This is a new and freshly published edition of this culturally important work by Kate Percival, which is now, at last, again available to you.

Enjoy this classic work today. These selected paragraphs distill the contents and give you a quick look inside The Life and Amours of the Beautiful Gay and Dashing Kate Percival:

Yes, dear Laura, it was you who first taught me the delights and joys of love; it was you who first kindled that flame of desire that has caused me to experience twelve years of delirious bliss; it was to your gentle teaching, sweet friend, that I owe my initiation in all the mysteries of the Court of Venus; it was your soft hand that pointed out to me that path of pleasure-and all the delight shown on the wayside.

...I had not long to wait, for I saw the priests officious fingers unbutton Margarets dress in front and deliberately pull it off her ivory shoulders, thus exposing two globes of snow, round, firm, exquisitely formed, and surmounted by two strawberry nipples, which stood out stiff.

...We kept time with the actors in the next room, and at the very moment that I saw the sperm go from Father Prices instrument to the broad, white buttocks of the Abbess, both Margaret and myself emitted, and the Abbess and the two sisters were not a moment behind.

...Whether my companion detected my sensations or not, I cannot say, but certain it is that the arm that encircled my waist was raised until his hand rested on my bosom, outside my riding habit; however, I made no attempt to remove it, and encouraged, doubtless, by my seeming tacit consent to his enterprises, he furtively inserted two of his fingers in the opening in front of my dress and I felt them on my naked breast.

...Their titles were in French and consisted of as follows: first, La Patte Debout represented a man and woman standing face to face with his instrument plunged deeply in her coral cavity; second, La Grue-the same position, but with one of the legs raised in the air; third, La Porte de Devant represented a woman seated with a man standing between her thighs, her lustful crevice completely filled by his instrument, while her legs closely embraced his ribs; fourth, Le Cheval Fondu represented a girl on her hands and knees, while a man was embracing her from behind, her head being reclined forward and her bottom elevated; fifth, Lallemande the same position with the addition that the man has his hands on her con; sixth, La Brebis-the same position with the woman resting her hands on the ground; seventh, Faire des Chandelles de Suif-the girl seated across the thighs of the man; eight, A Larbre-the same position but with the girls legs raised, and with her feet placed against the mans buttocks; ninth, Lenfant Qui Dort-the girl leaning against the mans stomach, her shoulders against his right arm, and her two legs resting on his right thigh; tenth, Létendue-the girl lying down on her back and the man standing between her thighs, embrace her in front, in which position he can see his instrument working in her con, eleventh, Au dos Pressé-a girl seated on a mans highs with her legs wrapped around his loins; twelfth, Cornuse-the same position, where a man rests one of the girls thighs on his arm and presses the other down against his buttock; thirteenth, Se Seoir Au Col-the same position when he raises one leg in the air; fourteenth, Chaussebotte, a man taking the two lips of the girls con, and drawing them on his penis; fifteenth, Courir la Bague-a man running towards a girl with thighs extended to receive him, and in this manner inserting his instrument into her con; sixteenth, A la Plaine-the woman extended all her length