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Piero was a coarse-minded, pleasure-loving youth "The Headstrong" his father had called him whose one idea of power was to be sensual and tyrannical; and the enemies of Florence and of Italy took advantage of this fact. Savonarola's sermons had paved the way from within too.
For nothing more? Some other meaning may have fallen from their faces into this girl's subtile intuition in the instant's glance, cheerfuller, remoter aims, hidden in the most sensual face, homeliest home-scenes, low climbing ambitions, some delirium of pleasure to come, whiskey, if nothing better: aims in life like yours differing in degree. Needing only to make them the same did you say what?
This rather pleasant occupation wiled away an hour, when he was interrupted by a knock at the door. Lifting his eyes from the book, the General said, "Come in," rather hastily, for the knock had broken into one of the finest passages of the poem, and General Harrington detested interruptions of any kind, either in a mental or sensual enjoyment. "Come in!"
Then you get the upper body exploiting the lower body. You get the hands exploiting the sensual body, in feeling, fingering, and in masturbation. You get a pornographic longing with regard to the self. You get the obscene post cards which most youths possess. You get the absolute lust for dirty stories, which so many men have.
He kept coming up and smiling at her, or making tentative remarks or jests, to which she would reply, "Yes, Mr. Dallison," or "No, Mr. Dallison," as the case might be. Seeing him return from one of these little visits, an Art Critic standing before the picture had smiled, and his round, clean-shaven, sensual face had assumed a greenish tint in eyes and cheeks, as of the fat in turtle soup.
In the annals of the Four Masters, under the year 1537, we read: "A heresy and a new error broke out in England, the effect of pride, vainglory, avarice, sensual desire, and the prevalence of a variety of scientific and philosophical speculations, so that the people of England went into opposition to the Pope and to Rome.
Those who distinguish man into two parts, and give the higher qualities to the soul and the sensual to the body, assume that all who reject their distinction abolish the soul, and with it abolish all that is not sensual.
It is specially argued on the one hand against the Medici that they encouraged a sensual and worldly style of art, employing the painters to decorate their palaces with nude figures, and luring them away from sacred to profane subjects.
In his obvious though silent suffering at the disgrace and dismissal of Cassio; in the dazed, forlorn agony that blended with his more active passion throughout the scene of Iago's wicked conquest of his credulity; in his occasional quick relapses into blind and sweet fidelity to the old belief in Desdemona; in his unquenchable tenderness for her, through the delirium and the sacrifice; and in the tone of soft, romantic affection always spiritualised, never sensual that his deep and loving sincerity diffused throughout the work, was shown the grand unity of the embodiment; a unity based on the simple passion of love.
He was a sensual man, and her physical beauty annoyed him. He would have liked to sit down alone with her and take her hand in his own and talk to her about her "soul" while gloating over her body. But in the "old tramp's" presence there was nothing to be done. So he assumed a high moral tone.
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