more kind, Might have cherished you more wisely, as the one I leave behind. I 'have never failed in kindness'? No, we lived too high for strife,-- Calmest coldness was the error which has crept into our life; But your spirit is untainted, I can dedicate you still To the service of our science: you will further it? you will! There are certain calculations I should like to make with you, To be sure that your deductions will be logical and true; And remember, 'Patience, Patience,' is the watchword of a sage, Not to-day nor yet to-morrow can complete a perfect age. I have sown, like Tycho Brahe, that a greater man may reap; But if none should do my reaping, 'twill disturb me in my sleep So be careful and be faithful, though, like me, you leave no name; See, my boy, that nothing turn you to the mere pursuit of fame. I must say Good-bye, my pupil, for I cannot longer speak; Draw the curtain back for Venus, ere my vision grows too weak: It is strange the pearly planet should look red as fiery Mars,-- God will mercifully guide me on my way amongst the stars.

I gathered poets around me and we all wrote beautiful erotica. As we were condemned to focus only on sensuality, we had violent explosions of poetry. Writing erotica became a road to sainthood rather than to debauchery.

Beauty: it curves, curves are beauty. Shapely goddesses, Venus, Juno: curves the world admires.

Houses are really bodies. We connect ourselves with walls, roofs, and objects just as we hang on to our livers, skeletons, flesh and bloodstream. I am no beauty, no mirror is necessary to assure me of this absolute fact. Nevertheless I have a death grip on this haggard frame as if it were the limpid body of Venus herself.

She is a mortal danger to all men. She is beautiful without knowing it, and possesses charms that she's not even aware of. She is like a trap set by nature - a sweet perfumed rose in whose petals Cupid lurks in ambush! Anyone who has seen her smile has known perfection. She instills grace in every common thing and divinity in every careless gesture. Venus in her shell was never so lovely, and Diana in the forest never so graceful as you.

Tonight the sun has died like an Emperor ... great scarlet arcs of silk ... saffron ... green ... crimson ... and the blaze of Venus to remind one of the absolute and the infinite ... and along the lower rim of beauty lay the hard harsh line of the hills ...

How am I to tell you what he said? He talked nonsense about my beauty, as all the men do. If a woman were hump-backed, and had only one eye, they wouldn’t be ashamed to tell her she was a Venus.

Had I no eyes but ears, my ears would love. That inward beauty and invisible; Or were I deaf, thy outward parts would move each part in me that were but sensible: Though neither eyes nor ears, to hear nor see, yet should I be in love by touching thee. 'Say, that the sense of feeling were bereft me, and that I could not see, nor hear, nor touch, and nothing but the very smell were left me, yet would my love to thee be still as much; for from the stillitory of thy face excelling comes breath perfum'd that breedeth love by smelling.

The individual who rebels against the arrangements of society is ostracized, branded, stoned. So be it. I am willing to take the risk; my principles are very pagan. I will live my own life as it pleases me. I am willing to do without your hypocritical respect; I prefer to be happy. The inventors of the Christian marriage have done well, simultaneously to invent immortality. I, however, have no wish to live eternally. When with my last breath everything as far as Wanda von Dunajew is concerned comes to an end here below, what does it profit me whether my pure spirit joins the choirs of angels, or whether my dust goes into the formation of new beings? Shall I belong to one man whom I don't love, merely because I have once loved him? No, I do not renounce; I love everyone who pleases me, and give happiness to everyone who loves me. Is that ugly? No, it is more beautiful by far.

Venusians have different values. They value love, communication, beauty, and relationships. They spend a lot of time supporting, helping, and nurturing one another. Their sense of self is defined through their feelings and the quality of their relationships. They experience fulfillment through sharing and relating.

But why talk in superlatives, as if something that is beautiful could be surpassed?

Things growing to themselves are growth's abuse: Seeds spring from seeds and beauty breedeth beauty;

Packy watched her walk away, her perfect heart-shaped rear end testing the confines of her tight black dress. There was a God. Packy was now certain of it. How else could such heart-stopping beauty be accounted for? Such a thing could not be the product of a random universe. A flower, maybe. A rainbow, perhaps. But not Venus Versailles.

I imagine that the goddess of Love has come down from Olympus to visit a mortal. So as not to die of cold in this modern world of ours, she wraps her sublime body in great heavy furs and warms her feet on the prostrate body of her lover. I imagine the favorite of this beautiful despot, who is whipped when his mistress grows tired of kissing him, and whose love only grows more intense the more he is trampled underfoot. I shall call the picture "Venus in Furs

You are cold, while you yourself fan flames. By all means wrap yourself in your despotic furs, there is no one to whom they are more appropriate, cruel goddess of love and of beauty

How beautiful you now are," she exclaimed, "your eyes half-broken in ecstacy fill me with joy, carry me away. How wonderful your look would be if you were being beaten to death, in the extreme agony. You have the eye of a martyr.

To turn black women into objectified others was to underline their difference; they may be beautiful, but they are of another kind, separate from the dominant understanding of attractiveness.

I saw thee once - only once - years ago: I must not say how many - but not many. It was a July midnight; and from out A full-orbed moon, that, like thine own soul, soaring, Sought a precipitate pathway up through heaven, There fell a silvery-silken veil of light, With quietude, and sultriness, and slumber, Upon the upturn'd faces of a thousand Roses that grew in an enchanted garden, Where no wind dared stir, unless on tiptoe - Fell on the upturn'd faces of these roses That gave out, in return for the love-light, Their odorous souls in an ecstatic death - Fell on the upturn'd faces of these roses That smiled and died in the parterre, enchanted By thee, and by the poetry of thy presence. Clad all in white, upon a violet bank I saw thee half reclining; while the moon Fell upon the upturn'd faces of the roses, And on thine own, upturn'd - alas, in sorrow! Was it not Fate, that, on this July midnight - Was it not Fate, (whose name is also Sorrow,) That bade me pause before that garden-gate, To breathe the incense of those slumbering roses? No footsteps stirred: the hated world all slept, Save only thee and me. (Oh, Heaven! - oh, G**! How my heart beats in coupling those two words!) Save only thee and me. I paused - I looked - And in an instant all things disappeared. (Ah, bear in mind the garden was enchanted!) The pearly lustre of the moon went out: The mossy banks and the meandering paths, The happy flowers and the repining trees, Were seen no more: the very roses' odors Died in the arms of the adoring airs. All - all expired save thee - save less than thou: Save only divine light in thine eyes - Save but the soul in thine uplifted eyes. I saw but them - they were the world to me. I saw but them - saw only them for hours - Saw only them until the moon went down. What wild heart-histories seemed to lie enwritten Upon those crystalline, celestial spheres! How dark a wo! yet how sublime a hope! How silently serene a sea of pride! How daring an ambition! yet how deep - How fathomless a capacity for love! But now, at length, dear Dian sank from sight, Into a western couch of thunder-cloud; And thou, a ghost, amid the entombing trees Didst glide away. Only thine eyes remained. They would not go - they never yet have gone. Lighting my lonely pathway home that night, They have not left me (as my hopes have) since. They follow me - they lead me through the years. They are my ministers - yet I their slave. Their office is to illumine and enkindle - My duty, to be saved by their bright fire, And purified in their electric fire, And sanctified in their elysian fire. They fill my soul with Beauty (which is Hope,) And are far up in Heaven - the stars I kneel to In the sad, silent watches of my night; While even in the meridian glare of day I see them still - two sweetly scintillant Venuses, unextinguished by the sun!

The tender spring upon thy tempting lip Shows thee unripe; yet mayst thou well be tasted: Make use of time, let not advantage slip; Beauty within itself should not be wasted: Fair flowers that are not gather'd in their prime Rot and consume themselves in little time.

Venus to Tig: "I'm afraid, Alexander, that I may have fallen in love with you." Tig doesn't know what to say, so Venus says it for him: "I'm a man. I am a man who knows she's a woman. And that's exactly where I'm supposed to be. It's the criss-cross that I've come to love. I don't want the surgery. I don't want to undo what God has given me. I know how beautiful I am.

Venus and her pentacle became symbols of perfection, beauty, and the cyclic qualities of sexual love. As a tribute to the magic of Venus, the Greeks used her four-year cycle to organize their Olympiads.

What is thy body but a swallowing grave, Seeming to bury that posterity Which, by the rights of time, thou needs must have If thou destroy them not in dark obscurity? If so, the world will hold thee in disdain, Sith in thy pride so fair a hope is slain.

To Helen I saw thee once-once only-years ago; I must not say how many-but not many. It was a july midnight; and from out A full-orbed moon, that, like thine own soul, soaring, Sought a precipitate pathway up through heaven, There fell a silvery-silken veil of light, With quietude, and sultriness, and slumber Upon the upturn'd faces of a thousand Roses that grew in an enchanted garden, Where no wind dared to stir, unless on tiptoe- Fell on the upturn'd faces of these roses That gave out, in return for the love-light Thier odorous souls in an ecstatic death- Fell on the upturn'd faces of these roses That smiled and died in this parterre, enchanted by thee, by the poetry of thy prescence. Clad all in white, upon a violet bank I saw thee half reclining; while the moon Fell on the upturn'd faces of the roses And on thine own, upturn'd-alas, in sorrow! Was it not Fate that, on this july midnight- Was it not Fate (whose name is also sorrow) That bade me pause before that garden-gate, To breathe the incense of those slumbering roses? No footstep stirred; the hated world all slept, Save only thee and me. (Oh Heaven- oh, God! How my heart beats in coupling those two worlds!) Save only thee and me. I paused- I looked- And in an instant all things disappeared. (Ah, bear in mind this garden was enchanted!) The pearly lustre of the moon went out; The mossy banks and the meandering paths, The happy flowers and the repining trees, Were seen no more: the very roses' odors Died in the arms of the adoring airs. All- all expired save thee- save less than thou: Save only the divine light in thine eyes- Save but the soul in thine uplifted eyes. I saw but them- they were the world to me. I saw but them- saw only them for hours- Saw only them until the moon went down. What wild heart-histories seemed to lie enwritten Upon those crystalline, celestial spheres! How dark a woe! yet how sublime a hope! How silently serene a sea of pride! How daring an ambition!yet how deep- How fathomless a capacity for love! But now, at length, dear Dian sank from sight, Into western couch of thunder-cloud; And thou, a ghost, amid the entombing trees Didst glide away. Only thine eyes remained. They would not go- they never yet have gone. Lighting my lonely pathway home that night, They have not left me (as my hopes have) since. They follow me- they lead me through the years. They are my ministers- yet I thier slave Thier office is to illumine and enkindle- My duty, to be saved by thier bright light, And purified in thier electric fire, And sanctified in thier Elysian fire. They fill my soul with Beauty (which is Hope), And are far up in heaven- the stars I kneel to In the sad, silent watches of my night; While even in the meridian glare of day I see them still- two sweetly scintillant Venuses, unextinguished by the sun!

The dazzling splendour revealed to the artist by the model that divests herself of her clothes has the effect of the sun piercing the clouds. Venus, Eve, these are feeble terms to express the beauty of women.

She was beautiful. Not despite her so-called flaws but because of them—those scrapes and life experiences that made her body like no other woman’s. The beauty that wasn’t ephemeral or society-dictated but the real beauty that cut across generations, across all cultures, from the beginning of humankind. The beauty that was painted in Paleolithic caves and carved in ancient Venus statuettes, those wonderful figurines of all shapes and sizes, individualized and gorgeous precisely because of that individuality. What cavemen had known, modern men had forgotten, and sadly, modern women too.

Poets represent love as sculptors design beauty, as musicians create melody; that is to say, endowed with an exquisite nervous organization, they gather up with discerning ardor the purest elements of life, the most beautiful lines of matter, and the most harmonious voices of nature. There lived, it is said, at Athens a great number of beautiful girls; Praxiteles drew them all one after another; then from these diverse types of beauty, each one of which had its defects, he formed a single faultless beauty and created Venus. The man who first created a musical instrument, and who gave to harmony its rules and its laws, had for a long time listened to the murmuring of reeds and the singing of birds. Thus the poets, who understand life, after knowing much of love, more or less transitory, after feeling that sublime exaltation which real passion can for the moment inspire, eliminating from human nature all that degrades it, created the mysterious names which through the ages fly from lip to lip: Daphnis and Chloe, Hero and Leander, Pyramus and Thisbe. To try to find in real life such love as this, eternal and absolute, is but to seek on public squares a woman such as Venus, or to expect nightingales to sing the symphonies of Beethoven.

Looks like you've learned your lesson! The planet of Venus, the goddess of love and beauty, can even use the stink of a toot in the name of lovely justice!" -Sailor Venus

reading the Odyssey about the beautiful witch who transformed her admirers into beasts. A wonderful picture of antique love.

My Venus is damaged, or in exile, that’s what you say of a Planet that can’t be found in the sign where it should be. What’s more, Pluto is in a negative aspect to Venus, and in my case Pluto rules the Ascendant. The result of this situation is that I have, as I see it, Lazy Venus syndrome. That’s what I call this Conformity. In this case we’re dealing with a Person whom fortune has gifted generously, but who has entirely failed to use their potential. Such People are bright and intelligent, but don’t apply themselves to their studies, and use their intelligence to play card games or patience instead. They have beautiful bodies, but they destroy them through neglect, poison themselves with harmful substances, and ignore doctors and dentists. This Venus induces a strange kind of laziness—lifetime opportunities are missed, because you overslept, because you didn’t feel like going, because you were late, because you were neglectful. It’s a tendency to be sybaritic, to live in a state of mild semiconsciousness, to fritter your life away on petty pleasures, to dislike effort and be devoid of any penchant for competition. Long mornings, unopened letters, things put off for later, abandoned projects. A dislike of any authority and a refusal to submit to it, going your own way in a taciturn, idle manner. You could say such people are of no use at all.

Venus Transiens" Tell me, Was Venus more beautiful Than you are, When she topped The crinkled waves, Drifting shoreward On her plaited shell? Was Botticelli’s vision Fairer than mine; And were the painted rosebuds He tossed his lady Of better worth Than the words I blow about you To cover your too great loveliness As with a gauze Of misted silver? For me, You stand poised In the blue and buoyant air, Cinctured by bright winds, Treading the sunlight. And the waves which precede you Ripple and stir The sands at my feet. Amy Lowell, Imagist Poetry: An Anthology. Ed. Bob Blaisdell (Dover Publications; Later Printing edition, March 17, 2011)

This old dead hero had one only daughter left of his race; a beauty that, to describe her truly, one need say only, she was female to the noble male; the beautiful black Venus to our young Mars; as charming in her person as he, and of delicate virtues. I have seen an hundred white men sighing after her, and making a thousand vows at her feet, all vain, and unsuccessful; and she was, indeed, too great for any, but a prince of her own nation to adore.

And when wine has soaked Cupid’s drunken wings, he’s stayed, weighed down, a captive of the place. ... Wine rouses courage and is fit for passion: care flies, and deep drinking dilutes it. ... Don’t trust the treacherous lamplight overmuch: night and wine can harm your view of beauty. Paris saw the goddesses in the light, a cloudless heaven, when he said to Venus: ‘Venus, you win, over them both.’ Faults are hidden at night: every blemish is forgiven, and the hour makes whichever girl you like beautiful. Judge jewellery, and fabric stained with purple, judge a face, or a figure, in the light.

She is a mortal danger to all men. She is beautiful without knowing it, and posses charms that she's not even aware of. She is like a trap set by nature - a sweet perfumed rose in whose petals Cupid lurks in ambush! Anyone who has seen her smile has known perfection. She instils grace in every common thing and divinity in every careless gesture. Venus in her shell was never so lovely, and Diana in the forest never so graceful as you.

This you may see that neither wisdom nor riches, beauty nor trickery, strength nor boldness may share power equally with Venus, for as she wishes she may guide the world.

There is nothing that can excite the man more than the vision of a beautiful, passionate and cruel tyrant who changes her lovers arrogantly and without remorse

At night I observe Venus, closely following the transitions of this beautiful Damsel. I prefer her as the Evening Star, when she appears as if out of nowhere, as if by magic, and goes down behind the Sun. A spark of eternal light. It is at Dusk that the most interesting things occur, for that is when simple differences fade away. I could live in everlasting Dusk.

When I was a youngster, all the progressive people were saying, “Why all this prudery? Let us treat sex just as we treat all our other impulses.” I was simple-minded enough to believe they meant what they said. I have since discovered that they meant exactly the opposite. They meant that sex was to be treated as no other impulse in our nature has ever been treated by civilized people. All the others, we admit, have to be bridled. Absolute obedience to your instinct for self-preservation is what we call cowardice; to your acquisitive impulse, avarice. Even sleep must be resisted if you’re a sentry. But every unkindness and breach of faith seems to be condoned provided that the object aimed at is “four bare legs in a bed.” It is like having a morality in which stealing fruit is considered wrong—unless you steal nectarines. And if you protest against this view you are usually met with chatter about the legitimacy and beauty and sanctity of “sex” and accused of harboring some Puritan prejudice against it as something disreputable or shameful. I deny the charge. Foam-born Venus … golden Aphrodite … Our Lady of Cyprus… I never breathed a word against you. If I object to boys who steal my nectarines, must I be supposed to disapprove of nectarines in general? Or even of boys in general? It might, you know, be stealing that I disapproved of.

She is a mortal danger to all men. She is beautiful without knowing it, and possesses charms that she's not even aware of. She is like a trap set by nature - a sweet perfumed rose in whose petals Cupid lurks in ambush. Anyone who has seen her smile has known perfection. She instills grace in every common thing and divinity in every careless gesture. Venus in her shell was never so lovely, and Diana in the forest never so graceful as you,” I whispered. Lifting my head up, I looked deep into her eyes.

As the great botanist Bichat long ago said, if everyone were cast in the same mould, there would be no such thing as beauty. If all our women were to become as beautiful as the Venus de’ Medici, we should for a time be charmed; but we should soon wish for variety; and as soon as we had obtained variety, we should wish to see certain characteristics in our women a little exaggerated beyond the then existing common standard.

Every young sculptor seems to think that he must give the world some specimen of indecorous womanhood, and call it Eve, Venus, a Nymph, or any name that may apologize for a lack of decent clothing. I am weary, even more than I am ashamed, of seeing such things. Nowadays people are as good as born in their clothes, and there is practically not a nude human being in existence. An artist, therefore, as you must candidly confess, cannot sculpture nudity with a pure heart, if only because he is compelled to steal guilty glimpses at hired models. The marble inevitably loses its chastity under such circumstances. An old Greek sculptor, no doubt, found his models in the open sunshine, and among pure and princely maidens, and thus the nude statues of antiquity are as modest as violets, and sufficiently draped in their own beauty. But as for Mr. Gibson's colored Venuses (stained, I believe, with tobacco juice), and all other nudities of to-day, I really do not understand what they have to say to this generation, and would be glad to see as many heaps of quicklime in their stead.

In the portrait of Venus, the emphasis is on her physical beauty. Even though she represents sexual love, she maintains a venerable modesty, clutching part of her hair in order to cover herself. Notice the demure expression and the placement of her hand across her breast. Her shyness increases the eroticism of her portrayal — it doesn’t diminish it. Many people fail to see how modesty and sweetness of temper compound erotic appeal.

Vanda (as Dunayev): I am a pagan. I am a Greek. I love the ancients not for their pediments or their poetry, but becausein their world Venus could love Paris one day and Anchises the next. Because they're not the moderns, who live in their mind, and because they're the opposite of Christians, who live on a cross. I don't live in my mind, or on a cross. I live on this divan. In this dress. In these stockings and these shoes. I want to live the way Helen and Aspasia lived, not the twisted women of today, who are never happy and never give happiness. Who won't admit that they want love without limit. Why should I forgo any possible pleasure, abstain from any sensual experience? I'm young, I'm rich, and I'm beautiful and I shall make the most of that. I shall deny myself nothing. Thomas (as Kushemski): I certainly respect your devotion to principle. Vanda (as Dunayev): I don't need your respect, excuse me. I'll take happiness. My happiness, not society's happiness. I will love a man who pleases me, and please a man who makes me happy--but only as long as he makes me happy, not a moment longer.

The prevalence of social ugliness made commitment to physical beauty all the more essential. And the very presence in life of double-wide mobile homes, Magic Marker graffiti, and orange shag carpeting had the effect of making ills such as poverty, crime, repression, pollution and child abuse seem tolerable. In a sense, beauty was the ultimate protest, and, in that it generally lasted longer than an orgasm, the ultimate refuge. The Venus de Milo screamed "No!" at evil, whereas the Spandex stretch pant, the macrame plant holder were compliant with it.

Beauty! Wasn't that what mattered? Beauty was hardly a popular ideal at that jumpy moment in history. The masses had been desensitized to it, the intelligentsia regarded it with suspicion. To most of her peers, 'beauty' smacked of the rarefied, the indulgent, the superfluous, the effete. How could persons of good conscience pursue the beautiful when there was so much suffering and injustice in the world? Ellen Cherry's answer was that if one didn't cultivate beauty, soon he or she wouldn't be able to recognize ugliness. The prevalence of social ugliness made commitment to physical beauty all the more essential. And the very presence in life of double-wide mobile homes, Magic Marker graffiti, and orange shag carpeting had the effect of making ills such as poverty, crime, repression, pollution, and child abuse seem tolerable. In a sense, beauty was the ultimate protest, and, in that it generally lasted longer than an orgasm, the ultimate refuge. The Venus de Milo screamed 'No!' at evil, whereas the Spandex stretch pant, the macrame plant holder were compliant with it. Ugly bedrooms bred ugly habits. Of course, it wasn't required of beauty that it perform a social function. That was what was valuable about it.

Where is truth, forsooth, and who knoweth it? Is Beauty beautiful, or is it only our eyes that make it so? Does Venus squint? Has she got a splay-foot, red hair, and a crooked back? Anoint my eyes, good Fairy Puck, so that I may ever consider the Beloved Object a paragon! Above all, keep on anointing my mistress's dainty peepers with the very strongest ointment, so that my noddle may ever appear lovely to her, and that she may continue to crown my honest ears with fresh roses!

Ohhhhh." A lush-bodied girl in the prime of her physical beauty. In an ivory georgette-crepe sundress with a halter top that gathers her breasts up in soft undulating folds of the fabric. She's standing with bare legs apart on a New York subway grating. Her blond head is thrown rapturously back as an updraft lifts her full, flaring skirt, exposing white cotton panties. White cotton! The ivory-crepe sundress is floating and filmy as magic. The dress is magic. Without the dress the girl would be female meat, raw and exposed. She's not thinking such a thought! Not her. She's an American girl healthy and clean as a Band-Aid. She's never had a soiled or a sulky thought. She's never had a melancholy thought. She's never had a savage thought. She's never had a desperate thought. She's never had an un-American thought. In the papery-thin sundress she's a nurse with tender hands. A nurse with luscious mouth. Sturdy thighs, bountiful breasts, tiny folds of baby fat at her armpits. She's laughing and squealing like a four year-old as another updraft lifts her skirt. Dimpled knees, a dancer's strong legs. This husky healthy girl. The shoulders, arms, breasts belong to a fully mature woman but the face is a girl's face. Shivering in New York City mid-summer as subway steam lifts her skirt like a lover's quickened breath. "Oh! Ohhhhh." It's nighttime in Manhattan, Lexington Avenue at 51st Street. Yet the white-white lights exude the heat of midday. The goddess of love has been standing like this, legs apart, in spike-heeled white sandals so steep and so tight they've permanently disfigured her smallest toes, for hours. She's been squealing and laughing, her mouth aches. There's a gathering pool of darkness at the back of her head like tarry water. Her scalp and her pubis burn from the morning's peroxide applications. The Girl with No Name. The glaring-white lights focus upon her, upon her alone, blond squealing, blond laughter, blond Venus, blond insomnia, blond smooth-shaven legs apart and blond hands fluttering in a futile effort to keep her skirt from lifting to reveal white cotton American-girl panties and the shadow, just the shadow, of the bleached crotch. "Ohhhhhh." Now she's hugging herself beneath her big bountiful breasts. Her eyelids fluttering. Between the legs, you can trust she's clean. She's not a dirty girl, nothing foreign or exotic. She's an American slash in the flesh. That emptiness. Guaranteed. She's been scooped out, drained clean, no scar tissue to interfere with your pleasure, and no odor. Especially no odor. The Girl with No Name, the girl with no memory. She has not lived long and she will not live long.

I hurt your feelings before. But then, I don’t think you were lacking in self-confidence. You must know that you’re beautiful. Your hair is so golden and you have the bearing of a young Venus. Kristen, it isn’t you. It’s me. I haven’t got any emotion left. I haven’t got what you need, what you want. Damn it, don’t you understand? I want you. I’m made out of flesh and blood and whatever else it is that God puts into men. I want you. Now. Hell, I could have wanted you right after I ripped another man away from you. I’m no better than he is, not really. Don’t you understand?

The intelligible forms of ancient poets, The fair humanities of old religion, The Power, the Beauty, and the Majesty That had their haunts in dale or piny mountain, Or forest, by slow stream, or pebbly spring, Or chasms and watery depths; all these have vanished; They live no longer in the faith of reason; But still the heart doth need a language; still Doth the old instinct bring back the old names; Spirits or gods that used to share this earth With man as with their friend; and at this day 'Tis Jupiter who brings whate'er is great, And Venus who brings every thing that's fair.

If you love beauty, it’s because beauty lives within you. If you love art, it’s because you are creative. If it wakes up your heart, a receptor for it already exists within you. Your soul is drawn to the things that will help you unfold your most glorious expression. Give in. ― Cynthia Occelli

I spent all day wandering up and down the hallways, staring at the Mona Lisa and Canova’s 'Psyche and Cupid' and the 'Venus de Milo' and Caravaggio’s 'The Death of the Virgin' and hundreds of other works in all shapes and sizes and colors. Just before I was about to leave, I was staring at Michelangelo’s 'The Dying Slave', and I suddenly realized that every single work I had seen expressed the same thing, the same intense longing for beauty and immortality and justice and compassion. It was as though all of these artists from throughout history were there in those long hallways crying out the same anguished plea in a thousand different languages.

On the roof, on the duvet under the steam vent, with the planets overhead, he let her scream all she wished. She screamed into the night. To the stars. At one point, with his lying atop her, he said, “Look over my left shoulder. Venus is visible tonight.” Then he pulled the covers away from her, wrestling her for the duvet, as he called, “Here she is, all you Venusians”—he lifted out his arm, using it to span the celestial horizon-—“and the rest of you planets out there: the most beautiful woman on Earth, spread-eagled for your pleasure!” He laughed. “At my disposal, mm-m-m!” He bent down, nibbling, kissing her neck with his teeth, his lips, his mouth.

In the course of aesthetic experience, the perceiver may be overwhelmed by this 'mere object', overcome with emotion, altered to the very roots of his being.[...] The experience of beauty involves an exchange of power, and as such, it is often disorienting, a mix of humility and exaltation, subjugation and liberation, awe and mystified pleasure.[...] Many people, fearing a pleasure they cannot control, have vilified beauty as a siren or a whore. Since at one time or another though, everyone answers to 'her' call, it would be well if we could recognize the meaning of our succumbing as a valuable response, an opportunity for self-revelation rather than defeat.[...] It entails a flexibility and empathy toward 'Others' in general and the capacity to see ourselves as both active and passive without fearing that we will be diminished in the process.

-I have repeatedly told you that suffering has a peculiar attraction for me. Nothing can intensify my passion more than tyranny, cruelty, and especially the faithlessness of a beautiful woman. And I cannot imagine this woman, this strange ideal derived from an aesthetics of ugliness, this soul of Nero in the body of a Phryne, except in furs.

A rural Venus, Selah rises from the gold foliage of the Sixhiboux River, sweeps petals of water from her skin. At once, clouds begin to sob for such beauty. Clothing drops like leaves. "No one makes poetry,my Mme. Butterfly, my Carmen, in Whylah,” I whisper. She smiles: “We’ll shape it with our souls.” Desire illuminates the dark manuscript of our skin with beetles and butterflies. After the lightning and rain has ceased, after the lightning and rain of lovemaking has ceased, Selah will dive again into the sunflower-open river.

Our nihilistic aesthetician is right when he says: a real apple is more beautiful than a painted one, and a living woman is more beautiful than a Venus of stone.

Your picture must live, even when you yourself have long fallen to dust; your beauty must triumph beyond death!

Watch the Film You Paid to See" In my bedroom my weight is three times more than what I’d weigh on Jupiter. If your kitchen was on Mercury I’d be heavier by half of you while sitting at your table. On Uranus, a quarter of my weight is meat, or an awareness of myself as flesh. On Venus the light would produce a real volume around me that would make me look happy in photographs. This is how it is with quantity in any life. It’s a fact that on certain planets I’d actually be able to mount the stairs four at a time. Think of the most beautiful horse in the world: a ridiculously beautiful golden horse, with a shimmering coat; it would weigh no more than an empty handbag on Mars. You need to get real about these things.

Part of the beauty—and it is the original flaw in this type of literature, from which the famous Lundis are not exempt—lies in the impression made on the readers. It is a collective Venus, of which we have but one truncated limb if we confine ourselves to the thought of the author, for it is fully realised only in the minds of his readers. In them it finds completion.

Ha! spring arrived on her sweet scented palanquin,carried by the spirited Zephyrus and his coir with their murmuring music undulated in its own softness and fondled the leaves to astir.

Venus and her pentacle became symbols of perfection, beauty, and the cyclic qualities of sexual love. As a tribute to the magic of Venus, the Greeks used her four-year cycle to organize their Olympiads. Nowadays, few people realized that the four-year schedule of modern Olympic Games still followed the cycles of Venus. Even fewer people knew that the five-pointed star had almost become the official Olympic seal but was modified at the last moment—its five points exchanged for five intersecting rings to better reflect the games’ spirit of inclusion and harmony.

He said, "If you knew your beauty." Even the cat listened. Margaret said, "If I did, what then?" "You'd set the world singing." They knew he meant, You would find a man who truly loved you.

The lilac moon came high an altitude from mine to clasp its beauty,yet next to my bosom hide, lies she,like ten thousand silver moons illumine;and her soul’s music showered words as she spoke wide.

O’ Look—the fair seat of bliss and isolation, away from the pompous,rich and pride city’s wanton heart,the adoring woods paved meek ways of silence,and beneath the steep hill’s hide, the brook ran in peace.

The starry sky began to shine,when assigned night spread with its ‘moon lamp’ for all of the wistful thoughts,lay below the tormented Earth’s nocturnal light and those splendid visions caught my pounding spirits.

...'I cannot deny,' I said, 'that nothing will attract a man more than the picture of a beautiful, passionate, cruel, and despotic woman who wantonly changes her favorites without scruple in accordance with her whim—'...

What makes my bed seem hard seeing it is soft? Or why slips downe the Coverlet so oft? Although the nights be long, I sleepe not tho, My sides are sore with tumbling to and fro. Were Love the cause, it's like I shoulde descry him, Or lies he close, and shoots where none can spie him? T'was so, he stroke me with a slender dart, Tis cruell love turmoyles my captive hart. Yeelding or striving doe we give him might, Lets yeeld, a burden easly borne is light. I saw a brandisht fire increase in strength, Which being not shakt, I saw it die at length. Yong oxen newly yokt are beaten more, Then oxen which have drawne the plow before. And rough jades mouths with stubburn bits are tome, But managde horses heads are lightly borne, Unwilling Lovers, love doth more torment, Then such as in their bondage feele content. Loe I confesse, I am thy captive I, And hold my conquered hands for thee to tie. What needes thou warre, I sue to thee for grace, With armes to conquer armlesse men is base, Yoke VenusDoves, put Mirtle on thy haire, Vulcan will give thee Chariots rich and faire. The people thee applauding thou shalte stand, Guiding the harmelesse Pigeons with thy hand. Yong men and women, shalt thou lead as thrall, So will thy triumph seeme magnificall. I lately cought, will have a new made wound, And captive like be manacled and bound. Good meaning, shame, and such as seeke loves wrack Shall follow thee, their hands tied at their backe. Thee all shall feare and worship as a King, Jo, triumphing shall thy people sing. Smooth speeches, feare and rage shall by thee ride, Which troopes hath alwayes bin on Cupids side: Thou with these souldiers conquerest gods and men, Take these away, where is thy honor then? Thy mother shall from heaven applaud this show, And on their faces heapes of Roses strow. With beautie of thy wings, thy faire haire guilded, Ride golden Love in Chariots richly builded. Unlesse I erre, full many shalt thou burne, And give woundes infinite at everie turne. In spite of thee, forth will thy arrowes flie, A scorching flame burnes all the standers by. So having conquerd Inde, was Bacchus hew, Thee Pompous birds and him two tygres drew. Then seeing I grace thy show in following thee, Forbeare to hurt thy selfe in spoyling mee. Beholde thy kinsmans Caesars prosperous bandes, Who gardes the conquered with his conquering hands. -- ELEGIA 2 (Quodprimo Amore correptus, in triumphum duci se a Cupidine patiatur)

I have seen the Virgin in an appletree at Chartres And Saint Joan burn at the Bella Union. I have seen giraffes in junglejims their necks like love wound around the iron circumstances of the world. I have seen the Venus Aphrodite armless in her drafty corridor. I have heard a siren sing at One Fifth Avenue. I have seen the White Goddess dancing in the Rue des Beaux Arts on the Fourteenth of July and the Beautiful Dame Without Mercy picking her nose in Chumley's.

Hard-favored tyrant, ugly, meager, lean, Hateful divorce of love,' thus chides she death. 'Grim-grinning ghost, earth's worm, what dost thou mean To stifle beauty and to steal his breath, Who, when he lived, his breath and beauty set Gloss on the rose, smell to the violet?

When Zeus[Jupiter]first saw Aphrodite[Venus]& Aphrodite thus first saw Zeus, it was love at first sight.Naturally. Since Zeus was the King of the Gods, who loved all beautiful Goddesses.And Aphrodite was the Goddess of Love, the most beautiful & lovely of all the Goddesses.But love was all they had in common.

VENUS AND THE CAT A Cat fell in love with a handsome young man, and begged the goddess Venus to change her into a woman. Venus was very gracious about it, and changed her at once into a beautiful maiden, whom the young man fell in love with at first sight and shortly afterwards married. One day Venus thought she would like to see whether the Cat had changed her habits as well as her form; so she let a mouse run loose in the room where they were. Forgetting everything, the young woman had no sooner seen the mouse than up she jumped and was after it like a shot: at which the goddess was so disgusted that she changed her back again into a Cat.

Beauty and wit, too sad a truth, Have always been confined to youth; The god of wit, and beauty’s queen, He twenty-one, and she fifteen; No poet ever sweetly sung. Unless he were like Phœbus, young; Nor ever nymph inspired to rhyme, Unless like Venus in her prime. At fifty-six, if this be true, Am I a poet fit for you; Or at the age of forty-three, Are you a subject fit for me? Adieu bright wit, and radiant eyes; You must be grave, and I be wise. Our fate in vain we would oppose, But I’ll be still your friend in prose; Esteem and friendship to express, Will not require poetic dress; And if the muse deny her aid To have them sung, they may be said.

They were the cars at the fair that were whirling around her; no, they were the planets, while the sun stood, burning and spinning and guttering in the centre; here they came again, Mercury, Venus, Earth, Mars, Jupiter, Saturn, Uranus, Neptune, Pluto; but they were not planets, for it was not the merry-go-round at all, but the Ferris wheel, they were constellations, in the hub of which, like a great cold eye, burned Polaris, and round and round it here they went: Cassiopeia, Cepheus, the Lynx, Ursa Major, Ursa Minor, and the Dragon; yet they were not constellations, but, somehow, myriads of beautiful butterflies, she was sailing into Acapulco harbour through a hurricane of beautiful butterflies, zigzagging overhead and endlessly vanishing astern over the sea, the sea, rough and pure, the long dawn rollers advancing, rising, and crashing down to glide in colourless ellipses over the sand, sinking, sinking, someone was calling her name far away and she remembered, they were in a dark wood, she heard the wind and the rain rushing through the forest and saw the tremours of lightning shuddering through the heavens and the horse—great God, the horse—and would this scene repeat itself endlessly and forever?—the horse, rearing, poised over her, petrified in midair, a statue, somebody was sitting on the statue, it was Yvonne Griffaton, no, it was the statue of Huerta, the drunkard, the murderer, it was the Consul, or it was a mechanical horse on the merry-go-round, the carrousel, but the carrousel had stopped and she was in a ravine down which a million horses were thundering towards her, and she must escape, through the friendly forest to their house, their little home by the sea.

Finer feeling, which we now wish to consider, is chiefly of two kinds: the feeling of the *sublime* and that of the *beautiful*. The stirring of each is pleasant, but in different ways. The sight of a mountain whose snow-covered peak rises above the clouds, the description of a raging storm, or Milton's portrayal of the infernal kingdom, arouse enjoyment but with horror; on the other hand, the sight of flower strewn meadows, valleys with winding brooks and covered with grazing flocks, the description of Elysium, or Homer's portrayal of the girdle of Venus, also occasion a pleasant sensation but one that is joyous and smiling. In order that the former impression could occur to us in due strength, we must have *a feeling of the sublime*, and, in order to enjoy the latter well, *a feeling of the beautiful*. Tall oaks and lonely shadows in a sacred grove are sublime; flower beds, low hedges and trees trimmed in figures are beautiful. Night is sublime; day is beautiful. Temperaments that possess a feeling for the sublime are drawn gradually, by the quiet stillness of a summer evening as the shimmering light of the stars breaks through the brown shadows of night and the lonely moon rises into view, into high feelings of friendship, of disdain for the world, of eternity. The shining day stimulates busy fervor and a feeling of gaiety. The sublime *moves*, the beautiful *charms*.

TELLUS: Why, she is but a woman.
 ENDYMION: No more was Venus. TELLUS: She is but a virgin.
 ENDYMION: No more was Vesta.
 TELLUS: She shall have an end.
 ENDYMION: So shall the world. TELLUS: Is not her beauty subject to time? ENDYMION: No more than time is to standing still. TELLUS: Wilt thou make her immortal? ENDYMION: No, but incomparable

There is no equality in love," I replied solemnly. "Whenever it is a matter of choice for me of ruling or being ruled, it seems much more satisfactory to me to be the slave of a beautiful woman. But where shall I find the woman who knows how to rule, calmly, full of self-confidence, even harshly, and not seek to gain her power by means of petty nagging?

Touch but my lips with those fair lips of thine,-- Though mine be not so fair, yet are they red-- The kiss shall be thine own as well as mine. What seest thou in the ground? hold up thy head: Look in mine eye-balls, there thy beauty lies; Then why not lips on lips, since eyes in eyes? 'Art thou ashamed to kiss? then wink again, And I will wink; so shall the day seem night; Love keeps his revels where they are but twain; Be bold to play, our sport is not in sight: These blue-vein'd violets whereon we lean Never can blab, nor know not what we mean. 'The tender spring upon thy tempting lip Shows thee unripe; yet mayst thou well be tasted: Make use of time, let not advantage slip; Beauty within itself should not be wasted: Fair flowers that are not gather'd in their prime Rot and consume themselves in little time.

Should I belong to one man whom I do not love, only because I loved him once? No, I cannot renounce – I love him who pleases me and if he loves me, I make him happy. Is that so awful? It is at least much better than if I were to cruelly revel in the torments that my charms inspire and prudishly turn away from the one who is in love with me. I am young, beautiful and so I live happily for pleasure and desire.

Shall I belong to one man whom I don't love, merely because I have once loved him? No, I do not renounce; I love everyone who pleases me, and give happiness to everyone who loves me. Is that ugly? No, it is more beautiful by far, than if cruelly I enjoy the tortures, which my beauty excites, and virtuously reject the poor fellow who is pining away for me. I am young, rich, and beautiful, and I live serenely for the sake of pleasure and enjoyment.

Fertility is only one among the Goddess's many functions. It is inaccurate to call Paleolithic and Neolithic images 'fertility goddesses,' as is still done in archeological literature. Earth fertility became a prominent concern only in the food producing era; hence it is not a primary function of the Goddess and has nothing to do with sexuality. The goddesses were mainly life creators, not Venuses or beauties, and most definitely not wives of male gods.

Her pretty name of Adina seemed to me to have somehow a mystic fitness to her personality. Behind a cold shyness, there seemed to lurk a tremulous promise to be franker when she knew you better. Adina is a strange child; she is fanciful without being capricious. She was stout and fresh-coloured, she laughed and talked rather loud, and generally, in galleries and temples, caused a good many stiff British necks to turn round. She had a mania for excursions, and at Frascati and Tivoli she inflicted her good-humoured ponderosity on diminutive donkeys with a relish which seemed to prove that a passion for scenery, like all our passions, is capable of making the best of us pitiless. Adina may not have the shoulders of the Venus of Milo...but I hope it will take more than a bauble like this to make her stoop. Adina espied the first violet of the year glimmering at the root of a cypress. She made haste to rise and gather it, and then wandered further, in the hope of giving it a few companions. Scrope sat and watched her as she moved slowly away, trailing her long shadow on the grass and drooping her head from side to side in her charming quest. It was not, I know, that he felt no impulse to join her; but that he was in love, for the moment, with looking at her from where he sat. Her search carried her some distance and at last she passed out of sight behind a bend in the villa wall. I don't pretend to be sure that I was particularly struck, from this time forward, with something strange in our quiet Adina. She had always seemed to me vaguely, innocently strange; it was part of her charm that in the daily noiseless movement of her life a mystic undertone seemed to murmur "You don't half know me! Perhaps we three prosaic mortals were not quite worthy to know her: yet I believe that if a practised man of the world had whispered to me, one day, over his wine, after Miss Waddington had rustled away from the table, that there was a young lady who, sooner or later, would treat her friends to a first class surprise, I should have laid my finger on his sleeve and told him with a smile that he phrased my own thought. .."That beautiful girl," I said, "seems to me agitated and preoccupied." "That beautiful girl is a puzzle. I don't know what's the matter with her; it's all very painful; she's a very strange creature. I never dreamed there was an obstacle to our happiness--to our union. She has never protested and promised; it's not her way, nor her nature; she is always humble, passive, gentle; but always extremely grateful for every sign of tenderness. Till within three or four days ago, she seemed to me more so than ever; her habitual gentleness took the form of a sort of shrinking, almost suffering, deprecation of my attentions, my petits soins, my lovers nonsense. It was as if they oppressed and mortified her--and she would have liked me to bear more lightly. I did not see directly that it was not the excess of my devotion, but my devotion itself--the very fact of my love and her engagement that pained her. When I did it was a blow in the face. I don't know what under heaven I've done! Women are fathomless creatures. And yet Adina is not capricious, in the common sense... .So these are peines d'amour?" he went on, after brooding a moment. "I didn't know how fiercely I was in love!" Scrope stood staring at her as she thrust out the crumpled note: that she meant that Adina--that Adina had left us in the night--was too large a horror for his unprepared sense...."Good-bye to everything! Think me crazy if you will. I could never explain. Only forget me and believe that I am happy, happy, happy! Adina Beati."... Love is said to be par excellence the egotistical passion; if so Adina was far gone. "I can't promise to forget you," I said; "you and my friend here deserve to be remembered!

They had crossed the terrace where weeds, ivy, and goldenrod had run amuck in the flowerbeds that lined the weather-beaten stone balustrade. Mounds of blue hydrangeas nearly as tall as Lucien crowded the three mossy steps that led down into the formal garden. He went down them, and Alice followed him toward the circular fountain. As they approached, two doves that had perched on the stately stone fountain urn fluttered away, cooing. Alice stopped beside the fountain pool and gazed down with a faraway expression at the lily pads, driven with dreamlike slowness over the surface of the shallow water like tiny sailing vessels. She studied the scene as though memorizing it, while Lucien gazed at her, watching the wind toy with her clothes and the tendrils of her hair that it had worked free from her neat coif. Her waving red-gold hair, blue eyes, and ivory skin, and the chaste, faraway serenity of her face, put him in mind of Botticelli's Venus, rising from the sea upon her scallop shell.

Fragment of the Elegy on the Death of Adonis Prom the Greek of Bion Published by Forman, "Poetical Works of P. B. S.", 1876. I mourn Adonis dead—loveliest Adonis— Dead, dead Adonis—and the Loves lament. Sleep no more, Venus, wrapped in purple woof— Wake violet-stoled queen, and weave the crown Of Death,—'tis Misery calls,—for he is dead. The lovely one lies wounded in the mountains, His white thigh struck with the white tooth; he scarce Yet breathes; and Venus hangs in agony there. The dark blood wanders o'er his snowy limbs, His eyes beneath their lids are lustreless, The rose has fled from his wan lips, and there That kiss is dead, which Venus gathers yet. A deep, deep wound Adonis... A deeper Venus bears upon her heart. See, his beloved dogs are gathering round— The Oread nymphs are weeping—Aphrodite With hair unbound is wandering through the woods, 'Wildered, ungirt, unsandalled—the thorns pierce Her hastening feet and drink her sacred blood. Bitterly screaming out, she is driven on Through the long vales; and her Assyrian boy, Her love, her husband, calls—the purple blood From his struck thigh stains her white navel now, Her bosom, and her neck before like snow. Alas for Cytherea—the Loves mourn— The lovely, the beloved is gone!—and now Her sacred beauty vanishes away. For Venus whilst Adonis lived was fair— Alas! her loveliness is dead with him. The oaks and mountains cry, Ai! ai! Adonis! The springs their waters change to tears and weep— The flowers are withered up with grief... Ai! ai! ... Adonis is dead Echo resounds ... Adonis dead. Who will weep not thy dreadful woe. O Venus? Soon as she saw and knew the mortal wound Of her Adonis—saw the life-blood flow From his fair thigh, now wasting,—wailing loud She clasped him, and cried ... 'Stay, Adonis! Stay, dearest one,... and mix my lips with thine— Wake yet a while, Adonis—oh, but once, That I may kiss thee now for the last time— But for as long as one short kiss may live— Oh, let thy breath flow from thy dying soul Even to my mouth and heart, that I may suck That...' NOTE: _23 his Rossetti, Dowden, Woodberry; her Boscombe manuscript, Forman

I felt there was something sacred in sex; in fact, it was the only sacred thing. In woman and her beauty I saw something divine, because the most important function of existence--the continuation of the species--is her vocation. To me woman represented a personification of nature, _Isis_, and man was her priest, her slave. In contrast to him she was cruel like nature herself who tosses aside whatever has served her purposes as soon as she no longer has need for it. To him her cruelties, even death itself, still were sensual raptures.

The ascent of the soul through love, which Plato describes in the Phaedrus, is symbolized in the figure of Aphrodite Urania, and this was the Venus painted by Botticelli, who was incidentally an ardent Platonist, and member of the Platonist circle around Pico della Mirandola. Botticelli’s Venus is not erotic: she is a vision of heavenly beauty, a visitation from other and higher spheres, and a call to transcendence. Indeed, she is self-evidently both the ancestor and the descendant of the Virgins of Fra Filippo Lippi: the ancestor in her pre-Christian meaning, the descendant in absorbing all that had been achieved through the artistic representation of the Virgin Mary as the symbol of untainted flesh. The post-Renaissance rehabilitation of sexual desire laid the foundations for a genuinely erotic art, an art that would display the human being as both subject and object of desire, but also as a free individual whose desire is a favour consciously bestowed. But this rehabilitation of sex leads us to raise what has become one of the most important questions confronting art and the criticism of art in our time: that of the difference, if there is one, between erotic art and pornography. Art can be erotic and also beautiful, like a Titian Venus. But it cannot be beautiful and also pornographic—so we believe, at least. And it is important to see why. In distinguishing the erotic and the pornographic we are really distinguishing two kinds of interest: interest in the embodied person and interest in the body—and, in the sense that I intend, these interests are incompatible. (See the discussion in Chapter 2.) Normal desire is an inter-personal emotion. Its aim is a free and mutual surrender, which is also a uniting of two individuals, of you and me—through our bodies, certainly, but not merely as our bodies. Normal desire is a person to person response, one that seeks the selfhood that it gives. Objects can be substituted for each other, subjects not. Subjects, as Kant persuasively argued, are free individuals; their non-substitutability belongs to what they essentially are. Pornography, like slavery, is a denial of the human subject, a way of negating the moral demand that free beings must treat each other as ends in themselves.

He simply painted the portrait of some aristocratic Mesalina, and was tactful enough to let Cupid hold the mirror in which she tests her majestic allure with cold satisfaction. He looks as though his task were becoming burdensome enough. The picture is painted flattery. Later an 'expert' in the Rococo period baptized the lady with the name of Venus. The furs of the despot in which Titian's fair model wrapped herself, probably more for fear of a cold than out of modesty, have become a symbol of the tyranny and cruelty that constitute woman's essence and her beauty.

[Lena Lees describes from trance her experience of Kuan Yin]: “I see Kuan Yin. She is like Venus, statuesque and standing in front of a beautiful pink half-shell. Quickly, she walks in front of me, pointing the way. We are entering the mouth of a cave. It’s so interesting. I see stairs carved out of rock in the cave. We walk up the stairs to a door. I know somehow this is just another entrance, a doorway to another time, place. Perhaps at another historical time monks lived there. Now, I’m seeing a huge image, a beautiful statue of Kuan Yin right at the top of the mountain. There are stairs leading up to her and it is as if I’m right on location, standing alongside a group of worshipers. I feel the potency of her energy. In these places, perhaps China or Vietnam, there is a palpable sense of being immersed in and supported by her presence. There is a need by the people to know more, to pick up and accumulate wisdom. I’m suddenly feeling a need to be in that kind of energy. Suddenly it is Kuan Yin who is speaking: “Some believe I am in servitude to Buddha. However, Buddha doesn’t see it like that. We’re more like brother and sister. I’m showing, Lena, my abode, a place on earth where humans can visit me and be in my potency. Lena is looking at my statue and then at my form. There’s a difference. I come to people in many forms, forms constructed from people’s own perceptions of how I should come to them. And it is individual spiritual needs that create these unique perceptions. In the end, it does not matter what form I take.” “Kuan Yin wants me to know that I can have the most divine life imaginable,” whispers Lena, still very deep in trance. “She’ll be here until the last soul passes off the earth. She remains in deity form to assist people in transcending their materialistic nature, to help them attain their highest spiritual level.

I have given a brief explanation of the various meanings of dharma according to the Abhidharma, but what I want to say next is much more important. In Mahayana Buddhism, and especially in Dōgen Zenji's teachings, the meaning of dharma has more depth. According to the concepts we accept, we think that everything exists as objects outside the self. For example, we usually think that all phenomenal things that appear before our eyes, or this twentieth-century human society, have existence outside our individual self. We believe that when we are born we appear on this world's stage, and when we die we leave that stage. All of us think this way. But the truth is that this common-sense concept is questionable. Mahayana Buddhism began from a reexamination of this common-sense attitude. I'll give you one of my favorite examples. I am looking at this cup now. You are also looking at the same cup. We think that we are looking at the very same cup, but this is not true. I am looking at it from my angle, with my eyesight, in the lighting that occurs where I am sitting, and with my own feelings or emotions. Furthermore, the angle, my feeling, and everything else is changing from moment to moment. This cup I am looking at now is not the same one that I will be looking at in the next moment. Each of you is also looking at it from your own angle, with your eyesight, with your own feelings, and these also are constantly changing. This is the way actual life experience is. However, if we use our common-sense way of thinking, we think we are looking at the very same cup. This is an abstraction and not the reality of life. Abstract concepts and living reality are entirely different. The Buddhist view is completely different from our ordinary thinking. Western philosophy's way of thinking is also based on abstractions. It assumes that all of us are seeing the same cup. Greek philosophers went further and further in their abstractions until they came up with the concept of the idea that cannot be seen or felt. One example is Venus, the goddess of beauty. In the real world, no woman is as well-proportioned as Venus, or embodies perfect beauty as she does. Yet the Greeks idealized beauty and created a statue of Venus, just as they had thought of the "idea" of a circle that is abstracted from something round. In other words, the Greek way of thinking is abstraction to the highest degree. Buddhism is different. Buddhism puts emphasis on life, the actual life experience of the reality of the self.

An irregular birthmark stood out on the crest of her hip, like a splash of wine on snow. He touched a finger to it, and she stirred. “Don’t look at that,” she mumbled, rubbing sleep from her eyes. “I know it’s horrid.” “Horrid?” Despite the pained expression on her face, he had to laugh. “Sweetheart, I can honestly say that there is nothing about you that’s horrid in the least.” “My painting master would not agree.” The bitter taste of envy filled his mouth. “Do you know, that Frenchman of yours had better hope I never meet with him. “Oh, no,” she said quickly. “Not Gervais. Never Gervais. My painting master was an old, balding prig called Mr. Turklethwaite.” Gray’s bafflement must have been obvious. She went on, “There was never any Gervais. I mean, you know that I’d never taken a man to my bed, but you must understand…I’ve never allowed another man into my heart, either.” She kissed his brow, then his lips. “I love you, only you.” God. How brave she was. Tossing those words about as though they were feathers. Could she possibly suspect how they landed in his chest like cannonballs, detonating deep in his heart? Struggling for equanimity, he asked casually, “So when did this other painting master have occasion to see your birthmark?” She laughed. “He didn’t. But I painted something like it once, on a portrait of Venus. I told him I thought it lent her an air of reality. Oh, how he scolded me. A lady who paints, he said-“ She gave Gray a teasing look. “He would not apply the term “artist” to a female, you see.” “I see.” “A lady who paints, he said, should approach the art as she would any other genteel accomplishment. Her purpose is to please; her goal is to create an example of refinement. A true lady would not paint an imperfection, he said, any more than she would strike a false note in a sonata. Beauty is not real, and reality is not beautiful.” Gray shook his head. “Remarkable. I believe I despise your real painting master even more than I hated the fictional one. I wouldn’t have thought it possible.

But to be clear, I had not, at any age, desired a specific male body in the way I did now. While all my boyfriends and crushes had been reasonably good-looking, my attraction hovered up near their face, where they kept their talent and power. Lusting for the whole length of a person, head to toe, was what body-rooted fuckers did, Jordi, and men. Now, for the first time, I understood what all the fuss was about. How something beautiful could strike your heart, move you, bring you down on your knees and then, somewhat perversely, you wanted to fuck that pure, beautiful thing. Sex was a way to have it, to not just look at it but to be with it. I suddenly understood all of classical art. The endless carved nudes, Venus in her shell, David. And sexy clothes. I had worn them without really understanding why, thinking of sexy as one of many styles, not realizing it was the only style. You should always be emerging from a shell if possible. Without knowing it, without really understanding it, I had been a body for other people but I had not gotten to have one myself. I had not participated in the infuriating pleasure of wanting a real and specific body on Earth. I lay in the center of the bed, unblinking. Wanting a body had a seriousness to it. When you said you might never recover, you really meant it. This kind of desire made a wound you just had to carry with you for the rest of your life. But this was still better than never knowing. Or I hoped it was. Because in truth it was like a bad dream, a nightmare. Life didn’t just get better and better. You could actually miss out on something and that was that. That was your chance and now it was over. I wondered if I would continue with my work and then I realized that my work was all I had now. I had gotten it completely wrong—I thought I was laboring toward a prize, but the prize was right there, I already had it, and work was something I could do afterward, after I was no longer young enough to be beautiful and could no longer be wanted by someone beautiful. — How’s

When You Reveal Those Rose-Colored Cheeks Ghazal 1711 1941 When you reveal those rose-colored cheeks (of yours),you make the stones whirl2 from joy. Put (your) head out from the veil once again, for the sake of amazed lovers-- So that knowledge may lose the way, (and) the intellectual may shatter (his) learning; So that water may become a pearl3 from your reflection, (and) fire may quit war. 1945 With (the presence of) your beauty, I don't desire the (lovely full) moon or those few little hanging lanterns (in the heavens). (And) with (the presence of) your face, I don't call the ancient rusty sky a "mirror." You breathed into and created this narrow world4 in another form once again. O Venus,5 make that harp melodious again, in desire for his Mars-like eyes!

On the contrary, Bernier wrote, he had encountered black women who were among the most beautiful in the world: What I have observed as regards the beauty of women is no less differentiated. Certainly, there are lovely ones, ugly ones to be found everywhere. I have seen some real beauties in Egypt, which put me in mind of the fair and famed Cleopatra. Among the Blacks of Africa I have also seen some very beautiful women who did not have thick lips and snub noses. I have encountered seven or eight in various places who were of such an astonishing beauty that they put in the shade the Venus of the Palazzo Farnese in Rome—with aquiline nose, small mouth, coral lips, ivory teeth, large bright eyes, gentle features and a bosom and everything else of utter perfection. At Moka, I saw several of them completely naked, waiting to be sold, and I can tell you, there could be nothing lovelier in the world to see.29

It Is the Rising That I Love" As long as I struggle to float above the ground and fail, there is reason for this poetry. On the stone back of the Ludovici throne, Venus is rising from the water. Her face and arms are raised, and two women trained in the ways of the world help her rise, covering her nakedness with a cloth at the same time. If this continues, she, goddess of beauty and love will have accomplished the earth where I stand. She from water to land, me from earth to air as if I had a soul. It is the rising I love, in no matter what element, to the one above. As I ascend, helped by prayers and not by women, I say in all my sexual glamor, see my body bathed in light and air. See me rise like a flame, like the sun, moon, stars, birds, wind. In light. In dark. But I never achieve it. I get down on my knees this grey April to see if open crocuses have a smell. I must live in the suffering and desire of what rises and falls. The terrible blind grinding of gears against our bodies and lives.

How to describe the woman? Silky hair, velvety lips. No, it won’t do, I’m using fabrics, constructing a doll. How about coppery hair, or golden locks of hair, or platinum blonde? No, now I’m doing some kind of industrial metallurgy with precious metals; in addition to everything else, the woman sounds like a commodity. And what’s “locks of hair” supposed to mean? Lock, some kind of bondage? No, strike it out. Ruby lips, pearly white teeth, brilliant smile. No, now I’m making the woman out of precious stones, and out of clichés. Almond-shaped eyes, hazel-colored eyes, pear-shaped waist, apple-red cheeks, lips like the bud of a moist flower, peachy fuzz on her upper lip. Now I’m making up a woman out of fruits, plants. She strode like a gazelle. Her snaky waist coiled and uncoiled. Now I’m demeaning the woman, making her into an animal. On the other hand, you can call a woman a goddess. Aphrodite, Venus, or at least a demi-god, angelic beauty. But these terms were all invariably overused, clichés. In addition, if you call a woman Aphrodite, it might seem like an oblique way of saying that the woman is overweight.

This is what I dreamed of,” Win told him. “Being able to do this … just like everyone else.” His hand tightened on her waist. “And so you are. But you’re not like everyone else. You’re the most beautiful woman here.” “No,” she said, laughing. “Yes. Like an angel in an Old Masters work. Or perhaps the Sleeping Venus. Are you familiar with that painting?” “I’m afraid not.” “I’ll take you to see it someday. Though you might find it a bit shocking.” “I suppose Venus is unclothed in that work?” Win tried to sound worldly, but she felt herself blushing. “I’ve never understood why such depictions of beauty are always in the nude, when a bit of tactful drapery would yield the same effect.” “Because there is nothing more beautiful than the unveiled female form.” Julian laughed quietly as he saw her heightened color. “Have I embarrassed you with my frankness? I’m sorry.” “I don’t think you are. I think you meant to disconcert me.” It was a new sensation, flirting with Julian. “You’re right. I want to set you a bit off-balance.” “Why?” “Because I would like for you to see me as someone other than predictable, tedious old Dr. Harrow.” “You’re none of those things,” she said, laughing. “Good,” he murmured, smiling at her.

Nine hundred species of native plants. I have a feeling you’re someone who will appreciate that we grow the real beauties here,” Eudora said. “Not the gaudy sun perennials that want to flash everything they’ve got like cheap hookers. You have to look hard to find the pockets of beauty in my garden.” “Your garden?” But Eudora was no longer listening. She strode ahead, slowing down when they entered an intimate fairy-tale forest. The path narrowed and switched to pale stone. Crazy paving, Tom would have called it—stone slabs haphazardly slotted together in a way that defied time, feet, and the extremes of weather. The formal, structured sweep of the Historic Gardens was replaced by a hint of controlled but wild beauty. Above the towering hemlocks, the clouds broke apart to reveal slashes of blue sky. Eudora was right—so many pockets of beauty if you looked hard enough: trailing catkins and clusters of reddish pitcher plants that looked like rhubarb stalks with curling ends. (Such fascination he’d had for carnivorous plants after Tom had shown him a picture of a Venus flytrap in Encyclopædia Britannica.) A dead stick jutted up through the leaves; the sign next to it read “Northern Catalpa.” He would research that on the Web when he got to the office. See if he could find a picture of it in full leaf. “Here, smell this.” Eudora had stopped by a small, unimpressive tree, but as Felix moved close, he spotted tiny pom-poms of reddish blooms. He had never seen anything quite so weird or wonderful. Ella should definitely plant one of those. “Hmm.” “Witch hazel.

Kate cradled his face between her hands, drinking him in with her mouth while her beauty and her sheer, sweet innocence enveloped him in an almost holy fire. As his hands began to wander over all the soft enticements of her body, she undulated under his palms in seductive invitation. Her breasts swelled beneath his roaming touch. He chafed her erect nipples with his thumbs, but soon could not resist their tautened allure. He dragged his lips away from hers and moved lower to pay homage. He sampled each with a deep, slow, savoring kiss. Her chest heaved as she lay back on her elbows, watching him, and enjoying his attentions. With her breast in his mouth, his hand was free to discover and to claim new territory. And he had a very clear idea of where he wanted to go. His hand inched down her stomach, teasing her as he neared her mound of Venus. His fingers drew playful circles at the bottom of her belly; he made sure she was dying for his touch before he deigned to give it to her. When she groaned with kittenish frustration, her hips rising impatiently to meet his cupped hand, he introduced himself to her mound with a deft caress. Ah, but when his fingertips pressed deeper, he nearly lost his mind. She was dripping for him, anointing his hand with her yearning nectar. She let out an urgent sigh of pleasure and dropped her head back as he began to finger her. His pulse slammed in his arteries, for she was as ready for love as any woman he had ever bedded, her breathless motions urging on his explorations. So wet. It was at about that moment that her unexpected wantonness enslaved him, heart and mind, body and soul. Her silken moans transported him to a throbbing frenzy. He had never wanted anyone with such a deep and elemental need.

I had to drive through a very poor and largely Hispanic section of Miami to get to the apartment complex where Casey Martin had died. There were a lot of beautiful women on the sidewalks and at the outdoor cafés, a lot of tough guys and a lot of guys who weren’t tough but trying to look like they were. The streets were alive with what criminally passed for music nowadays, and there were smells of cooking in the air that suggested savory tastes. Small, hole-in-the-wall shops marked one end, and some more upscale stores the other. The dividing line between the two was discernible not just by the stores, but the women. The women and even younger girls at the lower income end seemed softer, friendlier, quicker with a genuine smile. The ones walking into the trendy places were just as pretty, more expensively dressed, but more apt to express scorn than produce a spontaneous smile. The upscale women appeared to be from a different planet. For them, everything was sexist, everything a slight. They were eternal victims, even though the entire world was in their favor. The women at the poor end fell in love, watched out for their men, while the more affluent were stand-offish and demanding, making certain any man “lucky” enough to be with them lived in the right zip code, had the right amount of bling to give them, and above all, had been properly neutered. The balls of their boyfriends and husbands — sometimes they had both — were always in their handbag, somewhere between the trendy lip liner and eye shadow. A kiss from one of the poor girls was a sweet gift, filled with passion and tenderness, even if it could only last a night. A kiss from an uptown girl meant you’d checked off all her right boxes, and she needed to fulfill her duty. Girls without money were from Venus, girls with money were from Mars.

Gods in The Lost Hero Aeolus The Greek god of the winds. Roman form: Aeolus Aphrodite The Greek goddess of love and beauty. She was married to Hephaestus, but she loved Ares, the god of war. Roman form: Venus Apollo The Greek god of the sun, prophecy, music, and healing; the son of Zeus, and the twin of Artemis. Roman form: Apollo Ares The Greek god of war; the son of Zeus and Hera, and half brother to Athena. Roman form: Mars Artemis The Greek goddess of the hunt and the moon; the daughter of Zeus and the twin of Apollo. Roman form: Diana Boreas The Greek god of the north wind, one of the four directional anemoi (wind gods); the god of winter; father of Khione. Roman form: Aquilon Demeter The Greek goddess of agriculture, a daughter of the Titans Rhea and Kronos. Roman form: Ceres Dionysus The Greek god of wine; the son of Zeus. Roman form: Bacchus Gaea The Greek personification of Earth. Roman form: Terra Hades According to Greek mythology, ruler of the Underworld and god of the dead. Roman form: Pluto Hecate The Greek goddess of magic; the only child of the Titans Perses and Asteria. Roman form: Trivia Hephaestus The Greek god of fire and crafts and of blacksmiths; the son of Zeus and Hera, and married to Aphrodite. Roman form: Vulcan Hera The Greek goddess of marriage; Zeus’s wife and sister. Roman form: Juno Hermes The Greek god of travelers, communication, and thieves; son of Zeus. Roman form: Mercury Hypnos The Greek god of sleep; the (fatherless) son of Nyx (Night) and brother of Thanatos (Death). Roman form: Somnus Iris The Greek goddess of the rainbow, and a messenger of the gods; the daughter of Thaumas and Electra. Roman form: Iris Janus The Roman god of gates, doors, and doorways, as well as beginnings and endings. Khione The Greek goddess of snow; daughter of Boreas Notus The Greek god of the south wind, one of the four directional anemoi (wind gods). Roman form: Favonius Ouranos The Greek personification of the sky. Roman form: Uranus Pan The Greek god of the wild; the son of Hermes. Roman form: Faunus Pompona The Roman goddess of plenty Poseidon The Greek god of the sea; son of the Titans Kronos and Rhea, and brother of Zeus and Hades. Roman form: Neptune Zeus The Greek god of the sky and king of the gods. Roman form: Jupiter

In love, in other words, those phases are present, in its content, which we cited as the fundamental essence of the absolute Spirit: the reconciled return out of another into self. By being the other in which the spirit remains communing with itself, this other can only be spiritual over again, a spiritual personality. The true essence of love consists in giving up the consciousness of oneself, forgetting oneself in another self, yet in this surrender and oblivion having and possessing oneself alone. This reconciliation of the spirit with itself and the completion of itself to a totality is the Absolute, yet not, as may be supposed, in the sense that the Absolute as a purely singular and therefore finite subject coincides with itself in another finite subject; on the contrary, the content of the subjectivity which reconciles itself with itself in another is here the Absolute itself: the Spirit which only in another spirit is the knowing and willing of itself as the Absolute and has the satisfaction of this knowledge. In love, on the contrary, the spirit’s opposite is not nature but itself a spiritual consciousness, another person, and the spirit is therefore realized for itself in what it itself owns, in its very own element. So in this affirmative satisfaction and blissful reality at rest in itself, love is the ideal but purely spiritual beauty which on account of its inwardness can also be expressed only in and as the deep feeling of the heart. For the spirit which is present to itself and immediately sure of itself in [another] spirit, and therefore has the spiritual itself as the material and ground of its existence, is in itself, is depth of feeling, and, more precisely, is the spiritual depth of love. (α) God is love and therefore his deepest essence too is to be apprehended and represented in this form adequate to art in Christ. But Christ is divine love; as its object, what is manifest is on the one hand God himself in his invisible essence, and, on the other, mankind which is to be redeemed; and thus what then comes into appearance in Christ is less the absorption of one person in another limited person than the Idea of love in its universality, the Absolute, the spirit of truth in the element and form of feeling. With this universality of love’s object, love’s expression is also universalized, with the result that the subjective concentration of heart and soul does not become the chief thing in that expression – just as, even in the case of the Greeks, what is emphasized, although in a totally different context, in Venus Urania[8] and the old Titanic deity, Eros, is the universal Idea and not the subjective element, i.e. individual shape and feeling. Only when Christ is conceived in the portrayals of romantic art as more than an individual subject, immersed in himself, does the expression of love become conspicuous in the form of subjective deep feeling, always elevated and borne, however, by the universality of its content.

He went straight to ‘his alley,’ and when he reached the end of it he perceived, still on the same bench, that wellknown couple. Only, when he approached, it certainly was the same man; but it seemed to him that it was no longer the same girl. The person whom he now beheld was a tall and beautiful creature, possessed of all the most charming lines of a woman at the precise moment when they are still combined with all the most ingenuous graces of the child; a pure and fugitive moment, which can be expressed only by these two words,— ‘fifteen years.’ She had wonderful brown hair, shaded with threads of gold, a brow that seemed made of marble, cheeks that seemed made of rose-leaf, a pale flush, an agitated whiteness, an exquisite mouth, whence smiles darted like sunbeams, and words like music, a head such as Raphael would have given to Mary, set upon a neck that Jean Goujon would have attributed to a Venus. And, in order that nothing might be lacking to this bewitching face, her nose was not handsome— it was pretty; neither straight nor curved, neither Italian nor Greek; it was the Parisian nose, that is to say, spiritual, delicate, irregular, pure,— which drives painters to despair, and charms poets. When Marius passed near her, he could not see her eyes, which were constantly lowered. He saw only her long chestnut lashes, permeated with shadow and modesty. This did not prevent the beautiful child from smiling as she listened to what the white-haired old man was saying to her, and nothing could be more fascinating than that fresh smile, combined with those drooping eyes. For a moment, Marius thought that she was another daughter of the same man, a sister of the former, no doubt. But when the invariable habit of his stroll brought him, for the second time, near the bench, and he had examined her attentively, he recognized her as the same. In six months the little girl had become a young maiden; that was all. Nothing is more frequent than this phenomenon. There is a moment when girls blossom out in the twinkling of an eye, and become roses all at once. One left them children but yesterday; today, one finds them disquieting to the feelings. This child had not only grown, she had become idealized. As three days in April suffice to cover certain trees with flowers, six months had sufficed to clothe her with beauty. Her April had arrived. One sometimes sees people, who, poor and mean, seem to wake up, pass suddenly from indigence to luxury, indulge in expenditures of all sorts, and become dazzling, prodigal, magnificent, all of a sudden. That is the result of having pocketed an income; a note fell due yesterday. The young girl had received her quarterly income. And then, she was no longer the school-girl with her felt hat, her merino gown, her scholar’s shoes, and red hands; taste had come to her with beauty; she was a well-dressed person, clad with a sort of rich and simple elegance, and without affectation. She wore a dress of black damask, a cape of the same material, and a bonnet of white crape. Her white gloves displayed the delicacy of the hand which toyed with the carved, Chinese ivory handle of a parasol, and her silken shoe outlined the smallness of her foot. When one passed near her, her whole toilette exhaled a youthful and penetrating perfume.