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one another. I wrote this series back in 2011, but a few months ago I went back and polished it up.", "count": "10", "submission_left_submission_id": "2830013", "submission_left_file_name": "4205009_PaddlePaw_new_text_document.txt", "submission_left_thumbnail_url_huge": "https://nl1.ib.metapix.net/thumbnails/huge/4205/4205009_PaddlePaw_new_text_document.jpg", "submission_left_thumbnail_url_large": "https://nl1.ib.metapix.net/thumbnails/large/4205/4205009_PaddlePaw_new_text_document.jpg", "submission_left_thumbnail_url_medium": "https://nl1.ib.metapix.net/thumbnails/medium/4205/4205009_PaddlePaw_new_text_document.jpg", "submission_left_thumb_huge_x": "300", "submission_left_thumb_huge_y": "300", "submission_left_thumb_large_x": "200", "submission_left_thumb_large_y": "200", "submission_left_thumb_medium_x": "120", "submission_left_thumb_medium_y": "120", "submission_right_submission_id": "2830010", "submission_right_file_name": "4205005_PaddlePaw_new_text_document.txt", "submission_right_thumbnail_url_huge": "https://nl1.ib.metapix.net/thumbnails/huge/4205/4205005_PaddlePaw_new_text_document.jpg", "submission_right_thumbnail_url_large": "https://nl1.ib.metapix.net/thumbnails/large/4205/4205005_PaddlePaw_new_text_document.jpg", "submission_right_thumbnail_url_medium": "https://nl1.ib.metapix.net/thumbnails/medium/4205/4205005_PaddlePaw_new_text_document.jpg", "submission_right_thumb_huge_x": "300", "submission_right_thumb_huge_y": "300", "submission_right_thumb_large_x": "200", "submission_right_thumb_large_y": "200", "submission_right_thumb_medium_x": "120", "submission_right_thumb_medium_y": "120" } ], "description": "A historical series set in the Roman age, telling the tale of a Master and slave who find more about one another. I wrote this series back in 2011, but a few months ago I went back and polished it up. It's had a lot of parts which I've fixed to make it a lot better. Back then I didn't do a lot of historical research; this is now a lot more based in reality. Afraid I couldn't work much 'furry' into it, but maybe you'll still enjoy!", "description_bbcode_parsed": "A historical series set in the Roman age, telling the tale of a Master and slave who find more about one another. I wrote this series back in 2011, but a few months ago I went back and polished it up. It's had a lot of parts which I've fixed to make it a lot better. Back then I didn't do a lot of historical research; this is now a lot more based in reality. Afraid I couldn't work much 'furry' into it, but maybe you'll still enjoy!", "writing": "Flavius had promised Claudia that he would be both discreet and discrete with his homosexual life. The Villa Valerius stood in a generous 10 acres of grounds, in which, remote from the present villa, which in itself was vast, he decided to build a pavilion dedicated his passion for male-male sex. This new building he called Casa Priapus, in honour of the Greek God, Priapus, the son of Dionysus and Aphrodite, who was revered as a minor deity of animal and vegetable fertility. Adopted enthusiastically by the Romans from the Greeks, Priapus had come to be accepted as the deity who represented the extremes of male sexuality. In the many wall paintings and statues which the Romans created in his honour throughout the Empire, he was always shown as having a grotesquely huge, circumcised penis. Whether this was an encouragement or not for Roman males to cultivate their own endowments is unclear; but what is certain, in the Roman Empire, as elsewhere and as is still the case today, athletic men with large penises were admired and viewed with envy.\n\nFlavius himself was a muscular man, well endowed sexually and completely uninhibited when it came to using his equipment on other men and on the only woman in his life: his wife, Claudia. But there was much more to his character than being a serial copulator; he was naturally endowed with a fine aesthetic sense in everything he did, which, given his new freedom to do exactly as he wished, was to blossom forth into visual beauty. Externally the Casa Priapus, with its colonnades, was an architectural triumph. Unconstrained by any financial considerations, he commissioned the best living architect to design it and employed only the best of materials in its construction. Its principal reception room, where he intended to entertain his friends to excessively erotic evenings of what we today refer to as gay-sex, was decorated in a style which left no doubt as to its purpose.\n\nAround the walls he had commissioned a frieze of muscular, naked males cast in bas-relief, engaged in sexual activities with each other. One figure was connected to the next, either anally or orally, by the generous penis of its immediate partners, so that the whole tableau, which stretched, unbroken, around all four walls was a continuous visual representation of the two main aspects of male-male sex. Like many erotic artefacts, it was exquisitely beautiful, but simultaneously, incredibly evocative, stimulating Flavius’s guests to emulate what they were seeing. Magnificently artistic and sexually arousing to the viewer though the frieze was, the decoration did not stop there. The walls were divided into panels, in each of which was an erotic painting of naked, young men, artistically posed, enjoying themselves sexually with each other. Adjacent panels were separated by inset niches, in which erotic male statues were lodged. And to complete the permanent decorative elements of the room, there was, in the centre, a large fountain composed of a group of muscular, well-endowed young men, artistically entwined, copulating both orally and anally with each other. To any discerning eye, the whole room was a highly successful celebration of homo-erotic art. But whatever the subject matter, the overall effect was an artistic triumph of the highest order. It was a credit to Flavius, who had conceived it and also to the artists, sculptors, craftsmen and artisans, whose joint skills had realised this truly artistic Masterpiece of phallic art. If the God, Priapus had been looking down, he would have been pleased at what had been created in his name.\n\nBut there was still the furniture to attend to; after all, one cannot invite one’s friends to an evening of sexual pleasure and expect them to thrash around, copulating on the floor. Flavius commissioned a series of 12 homoerotic looking couches – the Romans loved to lounge both to take indulge in their sexual pleasures and to eat – with bronze legs cast in the form of erect phalluses and feet representing a man’s testicles. Additionally he had a number of small, side tables made, whose circular tops were supported on legs made in the form of three naked youths, each with an oversize, erect penis, curving gracefully upwards. Then, there was the final, crowning piece of furniture: a long, narrow table on six stout, bronze ornamental legs, four at the corners and two in the middle of the long side. This table was long enough to accommodate ten men, side by side, either flat on their backs or with their feet on the floor, bent across the table. In both cases the objective was to give access to ten anuses, which could be simultaneous penetrated by a bevy of ten erect cocks.\n\nVisually, the room was a stunningly homoerotic Masterpiece; but all decoration, including the furniture, was so exquisitely designed and wrought as to be a feast for the eyes of any viewer possessed of the slightest appreciative sense of what was a truly aesthetic ensemble. Homoerotic it certainly was and its purpose required no explanation as it exuded sex from every pore of its fabric. Celebrating the God Priapus and all that he stood for, in all its pornographic glory, it had been so finely conceived by the hitherto unacknowledged, discerning eye and taste of Flavius, that even the most disapproving viewer could never have called it vulgar. It was a bench-mark, or better said, a milestone in Rome. An absolute Masterpiece of homoerotica, the Casa Priapus would doubtless celebrate male homosexuality as it had always existed in Rome, but in a way in which it had hitherto never before been so overtly recognised by the upper classes.\n\nValerius’s goal was to liberate male homosexuality of upper-class men such as himself from the constraints to which it had, in the past, been subjected; to finally acknowledge that homosexual males of all classes wanted both to fuck and be fucked. His objective was that if two men wanted to have sex together, then they could do exactly as they wanted, both to and for each other. Banished forever was to be the presently accepted, one-way concept that upper-class men, in some way superior to other men, could fuck men of a lower social class but not the inverse; homosexual sex was to become a totally mutual affair between equals. Of course, this equality did not exclude theatrical performances of anal and oral sex staged before a group of eager onlookers.", "writing_bbcode_parsed": "Flavius had promised Claudia that he would be both discreet and discrete with his homosexual life. The Villa Valerius stood in a generous 10 acres of grounds, in which, remote from the present villa, which in itself was vast, he decided to build a pavilion dedicated his passion for male-male sex. This new building he called Casa Priapus, in honour of the Greek God, Priapus, the son of Dionysus and Aphrodite, who was revered as a minor deity of animal and vegetable fertility. Adopted enthusiastically by the Romans from the Greeks, Priapus had come to be accepted as the deity who represented the extremes of male sexuality. In the many wall paintings and statues which the Romans created in his honour throughout the Empire, he was always shown as having a grotesquely huge, circumcised penis. Whether this was an encouragement or not for Roman males to cultivate their own endowments is unclear; but what is certain, in the Roman Empire, as elsewhere and as is still the case today, athletic men with large penises were admired and viewed with envy.

Flavius himself was a muscular man, well endowed sexually and completely uninhibited when it came to using his equipment on other men and on the only woman in his life: his wife, Claudia. But there was much more to his character than being a serial copulator; he was naturally endowed with a fine aesthetic sense in everything he did, which, given his new freedom to do exactly as he wished, was to blossom forth into visual beauty. Externally the Casa Priapus, with its colonnades, was an architectural triumph. Unconstrained by any financial considerations, he commissioned the best living architect to design it and employed only the best of materials in its construction. Its principal reception room, where he intended to entertain his friends to excessively erotic evenings of what we today refer to as gay-sex, was decorated in a style which left no doubt as to its purpose.

Around the walls he had commissioned a frieze of muscular, naked males cast in bas-relief, engaged in sexual activities with each other. One figure was connected to the next, either anally or orally, by the generous penis of its immediate partners, so that the whole tableau, which stretched, unbroken, around all four walls was a continuous visual representation of the two main aspects of male-male sex. Like many erotic artefacts, it was exquisitely beautiful, but simultaneously, incredibly evocative, stimulating Flavius’s guests to emulate what they were seeing. Magnificently artistic and sexually arousing to the viewer though the frieze was, the decoration did not stop there. The walls were divided into panels, in each of which was an erotic painting of naked, young men, artistically posed, enjoying themselves sexually with each other. Adjacent panels were separated by inset niches, in which erotic male statues were lodged. And to complete the permanent decorative elements of the room, there was, in the centre, a large fountain composed of a group of muscular, well-endowed young men, artistically entwined, copulating both orally and anally with each other. To any discerning eye, the whole room was a highly successful celebration of homo-erotic art. But whatever the subject matter, the overall effect was an artistic triumph of the highest order. It was a credit to Flavius, who had conceived it and also to the artists, sculptors, craftsmen and artisans, whose joint skills had realised this truly artistic Masterpiece of phallic art. If the God, Priapus had been looking down, he would have been pleased at what had been created in his name.

But there was still the furniture to attend to; after all, one cannot invite one’s friends to an evening of sexual pleasure and expect them to thrash around, copulating on the floor. Flavius commissioned a series of 12 homoerotic looking couches   – the Romans loved to lounge both to take indulge in their sexual pleasures and to eat   – with bronze legs cast in the form of erect phalluses and feet representing a man’s testicles. Additionally he had a number of small, side tables made, whose circular tops were supported on legs made in the form of three naked youths, each with an oversize, erect penis, curving gracefully upwards. Then, there was the final, crowning piece of furniture: a long, narrow table on six stout, bronze ornamental legs, four at the corners and two in the middle of the long side. This table was long enough to accommodate ten men, side by side, either flat on their backs or with their feet on the floor, bent across the table. In both cases the objective was to give access to ten anuses, which could be simultaneous penetrated by a bevy of ten erect cocks.

Visually, the room was a stunningly homoerotic Masterpiece; but all decoration, including the furniture, was so exquisitely designed and wrought as to be a feast for the eyes of any viewer possessed of the slightest appreciative sense of what was a truly aesthetic ensemble. Homoerotic it certainly was and its purpose required no explanation as it exuded sex from every pore of its fabric. Celebrating the God Priapus and all that he stood for, in all its pornographic glory, it had been so finely conceived by the hitherto unacknowledged, discerning eye and taste of Flavius, that even the most disapproving viewer could never have called it vulgar. It was a bench-mark, or better said, a milestone in Rome. An absolute Masterpiece of homoerotica, the Casa Priapus would doubtless celebrate male homosexuality as it had always existed in Rome, but in a way in which it had hitherto never before been so overtly recognised by the upper classes.

Valerius’s goal was to liberate male homosexuality of upper-class men such as himself from the constraints to which it had, in the past, been subjected; to finally acknowledge that homosexual males of all classes wanted both to fuck and be fucked. His objective was that if two men wanted to have sex together, then they could do exactly as they wanted, both to and for each other. Banished forever was to be the presently accepted, one-way concept that upper-class men, in some way superior to other men, could fuck men of a lower social class but not the inverse; homosexual sex was to become a totally mutual affair between equals. Of course, this equality did not exclude theatrical performances of anal and oral sex staged before a group of eager onlookers.", "pools_count": 1, "title": "Roman Excess - Chapter 3", "deleted": "f", "public": "t", "mimetype": "text/plain", "pagecount": "1", "rating_id": "2", "rating_name": "Adult", "ratings": [ { "content_tag_id": "4", "name": "Sexual Themes", "description": "Erotic imagery, sexual activity or arousal", "rating_id": "2" }, { "content_tag_id": "5", "name": "Strong Violence", "description": "Strong violence, blood, serious injury or death", "rating_id": "2" } ], "submission_type_id": "12", "type_name": "Writing - Document", "guest_block": "f", "friends_only": "f", "comments_count": "0", "views": "74" }