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The dancer whirled near us, then enveloped me in her veil. Within the secrecy of the veil, binding us together, he moved her body slowly before me, lips parted, moaning. I took her in my arms. Her head was back, her eyes closed. I pressed my lips to hers, and with my teeth cut her lip. She, and I, together, tasted the blood and rouge of her subjugation. She drew back slightly, blood at the side of her mouth. Fist by fist, my hand on the back of her small, delicious neck, preventing her from escaping. I slowly removed her veil from her, then threw it aside. Then with my right hand, the Tuchuk quiva in it, while still holding her with my left, as she continued to move to the music, I, behind her back, cut the halter she wore from her. I then thrust her from me, before the tables, that she might better please the guests of Samos, first slaver of Port Kar. She looked at me reproachfully, but, seeing my eyes, turned frightened to the men, hands over her head, to please them. Never in all this, of course, had she lost the music in her body. The men cried out, pleased with her beauty ...
All eyes were on the dark-haired dancer, the skirt of diaphanous scarlet silk low upon her hips. Her hands moved as though she might be, starved with desire, picking flowers from a wall in the garden. One almost saw the vines from which she plucked them, and how she held them to her lips, and, at times, seemed to press herself against the wall which confined her. Then she turned and, as though alone, danced her need before the men ...
I idly observed the dancer. Her eyes were on me. It seemed, in her hands, she held ripe fruits for me, lush larma, fresh picked. Her wrists were close together, as though confined by the links of slave bracelets. She touched the imaginary larma to her body, caressing her swaying beauty with it, and then, eyes piteous, held her hands forth, as though begging me to accept the lush fruit. Men at the table clapped their hands on the wood, and looked at me. Others smote their left shoulders. I smiled.
On Gor, the female slave, desiring her master, yet sometimes fearing to speak to him, frightened that she may be struck, has recourse upon occasion to certain devices, the meaning of which is generally established and culturally well understood ... to kneel before the master and put her head down and lift her arms, offering him fruit, usually a larma, or a yellow Gorean peach, ripe and fresh. These devices, incidentally, may be used even by a slave girl who hates her master but whose body, trained to love, can not endure the absence of the masculine caress. Such girls, even with hatred, may offer the larma, furious with themselves, yet helpless, the captive of their slave needs, forced to beg on their knees for the touch of a harsh master, who revels in the sport of their plight ...
They are slaves.
The girl now knelt before me, her body obedient still, trembling, throbbing, to the melodious, sensual command of the music.
I looked into the cupped hands, held toward me. They might have been linked in slave bracelets. They might have held lush larma. I reached across the table and took her in my arms, and dragged her, turning her, and threw her on her back on the table before me. I lifted her to me, and thrust my lips to hers, crushing her slave lips beneath mine. Her eyes shone. I held her from me. She lifted her lips to mine. I did not permit her to touch me. I jerked her to her feet and, half turning her, ripping her silk from her, hurled her to the map floor, where she half lay, half crouched, one leg beneath her, looking at me, stripped save for her collar, the brand, the armlets, bells, the anklets, with fury. "Please us more," I told her. Her eyes blazed. "And do not rise from the floor, Slave," I told her.
The music, which had stopped, began again. |
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