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      Pillory Fucked By A Man With A Square Head

      I shouldn’t tease Codey Steel, even though his head does look quite spectacularly rectangular from some of the angles in this shoot. It seems like it had been awhile since Kink.com released a good pillory sex scene, but the recent sequence in Special Delivery with Cherry Kiss is quite good:

      pillory blowjob

      pillory sex

      Memo to Renaissance fair producers: there’s still room to improve your events and attractions, just saying.

      Elsewhere on Bondage Blog:

      Wide-Eyed, Hooded, Gagged

      That big-eyed look makes me think she just caught sight of what’s going in her mouth next and it’s alarming:

      gagged and hooded slave has her eyes wide open

      From a long-defunct site called Consensual Slave.

      Elsewhere on Bondage Blog:

      Butt Hooked Predicament

      Squirming and moaning are really the only options for our helpless bondage heroine here. And squeezing out the occasional orgasm, if she’s able to eroticize her considerable discomfort:

      woman in predicament bondage with weighted butt hook and tongue and nipple piercings

      From an old animation by ëjô~B.

      Elsewhere on Bondage Blog:

      Symbolic Japanese Rope Bondage

      There’s not enough bondage in this Japanese rope bondage chest harness rig to actually restrain the pretty naked lady, but it’s enough to symbolize that she’s tied up, I guess, and it certainly does draw attention to her attractive breasts:

      minimalist chest harness rope bondage Japanese nude woman

      Photo is apparently from publicity for the movie ‰ä‘BÂҤ촲 (machine translates to something like “Where is the Perverted Disorder?”) from director Mamoru Watanabe, according to the June 1978 issue of Cinema Spot magazine. The only plot summary I could find machine translates to “A couple who have reached a stage of boredom suddenly transforms! A chaotic and wild affair.”

      Elsewhere on Bondage Blog:

      Damsel Meets Train

      Here’s a classic iteration of the woman-in-peril “gagged damsel tied on the railroad tracks” bondage trope:

      busty bondage babe tied to railroad tracks looks fearfully over her shoulder at approaching train

      Artist is Adler.

      Elsewhere on Bondage Blog:

      Submissive In The Desert

      This was probably originally intended as just a random pinup or nudist photo (there was a lot of overlap) with no kinky intent, but it totally works for me as a submissive pose:

      nude woman with her hands crossed behind her back and her head bowed in submission

      Photo originally appeared in the April 1957 issue of Modern Sunbathing magazine, which was one of those magazines that used naturism as excuse to sell nude photo magazines when that was still somewhat dangerous.

      Elsewhere on Bondage Blog:

      Slave Girl Programming Tanks

      When these two come out of the reprogramming tanks, they are going to be a dream pair for their new master:

      two slave girls being programmed for submissive pleasure in the reeducation tanks

      Tube girl art is by 4headboiii.

      Elsewhere on Bondage Blog:

      whipped cartoon girl
      The footman looked rather doubtful when Trafford inquired if he could see Miss Chetwynde. Lady Ada looked at her, and then away. Norman Druce caught his breath and turned away also; the duke looked round with pride, as if she were indeed his daughter. And Trafford¡ªTrafford stood motionless for a moment, his pale[202] face growing paler, an expression of wistfulness, intense enough for pain, in his eyes. CHAPTER XXXVIII. But Flora filled the doorway. He had to harden his glance to hers at last. In her breast were acutest emotions widely at war, yet in her eyes he saw only an unfeeling light, and it was the old woman behind him who alone noted how painfully the girl's fingers were pinched upon Irby's unopened letter. The boy's stare betrayed no less anger than suffering and as Flora spoke he flushed. Captain Hulbert was still unmarried; but no one talked about the pity of that. People took a severely sensible view of his case, and were unanimous in the opinion that he could not afford to marry, and that any inspiration in that line would be criminal on his part. There was an idea at Trelasco that the younger sons of peers of moderate fortune have been specially designed by Providence to keep up the race of confirmed bachelors. There must be bachelors; the world cannot get on without them; society requires them as a distinct element in social existence; and it would ill become the offshoots of the peerage to shrink from fulfilling their destiny. Although my feelings are still hurt, for it is very humiliating especially, there are such a lot of entertaining things. PS. We're having fancy dancing in gymnasium class. You can see For in spite of being happier than I ever dreamed I could be, At the top, facing two immense rocks that look like couchant lions, there was another palace; one[Pg 100] wall alone is left standing; on the creamy marble a peacock spreads its tail, carved into very delicate sprays and flowers. (After the Picture by Laslett J. Pott, by permission of Ephraim Hallam, Esq.) The case against the queen closed on the 7th of September. An adjournment took place to allow time for the preparation of her defence, which was opened on the 3rd of October by Mr. Brougham, in a magnificent oration, justly celebrated as one of the finest specimens of British forensic eloquence. It concluded as follows:¡ª Fourth. Pressure wheels, acting in every respect upon the principle of a rotary steam-engine, except in the differences that arise from operating with an elastic and a non-elastic fluid; the pressure of the water resting continually against the vanes and "abutment," without means of escape except by the rotation of the wheel. The evolution of Greek tragic poetry bears witness to the same transformation of taste. On comparing Sophocles with Aeschylus, we are struck by a change of tone analogous to that which distinguishes Thucydides from Herodotus. It has been shown in our first chapter how the elder dramatist delights in tracing events and institutions back to their first origin, and in following derivations through the steps of a genealogical sequence. Sophocles, on the other hand, limits himself to a close analysis of the action immediately represented, the motives by which his characters are in91fluenced, and the arguments by which their conduct is justified or condemned. We have already touched on the very different attitude assumed towards religion by these two great poets. Here we have only to add that while Aeschylus fills his dramas with supernatural beings, and frequently restricts his mortal actors to the interpretation or execution of a divine mandate, Sophocles, representing the spirit of Greek Humanism, only once brings a god on the stage, and dwells exclusively on the emotions of pride, ambition, revenge, terror, pity, and affection, by which men and women of a lofty type are actuated. Again (and this is one of his poetic superiorities), Aeschylus has an open sense for the external world; his imagination ranges far and wide from land to land; his pages are filled with the fire and light, the music and movement of Nature in a Southern country. He leads before us in splendid procession the starry-kirtled night; the bright rulers that bring round winter and summer; the dazzling sunshine; the forked flashes of lightning; the roaring thunder; the white-winged snow-flakes; the rain descending on thirsty flowers; the sea now rippling with infinite laughter, now moaning on the shingle, growing hoary under rough blasts, with its eastern waves dashing against the new-risen sun, or, again, lulled to waveless, windless, noonday sleep; the volcano with its volleys of fire-breathing spray and fierce jaws of devouring lava; the eddying whorls of dust; the resistless mountain-torrent; the meadow-dews; the flowers of spring and fruits of summer; the evergreen olive, and trees that give leafy shelter from dogstar heat. For all this world of wonder and beauty Sophocles offers only a few meagre allusions to the phenomena presented by sunshine and storm. No poet has ever so entirely concentrated his attention on human deeds and human passions. Only the grove of Col?nus, interwoven with his own earliest recollections, had power to draw from him, in extreme old age, a song such as the nightingale might have warbled amid those92 inviolable recesses where the ivy and laurel, the vine and olive gave a never-failing shelter against sun and wind alike. Yet even this leafy covert is but an image of the poet¡¯s own imagination, undisturbed by outward influences, self-involved, self-protected, and self-sustained. Of course, we are only restating in different language what has long been known, that the epic element of poetry, before so prominent, was with Sophocles entirely displaced by the dramatic; but if Sophocles became the greatest dramatist of antiquity, it was precisely because no other writer could, like him, work out a catastrophe solely through the action of mind on mind, without any intervention of physical force; and if he possessed this faculty, it was because Greek thought as a whole had been turned inward; because he shared in the devotion to psychological studies equally exemplified by his younger contemporaries, Protagoras, Thucydides, and Socrates, all of whom might have taken for their motto the noble lines¡ª The ultimate stage of perfection is, of course, the identification of subject and object, the ascent from the Nous to the One. But, on this point, Plotinus never added anything essential to what has already been quoted from the analytical portion of his enquiry, and the essay containing that passage is accordingly placed last in Porphyry¡¯s arrangement of his works. 19 ¡°Now what¡¯s to do?¡± he wondered. ENTER NUMBET 0026www.tyyfhealth.com
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