Pillows by Rowena Sartin

Sartin

Ebony thot deepthroat wet PervCity Young MILF Ass Fucked Lovable brunette girlie Kacy Lane brought to orgasm Horny lesbos fill up their huge fannys with cream and squirt it out Latina masseuse blows delivery guy by accident Pussy Fingering And Arousing Session For Herself Alone Jerking off with a Sexy Omegle Polish Webcam Babe Creampied ebony pussy needs cuckold cleanup POV Amateur Training Throat Barrier Young Tiny Teen Step Daughter Violet Rain Masturbates While Watching Porn With Step Dad And Jerking Him Off

Dylan Sartin

Tuesday Tunes 126: Ten

Tuesday Tunes 126: Ten

This week’s theme is one of the hardest I’ve ever set myself, but I chose it for a good reason. Thursday will be my elder daughter and son-in-law’s tenth wedding anniversary, and I wanted to mark the occasion. But how many songs do you know with ten in their title? So I decided that I would use the theme but fall back on my usual cheat mode of including songs from bands with ten in their name. My…

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Shrewd Simon Short sewed shoes. Seventeen summers, speeding storms, spreading sunshine successively, saw Simon’s small, shabby shop, still standing staunch, saw Simon’s selfsame squeaking sign still swinging silently specifying: Simon Short, Smithfield’s sole surviving shoemaker. Shoes sewed soles super finely.

Simon’s spry, sedulous spouse, Sally Short, sewed shirts, stitched sheets, stuffed sofas. Simon’s six stout sons — Seth, Samuel, Stephen, Saul, Silas, Shadrach – sold sundries. Sober Seth sold sugar, spices; simple Sam sold saddles, stirrups, screws; sagacious Stephen sold silks, satins, shawls; sceptical Saul sold silver salvers; selfish Shadrach sold salves, shoestrings, stops, saws, skates; slack Silas sold Sally Short’s stuffed sofas.

Some seven summers since, Simon’s second son Samuel saw Sophia Sophronia Spriggs somewhere. Sweet, smart, sensible Sophia Sophronia Spriggs. Sam soon showed strong symptoms. Sam seldom stayed storing, selling saddles. Sam sighed sorrowfully, sought Sophia Sophronia’s society, sang several serenades slyly. Simon stormed, scolded severely, said Sam seemed so silly singing such shameful, senseless songs. ‘Strange Sam should slight such splendid sales! Strutting spendthrift! Shattered-brained simpleton.’

‘Softly, softly, sire,’ said Sally. ‘Sam’s smitten; Sam’s spied some sweetheart.’

‘Sentimental schoolboy!’ snarled Simon. ‘Smitten! Stop such stuff.’ Simon sent Sally’s snuffbox spinning, seized Sally’s scissors, smashed Sally’s spectacles, scattering several spools. ‘Sneaking scoundrel! Sam’s shocking silliness shall surcease!’ Scowling, Simon stopped speaking, started swiftly shopward.

Sally sighed sadly. Summoning Sam, she spoke sweet sympathy. ‘Sam,’ said she, ‘Sire seems singularly snappy; so, solicit, sue, secure Sophronia speedily, Sam.’

‘So soon? So soon?’ said Sam, standing stock-still.

‘So soon, surely,’ said Sally, smiling, ‘specially since Sire shows such spirits.’

So Sam, somewhat scared, sauntered slowly. Shaking stupendously, Sam soliloquised: ‘Sophia Sophronia Spriggs, Spriggs — Short — Sophia Sophronia Short-Samuel Short’s spouse — sounds splendid! Suppose she should say — she shan’t — she shan’t!’

Soon Sam spied Sophia starching shirts, singing softly. Seeing Sam she stopped starching, saluting Sam smilingly. Sam stammered shockingly. ‘Spl-spl-splendid summer season, Sophia.’

‘Selling saddles still, Sam?’

‘Sar-sar-tin,’ said Sam, starting suddenly. ‘Season’s somewhat sudoriflc,’ said Sam, steadily, staunching streaming sweat, shaking sensibly.

‘Sartin,’ said Sophia, smiling significantly. ‘Sip some sweet sherbet, Sam.’ (Silence: sixty seconds.) ‘Sire shot sixty sheldrakes, Saturday,’ said Sophia.

‘Sixty? Shoot!’ said Sam. (Silence: seventy-seven seconds.)

‘See sister Susan’s sunflowers,’ said Sophia, socially, silencing such stiff silence.

Sophia’s sprightly sauciness stimulated Sam strangely; so Sam suddenly spoke sentimentally: ‘Sophia, Susan’s sunflowers seem saying Samuel Short, Sophia Sophronia Spriggs stroll serenely, seek some sequestered spot, some sylvan shade. Sparkling springs shall sing soul stirring strains; sweet songsters shall silence secret sighings; super-angelic sylphs shall —’

Sophia snickered; so Sam stopped. ‘Sophia,’ said Sam, solemnly. ‘Sam,’ said Sophia.

‘Sophia, stop smiling; Sam Short’s sincere. Sam’s seeking some sweet spouse, Sophia.’

Sophia stood silent.

‘Speak, Sophia, speak; such suspense speculates sorrow.’ ‘Seek, sire, Sam, seek sire.’

So Sam sought sire Spriggs. Sire Spriggs said, ‘Sartin.’

(I did not write this I googled long tongue twisters)

I'm not reading all that. My apologies, I...

Wait a minute, you were the one to sic van Zieks on me the other day, weren't you?

I see. You're making fun of me. Well. What if I were to assert that I just spoke aloud your entire message perfectly? If you want to claim I'm lying, the burden of proof is on you, my learned friend. I'd like to see what sort of evidence you can conjure up to the contrary.

Or you could give up and acknowledge my superior elocution.

Is there evidence or do we know if it was considered common knowledge during his lifetime that Danton was a “womanizer” or frequently cheated on his wife? I’m just wondering how much that was a modern or even Thermidorian invention. Thanks!

I personally only know of two instances of Danton cheating (or perhaps attempting to cheat would be a more fitting description, since he was rejected in both cases) on his wife. One took place in 1793 and was reported in the memoirs of Élisabeth Lebas. 

One day, among others, [Madame Panis] took me to Sèvres, to a country house inhabited by Danton. I had never seen him; but great God! How ugly he was! We found him with a lot of people, walking in a very beautiful garden. He came to us and asked Mme Panis who I was; she replied that I was one of Robespierre’s host’s daughters. He told her I appeared to be suffering, that I needed a good friend, that this would return me to health. He had the sort of repulsive features that frighten one. He came up to me, wanted to take my waist and kiss me (m’embrasser). I repulsed him forcefully, though I was still quite weak. I was very young; but his face scared me so much that I pleaded insistently with Mme Panis not to bring me back to that house; I told her that this man had said horrible things to me, such as I had never heard. He had no respect for women, and still less for young people. Madame Panis seemed to regret having taken me to that house and told me that she did not know that man under that report; she assured me that we would not return to his house and then told me that he was Danton; she urged me not to speak to my mother of what had happened, because it could cause her pain, and she would no longer want to let me come to see her. I admit that this recommendation was not pleasing to me, for our good mother had raised us in the habit of never hiding anything from her.

The second report comes from Lucile Desmoulins, who in a diary entry from December 12 1792 writes that Danton at some point in the fall had started making some kind of moves on her, but that she eventually got him to stop:

After eight days D(anton) went to stay at the Chabcellerie, madame R(obert) and I went there in our turn. I really liked it there, but only one thing bothered me, it was Fréron. Every day I saw new progress and didn't know what to do about it. I consulted Maman, she approved of my plan to banter and joke about it, and that was the wisest thing to do. Because what to do? Forbid him to come? He and C(amille) dealt with each other every day, we would meet. To tell him to be more circumspect was to confess that I knew everything and that I did not disapprove of him; an explanation would have been needed. I therefore thought myself very prudent to receive him with friendship and reserve as usual, and I see now that I have done well. Soon he left to go on a mission. I was very happy with it, I thought it would change him. But many other cares to be taken… I realized that D(anton)… Oh, of that one, I was suspicious! I had to fear the eyes of his wife with whom I did not want to become an enemy. I did so well that the former did not realize that I had noticed it, and the latter that it might be happening.

Other than that, I’ve found the following four pieces, which, while not involving any cheating, does paint Danton as a kind of womanizer. The first is an anecdote from the memoirs of the Sainte-Amaranthe family:

”They are graver in there than we are,” observed M. de Morand , pointing to the room where the Dantonist party was. We left our room to go to the Français. Pamela was acted. Some moments after our entrance a box opposite to us was opened. ”There is Danton,” cried M. de Pressac. ”He pursues us,” added Madame de Sainte-Amaranthe. Between the acts the fancy took her to look at him closer. ”Will you come with me, dear?” she said to me. ”The box next to his is vacant. Let us go there. Will you come, Amélie?” ”Oh! I shall remain here,” replied M. de Sartines; ”when I want to see wild beasts , I can go to the Jardin du Roi.” M. de Pressac came with us; he assured us, laughing, that Danton would be flattered if he knew the reason of our moving. ”Yes,” replied my companion , he will think he has rallied all parties round him when he sees a royalist and a Girondin hovering about him.” Having stayed half through an act in Danton's neighbourhood, she said to me: ”I have had enough; have you?” ”I have had too much,” I answered. Turning to our companion, she said aloud: ”Our first box was decidedly better; let us go back to it.” These words were intended to remove any idea of our appearance near Danton being intentional, for he and his friends had naturally looked at two well-dressed women. This, I swear, is the only connexion which ever existed between the family of Sainte-Amaranthe and Danton; they dined on the same day at Rose's restaurant, in totally separate rooms.

In the notes the jury member Topino-Lebrun left of the dantonist trial, we also find the following passage:

Danton, in the chamber of the accused — Me a conspirator? I b(aise) (kiss, fuck, caress etc) my wife every day. My name is attached to all the revolutionary institutions: the levy, the revolutionary army, the revolutionary committee, and I am a moderate!

Then there’s the following notes written by Robespierre in 1794:

When I showed to Danton the system of calumny of Roland and of the Brissotins, promoted in all the public writings, Danton answered me: “What do I care! Public opinion is a whore, posterity is a folly!” 

The word virtue made Danton laugh; he didn’t have a more solid virtue, he said jokingly, than the one which he practised every night with his wife. How could a man, to whom every idea of morality was foreign, be the defender of liberty?

And finally, on January 22 1792, Lucile similarily writes in her diary: ”[Danton’s] jokes are as boorish (rustres) as he is. Despite this, he is a good devil.”

Given these statements, it would appear Danton was at least known for cracking sexual jokes to contemporaries. If he was a notorious cheater is however a claim I had less luck finding sources for, as had Hillaire Beloc who in his Danton (1899) wrote that there exists absolutely no evidence for the idea:

As to his private life, affection dominated him. Upon the faith of some who did not know him he acquired the character of a debauchee. For the support of this view there is not a tittle of direct evidence. He certainly loved those pleasures of the senses which Robespierre refused, and which Roland was unable to enjoy; but that his good dinners were orgies or of any illegitimate loves (once he had married the woman to whom he was so devotedly attached) there is no shadow of proof.

I think the question certainly deserves to be investigated, given the fact that the idea is actually quite a common one. On Gabrielle Danton’s wikipedia there even is to read that her husband begged her corpse for forgiveness for his many love affairs after digging it up… Would be interesting to learn how much of all this is fiction and how much is fact.

"this is cinema" - Sartin Morcese on the Dad AU

chis is tinema*

Rowena Sartin 3 Layer Pillow — iko iko

#BARS Mixtape Musical Medley Vol. 1

#BARS is a Rap for Musical Theater workshop in NYC. The BARS MEDLEY is a final project of our first 6-session series, and this is Volume 1.

Some of our students are professional actors, some are performing for the very first time. Visit BARSworkshopNYC.com for more information.

#BARS Created by Rafael Casal & Daveed Diggs.

Film Directed by Carlos Lopez Estrada.

VOL 1 CAST (in order of appearance) Rafael Casal, Daveed Diggs, Sarah Kay, Virginia Cavaliere, Jared Dixon, Perry Young, Sofia Snow, Danny Bevins, Dhyvia Arumugham, Ashley August, Lindsay Meck, Jeremy Sartin, Jon Viktor Corpuz, Nate Lombardi.

COMPOSED BY Samora Pinderhughes Erica Telisnor.

ADDITIONAL ACCOMPANIMENT BASS – Rashaan Carter.

PERCUSSION - Kush Abadey.

catching up on Whale Weekly and I'm. How does one balance the teeth grindingly apalling phonetic accent with how lyrical this is.

"You is sharks, sartin; but if you gobern de shark in you, why den you be angel; for all angel is not’ing more dan de shark well goberned."

like. That's so much.

Madame Putiphar Readalong. Book Two, Chapter XVIII:

Themes in this chapter, some new, some recurring:

Women.

False friendships

Common folk adopting the views and mentality of the authorities that oppress them

Explicit critique of Honour as a masque of masculinity

Debby’s almost supernatural perceptiveness

Francesco Hayez' study and oil painting Accusa segreta from his Vendetta triptych

This chapter is all about Patrick and Deborah not communicating verbally. They have to recur to guessing each other’s (bad) moods from their expressions and attitudes since hiding the bad stuff is a habit for them. If they had been more open, they might have been safer from the immense threats closing in all around them, and they would have found comfort in each other’s love. As @counterwiddershins observed, this silence is what endangers them the most. And this chapter will display how the lovers keep trying to protect each other by not being wholly sincere.

Debby is still visibly distressed from Villepastour’s attack. Patrick finally gets back home (from being detained in a cell for the night by Villepastour) and he worries about her once he sets his eyes on her, despite her remaining silent. She won’t talk about what happened to her, since she is afraid of how he’d react. She chooses to keep the fact that a powerful man is set on raping her, has gone as far as to break into their house, to herself. She fears Patrick’s tendency to terror and rage, and fears to cause him anguish. She even suspects Patrick might get jealous. This is not the first time Debby has chosen to stay silent when being subjected to sexual aggression. She fears causing a scene and having church goers/the neighbours think she is the provocateuse, now she fears Patrick having an emotional reaction that will be harmful to him... Debby lives in fear of what others will think of her, of hurting her love. She puts her own feelings and safety well behind those other worries.

Borel inserts a rather silly line about how frivolous women are guilty of making their lovers jealous on purpose/when it’s appropriate to make a lover jealous (aka: never when a lover has Patrick’s passionate temperament) but Debby would never, because she is literally, not like the other girls.

This talk of jealousy seems out of place here... surely once again Debby is wrong -like when she has suspected Patrick had been the one stabbing her, instead of Chris- in assuming Patrick would be jealous of Villepastour? (jealousy might be mixed in a spontaneous reaction, but surely there are graver things at stake here??) We have seen Patrick speak explicitly against stereotypical macho behaviour. Either Debby knows things about him the reader does not, or more plausibly, the trauma from her long exposure to the violence of her father has made her secretly expect similar behaviour from any man.

(I literally don’t know what to do with these common sense rubbish, madonna/whore complex statements. Knowing how Borel frequently pretends to espouse ideas he will later contradict, it’s tempting to think he is playing with the reader once more, but so far there’s no indication that he is doing that. There’s a clear line drawn by him between Debby and the women of the court who use their sexuality for their social ascent, for example. The women of the court are all lumped together and there’s no distinction made between them.)

Then Patrick reveals Fitz-Harris has been arrested for composing songs against la Pompadour. In the heat of the moment Debbie reacts with joy at his arrest. Because she “instinctively” dislikes him, and because she thinks this is as case of fuck around and see what happens. She implicitly agrees that it’s good for Fitz-Harris to become a victim of censorship of the state/arrested sans trial by Sartine for composing a satirical song against Mme P. (she repents when Patrick tells her there’s no way of knowing if he’d ever be released)

Patrick is disgusted at how the other soldiers take the side of the authorities. Even the guys who were Fitz-Harris’ former “friends” when he was free. We see here the recurring theme of false friendships -an evil only the confort of the grave can make humanity immune from, as the prologue poem pointed out. Another recurring theme that is shown through this situation, is the common folk taking the side of their oppressors. We had seen this before in Tralee, with the Irish high and middle classes, attending the trials of their fellow countrymen -some of which were revolutionaries fighting for freedom from imperial England-taking the side of the English and enjoying the day wearing their Sunday’s best as if it were a parade. (Patrick also reveals the men used to sing vulgar songs against Pompadour themselves,,, afer Harris' arrest, they talk of her as if they always respected her)(Patrick says the men are taking revenge against Harris’ envious nature... but I’d say it’s worse than that, it’s more than that too. They’re taking the side of the powerful against a peer who’s a victim of power abuse, no matter how petty and idiotic he was. They are defending the right of a tyranny to incarcerate without the due process, anyone who speaks against any member of the court)

Patrick proceeds to critique the notion of honour explicitly this time (he did implicitly when refusing Fitz-Harris’ duel challenge) Honour, understood as the soldiers do, is, as it was for Villepastour, a patina a soldier or a nobleman wears, an empty word, a destructive force too, mere macho posturing: once a bro’s reputation is damaged, there is no law of honour binding them to the fallen man:

“These gentlemen, who have made a law out of avenging themselves with swords, avenge themselves with their tongues quite a lot too. These gentlemen, who have made a law of honour out of seeking to end anybody’s life, even a friend’s, were they to offend them by accident, have not, as it appears, a law of honour to not crush an absent man, and to not strike a stricken man. Not one has expressed regret, not one had the slightest laudable thought in his favour. Cursed be the man who has only befriended people who fear him for his arm and tongue! If he falls they would applaud. The lumberjacks have barely chopped down an oak tree under which the fearful cattle used to hide at the slightest storm, that it immediately runs to graze and destroy the branches that had so often lent it a generous shade.”

(excerpt from @sainteverge ‘s translation) 

These last words fill Debby with both pride and trepidation. She cannot let Patrick risk himself for an unworthy man.

However, strangely, they both believe he CAN rescue him. They think that if he explains to Pompadour why she has acted wrongly/or, why someone acted wrongly on her behalf without her being aware, she will understand and rectify the harm. Debby only doesn't want him to because she thinks it’s not worthy, because Harris doesn’t deserve it and in his place would never do the same for him. Neither of them thinks this could be dangerous for Patrick, and futile really... I am sorry to say they should know better by now. They are intimately aware of the power the nobles wield -they have had the examples of Cockermouth, Villepastour, even the libertine Bishop who has helped Patrick’s social ascent-... but they are naif enough to think mme P might be secretly a kind lady....

Debby also sums up Fitz-Harris' character, calls him a treacherous man, a betrayer of his brothers. Patrick doesn't contradict her. Her evaluation is so accurate he wonders if she knows/has heard about what happened between him and Harris. She hasn’t. Patrick was ready to believe she had supernatural powers, she thinks it’s the sensitivity and frailty of her body which enables her clairvoyance, she responds to sensitive vibrations (it’s interesting how neither of them justify this “second sight” via her being intelligent and observant, is the idea of “female intuition” lurking behind this?)

📸 MacKenzie Sartin

Dylan Sartin

"Pestilence and mutiny

Cast them adrift

Upon an apathetic sea." - from Christopher Sartin's Adrift (Upon a Sea of Apathy), featured in SAND, SALT, BLOOD which releases on 1st July! Grab a copy via our website at sliceduppress.com/books

I know I just posted another version of this one, but here’s the late, great Paul Sartin singing it.