There is no specific criteria for this dance
I watched Aemilianus’ slave emerging from the kitchen. I listened to the unobtrusive music of the musicians, who were sitting on a rug a few feet in front of, and to the left of, the table. I took another sip of the black wine.
The voluptuous blond slave began to lower certain of the lamps.
“What are you doing?” I asked her.
“Forgive me, Master,” she said. She then hurried again to the kitchen. As she had done this work the light in the room was romantically softened, but an area, soft as well, of greater illumination had been left before the table. When she had left the room, the musicians, too, had stopped playing. This seemed interesting.
The blond slave of Aemilianus then re-entered. She placed a large, folded square of sparkling white linen at the bottom of the table. She then lit a wide, large, low candle and placed this candle, on a plate, on the soft, wide square of folded linen. She then withdrew to the side.
I looked at the white linen, and the candle, in the half darkness.
I was startled.
What memories this stirred in me!
The musicians then began to play, softly. The girl emerged from the kitchen.
There were sounds of pleasure, and surprise, from those about the table…
The dark-haired girl, exquisite and lovely, stood in the light, on the tiles, back from the foot of the table, that we might well see her. Her hair was drawn severely back on her head. She wore what seemed to be a svelte, satin, off-the-shoulder, white sheath gown. Twisted about her feet, over and under, were golden straps.
The girl then turned gracefully before us, displaying the garments. I saw that her hair, severely drawn back on her head, was fastened behind the back of her head in a bun. I had known it would be. I had not forgotten.
The girl, then, to the music, moved gracefully, turning, her bands held out, about the table, displaying herself and her garments for us. She then returned to her place on the tiles, at the foot of the table.
I regarded her. How beautiful she was! She looked at me. Then, gracefully and decisively, to the music, she unbound her hair.
There was applause for this at the table, the gentle striking of left shoulders, for she had done it well, and the significance of a woman’s unbinding her hair before a man is well understood on Gor.
She then, reaching to the left side, beneath her arm, of what seemed to be a white sheath gown, undid a fastening, and then others, at the side of her body, her waist, her thigh, and knee, and then, gracefully, the Gorean music unobtrusive but melodious in the background, removed the garment. I saw then that a rectangle of white cloth, cleverly tucked and sewn, had been used to simulate the off-the-shoulder, white sheath gown on Earth. Such an actual gown, of course, had not been available to her on Gor.
There was gentle, appreciative applause.
She now stood before us in what seemed to be a brief, silken, off-the-shoulder slip.
The girl then sat on the tiles before us, but back a bit, where we, sitting cross-legged at the low table, could well see her. She extended her right leg, gracefully. It was flexed and, as her foot was placed fully upon the floor, her toes were pointed. These two things, respectively, curved her calf deliciously and extended the line of her beauty. Her left leg was back, its ankle beneath her right thigh. She looked at me, and then, bending forward, removed the golden straps wound about and under her right foot. In the restaurant she bad worn golden pumps, with wisps of golden straps. She looked at me. Well did she, and the others, know the significance of removing footwear before a free man. She cast aside the straps she had taken from her right foot. Then, putting her hands back, swiftly and smoothly, beautifully, to the music, without rising, she changed her position on the tiles. Her left thigh now faced me. Her left leg was now gracefully extended, flexed and toes pointed. Her left thigh, and calf, and ankle and foot were marvelous. Her right foot, as her left previously had been, was back, the right ankle now beneath her right thigh. She then removed the golden straps from her left foot, and cast them aside. She looked at me. She had bared her feet before a free man. The golden straps she had used to simulate the footwear which she had worn on Earth were golden binding straps. They were the nearest thing she could find, within her limited resources, I gathered, to what she had worn in the restaurant. I did not object. They resembled somewhat, and well suggested, that footwear. Such straps, incidentally, are commonly used to bind the hands and feet of women.
There was gentle applause for the girl, and murmurs of appreciation. The footwear had been well removed.
She then rose to her feet and stood again before us, but now barefoot upon the tiles.
She then reached again to her left side, and undid a fastening there, below her left arm, and then another below it, and then one at her hip. She then unwrapped the brief slip like garment from her body, and dropped it to one side….
The brassiere had been simulated cleverly with soft white silk. Her beauty, soft, and almost as though protesting its confinement, strained against this silk. Too, between her breasts, this silk had been twisted and knotted, this making even more evident the sweet contours of her beauty, and the sturdy, silken restraint placed upon it. The panties, too, were simulated with white silk, which, in a narrow rectangle, had been wrapped twice about her hips and tucked in at her waist. There was no nether closure to this silk, of course. The Gorean slave girl is not permitted to shield her intimacies without the explicit permission of her master.
Besides these two garments, intended, respectively, to suggest the brassiere and panties of an Earth girl, she still wore, of course, the light, narrow white scarf, this twisted and wound twice about her throat, the ends thrown over her left shoulder.
The girl then, to the music, put back her head and put her hands behind her back, and, reaching high behind her back, this lifting her breasts beautifully, strained for a moment, and then, one by one, twisting slightly, undid the hooks on the confining, tight silk.
Our eyes met.
The silk was then dropped to one side. “Superb,” said Glyco.
She then reached to the white scarf on her throat and, beautifully, to the music, undid it one turn. She then, to the music, drew it beautifully, slowly, from her throat, and, gracefully, dropped it to one side. She wore, of course, now revealed, a close-fitting, gleaming slave collar.
She lifted her head, and, with her fingers, delicately indicated and displayed the collar.
She then stood before us as a barefoot, half-naked, collared slave.
Gorean applause, and murmurs of appreciation, greeted this aspect of her performance.
Our eyes met again.
She then reached with her right hand to her waist and undid the tuck in the silk which was wrapped about her hips. Slowly and beautifully then, to the music, with both hands, she unwound the silk, and then dropped it to the tiles.
“Superb!” said Glyco.
She then crawled to me, on her hands and knees, her head humbly down. Then, when she reached me, she lowered herself to her belly and, extending her right hand, touched me on the knee. She lifted her head. “You are my master,” she said, “and I am your slave, and I love you!”
– Guardsman of Gor
Categories: Dance Information