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The carpet depicts a man and a woman on a white horse. Suddenly a young woman named Gabbeh appears, dressed identically to the older woman, and narrates the story of herself and the carpet.

Gabbeh longed to elope with a mysterious horseman who loved her and followed her from a distance like a shadow and howled for her in the night like a wolf. He had proposed, and she had returned his love, but her father kept making up excuses to postpone the marriage. In Gabbeh, Makhmalbaf highlights the tragic condition of tribal women oppressed by their patriarchal society. Because it deals with the theme of love, it was hard for Makhmalbaf to get permission to make this movie.

At the American premier in at the New York Film Festival at Lincoln Center, Makhmalbaf said he basically tricked the authorities by pretending to shoot a documentary about the gabbeh-.

Furthermore, it is amusing to know that Makhmalbaf was not allowed to use a woman for an outdoor scene of childbirth, so he put on skirts and played the role himself, in a discreet and. It is hard to imagine, given such cultural oppression, how women directors such as Rakhshan Bani-Etemad, Tahmineh Milani, Pooran Derakhshandeh and Samira Makhmalbaf have emerged.

Politically speaking, it seems that:. An emblem now of progress, then of backwardness, a badge now of nationalism, then of domination, a symbol of purity, then of corruption, the veil has accommodated itself to a puzzling diversity of personal and political ideologies Rakhshan Bani-Etemad, who began her career making television documentaries, received the honorary title of the "Lady of Iranian Cinema" in , at the sixteenth Fajr Festival, Iran's annual showcase for local production, for her film Banooye Ordibehesht The May Lady.

At the 1 Fajr Film Festival, she also became the first woman to win first prize for her. Bani-Etemad's protagonists come from Teheran and its. She attempts to show their daily struggle and misery. In an interview she says, "I don't claim to be the judge of all women, that is too big of a responsibility.

I can only illustrate some of the problems facing. Bani-Etemad's female characters range from ordinary to extraordinary. In her first movie, kharej az Mahdoodeh Off the Limit, 1 , a housewife's life is restricted to the extent that her husband does the shopping for their daily. In her next movie, Zarde Ghanari Canary Yellow, , the women of the family are stronger than the naive and silent men. Nargess , shows a love triangle.

Bani-Etemad's social satire is well depicted in the veils of the women laborers. She even looked for these. She says, "I even traced somebody like Afagh, the thief, in the Ghasr prison and in the old-age homes Rousari-abi The Blue-Veiled, actually unveils a romance, which is almost unbelievable in the Islamic Republic.

It is amazing, in fact, that the controversial elements in this film did not land Bani-Etemad in prison. Rasool, a sixty-year old factory owner and widower, falls in love with one of his workers, Nobar, who is thirty years younger.

His daughters and in-laws are furious because of class differences, forcing the old man to choose between them and her. This romance is perhaps more intense than a Western romantic film because of the obvious limitations the director and actors had to overcome.

The Blue-Veiled includes a hard working woman willing to support her drug-addicted mother and siblings. It also examines the hardship of the under class, and the comfortable lifestyles of wasted Teherani upper-middle-class women. Bani-Etemad explains that she has always been interested in depicting the lives of young girls who become adults too fast without experiencing childhood, grow too old without experiencing their youth, and die too early without experiencing womanhood.

These types of women are clearly seen in both Nargess and The Blue-Veiled I met them while working on my documentaries on the outskirts of Teheran. I formed the storyline from those real people and their experiences The film is about a divorced middle-aged documentary filmmaker, Foroughe Kia, and her son.

Two stories take place simultaneously. One is a documentary that the protagonist of the movie is making, and the other is the real story of her own life and the conflicts of bringing up her young son in the modern world while. She feels confused about accepting the love of a certain man who is absent from the screen, appearing only in his messages on her answering machine. One might wonder if he really exists Her documentary is about different types of mothers and their struggle between tradition and modernity, their duty as mothers and as independent women.

Bani-Etemad is quite daring in discussing an overview of Iran's history during the last twenty years of the Islamic Republic Regime. In one scene, she has to rescue her son who has been arrested by the Islamic police at a party where the youngsters were not supposed to get together.

The sunset that Friday was awash in their tears, but those were tears which seemed to last an eternity for a human being. I read somewhere that at their burial the martyrs of the Constitutional Revolution were discovered to actually be women disguised in men's clothing. As with those martyrs, Ms. Etemad, your women embody both glory and sadness" Bani-Etemad has tried to figuratively unveil her female characters by showing their struggles and true feelings.

As an artist for whom censorship is the most painful torture, she believes that a good writer-director avoids being neutral about the problems of society It is amazing that she has been able to get permission for her films.

She had to cancel my appointment with her in August 1 because she had to get the approval for her most recent movie, which was about to be sent to a film festival in Venice. Later she informed me that after spending five hours trying to convince the censorship organization at the Ministry of Culture, they still had not approved release of the film because the girl's hair had been showing more than what they would normally.

She sounded exhausted over the telephone. She said she had to think of a way to convince them. Tahmineh Milani, another prominent writer-director, has had difficulty receiving approval for her scripts for different reasons. They believed that "the characters of this film do not provide appropriate role models for our youth They requested that she change the role intended for the actress Mahaya Petrousian to that of a male character, even suggesting that they would pay her more for doing so In the end, Milani won the fight.

Milani's next film, Kakado , a film about the tainted environments into which children are born, took a long time to get approval. It was criticized because of an eight-year-old girl character not being veiled and a script featuring a friendship between the girl and the son of a janitor.

After Milani suggested that the girl was too young to be veiled, the script was finally attacked on the grounds that it describes the face of the earth as ugly, whereas the Koran considers the face of the earth to be beautiful Also, the Ministry of Islamic Guidance disapproved of Kakado because the little girl's four friends did not suggest good role models.

However, Milani's stated intention was to show how children are born impartial to race and class. Two Women is about the married life of two women in the early years after the revolution. The film is about the divergent fates of two classmates at the college of architecture. One is happily married with a feminist husband, and the other one is melancholic with a chauvanist husband. It took Milani eight years to get permission to screen this movie.

One of the main reasons for censorship had been that Milani was giving an untrue picture of the traditional husband figure and one of the members of the censorship organization had asked her, "Why are you trying to make women. Pooran Derakhshandeh was the first post-revolution female film maker.

Her Rabeteh Mute Contact was made in Derakhshandeh's films often depict the tragic lives of the physically or mentally handicapped Although some of her women are professionally independent, they can be quite withdrawn and bitter about the world around them.

An infertile gynecologist in Zamane az Dastrafteh Lost Time, comes to realize that "her individuality, professionalism, and marital happiness depend less on her as a mother than on her as a human being The youngest woman director, Samira Makhmalbaf, made her directorial debut at age seventeen with the film, Sib The Apple, and at the 36th New York Film Festival, Some critics have expressed a belief that the film—which was well received at the sixteenth Fajr Festival—was perhaps actually directed by Samira's father, the noted Mohsen Makhmalbaf Such accusations are not without precedent.

Thirty-five years earlier it was said that a film by the prominent poetess and film director Forough Farrokhzad, Khaneh Siah Ast The House is Black, 1 , was actually directed by her male companion, the famous writer Ebrahim Golestan The Apple, which is based on a true story, portrays the veiling and silencing of two young girls imprisoned at home by their blind mother and elderly father for eleven years.

When neighbors finally notify the authorities about the situation, the girls can neither walk nor talk and are, in fact, functionally retarded According to Makhmalbaf, the mother who had locked the girls in for all these years, is a pathetic figure who has wrapped herself in her chador veil as if the "veil had become her entire universe Women artists in post-revolutionary Iran are not as internationally well-known in theater as in film.

The practice of veiling in theater seems to encompass even more symbolic and ritualistic meanings because the interaction between audiences and actors is more immediate. Farzaneh Milani. Fabric itself became a strong symbol when Roknoddin Khosravi used it to show how a young couple had to touch each other during the rehearsal of The Cherry Or char d In an interview, Khosravi emphasized that the use of material onstage to cover women, and to a certain extent men, creates an element of mystery that he had not previously considered.

He said most directors have used such obligatory materials creatively on the stage in recent years Or in the production of Dastanhaye Vianny Viennese Stories, written and directed by Babak Mohammadi, , the three women actresses creatively used props. For example, they wore hats and wigs on top of their black scarves. Despite the strict limitations of veiling, the Women's Theater Club, also known as The Unit of Theater Arts for Sisterhood, opened under the guidance of Teheran's Center for Dramatic Arts in , to encourage women artists.

This organization established a rule that the directors and playwrights should mostly be women, and that the focus should be on themes meaningful to women Subsequently, the first Women's Theater Festival was held in Teheran in The style of most contemporary women playwrights may be called social and psychological realism. The themes include generation gaps, loneliness, lack of communication between men and women, and society's cruel negativity towards women.

Nadia Mohammadieh, an actress, playwright, and the director of the puppet play Kamande Khaterat The Lasso of Memories, , believes that women playwrights are much better able than men to touch upon women's problems and conflicts Sara runs away from her old age home and ends up living on the street.

She tries to get Gogo to write a will for her, not knowing that the boy is illiterate and unconcerned about her welfare. Finally, she dies on a. The great lack of communication between the two characters is somber symbolism for the death of tradition. The director shows how some men believe their wives will never leave them, despite their cruelty These plays can often be deeply disturbing.

A man trying to cheer up an unhappy little girl tells her three stories, each of which includes a woman being forced into a king's harem. Afterwards the little girl cries, upon which the man moralizes, "if she can learn how to cry, she can also learn how to laugh Golab Adineh, the prominent movie and theater actress, and theater director changed her maiden name, Mostaan to Adineh because her father, Iraj Mostaan, a fiction writer and a playwright, had given her an ultimatum not to use his name if she ever became an actress.

In her interview with Elham Khaksar, she claims that she never understood why her father who was a writer himself was so much against his daughter becoming an actress Adineh protested against her father's wish and took acting classes after she graduated from college in political science and established her own theater company. Adineh's theater ensemble generally explores subjects with social and political themes focused on women's concerns and folklife.

Shabi dar Tehran A Night in Teheran, , the most popular work of this theater troup at the City Theater in , is about the political situation of Iran fifty years ago. A theater group secretly plans to inform the audience about their political environment, but at the end they are arrested by the police.

In my. Pari Saberi, the renowned director of both pre-revolution and post-revolution era, directed Rostam o Sohrab Rostam and Sohrab, the epic of Shahnameh, at the Vahdat Theater.

Rostam and Sohrab is based on the tragedy of the son, Sohrab, who is killed by his own father, Rostam. Her use of tribal music on stage with choreographed movement of both women and men was definitely a change in the state of theater in recent years. Women characters were also heroic and powerful. Progress for women in music has been less impressive than in film and theater. At the beginning of the revolution Persian pop music of the Pahlavi era was banned, and Persian classical music was also prohibited as sinful.

Thanks to the efforts of a number of masters, classical Persian music, with its long history of profound spirituality, eventually returned with some restrictions: only men were allowed to perform, and they were not allowed to teach female students. This was a heavy blow to several accomplished, classically trained female musicians and singers, such as Parisa, Sima Bina, and Ghashang Kamkar, whose music became imprisoned inside the walls of their homes.

After much struggle in recent years such women have regained the right to perform for female audiences.

Although their concerts have never been publicly announced, they have typically sold out. These women have also been able to conduct classes for female students in private homes. The prominent classical singer Fatemeh Vaezi, who goes by the name Parisa, is accompanied by a female orchestra. She has performed widely in Europe and the United States.

The well-known classical and folk singer Sima Bina, who is also a visual artist, has been teaching singing to many women. She has also been able to give concerts for women in Iran and has widely performed abroad. With President Khatami's openness, there have been more women concerts in the recent months. I saw a performance by the singer Hengameh Akhavan, one of the most authentic classical singer's concert in Teheran in August She performed with an orchestra of four women musicians.

The audience, all women, unveiled. It is impressive to see a picture of Ghashang Kamkar, a female musician, holding a sehtar on the cover of Zanan a magazine about women. This is the first time such a depiction has occurred since the revolution. Kamkar, who comes from a family of musicians, is widely recognized both in Iran and. She plays mostly Kurdish music with an ensemble called, simply, Kamkar. This ensemble includes her seven brothers and her son.

Apparently she teaches both male and female students, which is a hopeful development. On the cover of a of Zanan, there was an encouraging photograph of a number of fully covered female singers.

This choir for Iranian women, with fifty-eight members, was established under the Armenian male conductor Gorgin Mousissian. Mousissian's choir, with its repertoire of Islamic National songs and folk melodies, performed recently for a mixed male and female audience at Vahdat Hall in Teheran Indeed, the laws of the Islamic regime have often been very complex, and the application often contradictory.

An optimistic view would be that women artists have been empowered in as many ways as they have been oppressed. In any case, it is a testament to the creativity and perseverance of Iranian women that they have found ways to reveal so much of who they truly are from behind the veil.

Ahmdi, Ahmadreza. Bani-Etemad, Rakhshan. Avallin ghadam didan va baz ham didan ast: Goftare Rakhshane Bani-Etemad dar bareye filmnameh nevisi. Rakhshan Bani-Etemad's Speech on Scriptwriting. Goftogu ba Rakhshane Bani-Etemad. Boal, Augusto. Theatre of the Oppressed. Translated by Charles A. New York: Urizen Books, 1 Buck, Caroline.

Bon basthaye egsistansialisti. Film and Cinema, No. Buonaventura, Wendy. Belly Dancing: The Serpent and the Sphinx. Well now that I'm an old codger and my sex life is almost non-existent i guess i can relax and tell kids to not be "friendly".. After all.. They don't want to end up like me. Reviewer: doowopbob - favorite - March 12, Subject Needs To Get A Life..!.. Bed Springs..! Oh The Movie Sucks..! Reviewer: whiskeycat - favorite favorite favorite - January 12, Subject: didn't watch all of it I guess they were trying to scare people and for a good reason, it was pretty bad getting an STD back then because we did not have the medicine to treat it.

I remember watching "the magic bullet" it's the story of dr. Paul Ehrlich who helped find a cure for syphilis. Prior to the discovery of Penicillin, STD's were treated with medicine that contained mercury, it must have been pretty awful taking that stuff.

I don't think penicillin came into wide spread use until the 's. This program, part of a nation-wide effort in the years , was the "flagship" of the United States' "War on Syphilis". Much like the "War on Drugs" of today, it met with varied degrees of success and failure.

It did provide much information about syphilis demographics, and allowed health officials a chance to inform an otherwise prudish population about a sexually transmitted disease. When I watched this movie in light of the public health campaign it was more interesting, and that icky deformed foot certainly looked realistic!

It was because of this campaign that blood tests became mandatory for wedding licenses, and pregnant women and babies were checked for STDs. So while, yes, it was poorly acted and poorly scripted, and off the charts lurid, the end had a lot of medical validity that, as they say, was torn from the headlines.

I was ready to put it in the same category as Reefer Madness but then it morphed into something historical. So I'll give it a star because it inspired me to do some research and learn something. Now I want to find out what sort of treatments they were offering in so back to my googling. Reviewer: keygrip - - October 15, Subject: The worst film on the site by far Badly acted boring crap. Don't bother with it. No stars. Reviewer: Chetzpt22 - - July 23, Subject: brsean's strap on that book long review you wrote is a good example of why the world has been at war killing each other for thousands of years like the one we have now!

I have no review - this person bummed me out so much on it I decided to just download it watch at a another time. Reviewer: DaNess - favorite - June 22, Subject: someone get brsean a life lol People who make huge negative and witty reviews like that are critic wannabes and have no life I will admit in short-form that this short-flick is extremely boring.

Reviewer: Katies - favorite favorite favorite favorite favorite - April 27, Subject: Great firm Great firm. Reviewer: jandtsmom - favorite - April 14, Subject: Yawn Boring What do the Saints Say?

Some will say that it is a trifling sin. Is it a trifling sin? It is a mortal sin. Antoninus writes that such is the nauseousness of this sin that the devils themselves cannot endure it. Moreover, the Doctors of the Church say that certain demons, who have been superior to the rest, remembering their ancient dignity, disdain tempting to so loathsome a sin.

Consider then how disgusting he must be to God, who, like a dog, is ever returning to his vomit, or wallowing like a pig in the stinking mire of this accursed vice 2 Pet 2: The impure say, moreover, "God has compassion on us who are subject to this vice, because He knows that we are flesh. God has compassion on this vice? But you must know that the most horrible chastisements with which God has ever visited the earth have been drawn down by this vice.

Jerome says that this is the only sin of which we read that it caused God to repent of having made man, for all flesh had become corrupted Gen 6: And so it is, St. Jerome says, that there is no sin which God punishes so rigorously, even upon earth, as this. He once sent fire from Heaven upon five cities, and consumed all their inhabitants for this sin Sodom and Gomorrah, Gen Principally on account of this sin did God destroy mankind, with the exception of eight persons, by the flood.

It is a sin which God punishes, not only in the other life, but in this also. Because, says God, you have forgotten Me and turned your back upon Me, for a miserable pleasure of the flesh, I am resolved that even in this life you shall pay the price of your wickedness Ezek You say, "God has compassion upon men subject to this sin. Remigius says that the greater number of the damned are in Hell through this vice.

Father Segneri writes that as this vice fills the world with sinners, so it fills Hell with damned souls; and before him St.

Bernardine of Siena wrote: "This sin draws the whole world, as it were, into sin. Bernard and St. Isidore said that "the human race is brought under the power of the devil more by lust than by all the other vices.

Hence St Thomas Aquinas says that the devil does not take such complacency in securing the commission of any other sin as of this, because the person who is plunged in this infernal mire remains lodged therein, and almost wholly unable to free himself again.

Thomas of Villanova. Moreover, this vice deprives one of all light, for the impure man becomes so blind as almost wholly to forget God, says St.

Laurence Justinian; which is in accordance with what is said by the prophet Hosea: They will not set their thoughts to return to their God; for the spirit of fornication is in the midst of them, and they have not known God Hos 5: 4. The impure man does not know God; he obeys neither God nor reason, as St. Jerome says; he obeys only the sensual appetite which causes him to act like a beast. This sin, because it flatters, makes us fall at once into the habit of it, a habit which some carry with them even to death.

You see husbands, and decrepit old men, indulge in the same thoughts and committing the same sins that they committed in their youth. And because sins of this kind are so easily committed, they become multiplied without number. Ask of the sinner how many impure thoughts he has consented to: he will tell you he cannot remember. But, brother, if you cannot tell the number, God can; and you know that a single willful immodest thought is enough to send you to Hell.

How many immodest words have you spoken, in which you took delight yourself, and by which you scandalized your neighbor? From thoughts and words you proceed to acts, and to those innumerable impurities which those wretches roll and wallow in like swine, without ever being satisfied, for this vice is never satisfied. But, Father, you will say, how can I hold out against the innumerable temptations which assail me?

I am weak, I am flesh. And since you are weak, why not recommend yourself to God, and to most holy Mary, who is the mother of purity? Since you are flesh, why do you throw yourself in the way of sin? Why do you not guard your eyes? Why do you gaze upon those objects from which temptations flow? It is to be remarked, moreover, that this sin brings with it innumerable others: enmities, thefts, and, more especially, sacrilegious confessions and Communions, by reason of the shame which will not allow these impurities to be disclosed in confession.

And let us remark here in passing, that it is sacrilege above all things, that brings upon us sickness and death; for, says the Apostle, He that eats and drinks unworthily, eats and drinks judgment to himself, not discerning the body of the Lord; and then he adds: therefore are many infirm and weak among you. And St. John Chrysostom, in explanation of that passage, says that St. Paul speaks of persons who were chastised with bodily infirmities because they received the Sacrament with a guilty conscience.

My brethren, should you ever have been sunk in this vice, I do not bid you be disheartened, but arise at once from this foul and infernal pit; beg of God immediately to give you light, and stretch out His hand to you. The first thing that you have to do is to break with the occasion of sin: without that, preaching and tears and resolutions and confessions, all are lost.

Remove the occasions, and then constantly recommend yourself to God, and to Mary the mother of purity. No matter how grievously you may be tempted, do not be discouraged by the temptation; at once call to your aid Jesus and Mary, pronouncing their sacred names. These blessed names have the virtue of making the devil fly, and stifling that hellish flame within you.

If the devil persists in tempting you, persevere in calling upon Jesus and Mary, and certainly you shall not fall. In order to rid yourself of your evil habits, undertake some special devotion to our Lady; begin to fast in her honor upon Saturdays; contrive to visit her image every day, and beg of her to obtain for you deliverance from that vice.

Every morning immediately after rising, never omit saying three "Hail Marys" in honor of her purity and do the same when going to bed; and above all things, as I have said, when the temptation is most troublesome, call quickly upon Jesus and Mary.