"V

Pásame esta pierna por la espalda,
y guíame la polla con la mano,
y cuando quieras que empuje fuerte o suave,
lo propio haz con el culo aquí en la cama.

Y si el culo desde el chocho va la polla,
dí que soy un tunante o un villano,
pues que conozco de la vulva al ano,
como el caballo conoce a la potranca.

—La mano no quitaré de esa polla,
pues hacer locura tal no más quiero,
así es que si no te gusta, con Dios anda.

Que el placer por detrás todo tuyo sería,
y delante el placer es tuyo y mío,
o sea que jode bien, o vete al cuerno.

—No me iría de aquí,
cara señora, de esta deliciosa bagatela,
ni aunque de Francia el rey me lo pidiera."

O grande achado dessa edição da companhia são as 50 páginas introdutórias do José Paulo Paes que esmiuça os sonetos historica, social e literariamente.

P.S. Aretino tinha, de fato, uma fixação anal.

This version 1527

1524 original (without sonnets/ different art)

Fottiamci, anima mia, fottiamci presto,
poi che tutti per fotter nati siamo

Così iniziano questi famigerati sonetti, volutamente eccessivi, volgari a volte fino alla noia.
"L'opera venne pubblicata per la prima volta nel 1527. Aretino scrisse i sonetti come descrizione delle immagini delle sedici posizioni sessuali che costituivano "I Modi". Queste illustrazioni erano estremamente esplicite per l'epoca e l'opera nel suo insieme fu considerata scandalosa, attirando l'ira della Chiesa e delle autorità.
L'opera fu immediatamente censurata dalle autorità ecclesiastiche, e le copie furono distrutte. Tuttavia, la sua fama continuò a crescere, alimentata dal fascino del proibito e dall'abilità di Aretino come scrittore. I "Sonetti lussuriosi" divennero un'opera di culto tra coloro che cercavano una letteratura che sfidasse le convenzioni e la censura."

Infatti oltre all'erotismo, l'opera è ricca di ironia e critica sociale. Aretino, attraverso questi sonetti, prende in giro l'ipocrisia della società del suo tempo, in particolare la corruzione e il moralismo della Chiesa, come in questi versi dissacranti.

Io 'l voglio in cul, tu mi perdonerai.
O donna, io no vo' far questo peccato
perché quest'è un cibo da prelato,
c'hanno il gusto perduto sempre mai

Per dirla in maniera più aulica, i Sonetti sopra i 'XVI modi' - mediante l'adozione ricorrente ed esclusiva di parole "a quattro lettere" (con scarto quindi di alternative metaforico-allusive e comunque eufemistiche quanto a terminologia sessuale) e di situazioni coitali quanto a tematica - aprono in effetti la stagione della letteratura piú propriamente porno- grafica del Cinquecento, al di là cioè dei vari capitoli, piú o meno berneschi, e del corpus tutto della poesia erotica cinquecentesca, conforme a una pur possibile distinzione tra letteratura "pornografica" e letteratura "erotica": utilizzante la prima i termini interdetti, in prevalenza usufruttuaria la seconda della illimitata gamma delle metafore sessuali eufemistiche condizionate o meno.

Inoltre, se si pensa all'epoca in cui furono scritti, ovvero il XVI secolo, Aretino concede un ruolo paritetico alla donna e all'uomo entrambi alla ricerca del piacere, non più solo appannaggio maschile come accadrà in epoche successive.

Fottimi e fa di me ciò che tu voi,
e in potta e in cul, che me ne curo poco
dove tu ti faccia i fatti tuoi;

Soberbio!

Divertido. Minha única consternação é que as edições brasileiras de literatura erótica não trazem ilustrações e isso é uma pena. Todas as edições originais tem! Devo fazer uma petição? Acho um descaso... mas pelo menos as introduções e ensaios são bem recheados e não decepcionam. (Li a edição da Record, mas por algum motivo não existe no site).

Observad el complejísimo entramado de conceptos metafóricos que van construyendo una alegoría por traslación semántica gracias a una mejor trabada disposición de los mismos en la constitución de la difícil rima. Observad también cómo la semántica va desde lo más llano a lo más intrincado en una progresiva adquisición de nuevos significados (más allá de los dobles sentidos) acompañados de matices satíricos con clara intención de defender una moral católica alejada de los peligros de los pecados carnales, fuente de perdición del ser humano. Observad, sin más dilación, el soneto VI a modo de ejemplo:

«Porque probé de tan solemne polla,
que hasta el borde me derrama el chocho,
querría ser toda entera chocho,
y que tú fueses por entero polla.
Porque si fuese yo chocho, y tú polla,
saciaría por un rato el chocho,
y tú tendrías de ese mismo chocho
todo el placer que puede haber la polla.
Mas no pudiendo ser toda chocho,
ni transformarte entero en polla,
el buen querer acepta de este chocho.
—Y acepta tú de mi no todo polla
la buena voluntad: abajo el chocho
prepara, que hacia arriba hincaré la polla;
y después sobre mi polla
déjate recorrer entero el chocho:
polla yo seré, tú serás chocho».

Spiritoso, ma non particolarmente acuto.

n  n

References to ‘Aretin's Postures’ are everywhere in the seventeenth and eighteenth centuries: we are told that famous Georgian sex workers first became corrupted by looking at them, or that disreputable noblemen had knock-off copies hidden in their libraries. The book was considered by many as the peak of pornography.

What those courtesans and rakes were actually looking at varied enormously, since there were all kinds of imitations, copies and additions over the years. But in essence, it was a series of (probably sixteen) illustrations of sexual positions, originally made in 1525 by the Renaissance artist Giulio Romano, a student of Raphael (who may even have contributed). To these were added, a year or two later, a series of ‘lascivious sonnets’ by the satirist Pietro Aretino. Although it drew on various existing traditions – brothel ‘menus’, stories about the loves of the gods, etc. – the collection was pretty remarkable for its time, and although tame by today's standards you can see why it was so viciously repressed.

Which it was – the Pope had the prints burned, the engraver thrown in prison, and made reprinting the work a capital offence. None of the original engravings has survived, although there are a few early fragments in the British Museum with all the naughty bits cut out. The earliest surviving version is from 1527 and has woodcuts instead of the engravings; that's the basis for this edition. Also included is a series of drawings made by Count Maximilien de Waldeck, a German adventurer who apparently copied the original engravings from an edition he claimed to have seen in the 1850s in a Franciscan convent in Mexico!

n  n

I relate this tangled bibliographical history to give some sense of the spirit of adventure and investigation which permeates discussions of the Modi, and which Lynne Lawner in this edition seems to relish. She is something of an expert on Italian courtesans, and is convinced that the illustrations are intended to show them in action. Her commentary on the context of the pictures and sonnets is sensitive and invaluable; her translations, however, don't entirely ring true. Aretino's first sonnet begins:

n  Fottiamci, anima mia, fottiamci presto,
poiché tutti per fotter nati siamo,
e se tu il cazzo adori, io la potta amo,
e saria il mondo un cazzo senza questo.n

Which you might translate as something like

Let's screw, my love, quick, let's screw,
What were we born for if not such a stunt?
You love cock and I love cunt,
The world would be fuck-all without what we do.

But Lawner, given her specialist subjects, takes a strangely coy approach to translating Aretino's obscenities, in that she doesn't.

Let's fottere, my love, let's fottere,
Since all of us were born only to fottere.
You adore the cazzo and I the potta.
The world would be nothing without this act.

It's hard not to feel that this is missing the point, but I suppose at least it gives a flavour of the Italian.

n  n

There's a lot of anal sex in the sonnets. Aretino describes it as what ‘fashionable minds prefer today’, and one of his women talks about regular sex as ‘the old-fashioned way’. Ch'uomo non è, chi non è bugerone. He is not a man, who is not a buggerer. In part this seems to represent the predilections of the time, as Lawner shows with some fascinating background material on the complex ‘relationship of courtesans to sodomy’. Otherwise, while the pictures concern themselves with specific anatomical arrangements, the poems are more focused on vocalising pleasure and desire than talking about the ‘postures’ in detail.

There is, as Lawner points out, ‘a healthy sense of humor’ in the Modi, and for the most part the stress is on both parties' enjoyment: one sonnet even ends in mutual orgasm. As so often with early pornography, one is torn between admiration at the fact that women are being given a voice, and authority over their own wants and needs, and on the other hand being aware that it is all being fantasised by male poets, male artists. How much any of this corresponds to what actual women wanted or expressed in cinquecento Rome is of course impossible to know. Lawner, highlighting how ‘revolutionary’ it was to present women's voices in these sonnets, sees the Modi in part as an expression of the ‘vast freedom and actual power’ that Renaissance courtesans held, but I find this a little over-optimistic. I think a more productive and realistic viewpoint is to see agency and misogyny in a state of considerable tension here.

But that is what makes them so fascinating. The Modi were only published in modern Italian in the 1980s, and their influence on European art in the 1600s and 1700s is only just beginning to be understood – because of course the people who made art were not only studying Old Masters in academies, but swapping dirty pictures back and forth in taverns, too. Now you can join them.

Debo decir que he terminado extasiado, fascinado, sublimado y hasta excitado. Este poemario detalla perfectamente la estética del acto sexual y le da ese toque vulgar y morboso.

¿Para qué leer Sonetos Lujuriosos?

1. Para ver la combinación entre arte (escultura) y poesía, ya que nuestro autor parte de una figura de cuerpos entrelazados para contar una historia intima de pasión y sexo desenfrenado.
2. Usa las palabras perfectas en cada verso para entender el dialogo de pareja en el acto amatorio, donde existen frases muy lindas, pero también otras muy fuertes cargadas de erotismo y pasión.
3. Para ver como el poema se puede transformar en hechos vulgares llevados al lado salvaje de los seres humanos.
4. Sin tapujos el autor explora con sus palabras el sexo anal, oral y vaginal, aportando también el contacto visual y la piel que reacciona a las acciones de los cuerpos. Todo eso lo describe también el poeta, que tu sientes que estas en la cama con la pareja.

"Estos sonetos hechos a las pollas,
servidoras de culos y de coños,
y poblados de culos, pollas, coños,
a mirones de pollas se asemejan".