Dancer of Gor

I did not know if he had referred to me or not. Perhaps he had. A ta-teera leaves few of a girl" s charms to the imagination. I quickly followed my master, taking care not to let the leash grow taut. I may have been mistaken, but I felt that men were looking at me. Perhaps they had noticed, too, the double flute on my master" s back. if so, they may have taken an additionally close look at me, more than the usual Gorean master" s appraisal of delectable slave meat, deciding then whether or not it might be of interest to follow us.

"Here," said my master, stopping in a shady corner of the square.

"Yes, Master," I said.

There was a building there. In the wall of it, about a foot from the ground, there were four or five slave rings. Such things are common in Gorean public places. They provide masters with a convenience for the tethering of their slaves.

Some men gathered around.

I loosened the cords which kept the pallet on my back. I removed the pallet from my back and put it on the ground. I undid the strings which kept it rolled, and spread it. It was to the left of the nearest slave ring. I took the copper bowl from about my neck and put it beside the pallet. My master then put his end of the least twice about the slave ring and, with a heavy padlock, passed through two leash rings, secured it there. I was now chained to the slave ring. I knelt beside the bowl. I kept my head down.

My master removed his long double flute from his back.

I braced myself for an instant.

I think that anyone in the square must have heard those sounds. He then, for two or three minutes, played soft, full, melodious tunes, sensuous, inviting tunes. Men began to gather around, in greater numbers. There was soon a small crowd there.

I kept my head down.

My master would decide when the crowd was sufficient. I recollected the monument in the square, the heroic figures, and the women, doubtless booty, at their feet. I recollected, too, in particular, the frieze encircling the base of the monument. I recalled in particular, the lofty Tatrix on her throne, in the beginning of the frieze, and later, the procession of those who came suing for peace, bearing conciliatory gifts, animals, riches, women and such. I recalled the Tatrix, fully clothed, in chains, placed on her knees before the victor. I recalled, too, the last portion of the frieze, where she sat beside the victor, in her tiara, gracing his victory feast, half stripped, while women of her city, totally naked, served and danced. I was excited by the frieze. I was excited, too, as a slave, by the men about. In the presence of men, sometimes to my dismay and embarrassment, I would feel warm and wonderful between my legs. This was permissible, of course, for I was only a slave. Those women in the frieze had probably been free women, at least at the time. their freedom, however, I did not doubt, would have proved fleeting, and soon they would have been distributed among the victors, or disposed of, for profit, in various slave markets. I wondered if the general would have had the Tatrix, sold in a cheap market or if he would have kept her for himself, perhaps as the least of his own slaves. But I, myself, was not a free woman. I was only a slave. I loved the freedom, and liberation this gave me, to be a full woman. I then heard the soft swirl of music which I well recognized.

I rose gracefully to my feet, and stood before the men. I heard the soft intaking of breath in several of them, in anticipation. How powerful I felt then, thought I was only a slave, chained at a ring.

With the music of the double flute in the background I modestly removed the Ta-Teera, putting it to the side.

"Ah!" said a man.

"Marvelous," said another.

I adjusted the chain, placing it between my breasts. It went to the ground where it lay in a coil, then moved back to the ring. By intent it was of a generous length. I pulled it down a bit, at the collar. I did this in such a way that the men could tell it was well locked there. I knew this would excite them, as it excited me. Too, of course, as a practical matter, this further assured that the draw would be at the front of the collar. I flexed my knees. I lifted my hands over my head, gracefully, their wrists back to back.

My master let me dance for four or five minutes, until the men were in a frenzy of need. I performed even what are called "floor movements" for them. I saw their eyes blazing. Such is the power of the dancer.