Aemilianus'
Slave Dances
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.
Painting © Luis Royo
Click for Larger Image
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-sboulder 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 fcot, 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 murinurs 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 sliplike
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, page 247
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