“The kiss is a wordless articulation of desires whose object lies in the future, and somewhat to the south.”
We often struggle to capture the complexity of physical intimacy with mere words. However, the quote above succeeds brilliantly. It blends philosophical observation with a touch of playful innuendo. This definition elevates a simple physical act into something intellectual and promising. Furthermore, it hints at the biological reality behind our romantic gestures.
The phrasing suggests that a kiss is never just a kiss. Instead, it serves as a silent messenger. It speaks of intentions that extend beyond the present moment. Specifically, it points toward a future intimacy that is more carnal in nature. Readers often chuckle at the geographical direction “somewhat to the south.” This witty euphemism perfectly describes the progression from romance to sexuality.
Many people encounter this quote in collections of wit or literary anthologies. Yet, the true origin of this clever observation often remains a mystery to the casual reader. We will explore the source of this eloquent description. Additionally, we will analyze why it resonates so deeply with our understanding of passion.
Uncovering the Author of the Witty Observation
Identifying the creator of this quote requires a look back at late 20th-century essays. Source Lance Morrow, a distinguished essayist and journalist, penned these memorable words. He included them in his 1988 collection titled Fishing in the Tiber.
Morrow crafted this definition within an essay called “Changing the Gestures of Passion.” In this piece, he explores how human affection evolves. He does not simply list biological functions. Instead, he examines the cultural and emotional weight of our physical interactions. Consequently, his writing strikes a chord with anyone who appreciates the nuance of romance.
The essay itself delves into the mechanics of the kiss. Morrow suggests that kissing represents a unique intersection of the spirit and the body. The head houses our consciousness and our intellect. When two people kiss, they join at this high spiritual point. However, the act simultaneously signals primal urges. Thus, the mouth becomes a gateway between high-minded love and basic physical desire.
Deconstructing the Meaning of the Quote
Let us break down the brilliance of Morrow’s phrasing. First, he calls the kiss a “wordless articulation.” This oxymoron is powerful. It implies that the mouth, usually used for speech, finds a different way to communicate. The lips speak a language that requires no vocabulary. Therefore, the message is universal and immediate.
Next, consider the phrase “desires whose object lies in the future.” A kiss is rarely a final destination. Usually, it serves as a promise. It creates anticipation for what might happen next. The participants understand that this contact is a prelude. The “object” of their desire is an event that has not yet occurred. This builds tension and excitement.
Finally, we arrive at the punchline: “somewhat to the south.” This is a masterclass in literary restraint. A cruder writer might have been explicit. Conversely, Morrow uses geography to map the human body. He acknowledges that romantic kissing often leads to sexual intercourse. Yet, he maintains a tone of sophisticated detachment. The humor lies in this polite nod to our basic biology.
The Historical Trail of the Quote
Morrow’s observation did not stay buried in his book. It quickly found its way into the wider culture. For example, The Palm Beach Post featured the quote in a 1991 Valentine’s Day article. The newspaper discussed a new book by Tomima Edmark titled Kissing: Everything You Wanted to Know. In this feature, the journalist contrasted different definitions of kissing.
They compared Morrow’s modern wit with older, more romanticized views. Sir John Suckling, a seventeenth-century poet, called a kiss “Love’s lesser lightning.” That is a beautiful image. However, Morrow’s definition feels more grounded in human psychology. It acknowledges the strategy behind the romance.
Later, the quote appeared in Mardy Grothe’s 2008 reference book. Grothe compiled history’s best metaphors and analogies. He recognized the cleverness of Morrow’s geographical reference. Inclusion in such collections cements a quote’s status. It transitions from a line in an essay to a standalone piece of wisdom. Over time, slight variations have appeared. Some sources change “desires” to the singular “desire.” Nevertheless, the core message remains intact.
Comparing “The South” to Other Metaphors
Morrow’s quote belongs to a specific genre of witticisms. These sayings define high culture or romance in terms of basic instincts. A famous parallel is the definition of dancing often attributed to George Bernard Shaw. He supposedly called dancing “a perpendicular expression of a horizontal desire.”
Notice the similarities. Both quotes use direction and geometry to discuss sex. Morrow uses “south,” while the dancing quote uses “horizontal.” Both authors avoid explicit language. Instead, they rely on the audience’s intelligence to connect the dots. This approach makes the observation feel smarter. It invites the reader to share in an inside joke about human nature.
Furthermore, both quotes highlight the tension between social behavior and biological drive. We dress up, we dance, and we kiss. These are civilized actions. Yet, underneath the surface, primal forces drive us. Morrow captures this duality perfectly. He reminds us that even our most poetic moments have roots in our physical needs.
The Power of Suggestion in Romance
Morrow’s essay also touches on the power of what we do not see. He discusses classic cinema. In older movies, the camera often cut away during a kiss. Directors relied on the audience’s imagination. Morrow argues that this suggestion was often more powerful than graphic depiction.
The quote reflects this philosophy. It describes the “future” and the “south” without showing them. It leaves the details to the reader. In an era of oversharing, this restraint is refreshing. It allows us to fill in the blanks with our own experiences. Consequently, the definition feels personal to everyone who reads it.
Modern media often shows everything. Mystery is rare. However, Morrow’s definition reminds us that anticipation is a key part of desire. The “wordless articulation” is effective precisely because it is silent. The “future object” is exciting because it has not yet arrived. Therefore, the kiss remains the ultimate symbol of potential.
Why This Definition Endures
Why do we keep returning to this specific quote? Primarily, it validates our complex feelings about intimacy. We like to think of ourselves as sophisticated beings. Simultaneously, we know we are animals with instincts. Morrow honors both sides of our nature. He respects the intellect of the “head” and the desires of the “south.”
Additionally, the humor makes it memorable. Romance can be heavy and serious. Morrow injects levity into the subject. He allows us to smile at our own motivations. We recognize the truth in his words immediately. We have all felt that specific anticipation he describes.
Finally, the linguistic structure is pleasing. The sentence flows rhythmically. It starts with an abstract concept and ends with a concrete direction. This structure leads the reader on a small journey. It mimics the very progression from a kiss to its conclusion. Good writing mirrors its subject matter, and Morrow achieves this effortlessly.
Conclusion
Lance Morrow’s definition of a kiss stands the test of time. It is more than just a clever arrangement of words. It is a psychological map of human desire. By identifying the author and context, we appreciate the depth of the observation. Morrow teaches us that a kiss is a bridge. It connects the present to the future. It links our words to our bodies.
Ultimately, the quote reminds us of the power of suggestion. It celebrates the unspoken promises we make with our lips. Whether we view it as a romantic sentiment or a biological fact, the truth remains. The kiss points the way, and we are usually more than happy to follow the direction.