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‘Spanking Cupid’ and ‘Spanking and Masturbation’

In a previous blog post (back in November 2021) I quoted a section from ‘Two Flappers in Paris’, written by an anonymous author in the 1920s, under the title ‘The whipping Room’. In that post, the author relates how two young ladies are introduced to the delights of having their petite derrieres whipped with a birch and martinet. Today, I thought that I would quote from an earlier chapter of the book in which the two ladies watch a short film in which a teenage boy is spanked in an erotic manner by a young lady teacher. For those of you who prefer to focus solely on young ladies being spanked, I would suggest that you stop reading this entry now if this doesn’t appeal to you!

I have now tracked down the name of the artist who did the coloured illustrations I used in the previous extract – a certain Sophie Alexander. They were produced for a modern edition of the novel published in 2003 by the Erotic Print Society. Her artwork adopts the 1920s style of erotic printwork with its elaborate black and white art nouveau patterned borders.

Anyway, back to the next extract. ‘Uncle’ Jack takes the two girls (Evelyn and Nora) to a high class brothel to further their ‘education in the ways of love’. On arrival they meet the owner, a ‘Madame R’, who shows them into her living room whilst she makes arrangements for their ‘entertainment’ and ‘education’.

‘‘As had been arranged we were received by Madame R, who showed us into her private sitting-room. There was nothing to give a hint to my ‘nieces’ as to the occupation of the lady of the house.”

Whilst they are waiting, one of the girls, Nora, discovers an interesting engraving on the wall:

‘‘Evelyn clapped her hands with pleasure, but Nora, who had got up from her chair and was making an inspection of the room, called out to us and beckoned us to approach.

She was examining a fine eighteenth-century engraving which bore this delightful title ‘The Whipping of Cupid’.

The artist had represented the chubby, well-developed boy half-lying across the divine knees of his mother, Venus, who, with a bunch of roses instead of a rod, was applying to his bottom the charming punishment.

The two girls examined the picture, blushing scarlet.

‘This is symbolical,’ I said. ‘Love is often whipped!’

‘Oh,’ said Evelyn, ‘but why?’

‘Well, you will know later on! The birch, nicely applied by a skilful hand, is the most delightful caress, don’t forget that!”

Venus spanking her son Cupid when he misbehaves seems to have been a favourite subject for many c18 artists and sculptors as in the following examples:

Anyway, enough about Venus and Cupid! Let’s get back to Evelyn and Nora, our two young flappers!

Madame R returns to the drawing room announcing that she has laid on some ‘entertainment’ in the form of two pornographic films. The first shows a young schoolmistress, called ‘Miss Barbara’, spanking a young boy, called ‘Billy’. He has spilt some ink on the teacher’s desk and has drawn a caricature of her on the blackboard. As she spanks him, the two girls get their first ever sight of a fully erect male penis. The teacher appears to be offended by his arousal and proceeds to masturbate him with one hand, whilst she continues to spank him with her other hand.

“If you will be so good as to follow me,’ she said, ‘I will show you the cinema-room. I have arranged a little entertainment for you.’
We got up and followed her. The room was small but comfortably furnished. Facing the stage, or rather the screen, were five boxes, the partitions of which nearly reached to the ceiling. In the one that we entered were three chairs and, behind them, a small sofa. We took our places on the chairs, I of course sitting in the centre, and Madame left us, saying as she retired: ‘If you require me, touch the bell and I will be with you in a moment.’

Then we were left alone.

Suddenly words appeared on the screen and we read:

Before the representation of The Devil in Hell, we present a slight sketch entitled ‘Miss Barbara, Schoolmistress’

And at once this first film, which I had not been expecting, was set in motion.

The picture represented a classroom fitted up in the usual way with a teacher’s desk, blackboard, maps and pupils’ desks, etc. One of these desks was occupied by a nice-looking, well-made boy of about fifteen. At first he was writing but suddenly he rose from his place and made for the teacher’s desk where he immediately proceeded to upset the inkstand, he then went to the blackboard and, with a piece of chalk, drew a ludicrous head of a woman with a huge chignon and large goggle eye-glasses. Having done this he resumed his seat and a moment later the door opened and Miss Barbara, schoolmistress, sailed into the room. She was a fine young woman of about thirty, with a learned and severe expression. She soon discovered the condition of her desk and the drawing on the blackboard. Examining the boy’s fingers she found direct evidence that he was the culprit. An inscription appeared on the screen:

‘So you have been up to your tricks again, Billy! Very well, sir, I shall have to give you another whipping. Prepare yourself!’

She came up to Billy and took him by the hand; then she drew him towards the open part of the room, that is to say towards the spectators, and having removed his coat, proceeded to unbutton and let down his trousers. Having slipped them down to his knees, she tucked his shirt in under his waistcoat both behind and in front, thus completely exposing the boy from the waist to the knees. She then, with her left arm, bent him over and with her right hand began to smack his bottom soundly. It was a most amusing sight to see the boy wriggle and dance under the smarting blows that he was receiving but what raised the emotion of my two little friends to the highest point was the sight of Billy’s tool in a full state of erection, which could be plainly seen when, in his struggles, he was turned towards us.

Each of the girls had seized one of my hands and was squeezing it hard. I could feel that they were highly excited and all their nerves were on the stretch, and Evelyn whispered to me: ‘It’s not a bit like it is on the statues now!. . . ‘

Miss Barbara paused in her exertions and seemed to become aware, with a well-feigned indignation, of Billy’s disgracefully indecent condition.
First she pointed with apparent horror at the offending instrument, then she took it in her hand and began to move the soft skin up and down; then the film, changing suddenly, showed only the hand, very much enlarged, working the skin up and down, and covering and uncovering the well-defined head.

Evelyn and Nora, as the picture changed, uttered a little cry and gripped my hands still more tightly, and Nora asked me softly: ‘Is she punishing him in doing that, Uncle Jack?’

‘It is a punishment which is really a caress,’ I said, ‘and it acts through the feeling of shame, and the effect which it has on Billy’s modesty.’

‘Oh!’ sighed Evelyn, ‘how I should love to punish a naughty boy like that!’
Her looks were bathed in voluptuousness and Nora was in the same condition.

‘Yes,’ said I, ‘but you would have to spank him first!’

‘So much the better! I should like to do that too!’

Then the film returned to its normal size and Miss Barbara began to belabour her young pupil again, at the same time passing her left hand well round his waist and taking a firm hold of his well-developed young prick. At last the spanking was over, Billy received his pardon with a warm kiss from his mistress, they left the room together, the film was cut off and the light turned on in the room . . . My two ‘nieces’ at the same moment heaved a great sigh of satisfaction.

Well,’ said I, ‘did that interest you?

‘
‘Oh! yes,’ said Evelyn, and Nora agreed. ‘I had never seen that.. that thing in that condition, I had no idea that it was made like that. Was Miss Barbara hurting Billy when she rubbed his thing like that?’

‘Certainly not,’ I answered, ‘quite the contrary! And I am quite certain that he would gladly have received another thrashing on condition of being treated in the same way after it.’

Nora, blushing delightfully, murmured: ‘Uncle Jack, shall we be able to see that. . . thing. . . really? A real live one, I mean?’

‘If you are very good girls perhaps I shall be able to let you see a real live one! That thing as you call it is called a “prick”, but you must never pronounce that word in public. You must not even speak of the thing. It is enough to know about it and to think about it. Between us, you darlings, let me tell you that that thing is capable of giving girls the greatest pleasure that it is possible for them to experience.’

‘Oh! I can quite believe that!’ said Evelyn. ‘How delightful it must be to touch it, to stroke it, and to fondle it as Miss Barbara was doing!

‘
‘Quite right, Evelyn, but the pleasure which you would feel in doing that is not to be compared with the other, the true, the supreme pleasure, which results from the introduction and movements of the prick in. . . in. . . ‘

‘In what, Uncle Jack?’ asked Nora tenderly.

‘In what corresponds in you girls to what we men have; you know what I mean!. . . Come now don’t you?’

‘Oh,’ sighed Evelyn looking sweetly confused; ‘do you mean in. . . in the little crack. . . ‘

‘Just so, Evelyn. This little crack is the entrance to the sheath which nature has provided in women to receive the “prick” of man.’ “

In passing, this episode reminds me of an engraving from a book entitled ‘Les jeux du plaisir et de la volupté par une femme du Monde’ (The games of pleasure and sensual delight by a woman of the World) published in the 1930s by an anonymous author. The artwork is in the style of Luc Lafnet. This shows a young woman spanking a young boy’s bottom with a look of undisguised pleasure on her face. Whilst she spanks his bare bottom with one hand, she strokes the boy’s penis with her other. Another boy looks on, eagerly waiting his turn. He is clearly excited by the prospect of being spanked by the young lady in such a fashion!