behind:

1. The back or rear of the body, as opposed to the front or front or facial side.
Synonyms: back ; backside ; rear (end); tail-side .

2. The buttocks and the ass . See ass for synonyms.

See Also: a tergo, armbinders, back scuttle, backside, ball gag, behind the behind, break wind, camera obscura, chip the lips, coitus a tergo, coronal sulcus, derriere, derrieroscopia, dog fashion, dog ways, dog-fuck, doggie style, doggy style, doggy ways, frenulum preputii, Greek, H, hind end, horse-fuck, jack shack, Lassie fashion, rear entry, rump, run after, spoons, Wet Cuddles, window-tappery

Quotes Containing behind:
Archie Rice (Laurence Olivier) in The Entertainer (1960): 'I'm dead behind these eyes .'
Peachum (Fritz Rasp), the king of beggars, to his daughter Polly (Carola Meher) who secretly married Mack the Knife (Rudolph Forster) in The Threepenny Penny Opera (1931): - Peachum: 'You'll get a divorce!' - Polly: 'But I love him! How can I get a divorce?' - Peachum: 'I'll tan your behind!' - Polly: 'It won't do any good. Love is greater that a tanned behind .'
Bruce Rodgers. The Queens'' Vernacular (1972): ''A Greek is somebody who gets a little behind in his work .''
Chuck (John Kapelos), the flirtatious owner of All Things Dead, and Roxanne Kowalski (Daryl Hannah) in Roxanne (1987): - Chuck:'Hi. Remember me?' - Roxanne:'I'm trying to put it behind me.'
Dorothy Parker: ''Never run-after a bus or a man , there''ll be another one along in a minute.'' Rephrased slightly by the Marlboro (Don Johnson) to Harley (Mickey Rourke) in Harley Davidson and the Marlboro Man (1991): ''My old-man used to say, before he left this shitty world , never chase buses or women. You always get left behind .''
Richard Nugent (Cary Grant) and Susan Turner (Shirley Temple) in The Bachelor and the Bobby-Soxer (1947): - Richard : 'It's awful what a woman can do to a man . Look at history: Caesar and Cleopatra.' - Susan: 'Napoleon and Josephine.' - Richard : 'All of them. Behind every defeated man there's a frustrated love .'
Richard Nugent (Cary Grant) and Susan Turner (Shirley Temple) in The Bachelor and the Bobby-Soxer (1947): - Richard : ''It''s awful what a woman can do to a man . Look at history: Caesar and Cleopatra.'' - Susan: ''Napoleon and Josephine.'' - Richard : ''All of them. Behind every defeated man there''s a frustrated love .''
Richard Nugent (Cary Grant) and Susan Turner (Shirley Temple) in The Bachelor and the Bobby-Soxer (1947): - Richard : 'It's awful what a woman can do to a man . Look at history: Caesar and Cleopatra.' - Susan: 'Napoleon and Josephine.' - Richard : 'All of them. Behind every defeated man there's a frustrated love .'
''By the age of forty, someone clever had written ominously, a man gets the face he deserves. Smiley doubted it . He had known poetic souls condemned to life imprisonment behind harsh faces, and deliquents with the appearance of angels. '' John Le Carr. Smiley''s People (1979)
Richard Nugent (Cary Grant) and Susan Turner (Shirley Temple) in The Bachelor and the Bobby-Soxer (1947): - Richard :''It''s awful what a woman can do to a man . Look at history: Caesar and Cleopatra.'' - Susan:''Napoleon and Josephine.'' - Richard :''All of them. Behind every defeated man there''s a frustrated love .''
Charles Panati. Sexy Origins and Intimate Things (1998): ''The most popular explanation for the link between fashion and eroticism, and rapid changes in styles, is the sex-appeal theory, also known as the theory of shifting erogenous-zones . Proponents of the theory argue that the primary purpose of all womens fashion is the desire to continually reattract the opposite-sex . The driving force behind seasonal changes in styles is to arouse men sated by last seasons "look" to turn-on to a new "look." In todays sexually liberated and sex-saturated times, fashion is driven by the seduction principle. With so much sexual imagery in the media, men get sated quickly, and women must work hard to reseduce them with styles that continually shift the erogenous zone from breasts to bellies to backs to legs to hair to lips . Men, for their part, positively yearn to be reseduced, over and over again. All of this seduction, says the theory, is to fulfill the biological imperative to continue the species, even if the sexes thwart conception at every chance they get .''
Charles Panati. Sexy Origins and Intimate Things (1998): ''The most popular explanation for the link between fashion and eroticism, and rapid changes in styles, is the sex-appeal theory, also known as the theory of shifting erogenous-zones . Proponents of the theory argue that the primary purpose of all womens fashion is the desire to continually reattract the opposite-sex . The driving force behind seasonal changes in styles is to arouse men sated by last seasons "look" to turn-on to a new "look." In todays sexually liberated and sex-saturated times, fashion is driven by the seduction principle. With so much sexual imagery in the media, men get sated quickly, and women must work hard to reseduce them with styles that continually shift the erogenous zone from breasts to bellies to backs to legs to hair to lips . Men, for their part, positively yearn to be reseduced, over and over again. All of this seduction, says the theory, is to fulfill the biological imperative to continue the species, even if the sexes thwart conception at every chance they get .''
Brodie (Jason Lee) explains to T.S. (Jeremy London) and Gwen (Joey Lauren Adams) why his relationship with Rene failed in Mallrats (1995): - Brodie: ''You know how when someone lays with their back to you and you lay behind ''em really close and you throw one arm over ''em?'' - T.S.: ''It''s called spooning .'' - Brodie: ''Yeah, but you gotta put the other arm somewhere. You can either lay on it or just shove it between your bodies. The only other option is to stretch it above your head . But sometimes my arm pops out of socket when I''m sleeping like that. So I was constantly searching for someplace to keep my arm while still laying close to her.'' - T.S.: ''And?'' - Brodie: ''What do you mean ''and''? That''s like a metaphor for our whole relationship .''

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