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"'Yes, pretty Alyena,' I said to her, 'I will have you taught to dance, for in your belly is slave fire.' Alyena, in dancing, sensed the power
of Ibn Saran. It is not difficult for a female dancer, lightly clad, displaying
her beauty, to detect where among those who watch her lies power. I am
not sure precisely how this is done. Doubtless, to some extent, it has
to do with richness of raiment. But even more, I suspect, it has to do
with the way in which they hold their bodies, their assurance, their eyes,
as they, as though owning her, observe her. A woman finds herself looked
upon very differently by a man who has power and one who does not. Instinctively,
of course, to be looked upon by a man with power thrills a woman. They
desire, desperately, to please him. This is particularly true of a slave
girl, whose femaleness is most shamelessly and brazenly bared. Ibn Saran,
languid, observed the dancer. His face betrayed no emotion. He, sipped
his hot black wine.
Alyena threw herself to the floor before him, moving to the music. I saw her turn, and twist, and writhe, and move, and, on her belly, hold out her hand to him. Her lessons, which had been intensive, once we had arrived at the Oasis of Nine Wells, had cost little, and had, in my opinion, much increased her value, doubling or tripling it. T'he modest cost of the lessons had been, in my opinion, an excellent investment. My property had now increased, considerably, in value. But most credit, surely, had to go to the girl herself. With fantastic diligence had she applied herself to her lessons, and practices. Even so small a thing as the motion of the wrist she had practiced for hours. Her teacher was a cafe slave girl, Seleenya, rented, from her master; her musicians were a flutist, hired early, and, later, a kaska player, to accompany him. Once I saw her, naked, covered with sweat and bangles, in the sand. 'Have you had to beat her often?'
I asked Seleenya.
They played, until I, by lifting a finger, silenced them. At the same time, too, Alyena froze in the sand, her right hand high, left band low, at her hip, her head bent to the left, eyes intent on the fingers of her left hand, as though curious to ' see if they would dare to touch her thigh; then she broke the pose, and threw back her head, breathing deeply. There was sand on her ankles and feet; perspiration ran down her body. I motioned her to her feet. I signaled
the musicians. She danced.
The musicians began again, and again the girl danced. It was superb. And it was incredible. She did not yet know she was a true slave. What a little fool she was. I watched her move. She smiled at me, disdainfully. I considered her blond hair, now wild about her head as, suddenly, she entered into a series of spins. Her gaze focused to the last moment on a spot across the room from her, and then, suddenly, on each spin, her head snapped about, and sheagain found the focus. Then she finished the spins, and froze, hands over her head, body held high, stomach in, right leg flexed and extended, toes only touching the floor. Then she was again in basic position. Her white skin, in itself, in the Tahari, would bring a good price. Blond hair and blue eyes, too, in this region, made her a rare specimen. But beyond these trivialities, though of considerable commercial import, was the fact that she was beautiful, both in face and figure. Behind me, as I thrust apart the beads, I heard the pounding of the drum, the kaska, the silence, then the sound, as the flutist, his hands on her body, to the sound of the drum, instructed the girl in the line-length and intensity of one of the varieties of pre-abandonment pelvic thrusts. 'Less,' he said. 'Less. There must be more control, more precision. You are being forced to do this, but you are holding back. You are angry. This must show in your face.' 'Please do not touch me so, Master,'
she said.
Tribesmen of Gor, pages. 100 - 104 |
