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         Theater    Libraries    Fountains    Public Gardens    Public Games   
         The Inn of Lysias    The House of Kliomenes    Slaves   

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"I had seen much of Corcyrus in the past few days. Drusus Rencius, for the most part, had been an attentive and accomodating escort. I loved the markets and bazaars, the smells, the colors, the crowds, the quantities and varieties of goods, the tiny shops, the stalls, the places of business which sometimes were so small as a tiny rug on the stones, on which a peddler displayed his wares. Drusus Rencius had even permitted me, with coins, helping me, to bargain."
"Kajira of Gor" page 103

"I looked over the roofs of Corcyrus. I could see, among trees, the various theaters, and the stadium. I could see the palace from where we stood. I could see, too, some of the gardens, and the-roof of the library, on the avenue of Iphicrates.
"The city is beautiful," I said.
"Yes," he said, joining me in surveying it.
I was in love with the Gorean world, though I found it in some ways rather fearful, primarily, I suppose, because it permitted female slavery."
"Kajira of Gor" page 118

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"I enjoyed the song drama last night," I said.
"Good," said he.
To be sure it had been difficult for me, at my present level in Gorean, to understand all the singing. Too, the amplificatory masks, sometimes used in the larger of the tiered theaters, somewhat distorted the sound. Some of the characters had seemed unnaturally huge. These, I had been informed, wore special costumes; these costumes had expanded shoulders and had exaggerated hemlines, long enough to cover huge platform-like. shoes. These characters, thus, were made to appear larger than life. They represented, generally, important personages, such as Ubars and Ubaras. There had not been a great deal of action in the drama but movement on the stage was supplied in abundance by a chorus whose complex activities and dances served to point up and emotionally respond to, and interpret, exchanges among the principals. The chorus, too, sometimes singing and sometimes speaking in unison, took roles in the drama, such as first the citizens of one city and then of another, and then of another, and so on. It also was not above commenting on the activities and speeches of the principals, chiding them, calling certain omissions to their minds, offering them constructive criticism, commending them, encouraging them, and so on. Indeed, it was not unusual for the chorus and a principal to engage with one another in discourse. What I saw was clearly drama but it was not a form of drama with which I was familiar. The chorus, according to Drusus Rencius, in its various sections and roles, was the original cast of the drama. The emergence of principals from the chorus, of particular actors playing isolated, specific roles, was a later development. Some purists, according to Drusus Rencius, still criticize this innovation. It is likely to remain, however, in his opinion, as it increases the potentialities of the form, its flexibility and power. Such dramas, incidentally, are normally performed not by professional companies but by groups of citizens from the communities themselves, or nearby communities. Sometimes they are supported by rich citizens; sometimes they are supported by caste organizations; sometimes, even, they are sponsored by merchants or businesses, as a matter of goodwill and promotion; sometimes, too, they are subsidized by grants from a public treasury. Art in a Gorean city is taken seriously; it is regarded as an enhancement of the civic life. It is not regarded as the prerogative of an elite, nor is its fate left exclusively to the mercies of private patrons. The story in the song drama, in itself, apart from its complex embellishments, was a simple one. It dealt with a psychological crisis in the life of a Ubar. He is tempted, in the pursuit of his own schemes, motivated by greed, to betray his people. In the end he is convinced by his own reflections, and those of others, of the propriety of keeping the honor of his own Home Stone."
"Kajira of Gor" page 101/2

"I enjoyed the czehar concert," I said, lightly.
"Good," he said.
The czehar is a long, low, rectangular instrument. It is played, held across the lap. It has eight strings, plucked with a horn pick. It had been played by Lysander of Asperiche.
The concert had taken place two nights ago in the small theater of Kleitos, off the square of Perimines.
"The ostraka were quite expensive, weren't they?" I asked.
"Yes," he said.
"Kajira of Gor" page 108

"It was quite commonly the case, I had learned, that for a concert by Lysander one could not buy admission at the gate, but must present ostraka purchased earlier in one of the market places or squares. These were apparently originally shells or pieces, shards, of pottery, but now were generally small clay disks, with a hole for a string near one edge. These were fired in a kiln, and glazed on one side. The glazing's colorations and patterns are difficult to duplicate and serve in their way as an authentication for the disk, the glazings dif- fering for different performances or events. The unglazed back of the disk bears the date of the event or performance and a sign indicating the identity of the original vendor, the agent authorized to sell them to the public. Some of these disks, also, on the back, include a seat location. Most seating, however, in Gorean theaters, except for certain privileged sections, usually reserved for high officials or the extremely wealthy, is on a first-come-first-served basis. These ostraka, on their strings, about the necks of their owners, make attractive pendants. Some are worn even long after the performance or event in question, perhaps to let people know that one was fortunate enough to have been the witness of a particular event or performance, or perhaps merely because of their intrinsic aesthetic value. Some people keep them as souvenirs. Others collect them, and buy and sell them, and trade them. If the event or perfoxmance is an important one, and the ostraka are limited, their number being governed by the seating capacity of the structure or area in question, it is unlikely that they will be publicly displayed until after the event or performance. It is too easy to snatch them from about the neck in the market place. Too, sometimes rich men have been known to set ruffians on people to obtain them. Needless to say some profiteering occasionally takes place in connection with the ostraka, a fellow buying a few for a given price and then trying to sell them for higher prices later outside, say, the stadium or theater.
"How much did they cost?" I asked.
"Together," he said, "a silver tarsk."
"Kajira of Gor" page 108/9

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"The last few days had been full ones. Aside from the markets and bazaars, and the theaters in the evening, I had seen much else of Corcyrus as well. It had been pleasant to walk through the cool halls of the libraries, with their thou sands of scrolls organized and cataloged, and through the galleries on the avenue of Iphicrates."
"Kajira of Gor" page 110

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"The fountains in the squares, too, were impressive. It was almost hard for me to remember that they were not merely ornaments to the city but that they also, in the Gorean manner, served a very utititarian purpose. To them most people must come, bearing vessels, for their water. Some of the smaller fountains were worn down on the right side of their rim. That was where right-handed people would rest their hand, leaning over to drink."
"Kajira of Gor" page 110

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Public Gardens

"I particularly enjoyed the public gardens. Given the plantings flowers in them, of one sort or another, are in bloom almost all of the year. Here, too, are many winding and almost secluded paths. In them, combined, one finds color, beauty and, in many sections, if one wishes it, privacy."
"Kajira of Gor" page 110

"There is the palace," said Drusus Rencius, pointing. (...)
"There is the theater of Kleitos," said Drusus Rencius, "the library, the stadium." (...)
"There, where you see the trees," said Drusus Rencius, "is the garden of Antisthenes."
"Kajira of Gor" page 119/120

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Public Games

"Drusus Rencius occasionally took me to see various portions of local games. These involved such things as races, javelin hurling and stone throwing. I would usually stay for an event or two and then leave. On the whole I found such games boring. When I wished to leave, or change my location, to see something different, he always deferred to my wishes. I was, after all, the Tatrix and he was, after all, only my guard. From one set of contests, however, I could not, to his surprise, be budged. I bad sat on the tiers, close to the fenced enclosure, thrilled. These were contests of sheathed swords, the sheaths chalked with red, so that hits might be noted. The contestants were sturdy men, stripped to the waist, in half tunics, bronzed and handsome, with rippling muscles.
As they thrust at one another and fended blows, moving with great speed and skill, in their swift passages, under the watchful eye of the referee, backed by two independent scorers, I could scarcely conjecture what would be involved in actual swordplay, with steel unencumbered with sheaths. I was terrifled to consider it. And women, I thought, must abide its outcome. On a cement disk, about "a foot high and five feet in diameter, on the opposite side of the enclostire, as though in symbolism of this, a young, naked woman was chained. The chain was on her neck and ran to, a ring anchored in the center of the disk. It was long enough to permit her to stand comfortably which, sometimes, she did. Most of the time, however, she sat or lay, almost catlike, on the disk, watching the fighting. Her body was slim and well formed. Her hair was brightly red and, when she stood, it fell almost to her knees. When the contests had begun she had not seemed particularly interested in them, but, as they had proceeded, she bad become more and more attentive. She was now watching them with great closeness. She was the prize. She would be given to the victor."
"Kajira of Gor" page 111/2

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The Inn of Lysias

"I hurried behind the three-part screen in one corner of the large, well-fit room in the inn of Lysias, off the square of Perimines, on the street of Philebus. It is not far from the house of the slaver, Kliomenes, on Milo Street."
"Kajira of Gor" page 127

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The House of Kliomenes

"This is the house of Kliomenes," had said Drusus Rencius, climbing the stairs to the narrow, heavy iron portal, recessed some feet back, at the end of a narrow tunnel, in the wall. It was on the street of Milo. Above the entrance to the tunnel, and on its right, in the wall, hanging from an iron projection, was a narrow, blue-and-yellow banner. I followed Drusus Rencius carefully, that I might not fall. 'This is one of the better, and more respectable of the slave houses in Corcyrus," he said. "That is one of the reasons that I have selected it for your visit, that your sensibilities, those of a free woman, not be excessively offended."
"Kajira of Gor" page 135

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"I had begun to fall in love with the Gorean city. It was so vital and alive. In particular I was excited by the female slaves I saw, barefoot, in their tunics and collars, not exciting much attention, simply being taken for granted, in the crowds. Such women were an accepted part of Gorean life. Sometimes, too, I would see a naked slave in the crowd, one sent forth from her house only in her collar. These women, too, did not attract that much attention. Their sight was not that uncommon in Gorean streets."
"Kajira of Gor" page 103

"One such woman, in particular, startled and excited me. She wore not only her collar. She also wore an iron belt. This belt consisted of two major pieces; one was a rounded, fitted, curved barlike waistband, flattened at the ends; one end of this band, that on the right, standing behind the woman and looking forward, had a heavy semicircular ring, or staple, welded onto it; the other flattened end of the waist-band, looking forward, had a slot in it which fitted over the staple; the other major portion of this belt consisted of a curved band of flat, shaped iron; one end of this flat band was curved about, and closed about, the barlike waistband in the front; this produces a hinge; the flat, U-shaped strap of iron swings on this hinge; on the other end of this flat band of iron is a slot; it fits over the same staple as the slot in the flattened end of the left side of the barlike waistband. The belt is then put on the woman in this fashion. The waistband is closed about her, the left side, its slot penetrated by the staple, over the right side; the flat U-shaped band of iron, contoured to female intimacies, is then swung up on its hinge, between her thighs, where the slot on its end is penetrated by staple, this keeping the parts of the belt in place. The whole apparatus is then locked on her, the tongue of a padlock thrust through the staple, the lock then snapped shut." 103

"I saw some girls rummaging through a garbage can. They wore short tunics but they were not slaves. Goreans sometimes refer to such women as "strays." They are civic nuisances. They are occasionally rounded up, guardsmen appearing at opposite ends of an alley, trapping them, and collared."
"Kajira of Gor" page 139

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