View allAll Photos Tagged Humiliated
Jacey is sent out into the streets on a busy Saturday afternoon by her mistress in full slutty feminine CFM mode. Her task today is to approach 20 random people and kindly request for photos with them. Jacey is to speak to each person in her soft, pouty, seductive girly voice. Mistress's ultimate goal is to train this slut to be more comfortable with her new body and female mannerisms. Jacey must learn to be obedient while serving and submissive while pleasuring.
When poor people in many countries like Jamaica ask their government for necessary amenities like good roads, clean drinking water, bridges or important community services that can make their lives better, they wait in vain and are often times humiliated or ridiculed, sometimes to get attention they must block roads and demonstrate to get the authorities to listen and do something. Humiliation and ridicule is what Clifton Brown got for asking for a bridge. Clifton is from the rural coffee farming community of Mavis Bank on the Island of Jamaica. He and others put their lives in danger to help their fellow citizens of this poor rural district cross the treacherous Yahallas River that often cut them off from the rest of the surrounding communities during heavy tropical rainfall. Clifton was filmed and interviewed by a local television station while providing this important yet dangerous river crossing service. Clifton in the interview tried to draw attention to the plight of the residents who are cut off by the river when it rains heavily in this mountainous Blue Mountains region. A bridge is clearly needed and residents continue to demand that the government build a bridge across the river. The interview was remixed and posted on You Tube and like many videos making fun of others it became viral. You see, Clifton speaks Jamaican patois, the comical reaction came when Clifton tried to explain in proper English the plight of his community and the inconvenience and danger they face.
Later he was interviewed on a popular Jamaican TV show where the hosts continue to poke fun and laugh at him. Apparently Clifton was invited so they could continue to make fun of his accent NOT trying to help him and his community. What is evident is that there is a lack of respect for those who are trying to make a difference and who are from a poor background and cannot speak the queens english like those from the educated upper class. Yes, the edited clip may be funny, but nothing is funny when people are totally ignored and their plight and suffering turned into comic relief. Let us build bridges instead.
I give thanks and support to those on Facebook www.facebook.com/WeCanCrossIt who have decided to take a leaf from Clifton’s book and have begun to do something to help the community of Mavis Bank. I salute them. I Big Up Clifton Brown, he is a hero in my book.
m.youtube.com/#/watch?desktop_uri=http%3A%2F%2Fwww.youtub...
You can mock me.
You can humiliate me.
You can hit me, wound me.
Laugh.
Spit.
Do your worst.
But I'll never, ever, surrender.
You will break me, but you'll never bend me.
I will always smile.
Even in death, I'll just smile.
After a brave but brutal & bloody thirty minute fight both seals were exhausted & collapsed in a heap.
The seal on top is the victor, nostrals flared he is now one of the dominant males & gets to mate with a harem of females, passing on his genes.
This is the bulls one chance of mating in the year & all their energies are geared up for this moment, so for the defeated seal he has lost everything - while his wounds heal he has the humiliation of being an outsider & missing out on mating for this year at least.
To the faithful you show yourself faithful;
to those with integrity you show integrity.
To the pure you show yourself pure,
but to the crooked you show yourself shrewd.
You rescue the humble,
but you humiliate the proud.
You light a lamp for me.
The Lord, my God, lights up my darkness.
In your strength I can crush an army;
with my God I can scale any wall.
[Psalm 18:25-29 NLT]
5 THINGS YOU SHOULD KNOW:
1. Like it or not, we are ALL sinners: As the Scriptures say, “No one is righteous—not even one. No one is truly wise; no one is seeking God. All have turned away; all have become useless. No one does good, not a single one.” (Romans 3:10-12 NLT)
2. The punishment for sin is death: When Adam sinned, sin entered the world. Adam’s sin brought death, so death spread to everyone, for everyone sinned. (Romans 5:12 NLT)
3. Jesus is our only hope: But God showed his great love for us by sending Christ to die for us while we were still sinners. (Romans 5:8 NLT) For the wages of sin is death, but the free gift of God is eternal life through Christ Jesus our Lord. (Romans 6:23 NLT)
4. SALVATION is by GRACE through FAITH in JESUS: God saved you by his grace when you believed. And you can’t take credit for this; it is a gift from God. Salvation is not a reward for the good things we have done, so none of us can boast about it. For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago. (Ephesians 2:8-10 NLT)
5. Accept Jesus and receive eternal life: If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. (Romans 10:9 NLT) But to all who believed him and accepted him, he gave the right to become children of God. (John 1:12 NLT) And this is what God has testified: He has given us eternal life, and this life is in his Son. Whoever has the Son has life; whoever does not have God’s Son does not have life. (1 John 5:11-12 NLT)
Read the Bible for yourself. Allow the Lord to speak to you through his Word. YOUR ETERNITY IS AT STAKE!
Read more about me and my life on my website with lots of pictures, videos and texts (en/en). You can find the link on the info/start page on the right side under the showcase pictures.
I love to wear women's underwear and girdles, I don't own men's underwear since a long time. But I don't want to simulate femininity and I don't have transsexual ambitions. I'm just a fat, effeminate loser, who always failed in relationships with women as a real man. I was brought up to be a sissified, feminized boy who wore girly panties, camisoles and tights, so I grew up to be a feminized sissy. For many, many years I expose my shame in public for my humiliation. I do this on the Internet and I wear blouses and skirts, bras and silicone breasts, girdle suspenders and stockings on the street and in parks, as can be seen in some photos. I am very well known in the neighborhood as a ridiculous, effeminate sissy.
I love to look my Sissy best you know! I just love beeing seen in frilly ankle socks and pantyhose when wearing matching skirt & top sets! I love it when people see me for the sissy I really am. Knowing that I have gone out of my way to look the way I want them and you to see me. With lilac colored tennies, frilly purple socks that match the stripes in my cute top and panties that match my tiny little skirt. Oh yes, and always wearing pantyhose!
„Enough of this!“, Nadakhan yelled! „Get back to the ship! We got bigger fish to fry!“ And with this he spared his crew another surefire humiliating defeat at the hands of the famous Spinjitzu masters.
„My dear crew!“, he addressed them back on the „Misfortune’s Keep“. „I know you are tired of having to fight these irritating little ninjas over and over again. I know none of you was born to be a pirate. I know you are ready to stop your outlawing ways and return to a civil life. I know all of that. But my dear crew! Would you be willing to come with me on one last raid?“ „YEA!“, the all returned. „One last raid that would mark your names in history for all times forward!“ Another „YEA!“ „One last raid that will make you rich beyond your wildest dreams!“ „YEEEEAAA!“ Their eyes glowed in anticipation. Once again Nadakhan had worked them into a frenzy with his charismatic magic.
„So. Who’s willing to get the Queen of Brixton?“
The Sky Pirates were mum. This big a fish they hadn’t expected. None of them knew if they really wanted a part in this. Suddenly, one pirate broke the silence.
„Whoooohooo! Finally!“, Captain Bono hollered. „Let’s go get this wench!“
And so it was settled. The „Misfortune’s Keep“ set course to the Northern polar ice field for it’s final raid.
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
Illarion Mikhailovich Pryanishnikov (Russian: Илларио́н Миха́йлович Пря́нишников; 20 March [O.S. 1 April] 1840 – 12 March [O.S. 24 March] 1894) was a Russian painter, one of the founders of the Peredvizhniki artistic cooperative, which broke away with the rigors of their time and became one of the most important Russian art schools of the late 19th Century.
Illarion Pryanishnikov was born in the village of Timashovo (today's Kaluga Oblast) in a family of merchants. From 1856 to 1866 he studied in the Moscow School of Painting, Sculpture and Architecture in the classes of Evgraf Sorokin and Sergey Zaryanko.
His picture Jokers. Gostiny Dvor in Moscow, painted in the last year of education, straight away brought to him a wide reputation. In this small canvas he gives an original solution of a theme of the humiliation of human dignity, callousness and cruelty in the world, where everything is bought and is sold. After depicting the tipsy merchants, who with a jeer are compelled to dance under the concertina and a poor elderly official, the artist authentically demonstrates a whole gallery of the specimens of moral deformity and complacent caddishness. The painting caused indignation in some adherents of official academic art who felt that the young painter appeared as the destroyer of the "high" destination of the art which was to express in the ideal form the eternal truths.
In 1870 Pryanishnikov received the title of the "painter of 1st degree". From 1873 until his death he was a teacher in the MSoPSA and his apprentices were Konstantin Korovin, Vitold Byalynitsky-Birulya, Mikhail Nesterov, Alexei Stepanov and others.
Although Pryanishnikov lived in mainly in Moscow, he often visited the Russian north where he sketched. Pryanishnikov died in Moscow where one of the streets was named after him.
en.wikipedia.org/wiki/Illarion_Pryanishnikov
en.wikipedia.org/wiki/Moscow_Gostiny_Dvor
(Illarion Mikhailovich Pryanishnikov (Ruso: Илларио́н Миха́йлович Пря́нишников; 20 de marzo [1 de abril] 1840 – 12 de marzo [24 de marzo] 1894) fue un pintor ruso, uno de los fundadores de la cooperativa artística Peredvizhniki, que rompió con los rigores de su tiempo y se convirtió en una de las escuelas de arte rusas más importantes de finales del siglo XIX.
Illarion Pryanishnikov nació en la aldea de Timashovo (actual Oblast de Kaluga) en una familia de comerciantes. De 1856 a 1866 estudió en la escuela de pintura, escultura y arquitectura de Moscú en las clases de Evgraf Sorokin y Sergey Zaryanko.
Su cuadro jokers. Gostiny Dvor en Moscú, pintado en el último año de la educación, de inmediato le trajo una amplia reputación. En este pequeño lienzo da una solución original de un tema de la humillación de la dignidad humana, la insensibilidad y la crueldad en el mundo, donde todo se compra y se vende. Después de representar a los comerciantes borrachos, que con un abucheo obligan a bailar bajo la concertina a un pobre funcionario anciano, el artista demuestra auténticamente toda una galería de los especímenes de la deformidad moral y la desvergüenza complaciente. La pintura causó indignación en algunos adherentes del arte académico oficial que sentían que el joven pintor aparecía como el destructor de la "alta" destinación del arte que era expresar en la forma ideal las verdades eternas.
En 1870 Pryanishnikov recibió el título de "pintor de 1er grado ". Desde 1873 hasta su muerte fue profesor en el MSoPSA y sus aprendices fueron Konstantin Korovin, Vitold Byalynitsky-Birulya, Mikhail Nesterov, Alexei Stepanov y otros.
Aunque Pryanishnikov vivió principalmente en Moscú, a menudo visitó el norte ruso donde hizo bocetos. Pryanishnikov murió en Moscú, donde una de las calles fue nombrada en su honor.)
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
"My son, if you aspire to serve the Lord,
prepare yourself for an ordeal.
Be sincere of heart, be steadfast,
and do not be alarmed when disaster comes.
Cling to him and do not leave him,
so that you may be honoured at the end of your days.
Whatever happens to you, accept it,
and in the uncertainties of your humble state, be patient,
since gold is tested in the fire,
and chosen men in the furnace of humiliation.
Trust him and he will uphold you,
follow a straight path and hope in him.
You who fear the Lord, wait for his mercy;
do not turn aside in case you fall.
You who fear the Lord, trust him,
and you will not be baulked of your reward.
You who fear the Lord hope for good things,
for everlasting happiness and mercy.
Look at the generations of old and see:
who ever trusted in the Lord and was put to shame?
Or who ever feared him steadfastly and was left forsaken?
Or who ever called out to him, and was ignored?
For the Lord is compassionate and merciful,
he forgives sins, and saves in days of distress."
– Ecclesiasticus 2:1-11, which is today's 1st reading at Mass.
Photo of a smith at work, taken at Mount Vernon in Washington DC.
24/7 live-in maid sissy barbie wearing a yellow satin uniform with matching cap, gloves and shoes. The uniform is trimmed with black satin and lace.
The collar of her uniform is locked with a matching yellow padlock so she cannot take her uniform off and run away. Her hair has been pulled to one side revealing the rear of her slave collar which is of course also locked on, as is her chastity device which quashes any remaining male instincts she might have deep down inside her.
Mistress' control of her is complete, humiliation total, instant obedience is guaranteed, she strives to look pretty to please her Mistress. She knows that any negative thing she might say will be classed as answering back and will bring gagging and punishment. She has learned that extrordinary service can earn small rewards, anything less than excellence earns punishment.
Close up of the padlock through the zip's pull tab and through the two metal rings of the collar. This prevents sissy barbie removing her uniform without permission of Mistress Lady Penelope. Mistress has found this form of discipline highly effective. Only when a long hard day's work has been completed to Mistress' satisfaction might the padlock key and the key to the servant's quarters be given to the maid. Naturally the key to the maid's chastity device is retained by her Mistress. Once sissy barbie has returned to the servant's quarters she can unlock the padlock and remove her uniform. As her petticoat has an attached bodice and shoulder straps, she cannot remove that until the uniform has been removed. After that she may don her nightie and begin her night's sleep, though being a 24/7 live in maid, she is always on call and she may well have to serve her Mistress wearing her nightie.
Sometimes when it is likely she will be called, she is not given the key to the padlock and has to sleep in uniform ready to 'scramble' within seconds of being called to serve. This does tend to flatten her petticoat unfortunately and that has to rectified the following day.
If the maid has been negligent in her duties in any way or does not pass Mistress Lady Penelope's inspection of her work and attire, she will not be given any keys but instead be locked in the sturdy steel cage in Mistress' dungeon as punishment. The cage has a hard floor and is too small for any more than a cat nap. All night the errant maid will be shifting from one uncomfortable position to another in the cold dark dungeon, not knowing the time. She will remain silent to avoid further punishment for waking her Mistress in her nice soft warm bed.
The maid will worry all night that she has angered her Mistress so much that Mistress Lady Penelope might decide to leave her locked up for two nights and the intervening day too. Sissy barbie knows that would be very severe punishment and will do everything humanly possible during her working day to avoid making her Mistress decide to do that. She also worries that perhaps Mistress Lady Penelope might be so busy that Mistress simply forgets to release her. The maid knows she is an insignificant convenience in Mistress Lady Penelope's life, Mistress might very well notice when she does not get her breakfast in bed but then forget that her maid is not cleaning the house, doing the laundry and all the other things she does unseen, Mistress Lady Penelope might get so excited by her social life that she forgets that her maid is locked in a little cage in the dungeon, dutifully remaining silent, not knowing whether it is day or night but acutely feeling the passage of every minute and regretting what she did to be receiving such severe punishment.
Sissy barbie will be waiting to hear her Mistress' footsteps and when she hears them, praying Mistress will come towards the dungeon door, unlock it and turn on the light. The maid will probably cower and quiver in case she is to be punished further, all the time hoping she is to be released, though she knows when that happens she will be required to begin a new days work, after a visit to the bathroom, fluffing out her petticoat and correcting whatever she did wrong the day before. The loss of one night's sleep is bad, but two nights in a row is torture, so the errant maid will be very careful not to risk another and will perform her duties to the letter despite being very weary. She will be extremely grateful to her Mistress for her release. The maid will have lost all track of time and if Mistress Lady Penelope is feeling magnanimous, might tell her maid how long she has been caged.
If you are interested in maid training, look at Mistress Lady Penelope's excellent free web site
You can make an appointment with Mistress Lady Penelope by calling 07970183024
–noun
1.
infliction of injury, harm, humiliation, or the like, on a person by another who has been harmed by that person; violent revenge: But have you the right to vengeance?
2.
an act or opportunity of inflicting such trouble: to take one's vengeance.
3.
the desire for revenge: a man full of vengeance.
I must concede defeat, agonizing, humiliating defeat to my 'Bama buddy GW. We'll see you again next year GW. We'll bring a quarterback this time..........
We're Here!: Drawn-On Photographs
Strobist: AB1600 with gridded 60X30 softbox camera left. AB800 with Softlighter II camera left. Triggered by Cybersync.
Olivia de Havilland won a Best Actress Oscar for the 1949 film "The Heiress," an adaptation of Henry James's novel "Washington Square," which focuses on Catherine Sloper, a rich woman in 19th century New York who is being romanced by a relatively poor young man played by the then amazingly handsome Montgomery Clift. Catherine's father believes that Morris is only interested in her wealth. Morris proposes to her, leading to dramatic and mysterious consequences for both...
During the 19th century:
Ever since that horrendous night when Catherine's dreams had crashed into tiny bits because of Morris' failure to come to take her away for their planned elopement, she had been as reclusive as possible. As she never left the house, her father, Dr. Sloper, and Aunt Penniman were the only people she saw.
Catherine forbade them both to talk to her about Morris, who never contacted her after that fateful night. She wished that her heart could simply turn to ice. Instead, it felt as if it were filled with shards of glass. Even the thought of Morris name caused her to feel a jagged piece of glass puncture her heart, renewing her humiliation and shame.
"One day," Catherine thought, "I shan't care for him. I shall be completely indifferent. If only that day could be now!'
Dr. Sloper, while ignorant of the aborted elopement even though he knew that the couple no longer saw each other, was concerned about the grim mood that Catherine radiated. Thus, he encouraged Catherine to attend dinner and concert with some of their society friends. She knew that he thought that doing so might make her cheerful.
Yet, standing in their friends' luxurious mansion only reaffirmed Catherine's feelings of being abandoned, rejected, tossed aside. As everyone else cheerfully made small talk, Catherine felt more and more alienated. Thus, she drifted off into the dining room before the others in order to calm herself.
"I shall forget you, Morris. Perhaps if I forgive myself for having been so stupid to think that a dashing young man could love such a drab, plain girl like me, I shall be closer to removing you from my heart. But is the only way to do that be to accept my father's view of me as an unlovable ugly duckling? I must figure this out. Somehow, I shall heal from the wounds each of you has inflicted on me....If only I knew how..."
TO BE CONTINUED
*****You might want to enlarge the photo to see more clearly the bow at Catherine's waist
Haven't posted in awhile as I've been being trained by my 6'10" Dom.
One of my forms of punishment was posting this series of photos of me wearing the ballet moccasins my Dom makes me wear around him in public in my bare feet.
In these series of private training photos my Dom is inspecting me under bright lights, making me do forced calf raises, and standing over me taunting and humiliating me for my lack of stature.
As instructed I am to release each one as he tells me so.
This is the first one called... Inspection time.
My Dom sits there laughing at me in the slippers while he calls me a fat little slipper slave. He taunts me to the point that I start crying.
More to come...