PRISCILLA'S FIRST CANING PART III free porn video

PRISCILLA'S FIRST CANING PART III
The Headmaster Speaks


Notes:
These sections reconstruct what we referred to at the end of Part II, in a slightly edited version, Dr. Stanton’s text, The Philosophy and Practice of Caning Young Women.

Readers, of course, may not be interested in Dr. Stanton’s curiously – perhaps bizarrely -- practical approach to his subject. The editors, however, feel that the variety of material to follow will make better sense if they can be viewed through the very distinctive lens of Dr. Stanton’s own concerns.

If this particular document (and the one to follow) seems rather like a scientific instructional manual, this is not surprising. It directly reflects Dr. Stanton’s situation and express intention, as well as his own peculiar nature.

It is evident that he caned a great many girls during his career. Attempting an estimate on the basis of what he writes here, and the unfortunately fragmentary remains of the detailed records he kept at the time, a likely average might be five girls a week while the school was in session over many years.

It is therefore not peculiar to find a highly developed interest in both the skills required in administering such punishments, and the specific characteristics of its target: the female bottom. Indeed, he plainly became obsessed by the latter; and seems to have lived and breathed it’s manifold attributes and delights.


In disentangling, identifying, sorting and presenting to select readers, the chest full of documents eventually discovered by a later relative of Dr. Stanton’s later (for these purposes she should remain anonymous), there are various and not entirely consistent options. Some of what can be presented will of necessity be in the nature of reconstructions of events based on a comparison of different sources referring to the same events. So it seems appropriate to reproduce more or less exactly such writings as come directly from Dr. Stanton. The reader for whom they have no interest may, of course, simply skip them.

Thus, begging the indulgence of such readers, we now turn to Dr. Stanton’s own words.



DISQUISITION ON THE CANE
By Dr. Stanton


A commitment to the education of our youth has long been one of the proudest principles of our nation. No one can doubt that, while, extending this commitment to our female youth has been a comparatively recent development, its importance has proved to be no less than the longer standing attention paid to our male youth. It is for this recent that this humble tract will concern itself only with a particular aspect of the education of females.

As with all education, it is first of all and doubtlessly universally agreed, that it is most desirably achieved through the example and benevolent guidance of wiser seniors; but that, second, it has also been ineluctably shown by experience that such wisdom is not invariably accepted by young women. It would be sad indeed were we to reject such youth when simply through its own lack of wisdom it seems to reject us, for wayward youth properly chastened can often mature into worthy adulthood.

Under this unfortunate but nevertheless common condition of waywardness, there can be no questioning of the fact that firm discipline must immediately be applied. Those responsible for this discipline are, in most cases, those in charge of the educational institution that the wayward female in question happens to be attending. This disciplinary task, however, is not usually the one for which these masters and mistresses have been trained. It is for this reason that I am composing this guide, drawing upon my lengthy experience in both the philosophical consideration and the skilled practice of such discipline.

I will address the treatment of girls and young ladies between the ages of 14 and 19, the ages with which my own experience has been most extensive. While 19 might seem rather too adult in the case of young men, experience has taught me that the fairer sex, while not as rough and unruly as the male, may yet benefit from a mature hand for slightly longer. The discipline upon which I shall expound will be limited to that of the cane administered across the bare bottom.

It has, again, been my experience that for the ages with which I am concerned the most effective discipline is the one that is most direct and least in doubt - in short, the most painful. It is often the custom, I am aware, for a variety of implements to be used in the chastisement of younger girls, from hair brushes to paddles, straps and even the martinet. The cane, however, I believe is by far the nobler instrument. It is certainly appropriate that a young lady of 14 entering upon the final phase of her education, should know that, if and when she is chastised by a master or mistress, then it will assuredly be with the cane.

At the conclusion of the educational process, in the unfortunate case of young women who have resisted all correction, if they realize that their behavior uncorrected will surely lead to the reformatory where an even more painful caning awaits the errant subject, then a particularly severe beating with a school cane may be sufficient to reform them in this last resort. It is possible that the birch might be claimed as an instrument as equally perfectly suited to the chastisement of young women, but it has unfortunately almost entirely dropped out of use, except on the Isle of Man, so I will not discuss it.

As a headmaster of some standing, with a long career in education, I have enjoyed many conversations about these matters with my fellow principals. I am therefore aware that I may be addressing readers with a variety of disposition and experience. I trust that even other experts in the practice of discipline may yet find something worthwhile in my humble offering, but I address more particularly those who have little or no experience and are therefore in serious need of guidance. There are some masters, I have realized with dismay, who have been so mesmerized by the increasing soft-headedness of our era that they are unable to understand the essential role of corporal punishment. To them I have nothing to say. I address only those who do understand its necessity, both men and women. I am acquainted with several headmistresses whose enlightened and skilled practice of such punishment is an example to us all.

However, and for obvious reasons, there is an aspect of the corporal punishment of young women that confronts the male agent of discipline differently from the female and it is an aspect that I consider to be of great importance. In these prefatory remarks, therefore, let me address those who may adhere to an intermediate category of correctional philosophy. This acknowledges that the infliction of pain on the posterior may be essential to our educational success but it has been so misled by the confusions of modern life as to believe that such chastisement can be separated from the view of authority.

There is, for example, the master who still believes that it is proper to cane a young woman, but only with her knickers - or even her skirt - still in place. I must emphasize my entire conviction that this is a serious misapprehension. To begin with, the administration of the cane has as its single and immediate purpose the causing of pain in the posterior. Only by achieving this can it also achieve its ultimate purpose, the correction of the miscreant's conduct. The modification of the pain to an appropriate level, either higher or a lower, should be made through skill in the administration and not through a frustration of the cane's inherent affection for the unprotected skin.

But it is not merely a matter of physical discomfort. If it were, then any other infliction of pain without permanent damage would achieve the same result. It is also and essentially a matter of humiliation in the presence of her superiors. It is necessary that the young woman being so punished accept beyond question that her own misconduct has inevitably subjected her to the eye of authority as well as to that authority's administration of a painful punishment.

The latter, of course, lies in the nature of the cane. The former, however, requires that the miscreant find herself subjected not just to the eye of authority but also to its gaze. When you punish, therefore, you must also observe without hindrance. It is part of your duty and should it also happen to give you pleasure, then that is simply a private and incidental benefit of the sort that may reward you in the discharge of any duty.

There are also some schoolmasters who cane across the bare posterior but who require that a female assistant manage the removal of garments. This is less misguided and in certain circumstances may even be helpful. Certainly, having a school nurse present at a caning is appropriate (I myself require this on specific occasions -- but it is of course essential that this observer approve of the practice of caning in general). However, subscribing to this practice should not obscure a much more profound matter, which is that the master, or mistress, who administers the cane must do so with full respect for both the immediate target and the entire person of whom that target is but a part. To this end, only through contemplation and subsequent recognition of the inherent qualities of the posterior itself, achievable only when that part of the anatomy is entirely revealed, can the proper attitude on the part of the person wielding the cane be established.

With these principles firmly established at the outset, let us proceed in more depth. The fundamental difference between, on the one hand, the benevolent enlightenment of youth by superior knowledge and estimable example and, on the other, the disciplining of wayward youth, may help us appreciate how attitudes arising in the former may be inappropriate when applied to the latter. I emphasize here that masters or mistresses responsible for the chastisement of one of their charges must discharge this responsibility with humility, rather than with the pride that usually accompanies superior and exemplary accomplishment.

The act of chastisement consists, most essentially and quite simply, in the effective impact of a cane across a posterior. The master administering this event should be the humble agent bringing cane and posterior together, obviously with due expertise in the wielding the cane and, perhaps less obviously, with due respect to the anatomy being punished. Naturally, accompanying this humble action there are many considerations, and these, indeed, are the point of my appropriately humble guide. But to let the cane do its appointed work upon the annointed posterior is the first principle.

My words below, therefore, will first address matters of the posterior, then the cane, then the disposition of the owner of the posterior, then the use of the cane, then some observations concerning the results, and finally some concluding reflections upon the matter as a whole.


This will follow in Section IV


THE FEMININE POSTERIOR

Before entering more deeply into this, the sine qua non of our disciplinary aim, and since any modest value I may claim for these remarks arises entirely from the experiences that have led me to this point, I make so bold as to begin with a now distant experience through which my own principles were formed.

I think my forthrightness in this endeavor will be demonstrated by the fact that this experience was not entirely to my credit, at least not in its opening. It led, however, to what I also claim with more pride to a profounder understanding of those democratic principles that I now firmly believe are not only a glory of our nation in general, but are also to be upheld even in the punishment room in particular.

When I was in a grammar school (the age, of course, when I learnt so clearly at the business end of the cane the value of a caning to the subject of the punishment), I had been complemented on my ability in drawing and hence briefly entertained an ambition to become an artist. In this situation, I was encouraged to learn to draw from Greek and Roman statues in the City Museum - it was, of course, out of the question that I would have been permitted to learn from a live artist's model.

In studying this noble statuary, I became deeply impressed with the respect that the ancients had paid to the human buttocks. Indeed, having been brought up with great propriety, the sight of other aspects of female anatomy to which the ancient masters had also - very surprisingly to me - paid close attention, caused me considerable discomfort.

My art master, who must, I think, have been inclined to depravity, disapproved of the vagueness in drawing with which I disguised my discomfort with female frontal anatomy, and soon discouraged me from proceeding in his profession. Before being thus rejected, however, I had taken every opportunity to study every available piece of statuary that revealed the naked buttocks, for there I was now convinced lay one of the noblest aspects of the human form, whether male or female.

In my researches, I discovered that the Ancient Greeks had indeed preceded us in this ideal, as in so many others. I discovered a statue called the Callipygian Venus, whose name signified directly the ideal of perfection in the buttocks that the Greeks ennobled in art. Searching for the meaning of her name, indeed, led me to extensive searches of dictionaries, a labor that eventually brought about my conversion to more literary scholarship (I will return to her below).

After the discouragement of my art masters, however, I forgot these interests. Much later, after being appointed a master at a school for girls, I was instructed in the normal course of events to cane a young woman infamous for her bad behavior. At the time, as a responsible master, I was quite insensitive to the particularity of feminine beauty and wiles, both of which she represented very well. But she was, I was thereby obliged to acknowledge to myself, rather comely in appearance and unashamed in her manner. I thus recollected my youthful interest in the Callipygian Venus. As a result, I became most unduly anxious to behold other examples of such Callipygian perfection - always necessarily under the cane.

This led - I am ashamed yet prepared to acknowledge -- to my temporary dismay when I realized that I was designating young ladies for punishment on the basis of their form as much as their misconduct. Subsequently, I am much happier to relate, I was able to redeem myself, when I both realized and demonstrated by my own actions that punishment should truly be democratic. All who deserve it should receive it in equal measure. As I pursued this enlightened path, thus earning the approval of my superiors and peers, I came to a complementary but more personal understanding. All bottoms - as I generally prefer to call them when they are presented for discipline - should be treated democratically.

The posterior is what it is, first of all, by virtue of its position in relation to the rest of human anatomy, in proportion to the whole body of which it is literally the seat. Thus have I punished every posterior that has come my way since, with equal attention to detail and respect for the whole corporal form that it serves. This does not mean, of course, that some posteriors are not more perfect in form than others and I will therefore presume such exemplary form to be the specific subject of my remarks.

With this understanding of the principles that should govern our practice, it might seem that I could now address more directly what is, of course, the fundament of our subject. Extended and careful cogitation, however, has convinced me the subject is more complex.

To start, I must appeal to the reader's mature and serious understanding. A certain frankness is appropriate in writing that is addressed to adults in serious matters and is especially necessary in the present case. I will attempt both particularity and propriety.

I shall first consider the phenomenon under discussion as the female posterior in general, rather than in particular as the bottom presented to a cane (to make a distinction in terms that I will justify below). In this latter case, of course, it is customarily seen as the most prominent aspect of a young lady who has been required to bend over.

But in our initial discussion this feature must be understood as it is obvious to all, even in the upright posture. This prominence that lies behind the hips and is such a marked aspect of the female form might seem at first thought to be simply an anatomical feature. On closer examination, however, we will come to realize that it also lies metaphorically at the core of various values in our society. It is for this reason that I must approach it more broadly than simply as the target of disciplinary action.

I believe it to be a common experience that the male person functions as a male in society with little attention being paid to any particularity of his shape (other than strictly private matters that we do not need to go into here). The identity and activity of the female, however, seems to be inextricably associated with public aspects of the distinctive female form.

This is a matter that we, as educators, cannot safely ignore. Speaking with appropriate frankness, therefore, we may say that her form, apart from a generally more tender and curvaceous appearance, has three essential aspects.

The first of these is that conspicuous lack of what, in private, distinguishes the male. I have read that a certain Mr. Sigmund Freud has been trying to make out this lack as a matter of more public significance but, be that as it may, we should put this aside for the moment, as invisible in the public domain (except for some recent and rather disreputable trends in women's garments).

The second aspect is that of her bosom. In schools, we can hardly ignore this. Often enough girls arrive with no sign of one, but leave with it prominently apparent. However, so indubitable is the function of the bosom as essential to the nourishment of human offspring, that we have no difficulty in accepting its well-covered presence as appropriate to the public image of the fair sex.

The third aspect is the posterior, which I believe to be a much more difficult and more ambiguous problem. Its prominence in the female form has often been emphasized by women's fashions, even as sometimes they might more properly wish to conceal it.

The original, evolutionary purpose of such prominence, however, is not clear. A rather excessive development of the gluteus maximus, together with some additional adipose deposit, or so I am informed by my science teachers, it seems unnecessary for the simple purposes of facilitating locomotion and providing a seat, judging by the less prominent but perfectly adequate anatomy of the male. I have also been told, by a staff member acquainted with the notions of anthropology, that the female prominence is thought to have evolved as an attraction to the male. While there seems to be some retrospective justification for this view, as suggested by the Callipygian tale (to which I will return below), and as perhaps confirmed by the noble traditions of our art, this nevertheless strikes me as not entirely adequate.


Surely Divine design must have had some loftier purpose? Pondering on this, I have come to believe that it is linked to another characteristic of the female that seems to have been equally innate and enduring. This is her characteristic waywardness (signalled, again, in the Callipygian tale). We must assume that this trait of feminine personality must have been included deliberately, if mysteriously, as part of our Divinity's great design for creation.

If this be so, then perhaps the prominent posterior was also included as the point at which correction would obviously and repeatedly need to be applied. For it is a fact, recognized by many, that even a severe beating applied to this portion of the female anatomy may be exceedingly painful yet will not cause lasting damage.

From this combination of circumstances, the tendency to dismay and the susceptibility to correction, arises much of the enduring charm of our young women. In this, I believe, the disciplinary activities of our great educational enterprise are justly fulfilling the ideals that were set out for us by Our Maker.

Although the actual caning of a female posterior is nowadays customarily an action that takes place in the privacy of a master's study, its significance would hardly be the same if it were not for the prominence of this posterior in the public sphere. Indeed, the fact that the Victorian age, which some would consider to have been more enlightened in some respects than our own, encouraged the practice of caning before the entire school assembly, might be taken as confirmation of this significance.

We may thus make distinction between the three social spheres of this anatomical presence. As it visible to, and as acknowledged by, society, we may call it the posterior. As celebrated by artists and as studied by the medical profession, it is known as the buttocks. As it is seen as the focus of disciplinary activities, we must call it the bottom. In paying it such close attention, we ourselves may come to realize that we are thus acting on behalf of several fundamental values in our society.

Since the sphere of art has been touched upon more than once, we should perhaps acknowledge it more specifically. Does it perhaps suggest some unexpected correlation between ourselves and the artists of our tradition, that we are both privileged to address ourselves rather frankly to this aspect of femininity in its unclothed state, a state that is otherwise deemed so private? I think we may do so, if we reserve for ourselves a moral high ground in such a comparison. The Greek tale behind the sculpture to which I have referred, none other than that of the Callipygian Venus, may be our guide. It tells how two maidens in Ancient Greece were arguing over which of them was blessed with the more perfect posterior. To settle their argument, they accosted an innocent young man whom they met on the road, turned their posteriors to him and lifted their dresses, thus exposing a choice between two claims to the highest perfection of a bottom.


The events became the origin of the efforts of countless artists to reproduce a perfection of buttocks. But it should also appear to us as a moral tale, for how guilty were those two maidens to expose themselves so shamelessly and thus endanger the innocence of the young man? In this, they were certainly worthy of a chastisement across the bottoms of which they were so proud - and one may hope that they received it, although history does not relate. I believe that the wisdom of this tale lies in telling us that an appreciation of the attractiveness of that which discipline requires should be exposed to us, is therefore appropriate to our duty. One might go even further to say that the results of a properly administered beating may themselves then be seen as an artistic effect imprinted on what is presented to us as a canvas for the cane, when this implement is rightly understood as an instrument of art.

The artist, of course needs only the powers of his observation and the skills of his eyes in his representation of the female posterior. But even the average man has little trouble in judging the success. As merely literary scholars we are entirely dependent on words. The significance of this restriction is that we must depend for more on our powers of analysis. So let us proceed on this basis.

So fundamental are the truths confronting us when presented with a female bottom bared for punishment, that we might even wax philosophical and ask what it is indeed that we are privileged to observe. My answer is,odd though it might sound at first, is that we see the miscreant face of the young woman. By erring in her conduct and thus being summoned to the place of punishment, she has for these moments deprived herself of her right to the face that she would normally present to us and with the beauty of which she could so easily beguile us.

In this situation she is instead obliged to offer us another face, the face that knows the language of the cane, her bottom. It has a beauty of its own, possessing all the symmetry of her public face. It cannot see but it is itself seen. Instead of the eyes, nose and mouth in the sun of her normal countenance, it has the smooth globes of a cleft moon. Instead of a voice that arises in her mind and speaks to our ears, its silence entreats the affection of the cane, and it even offers to alert eyes and minds an entrance into the depths of her womanhood.

Since it is indeed the thoughtless waywardness of womanhood that has infected her conduct and caused her thus to bend over before us, what could be more appropriate than to address this face in the language for which it was designed, the cane, and to do so knowing that its effects will touch her nerves in such close proximity to her inmost waywardness?

We now approach a point where delicate matters must be broached, since addressing the realities of the female bottom in the flesh becomes necessary to our disquisition, just as they confront the master who, holding the cane in his hand, is about to administer punishment. I must again urge my readers to acknowledge that adults (especially educators) must address adult matters in a frank manner and hope that they will recognize the benefit that lengthy experience and deep thought may bring to them.

My subject thus becomes, at this point, the female posterior as it is about to be bent over and bared to our eyes. In the moment, that is, when it becomes a bottom. I will approach it, appropriately, as it appears in a young woman who is still standing. In this position we perceive it as but one aspect, even a particularly perfect aspect, of her female form in its entirety. But the two aspects presented by the Callipygian tale are correspondingly to be seen in the two prospects that confront the master and his cane, even as the errant young lady is still upright. The one aspect is delineated by the swelling prominence of the bottom as viewed from the side, the position from which the cane will be administered. The other is circumscribed by the symmetrical spheres of her cheeks as viewed from behind, the position from which the effects of the caning may be contemplated, and even admired.

These two aspects, like the twinned globes of the bottom itself, must in the end be united in thought even if distinguished in deed. If we proceed thoughtfully rather than thoughtlessly, we will discover repeatedly that our mental duty is always to bring together what might so easily be left apart. When, in continuing, the young lady is required to bend over, the prospects will of course change in significant ways (and we shall address these later), but a master of the cane will always view the bottom bent over as an aspect of the bottom upright, just as he will be able to see in the upright bottom the possibility of that proffered aspect.

The bottom as viewed from the side offers one of the most perfect adaptions of the complex parabola that nature has designed, as it arises first gently from the waist, swells more rapidly to fullness at its crown, and finally turns sharply back in to meet the tops of the thigh. When bared as the most prominent aspect of a miscreant who has been required to disrobe completely, then it acquires a further charm as balancing the matching prominence of her bosom. Its position in her body tells clearly of its central importance and it is at a height that is obviously appropriate to the administration of the cane. Its very form seems designed to tell us at once where the center of our target will lie and also that it possesses the firmness, resilience and depth to absorb safely the impact of the cane.

The view of the bottom from the position in which the cane is wielded is not, of course, entirely deprived of a broader perspective. But one must move to a position directly behind the miscreant to appreciate the fullness of its perfection. This perfection also arises in her waist, as the descending curves of her body expand into an entirely symmetrical fullness of the hips and as this expansion swells into fullness at the crown of her bottom. It is to be observed that the more perfect of these symmetries is achieved when the widest part of her hips is exactly at the same level as the crown of her bottom.

I have never considered it either necessary or appropriate to consider the bottom in terms of the measurements that are so vulgarly bandied about in public admiration of the female figure, preferring to rely on the aesthetic judgment conveyed by study of art. My impression, however, is that a proportion between waist and hips of about two-to-three is particularly satisfying.

But it is also to be observed that there is variation within such perfection. Indeed, I have heard it said that every young woman can be recognized by her bottom alone. Those who are familiar with the designing of female garments refer, I believe, to the apple and the pear. Indeed, I have often noted that a bottom that springs more sharply from the waist often swells and diminishes more symmetrically and somewhat higher, is associated with longer legs and is clearly somewhat apple-shaped. Correspondingly, a bottom that swells more gradually also tends to expand more fully and then to curve back more sharply into the thigh. Such a bottom is clearly more pear-shaped. They both have their particular perfection, although the apple-bottom tends to be more firm and the pear bottom more full. Such differences will, of course, be sensible to the cane itself.

What our description so far has omitted is the form that becomes the bottom's most salient feature as soon as it bared, rather than simply as it shapes the garments that normally hide it. This feature, of course, is the cleaving of the buttocks that is at once so characteristic of its form and so charming to the eye. A fine bottom will always be deeply cleft. It is to this feature that my attention has often been drawn and I will do my best to do justice to my many opportunities for such observations.

My extensive contemplation has, indeed, led me to the belief that in this cleavage arises what one might even venture to call the philosophical nature of the bottom. Allow me to explain: as the female bottom swells from below the waist and finally parts into the legs, it embodies the primal division of one into two or, in the opposite direction, unity arising out of division. The form of many a****ls, of course, might be claimed to do the same. In the human female form, however, there is not only that quality of perfection that has been so celebrated in our arts, there is also a withdrawal into its invisible depths of those physiological functions and their anatomical forms, that are so crudely displayed in the a****l world.

In the human female, we discern a modest discretion in outward form by virtue of which these functions become mysteriously ennobled within. This, surely, is emblematic of the very existence of humanity. We may further observe this quality in the fineness of detail with which our Creator, the greatest of artists, has delineated this very center of the bottom's being. It is therefore to be frankly admired how, at the lower curves of the bottom cheeks, a remarkable transformation occurs.

Many of the more mature female bottoms I have observed show a further elegant symmetry in the symmetrical creases that mark the junction of bottom cheek with thighs. They are often visible only when the young woman is upright and this is one of the many reasons that you should first carefully observe the bared bottom in this position. They mark the lower edge of the bottom with particular clarity and observation of them at this stage will help you understand the form of her bottom when she is bending over.

These creases are also aesthetically pleasing, for when they are present then the line of the cleft, dark between the pressing cheeks, seeks to join their convergence in the most pleasing center of these symmetrical surfaces and lines. At this conjunction, however, the clear lines of cleft and creases suddenly dissolve into a delicate uncertainty, before the line of the cleft divides and the creases at the base of the cheeks recover themselves. In doing so, they plunge deep in consort between the thighs

My early practice in drawing the classical nude trained me well in observing and appreciating these subtleties of form. There, in these vanishing folds, lie the secret and the mystery, both in particular of the young woman, who is about to bend over before us, and also in general of the human race, for whose benefit our disciplinary duty is about to be discharged.

I trust the reader will forgive me for having dilated at such length on these matters. Their outward manifestation will inevitably confront you, in the dispensation of corporal punishment. I urge you, thus, to confront them frankly and take them into your just purview and consideration, as indeed a gentleman of education should. Only in doing so will you come to understand in its fullness what the caning of the female signifies. Having expressed this to the best of my humble ability, I will now proceed to other subjects that necessarily follow.


Editor’s Note
These will appear in the following sections.