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 5/27/18-6/2/18

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PostSubject: 5/27/18-6/2/18   Sun May 27, 2018 7:57 am

05.27.2018
08:47:51




SLAVE POSITIONS

DISPLAY

The auctioneer did not strike her with his whip. He merely took her arms and lifted them, so that the position chain, attached to each side of the sales collar lay across her her upper arms. Then he had her clasp her hands behind the back of her neck, so that the chain, on each side of the collar, was in the crook of her arms, and she was exposed in such a way that she could be properly exhibited.

Explorers of Gor pg 36



~~she stands with her , feet a little more than shoulders width apart,her freckled shoulders rolled back, tiny fingers laced behind her neck,anjelic face turned to the left, her iced hazel eyes lowered she awaits his inspection of her in silence


TOWER


The position of the Tower Slave, in which Vika knelt, differs from that of a free woman only in the position of the wrists which are held before her and, when not occupied, crossed as though for binding...The position of the Pleasure Slave, incidentally, differs from the position of both the free woman and the Tower Slave. The hands of a Pleasure Slave normally rest on her thighs but, in some cities, for example, Thentis, I believe, they are crossed behind her. More significantly, for the free woman's hands may also rest on her thighs, there is a difference in the placement of the knees. In all these kneeling positions, incidentally, even that of the Pleasure Slave, the Gorean woman carries herself well; her back is straight and her chin is high. She tends to be vital and beautiful to look upon .

Priest Kings of Gor..Page 46-47



~~sitting her firm ass upon her heels her thighs kissing as lost lovers...and curving her back slightly, her full breasts pressed against her wool kirtle, nipples clearly visible through the white material, a girl proudly displays the collar that she wears around her small neck, showing that she is property of RannHolt Hold. her blonde hair cascading down her back , her crystal blue eyes shining in the fire light of the HOLD, with her head held high and lowered lashes showing her respect to All present a girl places her small upturned hands against her bare thighs showing her desire to serve



NADU

"Nadu!" he snapped. She swiftly turned, facing him, and dropped to her knees. She knelt back on her heels, her back straight, her hands on her thighs, her head up, her knees wide. It was the position of the pleasure slave.

Explorers of Gor..Page 77


~~she kneels before Him, spreading her thighs sinfully wide, her back straight, lifting her head high in pride of the steel collar that surrounds the flesh of her throat that bares the HOLDS name, arching her shoulders back, her breasts rise naturally, softly she thrusts them forward, feeling her long locks of gold spill over her shoulders, flowing down her spine like a slient river in the night, she takes slender finger tips gliding them down her full frame, letting the back of her hands rest against her inner thighs, as her palms face upwards in offering, casting eyes down to His boots, awaits His command


SULA

Sula, Kajira!' said the man. She slid her legs from under her and lay on her back, her hands at her sides, palms up, legs open .

Explorers of Gor..Page 77
~~she lays flat on her back, oceans of firey locks spill outwards across his furs, she spreads her legs painfully wide, slipping her arms straight out down against her curvy sides, softly but with quickness she turns her palms upwards to Him, feeling the plushness of his furs at the back of her hands, as she lays there awaiting His inspection of her.


HEEL

"The Forkbeard turned about and, one arm about Pudding, the other about Gunnhild, started from the dock. Hilda followed him, to his left. 'She heels nicely,' said Ottar. The men and bond-maids laughed. The Forkbeard stopped. Hilda's face burned red with fury, but she kept her head high. Pet sleen are taught to heel; so, too, sometimes, are bond-maids; I was familiar with this sort of thing, of course; in the south it was quite common for slave girls; in various fashions in various cities, to heel their masters. Hilda, of course, was a free woman. For her to heel was an incredible humiliation. The Forkbeard started off again, and then again stopped. Again, Hilda followed him as before. 'She is heeling!' laughed Ottar."

Marauders of Gor pg 123

~~as she seen him stand to leave after saying his fare wells she .leaps to her feet, falling into step behind him to his left 1/12paces follows behind him.almost mocking his stride


COLLAR

Assume the posture of female submission," I told her. She did so, kneeling back on her heels, her arms extended, wrists crossed, her head between them, down. She was weeping.
Tribesmen of Gor pg 359

"She is yours," he said. He took his strap off her throat, and unbound her hands. "Submit," I told her. She knelt before me, back on her heels, arms extended, head down, between her arms, wrists crossed, as though for binding.
Explorers of Gor pg. 74

~~striding over to the Jarl, her mind focused only on Him, her heart racing in her chest, she closes her eyes and whispers a quick prayer to Odin before she falls gracefully to her knees before Him, she tucks her long legs beneath her and rests her firm ass on her crossed heels, she spreads her thighs painfully wide, her slave heat glimmering , exposing to Him her treasures, she arches her back slightly and pushes her chest up and out, her plump breasts pushing firmly against her restraining silks, her body trembles slightly as she raises her arms high above her head, her long golden tresses tumble down her back as her arms are lifted, she closes her eyes and takes in a deep breath as she crosses her wrists, her right one over the left, she lowers her head between her outstretched arms in supplication, she waits silently for the Jarl, her chest rising and falling with her deep breaths as her body trembles



HAIR

held my left hand open, at my waist. She stiffened, and looked at me, angrily. I opened and closed my left hand once. I saw her training in Gorean customs had been thorough. But she never thought that such a gesture would be used to her. She came beside me, and a bit behind me, and, crouching, put her head down, deeply. I fastened my hand in her hair. She winced. Women are helpless in this position.

Beasts of Gor, pg 409

~~she moves before her Jarl, her small feet flat against the cold stones, bending at her waist gracefully, her long locks cascades over her face, the ends of her hair grazing over the stone's below her, casting her eyes downwards, as she stands motionless, waiting for her Jarl's command.

SULA-KI

Then she lay on her back, her knees drawn up, before me. She arched her back. Her breasts were lifted beautifully. I observed their lovely rise and fall, correlated with the respiratory cycle of her small lungs. Then she lay back, her shoulders in the dirt, and pressing against the earth with her small feet, piteously lifted before me, for my examination, and seizure, if I pleased, the deep belly of her, the sweet cradle of her slave's heat.

Explorers of Gor...pg. 329

~~she lowers her body down to the stone floor, her back touching the cool tiles, chills spread out across her flesh, feeling the coldness of the stones, placing her long slender arms down at her sides, letting her palms face upwards to Him, as she spreads her legs as wide as she can, feeling an aching pain at her thighs as she spreads them wider, feeling His eyes on her, wanting Him near her she lifts her hips up off the floor trying to beckon Him with her body ,wanting to encourage her sexual want for Him , wanting Him to take her in a sexual manner.


SHE-SLEEN

He knelt me there. "Put your head down, to the floor," he said. "Clasp your hands, firmly, behind the back of your neck". "Yes, Master," I moaned. He was then behind me. He put his hands, under my arms, on my breasts, sweetly and firmly. Then he moved his bands back, caressing my flanks. My head was down. My fingers were together, behind the back of my neck. I was in his collar. It was steel, I could not remove it. I belonged to him. My body hurt, from his whip, that of my master. My head hurt, from my hair, where I had been conducted, unceremoniously, to this location. "Please, Master," I sobbed. "Not like this! Not you, please!" "The slave is pretty," he remarked. "Oh!" I cried. "Oh!" "You have a lovely ass," he said. "Ohhh!" I said. "You may thank me," he said.

Kajira of Gor..Page 434

In this form of slavery, which is commonly used for disciplinary purpose, or for the amusement of the Master, the woman is not permitted to rise from all fours; similarly she is not permitted human speach, though she may signify needs and desires by such means as cringing, and moaning and whimpering. Not permitted the use of her hands, save as a means of locomotion, she must also eat and drink from pans set on the floor, or, sometimes to satisfy her thisrt, she must lap the water permitted to her from puddles or lick spillages from the tiles; too, it is not uncommon to chain her near her mater's feet, while he dines, that he may, if he wishes, throw her scraps of food. She will also be taught tricks, through which paces she may be put for entertainment of her master's quests, such things as begging, lying down, rolling over, and fetching his sandals in her teeth. And, needless to say, when her master wishes to use her sexually, it will be a position common to the she-quadruped.
Guardsman of Gor

#1
~~gracefully, the girl falls to the floor, resting her palms against the cool stone and letting the pale skin of her knees rest on the solid ground. pressing her forehead against the stone, she lifts her ass high into the air, her silks gather at her waist, allowing a full view of the brand on her smooth high right thigh and her honeyed slave heat for Him, she stays like this, painfully still, wanting badly to please Him.

He tells her to go about her chores for the day, serving in this position. she whispers "yes, Jarl". she knows she moves to the garden outside of the door. lifting the heavy watering can with her mouth, it grinds against her teeth as she tilts it to water the plants, once finished she lets the can drop from her mouth to the ground where it came from. she reenters the HOLD and waits until she is called upon to do more. she never lifts her knees or her hands from the floor

#2
~~she leans to his furs on her hands and knees....resting her left cheek to them thighs spread deliciously wide as her sassy ass is held high her hands laying side of her head...her slave heat displayed and ready for his sexual useage....


WHIPPING

I went to Targo, trembling, and knelt at his feet... I crossed my wrists beneath me and touched my head to the floor, exposing the bow of my back. It is the submissive posture of a slave girl who is to be punished. It is called Kneeling to the Whip .

Captive of Gor..Page 200


~~she kneels before Him, spreads her thighs painfully wide, her back is perfectly arched, she pushes her shoulders back, as she thurts her breasts forward , her breast rise naturally, lifting her head high, tilting her head to the left, the flames of the torches dance across her steel collar which bares the HOLDS, she then bends at her waist, lifting a small delicate hand to sweeping the silken locks forward over her shoulders, her forehead kissing the cold stones below her, spreads her arms out inf ront of her crossing her wrists, her back utterly exposed for the whip to kiss her flesh.

BARA

I went to Targo, trembling, and knelt at his feet... I crossed my wrists beneath me and touched my head to the floor, exposing the bow of my back. It is the submissive posture of a slave girl who is to be punished. It is called Kneeling to the Whip .

Captive of Gor..Page 200

~~her knees slide down moving her body to the cold stones below her, her body melting to the wood floor, as she lays flat on her tummy, her nipples respond from the coldness of the floor, turning her head to the left, sending long dark locks of midnight black to cast over her silky smooth flesh, a couple locks draping down into her face, as her eyes peak out through long locks, as she cross her wrist behind her back, slowly lifting her leg to cross her ankles, as if she was to be binded, she awaits His command.

BELLY

"Stop," he said. "To your belly." Then I was on my belly, on the tiles, my hands at the sides of my head, prone, before his curule chair.

Kajira of Gor. P427


~~she lowers herself to the floor, turning her face to the left, feeling the coldness of the stone's kiss her cheek, wrapping her arms around her waist, crossing her wrist at the small of her back, spreads her thighs gracefully wide, lifting her knees from the ground, she begins to crawl over on her belly towards him


OBSIDENCE

"There are many ways to perform obeisance," I said. "I am a free woman," she said. "I know none of them.". "I shall instruct you briefly in three," I said. "First, kneel before me, back on your heels, yes, with your knees wide, wider, your hands on your thighs, your back straight, your breasts out, good, your belly in, good, and now lower your head in deference, in submission.". "Now that," I said, "may not be exactly a performance of obeisance, for authorities do not all agree, but for our purposes we shall count it as one. It is, at any rate, a beautiful position, and it is, certainly, a common position of slave submission.". "Now", I said, "and this is clearly a form of obeisance, bend forward and put your head to the mat, the palms of your hands on the mat. Good. Now lift your head a little and come forward, substantially keeping the position. Forward a little more." "Yes," I said. "Good. Now put your head down and lick and kiss my feet."

Mercenaries of Gor..Page 409-410


~~she moves inf ront of him, she slowly lowers her body, pressing her tummy against the coolness of the floor, her face down, her long locks spiral out falling to the floor and down her back, she lifts her head to place it against His boot, her moist full berry flavored lips press lightly to His boots, as she kisses His boot lightly in a gesture of love and submission.

BLANKET

To my feet, I said.
Yes, Master, she said. She crept trembling to my feet.
Curl up, I told her.
Yes, Master she said
I then threw the second blanket, the top blanket, over her, covering her completely. When a blanket, or cloak, or covering of any sort, is thrown over a slave like this she may not speak or rise. She must remain as she is, silent, until the master, or some free man, lifts the covering away."
~Explorers of Gor, page 94~

~~feeling his heavy cloak being thrown atop her nakid frame...covering her completely she remains perfectly still and quite only hearing the sounds of the FREE talking....thinking she should of kept silent while the FREE talked


TABLE


(NO QUOTE)

~~she kneels before Him , bending her full frame forward, placing her elbows upon His fur's , taking small delicate hands wrapping her fingers around her forarms, feeling her golden locks flow down her spine hanging over her sides almost touching the fur's, as she spreads her knees, thighs part naturally, as her back is straight and level, holding her head high in pride of the HOLDS collar, a soft smile curls to rosy full lips knowing she will be pleasing to him


_________________
The female slave, sometimes considered nothing, supposedly, is yet in actuality, valued commonly more highly than even gold, which in turn, is often valued for its capacity to buy such women, to bring them into chains."
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PostSubject: Re: 5/27/18-6/2/18   Sun May 27, 2018 8:05 am

05.27.2018
09:00:57



SLAVE POSITIONS

*Anklet

"Anklet!" he snapped.
Instantly she turned about, sinuously, and half, lying, half kneeling, extended her left leg, gracefully, toward the older woman, her knee slightly bent, her toes pointed, extending the line of her well-curved calf. There, on her ankle, there was a similar ring."
~Prize of Gor, page 24~

~~she leaned to her right reclining to her side....she extends her long left leg out slightly bent pointing her pretty little toes extending her calve exposeing her left ankle with the ring upon it....


*Capture

"On your back," he said, "knees raised, heels on the floor."
I then lay before him, in a standard, supine capture position."
~Kajira of Gor, page 422~

~~laying on her back before him...she lifts her knees positioning her feet flat of the floor

*Gorean Bow

"He thrust her two wrists, before her body, into the ring he had cut from the Kur.. He then threw her, on her back, over the body, head down, of the fallen Kur. He dragged her wrists, elbows bent, over and above her head; he then, bending her knees, tied one of the loose ends about her left ankle, and the other about her right. It was the Gorean love bow."
~Marauders of Gor, page 261~

~~still kneeling....resting her hands palms up on her thighs, small of her back bowing perfectly, rich golden tresses of hair cascading down her back, tilting her head up proudly, keeping her eyes cast down in respect. a girl leans back touching her head on the floor, arching her back as she places her hands on each side of her head, pressing down pulling her full body up, keeping her thighs spread wide, lifts locking her elbows and knees, perfectly arched embracing the ceileing


*Lesha

"Standard binding position," he said. I was prone. When a girl is prone, the standard binding position is to cross the wrists behind the back and to cross the ankles. I took this position instantaneously.

"Slave Girl of Gor" (page 125)

Why then had I been bound? I supposed, perhaps, it was for purposes of discipline. Binding is excellent discipline. It is often used on this world for that purpose. Restraints, their psychological indignity and physical discomfort, particularly after a time, placed upon a girl by the will of a master, are among the simplest and most effective instruments of female instruction; they rank with food and the whip; a girl, under disciplinary binding, once released, is invariably eager to please; she does not wish to be rebound; the thongs have well apprised her of her place, which is at her master's feet.

"Slave Girl of Gor" (page 103)  

Bosk of Port Kar tied my wrists behind my back. He then said to me, "Kneel," and I knelt. "Cross your ankles," he said. I did so. Then, with the loose end of the fiber which bound my wrists, he tied my crossed ankles together, fastening them, thus, to my wrists. Some six inches of strap separated my bound wrists and bound ankles.

"Slave Girl of Gor" (page 409)


"Leasha!" he said. Immediately, responsive to this command, I flung my wrists behind me, separated by some two inches, and lifted my chin, my head turned to the left. I felt slave bracelets flung, snapping shut, on my wrists. I was braceleted. In another moment I was leashed.

"Dancer of Gor" (page 365)


"Lesha," snapped the second officer to the blond girl.
She spun from facing him, and lifted her chin, turning her head to the left, placing her wrists behind her, as though for snapping them into slave bracelets.

"Explorers of Gor" (page 76)


Some girls beg to be leashed, sometimes crawling to their masters, their leash held between their small, fine teeth. Most masters use the leash at one time or another. A gorean saying has it that a leashed slave is a hot slave.

Fighting Slave of Gor...page 366



~~rising to her feet swiftly, she places her hands together, palms together, her back arching as her shoulders are pulled back, causing her breasts to push forward her nipples hardened as she knows that the leash will be attached soon. she lifts her head high, tilting it back , her collar shining , she turns her head to the left and closes her eyes, listening for the click of the leash


*Rape

Turn about," he said. "Kneel down. Put your head to the ground, clasp your hands together, behind the back of your neck."
"Yes, Master!" I wept. I hastened to obey. This is a common position for slave rape."
~Dancers of Gor, page 458~

~~she knelt with her head to the furs....clasping her hands behind her neck...and awaited to be raped...

5 MORE WITH QUOTES

Run

She had run as a slave girl is sometimes taught to run, with rapid short steps, her legs almost straight, her feet scarcely leaving the ground, back straight, head turned to the left, arms at her sides, palms out at a forty-five degree angle, more of a dancer's motion than a true run."
~Assassins of Gor, page 45~

~~hearing His command she runs towards her objective, taking short rapid steps, her long carmel legs almost straight, her feet hardly leaving the floor, keeping her back in perfect linement, her head tilted to the left, her long midnight sky sprials catching into the wind as she runs to her objective ,keeping her arms to her side, holding her palms outwards in a angle to her body, reaching her objective she drops gracefully her knees melting to the cold wood floors, spreading her thighs sinfully wide,holding her head high tilting her chin to show the steel collar that claims her as a slave of the HOLD, her shoulders reared back, her breasts rise naturally, feeling the long locks spill fourth draping into her face , crystal blue pools cast downwards to the floor, slipping her hands to her thighs her palms facing Him, she awaits His next command.

Slave lips

"A girl who is commanded to make slave lips must form her mouth for kissing. Needless to say, a girl cannot speak when her lips are in the unbroken, fully pursed slave-lips position."
~Blood Brothers of Gor, page 111~

~~hearing Him command her "Slave Lips, Now girl" she turns her head up towards Him, long locks the color of the sun flow down her spine and drape over her shoulder's spilling over her full rounded breasts, she puckers full berry flavored lips in a sensual kissing position, she remains motionless, not moving an inch, until she feels the soft smoothness of His lips press against her's granting her with a Jarl's kiss.

Position of vulnerability

"I sat back, on the grass, leaning back, on the palms of my hands. In this fashion ons hands are rather behind one, and rather held in place, by ones own weight. This position is one we are taught. In it, as is clear to us, we are more vulnerable."
~Witness of Gor, page 61~

~~she sat leaning her weight back on her palms she was most vuneralble to him..for her hands were behind her some....

Prostrate

This is used when waiting permission to enter a room and sometimes, to speak. The kajira kneels touching her forehead to the floor stretching her arms out before her with palms down and fingers spread.
At his entrance Susan put the palms of her hands on the floor and loweredher head to the tiles, assuming a position of slave obeisance common with her in the presence of her master. p. 157, Kajira of Gor

~~halting at the entrance of the Home, she lowers her body , knees melting becoming one with the floor's, she spreads her thighs naturally wide, she bends at her waist, thrusting her body upwards against the floor, her back arching perfectly, her breasts graze the cold floor her nipples respond, as her cheeks flush with redness, she splays her arms before her, crossing her wrists, spreading her fingers wide, tilting her head to the left, the stones kissing her cheek, her long hair , spill out over her shoulders, draping into her face, as jewels of crystal blue cast down under long midnight dark lashes kissing her cheeks tenderly, she whisper's softly ((may girl enter?))

Belly

"On your belly," had said a man. I complied.Too, of course, one does not simply sprawl on one's belly. There are ways, diverse ways, of assuming this position. We are taught them. In this house, such a command, unqualified, requires that the head be turned to the left and the arms be placed down, beside the body, the palms up. A different command requires the crossing of the wrists behind the back and the crossing of the ankles."
~Witness of Gor, p 42~

~~she lowers herself to the floor, turning her face to the left, feeling the coldness of the wood floor kiss her cheek, wrapping her arms around her wasit, crossing her wrist at the small of her back, spreads her thighs gracefully wide, lifting her knees from the ground, she begins to crawl over on her belly towards the Jarl.

_________________
The female slave, sometimes considered nothing, supposedly, is yet in actuality, valued commonly more highly than even gold, which in turn, is often valued for its capacity to buy such women, to bring them into chains."
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PostSubject: Re: 5/27/18-6/2/18   Sun May 27, 2018 8:21 am

05.27.2018
09:08:26




SLAVE POSITIONS


BRACLETS

Kajira stands, head high, wrists behind her back and crossed, ready to receive slave bracelets.
"Bracelets," he snapped.
She put her head in the air and placed her hands behind her back.

"Hunters of Gor" (page 146)

He had removed a pair of light bracelets, joined by about five inches of light chain, from his pouch. "Slave bracelets," he said. "Turn around, facing the door, your hands behind your back."

Kajira of Gor...pg.132

~~lifting her head high, her fiery azure eyes lowered to the floor...she presses her shoulder blades together, as her lithe arms stretch behind her back, hands clasping and ready to be bonded with the bracelets


CRAWL

I pointed to the stones at my feet. "Crawl," I said, in Gorean. The girl slipped to her belly, and, as a slave girl, crawled to my feet. She put her lips to my foot; I felt her hair over it.

Book 10...Tribesmen of Gor...pg. 78


"Go to the couch," I told her," "and curl up there." Yes Master," she said. She then, on her hands and knees, crawled to the foot of the couch.

Book 17... Savages of Gor...pg 13

~~lowers her body to her knees, feeling her knees melt to the stones, as her palms softly touch the cool tiles,lowers her elbows to the stone's placing her palms to her elbows, her back perfectly arched, her hips rise, eyes lowered to the tiles, blonde locks wrap around her frame, as she lowers her forehead to the cold stones keep it only inches from the stone's, she begins to crawl to the Jarl her hips sway sedutively, as her shoulders rise and fall one after the other, her long fgolden spirals glide down her frame, as they graze the stone's she nears theJarl and softly halts, waiting His command

HIGH HARNESS

"Lift your head, " he said. "Higher. Higher!" She looked up at him, her head far back, the leash on her throat.... "You need not now keep your head in high-harness position," he said to the girl. She moved her head.

Mercenaries of Gor...pgs 308-309

~~as she kneels before his she cranes her neck high awaiting the leash to be attached to her collar....feeling him attach it she lowers her head once again...keeping eyes to his boots....

LEADING

"Leading position, said Drusus Rencius.
I swiftly put my head down and felt his fingers lock themselves deeply in my hair. I turned my head and pressed my lips suddenly, helplessly, to his thigh, kissing him. He twisted my head cruelly to the side, holding it there, turned, so that my lips could not touch him.

"Kajira of Gor" (page 134)


The slave was pulled to her feet. She was roughly turned about. The hand of Tenalion's man was then in her hair, fastening itself deeply therein. It was like the closed talon of a bird of prey. She, bound, held, was helpless. She cried out softly, so held, startled, in pain. Then, bent over, her wrists confined in the cruel, encircling binding fiber, that which I had earlier put well on her, holding them so mercilessly, so helplessly, behind her back, her head at his hip, stumbling, weeping, she was conducted swiftly from our presence.

"Mercenaries of Gor" (page 437)

I then snapped my fingers and held my right hand, open, at my hip. Swiftly the girl rose to her feet and, half crouching, put her head by my hand. I fastened the fingers of my hand deeply and firmly in her red hair. She winced, and kissed at my thigh. I then, the goblet of paga in my left hand, her hair in my right, dragged her beside me, her slender chains rustling, to the nearest alcove.

"Rogue of Gor" (page 597)

"`Leading position,' he said.
Sobbing, she rose to her feet, and put her head down, at what would be the height of a man's waist, her legs flexed. A guard walked over and fastened his hand in her hair.
`Have her whipped,' said Policrates.
`Yes, Captain,' said the man. He then left the chamber, pulling the girl, sobbing, at his side."

"Rogue of Gor" (page 248)

"I held my left hand open, at my waist. She stiffened, and looked at me, angrily. I opened and closed my left hand once. I saw her training in Gorean customs had been thorough. But she never thought that such a gesture would be used to her. She came beside me, and a bit behind me, and, crouching, put her head down, deeply. I fastened my hand in her hair."

"Beasts of Gor" (page 409)


In a moment I had left the building, pulling the captive behind me, her head down at my waist, in leading position.

Mercenaries of Gor...pgs 399-400

~~she watches His rise, He calls her to Him, she bends at her waist, her long tresses fall fourth, she wraps her arms around her back, crystal blue diamonds lowered to the ground, as she places the side of her head against His hip, so that the Jarl may lead her by her collar or her hair, which ever He may choose.

SUBMISSION

"Submit!" he boomed at the large, blond girl and, terrified, almost leaping, she lowered her head, thrusting forward her hands, wrists crossed.

"Raiders of Gor" (page 93)



"I can force you to take me," she said.
"How?" I asked.
"Like this," she responded, kneeling before me, lowering her head and lifting her arms, the wrists crossed. She laughed. "Now you must take me with you or slay me."
I cursed her, for she took unfair advantage of the Warrior Codes of Gor. "What is the submission of Talena, the daughter of the Ubar, worth?" I taunted.
"Nothing," she said. "But you must accept it or slay me."

"Tarnsman of Gor" (page 109)



"Step before me naked," said Rask of Treve.
I did so.
We faced one another, not speaking, he with his blade, and in his leather, I with nothing, stripped at his command.
"Submit," he said.
I could not disobey him.
I fell to my knees before him, resting on my heels, extending my arms to him, wrists crossed, as though for binding, my head lowered, between my arms.
I spoke in a clear voice. "I, Miss Elinor Brinton, of New York City, to the Warrior, Rask, of the High City of Treve, herewith submit myself as a slave girl. At his hands I accept my life and my name, declaring myself his to do with as he pleases."

"Captive of Gor" (page 283)



"Submit," he said.
She looked at me, wildly, piteously. I aided her. I showed her how to kneel back on her heels, her arms extended to him, wrists crossed, her head down, between her arms. "Say, 'I submit,'" I said. "I submit," she said. He bound her wrists tightly before her body.

"Slave Girl of Gor" (page 401)



She came and stood before me, and then dropped to her knees, resting back on her heels. She lowered her head and extended her arms, wrists crossed, the submission of the Gorean female.

"Raiders of Gor" (page 92)



He twisted her hair more. She winced, her back bent painfully. "Do you wish me to submit to you now?" she begged. "Do so," said he. She fell to her knees before him, and lifted her head to regard him. "I will be your slave," she said. Then, she knelt back on her heels, lowered her head, and lifted and extended her arms, wrists crossed, as though for binding. She was very beautiful. "I am your slave," she said, "- Master."

"Hunters of Gor" (page 16)


~~striding over to theJarl, her mind focused only on Him, her heart racing in her chest, she closes her eyes and whispers a quick prayer to Odin before she falls gracefully to her knees before Him, she tucks her long legs beneath her and rests her firm ass on her crossed heels, exposing to Him her treasures, she arches her back slightly and pushes her chest up and out, her plump breasts uprise her body trembles slightly as she raises her arms high above her head, her long blonde tresses tumble down her back as her arms are lifted, she closes her eyes and takes in a deep breath as she crosses her wrists, her right one over the left, she lowers her head between her outstretched arms in supplication, she waits silently her chest rising and falling with her deep breaths as her body trembles

SLAVERS KISS

Then, before I could realize what he intended, he had subjected Miss Cardwell to what, among slavers, is known as the Whip Caress. Ideally it is done, as Kamchak had, unexpectedly, taking the girl unawares. Elizabeth suddenly cried out throwing her head to one side. I observed to my amazement the sudden, involuntary, uncontrollable response to the touch. The Whip Caress is commonly used among Slavers to force a girl to betray herself.

Nomads of Gor...pg 168


Her movements were wooden. The crowd was not pleased. There was only a two gold piece bid. Then taking the whip from the whip slave the auctioneer stepped to the disconsolate girl; suddenly, without warning, he administered to her the Slaver's caress, the whip caress, and her response was utterly, uncontrollably, wild, helpless. She regarded him in horror. The crowd howled with delight.

Assassin of Gor...pg 294

~~she falls to the floor upon all fours, she keeps her head straight, long beautiful spirals of gold fan out across her back and dangle down at her sides, her eyes looking forward, long midnight lashes curl up careressing her perfectly arched deepest blonde eyebrows, as she thrust her buttocks upwards, spreading her thighs sinfully wide in preparation for the sexual use of the Master.

KNEEL TO THE COFFLE

"Kneel to be coffled" said one of the men. The girl knelt, closely, one behind the other, there were six wrist rings on the chain he carried. He placed the girl who had been whipped by Lady Sabina first in the coffle line. "Left wrist coffle" he said. They lifted their left wrist, frightened. Interestingly, the man snapping the wrist rings on the girl's left wrist did not put the first girl first rind, but second. When the four maids were coffled there was, thus, an empty wrist ring both ends at the head and rear of the line."Stand, slaves."said the man. "Lower chain."The girls stood. Then, ordered, they lowered their wrists. They were in line, standing, coffled.

Slave Girl of Gor..Page 127


~~ she kneels, thighs parted widely,setting up upon her heels and lifts her left wrist outwards, so that the wrist can be attached to the wrist ring with in the coffle chain.


NESTLE

"Nestle" I told her. "Yes Master," she said. She nestles obediently in the crook of my left arm.

Explorers of Gor..Page 279

~~settleing to his left side...she leans back against her Jarls hip, snuggling into the crook of His arm.

WALK

I can walk with my head down, as a slave, said Tarna.
Most female slaves, said Hassan, walk very proudly. They are proud of their slavery, and their mastery by men."
Tribesmen of Gor, Page 332-333

~~she turns in a graceful pirouette, sending her golden locks to swing about hips, kissing the flesh of delicate hips, as she begins to walk gliding across the room, her feet hardly seem to leave the floor as she walks with such grace, her hips swaying senually, her body erect and proud, as she reaches her objective she softly halts, stands, her body erect, arching her shoulders back, thrusting her chest forwars, her belly in, she turns her hip out just a tad, her long slender silky smooth arms down at her sides, pointing her foot outwards, holding her head up high showing pride in the collar that encircles her throat, baring the HOLD"S name, lowers jewels downwards under deep dark curly lashes, as she keeps her position remains motionless and quiet, awaiting His next command.

STAKE

When chained at a stake the with this command the slave lies down and is not permitted to rise even to her knees.
Book 24: Vagabonds of Gor, page 386

~~she lays her full frame to the ground and lays completly still nay riseing even to her knees....

_________________
The female slave, sometimes considered nothing, supposedly, is yet in actuality, valued commonly more highly than even gold, which in turn, is often valued for its capacity to buy such women, to bring them into chains."
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PostSubject: Re: 5/27/18-6/2/18   Sun May 27, 2018 8:34 am

05.27.2018
09:23:34



Gorean Symbolism

While Gor seems full of useless things, like kneeling a certain way or serving a specific way, it all has it meaning. Each of these items is a specific symbol and therefore a specific meaning and reason why they are done. Though many seem unimportant, when you understand what each means, they become very important and should never be forgotten or taken lightly.



We are here for very specific reasons. We are here to train for real life, to learn about Gor and it's Ways; to share and grow amongst ourselves in the Ways of Gor, amongst good and like-minded friends. Yes, some are here for other reasons, to find a Master, or a slave, or to simply experience Gor. Some are here simply for the possibility of sex. If sex is a priority for you, then you are missing the reason for Gor. Gor is NOT about sex. Everyone has his or her own reasons for coming to Gor, but consider this: being in Gor effectively, takes a great deal of one's time and energy. So make it *worth* your time and energy. Gor is full of ritual and symbolism. This page is intended to address some of the meaning(s) attached to Gorean practice. It is by no means an exhaustive listing, but will provide some insights into the depth of meanings found in Gor.



Kneeling

As with so many other aspects of Gor, even the kneeling of the kajira before the Master has meaning and significance. It is customary for a kneeling kajira to kneel a few feet back from the Master. The kneeling itself expresses the kajira's servitude and submission. It acts as a physical reminder to herself, as well as the Free, of her slavery and her desire to be used as a slave. The distance serves four primary purposes; 1) Symbolizes in both distance and height differential, the social difference between the Master and slave 2) Puts the slave where the Master can view her fully, for a kneeling woman is an incredibly beautiful woman. 3) Puts enough space between the Master and the slave so that the releasing of his rapacity is more likely to require a conscious decision, rather than a reflexive reaction. 4) Gives the kajira room to maneuver into commanded positions



Positioning of the Hands

Palms upward, or facing outwards, is indicative of submission, vulnerability, and surrender to the Master. Fingers spread wide apart is further indication of both vulnerability to the Master, and desire for him.



Eyes Downcast

Proper decorum and submission calls for the eyes to be downcast unless the head is positioned to indicate otherwise, or the Master has commanded otherwise. This is an on-line Gorean convention, in the books it is common for kajira to gaze upon the Master's eyes unless the kajira is in trouble and seeking to demonstrate fully her submission. Normally, eye contact between a Master and a slave is acceptable and common, but it can be denied or forbidden to the slave as a punishment or discipline.



Belly-Crawling

Crawling on the belly is used for very specific reasons. The first of which is to placate a Master, if the Master is upset or the kajira has made a serious mistake. The second is to communicate need for the Master, the need to demonstrate submission and/or the need to communicate a sexual desire, depending on how it is done. And last, crawling is used in the performance of certain forms of obedience. Other than that, do not crawl about. A Gorean kajira is supposed to be proud, believe it or not. The kajira should be proud of her skill and talent, her capacity for love and devotion. Not of herself, but rather of the things she can bring to her Master, for her Master is her focus.



Hand feeding and gifts.

In some parts of Gor, the hand-feeding of a kajira is the ritual of taking ownership of that kajira. By feeding from the Master's hand, he has offered to sustain and care for the kajira, by eating from the Master's hand, the kajira has accepted this. This is primarily a Tuchuk custom. Gifts will sometimes be given to a kajira. A kajira may not own anything of their own, it is they who are owned, by the Master. Thus, if a kajira is given a gift, that gift is actually being given to the Master, who may or may not choose to allow the kajira to hold it for him. Understand this distinction clearly. In most cases, you are not permitted to make the decision to accept a gift, that is your Master's decision.



Ways to Communicate Need to a Master

Gor is rich with metaphor and symbology and ritual, some of which may be utilized as shown below to tell a Master of your sexual needs, without being unduly blatant about it. 1) Flowers in the hair, or given to him 2) Tie a loose knot in the hair on the right side, let it hang over the cheek 3) Kneeling nadu, (as the pleasure slave) 4) Body touching 5) Palms up, facing him 6) Offer fruit, holding it next to her body 7) Belly crawling, with the rear up thrusting Cool A verbal method that can be used is to bring the wine, serve it, then beg him to take the Second Wine (herself). 9) And last, below is the ritual formula of a slave in need, it is appropriate in accordance with the books themselves, and will certainly be appropriate in on-line Gor. Ritual formula of a slave in need - "I acknowledge unequivocally and without reservation that I have sexual needs. Similarly, I inform you that I want them satisfied. I beg you, Master, to satisfy them."



The 'Tease and Please' Rule


If a kajira offers a Free Person wholly of herself, she will be required to give what she has offered, if the Free Person chooses to accept it. There are no exceptions to this, a kajira is not to be permitted to tease like so many of Earth do, with no intention of fulfilling the promise of the tease. To do so is not only an insult to the Free Person, but shows a lack of integrity and dishonor within the kajira. If a kajira teases, the kajira will please, exceptions sometimes made for dancers. Understand that kneeling nadu is to kneel in the position of the Gorean Pleasure Slave. The Gorean Pleasure Slave exists to serve the Master, and it is implicit in the nadu that her full sexual service is at his disposal. If you kneel in nadu, you are offering that to the Master, you had better be able to fulfill that promise. Hiding behind restrictions or a collar is absolutely no excuse.

As with the positions, there are a standard list of Gorean Commands that a slave must know how to obey. Below I will list each command, give a description of how a slave should respond to each command, and explain how it might be used.

Blanket:

when a blanket or cloak or covering of any sort is thrown over a slave girl she may not speak or rise; she must remain silent until the blanket is lifted by a free person

"Yes, she whispered. Yes what? I said. Yes, Master, she said. Master! she protested, but I lifted the dark blanket and threw it over her head, so that was completely covered. She could not then speak, or rise up, for the blanket was over her." Explorers of Gor Chapter 14.

Bound By The Master's Will:

refers to a slave being commanded to hold position, as though bound, hands clasping opposite wrists until she is released.

“Your hands are now bound behind your back, he said. Yes, Master, I said. I must now keep my hands or wrists in contact with one another, and behind my back. I was now 'bound by the master’s will.' I could not separate my hands or wrists from one another now without permission." Dancer of Gor Chapter 13.

Display:

Stand with feet shoulder-width apart with head held up and eyes lowered and intertwine fingers behind the neck.

"The auctioneer did not strike her with his whip. He merely took her arms and lifted them, so that the position chain, attached to each side of the sales collar lay across her upper arms. Then he had her clasp her hands behind the back of her neck, so that the chain, on each side of the collar, was in the crook of her arms, and she was exposed in such a way that she could be properly exhibited." Explorers of Gor Page 36.

Hair:

The slave should start off in a standing position then bow forward gracefully at the waist so that the hair tumbles forward to be seized or for any other reason the Master or Mistress wishes.

"I then snapped my fingers and held my right hand, open, at my hip. Swiftly the girl rose to her feet and, half crouching, put her head by my hand. I fastened the fingers of my hand deeply and firmly in her red hair. She winced, and kissed at my thigh. I then, the goblet of paga in my left hand, her hair in my right, dragged her beside me, her slender chains rustling, to the nearest alcove." Rogue of Gor Page 587.

Har-Ta:

faster!

"I shouted to my tarn, in Gorean and in English. 'Har-ta! Har-ta! Faster! Faster!'" Tarnsman of Gor Chapter 4

Heel:

The slave should walk to the Master or Mistress and stand about a pace behind them. Unless specifically told otherwise or unless you know that the Free is left or right-handed always heel on the left. If you know the Free is left-handed heel to the right.

"The girl normally heels a right-handed Master on the left, that she not encumber the movements of the weapon hand." Magicians of Gor Page 117.

Nestle:

slave should press against the Free persons side and rest their head in the crook of the Master or Mistress arm.

"Nestle, I told her. Yes, Master, she said. She nestled obediently in the crook of my left arm." Explorers of Gor Page 279.

Run:

The slave runs across the floor in short steps and keeping the legs straight and unbending. Feet should stay very close to the floor while the slave is running. As s/he moves back should be straight and arms at the sides with palms facing outward in a 45 degree angle.

"I was amused, for she had run as a slave girl is sometimes taught to run, with rapid short steps, her legs almost straight, her feet scarcely leaving the ground, back straight, head turned to the left, arms at her sides, palms out at a forty-five degree angle, more of a dancer's motion than a true run." Assassin of Gor Page 45.

Slave Rape:

the sexual use of a slave girl; may be either tender or brutal, casual, deliberate or disciplinary.

"I went to the side of the room and picked up my sea bag. I threw it to the center of the room. She looked down at it puzzled. It was of heavy blue material, canvas, and tied with a white rope. "Lie down upon it," I told her, "on your back, your head to the floor." She did so. "No, please," she said, "not like this." It is a common position for a disciplinary slave rape. In it the woman feels very vulnerable, very helpless. I then took her." Explorers of Gor Page 202.

Stake Position:

When chained at a stake with this command, the slave lies down and is not permitted to rise even to her knees.

“Stake position, said Ephialtes to the two women. Immediately they both lay down, with a sound of chain. It is not unusual to forbid a rent slave, during her use times, when chained at a stake, to rise even to her knees." Vagabonds of Gor Page 233

Walk:

The slave should turn gracefully and walk across the floor, his/her feet hardly leaving the floor, body erect and proud. When you reach the person/place/thing you were commanded to walk to ..stop with body still erect..head held high and eyes lowered. Turn your hip slightly with hands by your sides as you point a foot outwards.

"most female slaves, said Hassan, walk very proudly. They are proud of their slavery, and their mastery by men. They have learned their womanhood. It has been taught to them. In their way, though imbonded, totallythey are the truest and freest of woman." Tribesmen of Gor Page 332.

_________________
The female slave, sometimes considered nothing, supposedly, is yet in actuality, valued commonly more highly than even gold, which in turn, is often valued for its capacity to buy such women, to bring them into chains."
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PostSubject: Re: 5/27/18-6/2/18   Mon May 28, 2018 9:26 am

05.28.2018
10:11:51



What is the Thing?

Overview and Historical Basis

Although more than an entire chapter in Marauders was devoted to The Thing, Norman otherwise wrote rather superficially about what took place at this event (eg: the high-Jarl being mentioned yet with no other specifics of how He came to that post)...leaving it to the reader to search deeper into the parts of Earth's history and culture that inspired Norman as he wrote the novels in order to fill in the remaining details. In so doing, this also gives us insight into the lives and culture of the Torvaldslanders themselves.

In the information presented under this topic, we have provided the supporting book quotes wherever possible. For the remainder, there is a very good essay at the following url The Thing Fair providing the basis for what seems to be generally accepted in the Gorean community about The Thing, including the following definition of event itself:

"The Thing is an annual celebration held in Torvaldsland, during which all of the shieldmen of the various Great Jarls travel to the Hall of their particular leader, submit their weaponry for inspection, and formally repledge their oaths of loyalty. The Thing usually occupies a span of from three to five days, and occurs sometime during the middle of the ninth Gorean month (mid-November), varying according to such factors as weather and the current political situation."

Although the main purpose of the Thing was the uniting of peoples and the overseeing of laws, it later became a major cultural event, drawing together entire families and guests from all regions of Gor to discuss common interests, share and learn new skills, and provide a place for craftsmen and merchants to show and sell their wares, including the sale of slaves. There were also contests of skill and strength for which prizes were awarded.
Required Attendance at The Thing

All Free Men of Torvaldsland were required to attend The Thing. The only exception was for those farmers who farmed alone and could not leave their fields unattended. Men would often bring their families and slaves along as well, and the Free of other cities south of Torvaldsland were also invited to attend.


"Most of the men at the thing were free farmers, blond-haired, blue-eyed and proud, men with strong limbs and work-roughened hands; many wore braided hair; many wore talmits of their district; for the thing their holiday best had been donned; many wore heavy woolen jackets, scrubbed with water and bosk urine, which contains ammonia as its cleaning agent; all were armed, usually with an ax or sword; some wore their helmets; others had them, with their shields, slung at their back."
~Marauders of Gor, pg 142


"At the thing, to which each free man must come, unless he work his farm alone and cannot leave it, each man must be present, for the inspection of his Jarl's officer, a helmet, shield and either sword or ax or spear, in good condition. Each man, generally, save he in the direct hire of the Jarl, is responsible for the existence and condition of his own equipment and weapons. A man in direct fee with the Jarl is, in effect, a mercenary; the Jarl himself, from his gold, and stores, where necessary or desirable, arms the man; this expense, of course, is seldom necessary in Torvaldsland; sometimes, however, a man may break a sword or lose an ax in battle, perhaps in the body of a foe, falling from a ship; in such a case the Jarl would make good the loss; he is not responsible for similar losses, however, among free farmers."
~Marauders of Gor, pg 142


"Those farmers who do not attend the thing, being the sole workers on their farms, must, nonetheless, maintain the regulation armament; once annually it is to be presented before a Jarl's officer, who, for this purpose, visits various districts. When the war arrow is carried, of course, all free men are to respond; in such a case the farm may suffer, and his companion and children know great hardship; in leaving his family, the farmer, weapons upon his shoulder, speaks simply to them. “The war arrow has been carried to my house,” he tells them."
~Marauders of Gor, pg 142


"On the wooden dais, draped in purple, set on the contest fields, in heavy, carved chairs, sat Svein Blue Tooth and his woman Bear. Both wore their finery. About them, some on the dais, and some below it, stood his high officers, and his men of law, his counselors, his captains, and the chief men from his scattered farms and holdings; too, much in evidence, were more than four hundred of his men-at-arms. In the crowd, too, in their white robes, were rune-priests."
~Marauders of Gor, pgs 181-182


"We saw, too, may chieftains, and captains, and minor Jarls, in the crowd, each with his retinue. These high men were sumptuously garbed, richly cloaked and helmeted, often with great axes, inlaid with gold. Their cloaks were usually scarlet or purple, long and swirling, and held with golden clasps. They wore them, always, as is common in Torvaldsland, in such a way that the right arm, the sword arm, is free. Their men, too, often wore cloaks, and, about their arms, spiral rings of gold and silver, and, on their wrists, jewel-studded bands."
~Marauders of Gor, pg 142-143


"In the crowd, too, I saw some merchants, though few of them, in their white and gold. I saw, too, four slavers, perfumed, in their robes of blue and yellow silk, come north to buy women. I saw, by the cut of their robes, they were from distant Turia."
~Marauders of Gor, pg 153


"I saw, too, in the crowd, a physician, in green robes, from Ar and a scribe from Cos. These cities are not on good terms but they, civilized men, both in the far north, conversed affably."
~Marauders of Gor, pg 153


"In the crowd, too, much in evidence, were brazen bond-maids; they had been brought to the thing, generally, by captains and Jarls; it is not unusual for men to bring such slaves with them, though they are not permitted near the law courts or the assemblies of deliberation; the voyages to the thing were not, after all, ventures for raiding; they were not enterprises of warfare; there were three reasons for bringing such girls; they were for the pleasure of the men; they served, as display objects, to indicate the wealth of their masters; and they could be bought and sold."
~Marauders of Gor, pg 143


"The Forkbeard had brought with him, too, some bond-maids. They followed us. Their eyes were bright; their steps were eager; they had been long isolated on the farm; rural slave girls, the Forkbeard's wenches, they were fantastically stimulated to see the crowds; they looked upon the thing-fields with pleasure and excitement; even had they been permitted, some of them, to look upon certain of the contests. It is said that such pleasures improve a female slave."
~Marauders of Gor, pg 143


"We saw thralls, too, in the crowd, and rune-priests, with long hair, in white robes, a spiral ring of gold on their left arms, about their waist a bag of omen chips, pieces of wood soaked in the blood of the sacrificial bosk, slain to open the thing; these chips are thrown like dice, sometimes several times, and are then read by the priests; the thing-temple, in which the ring of the temple is kept, is made of wood; nearby, in a grove, hung from poles, were the bodies of six bosk, one of them the ceremonial bosk, six tarsk, and six verr; in past days, it is my understanding, there might have been hung there, in place of the six verr, six thralls; it had been decided, however, a generation ago, by one of the rare meetings of the high council of rune-priests, attended by the high rune-priest of each district, that thralls should no longer be sacrificed; this was not defended, however, on grounds of the advance of civilization, or such, but rather on the grounds that thralls, like urts and tiny, six-toed tharlarion, were not objects worthy of sacrifice"
~Marauders of Gor, pg 152


"The Forkbeard had bought one thrall with him, the young man, Tarsk, who, even now, followed in the retinue of the Forkbeard; it was thought that if the Forkbeard should purchase a crate of sleen fur or a chest of bog iron the young man, on his shoulders, might then bear it back to our tent, pitched among other tents, at the thing."
~Marauders of Gor, page 153

"Peace" of the Thing

Acts of violence were prohibited at The Thing. No man could be captured, killed, or detained for any crime, including outlawry. (Note that this prohibition did not include duels, which are described in a later section). Rune priests helped keep the Peace by overseeing the event and reminding the people that to invite trouble to The Thing was to invite trouble from the gods, who were always watching.

"I carried my short sword. I carried, too, the great bow, unstrung, with quiver of arrows. The Forkbeard, too, and his men, were armed. Blows are not to be struck at the thing, but not even the law of the thing, with all its might, would have the temerity to advise the man of Torvaldsland to arrive or move about unarmed. The man of Torvaldsland never leaves his house unless he is armed; and, within his house, his weapons are always near at hand, usually hung on the wall behind his couch, at least a foot beyond the reach of a bond-maid whose ankle is chained."
~Marauders of Gor, pg 141


“That you have disguised yourself tells us,” said the Blue Tooth, “that you are outlaw.”
Ivar looked at him, as though startled at his perception. “But the peace of the thing is upon you,” said Svein Blue Tooth. “You are safe among us. Do not fear, great Champion. We meet here not to threaten you, but to do you honor. Be not afraid, for the peace of the thing is upon you, as on all men here.”
~Marauders of Gor, pgs 183-184


"The peace of the thing," said the Blue Tooth, "and the peace of my house, for the time of the thing, is upon you. This I have sworn. This I uphold." There was much cheering. The Forkbeard beamed. "I knew it would be so, my Jarl," he said. The high rune-priest lowered the temple ring."
~Marauders of Gor, pg 189

Competitions, Games, and Events

There are 12 contests mentioned in Marauders as being events held at The Thing, including Archery, Swimming, Grappling, Mast Climbing, Spear throwing, Walking the Oar, Jumping the crevice, Bat and ball, Singing, Poetry composition, Rhyming, and Riddle-Guessing. Several of these are described in detail with their supporting quotes (see below).

There was also a separate contest held for slaves, a type of "beauty" contest that involved walking a platform before the crowds.


"Roped together by the waist, on the turf of the thing-fair, we grappled. His body slipped in my hand. I felt my right wrist drawn back, at the side of my head, his two hands closed on it. He grunted. He was strong. He was Ketil, of Blue Tooth's high farm, champion of Torvaldsland. My back began to bend backward; I braced myself as I could, right leg back, bent, left leg forward, bent. The men about cried out. I heard bets taken, speculations exchanged. Then my right wrist, to cries of wonder, began to lift and straighten; my arm was then straight, before my body; I began, inch by inch, to lower it toward the ground; if he did retain his grip, he would, at my feet, be forced to his knees. He released my wrist with a cry of fury. The rope between us, a yard in length, pulled taut. He regarded me, astonished, wary, enraged. I heard hands striking the left shoulders; weapons struck on shields."
~Marauders of Gor, pg 138


"I turned about and saw the Forkbeard. His hair was wet; he was drying his body in a cloak. He was grinning. "Greetings Thorgeir of Ax Glacier", said I. "Greetings, Red Hair," said he. ... "How went the swimming?" I asked him. "The talmit of skin of sea sleen is mine!" he laughed. ... That Thorgeir of Ax Glacier had won the swimming must have seemed strange indeed to those of the thing-fair. Immersion in the waters of the Ax Glacier country, unprotected, will commonly bring about death by shock, within a matter of Ihn."
~Marauders of Gor, pg 139


"Much speculation had coursed among the contest fields as to the true identity of the smooth-shaven Thorgeir. Prior to his winning the swimming he had won talmits for climbing the "mast," a tall pole of needle wood, some fifty feet high, smoothed and peeled; for jumping the "crevice," actually a broad jump, on level land, where marks are made with strings, to the point at which the back heel strikes the earth; walking the "oar," actually, a long pole; and throwing the spear, a real spear I am pleased to say, both for distance and accuracy; counting the distance and the accuracy of the spear events as two events, which they are, he had thus, prior to the swimming, won five talmits. He had done less well in the singing contest, though he had much prided himself on his singing voice; he thought, in that one, the judges had been against him; he did not score highly either in the composition of poetry contest, nor in the rhyming games; "I am not a skald," he explained to me later; he did much better, I might mention, in the riddle guessing; but not well enough to win; he missed the following riddle; "What is black, has eighty legs and eats gold?"; the answer, though it might not seem obvious, was Black Sleen, the ship of Thorgard of Scagnar; the Forkbeard's answer had been Black Shark, the legendary ship of Torvald, reputed discoverer and first Jarl of Torvaldsland; he acknowledged his defeat in this contest, however, gracefully; "I was a fool," he grumbled to me. "I should have known!"
~Marauders of Gor pgs 139-140


"Perhaps the most serious incident of the contests had occurred in one of the games of bat and ball; in this contest there are two men on each side, and the object is to keep the ball out of the hands of the other team; no one man may hold the ball for more than the referee's count of twenty; he may, however, throw it into the air, provided it is thrown over his head, and catch it again himself; the ball may be thrown to the partner, or struck to him with the bat; the bat of course, drives the ball with incredible force; the bats are of heavy wood, rather broad, and the ball, about two inches in diameter, is also of wood, and extremely hard; this is something like a game of "keep away" with two men in the middle. I was pleased that I was not involved in the play. Shortly after the first "knock off," in which the ball is served to the enemy, Gorm, who was Ivar's partner, was struck cold with the ball, it driven from an opponent's bat; this, I gathered, is a common trick; it is very difficult to intercept or protect oneself from a ball struck at one with great speed from a short distance; it looked quite bad for Ivar at this point, until one of his opponents, fortunately, broke his leg, it coming into violent contact with Ivar's bat. This contest was called a draw. Ivar then asked me to be his partner. I declined. "It is all right," said Ivar, "even the bravest of men may decline a contest of bat-and-ball." I acceded to his judgment. There are various forms of ball games enjoyed by the men of Torvaldsland; some use bats, or paddles; in the winter, one such game quite popular, is played, men running and slipping about, on ice; whether there is any remote connection between this game and ice hockey, I do not know; it is, however, ancient in Torvaldsland; Torvald himself, in the sagas, is said to have been skilled at it."
~Marauders of Gor, pgs 140-141


"The target in the shooting was about six inches in width, at a range of about one hundred yards. With the great bow, the peasant bow, this is not difficult work. Many marksmen, warriors, peasants, rencers, could have matched my shooting. It was, of course, quite unusual in Torvaldsland. I put twenty sheaf arrows into the target, until it bristled with wood and the feathers of the Vosk gull."
~Marauders of Gor, pg 167


"Send that one to the platform!" cried out a farmer, indicating Gunnhild.
"To the platform!" roared Ivar Forkbeard. He tore away her kirtle. Soon she, barefoot, was climbing the wooden steps to the platform. This is a wooden walkway, about five feet wide and one hundred yards long. On the walkway, back and forth, smiling, looking one way and then the other, turning about, parade stripped bond-maids. They are not for sale, though many are sold from the platform. The platform is instituted for the pleasure of the free men. It is not unanalogous to the talmit competitions, though no talmit is awarded. There are judges, usually minor Jarls and slavers. No judge, incidentally, is female. No female is regarded as competent to judge a female's beauty; only a man, it is said, can do that.
"Smile, you she-sleen!" roared the Forkbeard. Gunnhild smiled, and walked.
No free woman, of course, would even think of entering such a contest. All who walk on such a platform are slave girls. At last only Gunnhild and the "silk girl," she who had worn the earrings, walked on the platform. And it was Gunnhild who was thrown the pastry, to the delight of the crowds, shouting, pounding their spear blades on their wooden shields.
"Who owns her?" called the chief judge. "I do!" called the Forkbeard. He was given a silver tarn disk as a prize.
~Marauders of Gor, pgs 153-154

Prizes and Awards

"How went the swimming?" I asked him. "The talmit of skin of sea sleen is mine!" he laughed. The talmit is a headband. It is not unusual for the men of Torvaldsland to wear them, though none of Forkbeard's men did. They followed an outlaw. Some talmits have special significance. Special talmits sometimes distinguish officers, and Jarls; or a district's lawmen, in the pay of the Jarl; different districts, too, sometimes have different styles of talmit, varying in their material and design; talmits, too, can be awarded as prizes."
~Marauders of Gor, pg 139


"Ivar Forkbeard, or Thorgeir of Ax Glacier, as we might call him, had won, all told, including the swimming talmit, six talmits. He was much pleased. In the morning talmits would be awarded personally by the hand of Svein Blue Tooth".
~Marauders of Gor, pg 141


"Win Leah, Master!" I heard. I looked upon her, and she looked upon me. She stood on a thick, rounded block; it was about a yard high, and five feet in diameter; she was dark-haired, long-haired; she had a short, luscious body, thick ankles; her hands were on her hips. "Win Leah, Master!" she challenged. She was naked, except for the Torvaldsland collar of black iron on her neck, with its projecting ring, and the heavy chain padlocked about her right ankle; the chain was about a yard long; it secured her, by means of a heavy ring, to the block. She laughed. "Win Leah, Master!" she challenged. She, with the archery talmit, was the prize in the shooting.
~Marauders of Gor, pg 166


"About my forehead were bound two talmits, one which I had won in wrestling, the other in archery"
~Marauders of Gor, pg 181


“This man,” called out Svein Blue Tooth, obviously impressed, “has earned in these contests six talmits. Never in the history of the thing has there been so high a winner.” Svein Blue Tooth was of Torvaldsland himself. He well understood the mightiness of the winner’s exploits. It was rare for one man to win even two talmits. Thousands entered the contests. Only one, in each contest, could achieve the winner’s talmit. “I distinguish myself, and enter into the history of our land,” said the Blue Tooth, “in being the high Jarl to award these talmits in the games. As we honor this man we, in doing this, similarly do honor unto ourselves.” This was cultural in Torvaldsland. One is regarded as being honored when one rightly bestows honor. It is not like one man taking something from another, so much as it is like an exchanging of gifts. To a somewhat lesser extent, it might be mentioned, this is also cultural in the south. Svein Blue Tooth was obviously pleased that it had been in his Jarlship that six talmits had been won at the thing by a single, redoubtable champion.
~Marauders of Gor, pg 182

Dueling

"Let us watch duels," said the Forkbeard. The duel is a device by which many disputes, legal and personal, are settled in Torvaldsland. There are two general sorts, the formal duel and the free duel.

The free duel permits all weapons; there are no restrictions on tactics or field. At the thing, or course, adjoining squares were lined out for these duels. If the combatants wished, however, they might choose another field. Such duels, commonly, are held on wave-struck skerries in Thassa. Two men are left alone; later, at nightfall, a skiff returns, to pick up the survivor.

The formal duel is quite complex, and I shall not describe it in detail. Two men meet, but each is permitted a shield bearer; the combatants strike at one another, and the blows, hopefully, are fended by each's shield bearer; three shields are permitted to each combatant; when these are hacked to pieces or otherwise rendered useless, his shield bearer retires, and he must defend himself with his own weapon alone; swords not over a given length, too, are prescribed. The duel takes place, substantially, on a large, square cloak, ten feet on each side, which is pegged down on the turf; outside this cloak there are two squares, each a foot from the cloak, drawn in the turf. The outer corners of the second of the two drawn squares are marked with hazel wands; there is thus a twelve-foot-square fighting area; no ropes are stretched between the hazel wands. When the first blood touched the cloak the match may, at the agreement of the combatants, or in the direction of one of the two referees, be terminated; a price of three silver tarn disks is then paid to the victor by the loser; the winner commonly then performs a sacrifice; if the winner is rich, and the match of great importance, he may slay a bosk; if he is poor, or the match is not considered a great victory, his sacrifice may be less.

These duels, particularly of the formal variety, are sometimes used disreputably for gain by unscrupulous swordsmen. A man, incredibly enough, may be challenged by such a fellow for his farm, or his companion, or daughter; if the challenge is not accepted, the stake is forfeit; if the challenge is accepted, of course, he who is challenged risks his life among the hazel wands; he may be slain; then, too, of course, the stake, the farm, the companion, the daughter, is surrendered by law to the challenger. The motivation of this custom, I gather, is to enable strong, powerful men to obtain land and attractive women; and to encourage those who possess such to keep themselves in fighting condition. All in all I did not much approve of the custom. Commonly, of course, the formal duel is used for more reputable purposes, such as settling grievances over boundaries or permitting an opportunity where, in a case of insult, satisfaction might be obtained.
~Marauders of Gor, pgs 145-150


"One case interested us in particular. A young man, not more than sixteen, was preparing to defend himself against a large, burly fellow, bearded and richly helmeted. "He is a famous champion," said Ivar, whispering to me, nodding to the large, burly fellow. "He is Bjarni of Thorstein Camp." Thorstein Camp, well to the south, but yet north of Einar's Skerry, was a camp of fighting men, which controlled the countryside about it, for some fifty pasangs, taking tribute from farms. Thorstein of Thorstein's Camp was their Jarl. The camp was of wood, surrounded by a palisade, built on an island in an inlet, called the inlet of Thorstein Camp, formerly known as the inlet of Parsit, because of the rich fishing there.

The stake in this challenge was the young man's sister, a comely, blond lass of fourteen, with braided hair. She was dressed in the full regalia of a free woman of the north. The clothes were not rich, but they were clean, and her best. She wore two brooches; and black shoes. The knife had been removed from the sheath at her belt; she stood straight, but her head was down, her eyes closed; about her neck, knotted, was a rope, it fastened to a stake in the ground near the dueling square. She was not otherwise secured.

"Forfeit the girl," said Bjarni of Thorstein Camp, addressing the boy, "and I will not kill you." "I do not care much for the making of women of Torvaldsland bond," said Ivar. "It seems improper," he whispered to me. "They are of Torvaldsland!"

"Where is the boy's father?" I asked one who stood next to me. "He was slain in an avalanche," said the man. I gathered then the boy was then owner of the farm. He had become, then, the head of his household. It was, accordingly, up to him to defend, as best he could, against such a challenge. "Why do you not challenge a baby?" asked Ivar Forkbeard. Bjarni looked upon him, not pleasantly. "I want the girl for Thorstein Camp," he said. "I have no quarrel with children." "Will she be branded there, and collared?" asked Ivar. "Thorstein Camp," said Bjarni, "needs no free women." "She is of Torvaldsland," said Ivar. "She can be taught to squirm and carry mead as well as my other wench," said Bjarni.
I had no doubt that this was true. Yet the girl was young. I doubted that a girl should be put in a collar before she was fifteen.


I smiled. I went to the young man, who was preparing to step into the area of hazel wands. He was quite a brave lad. Another youngster, about his own age, probably from an adjoining farm, would carry his shield for him. "What is your name, Lad?" I asked the young man preparing to enter the square marked off with the hazel wands. "Hrolf," said he, "of the Inlet of Green Cliffs." I then took both of the boys, by the scruff, and threw them, stumbling, more than twenty feet away to the grass. I stepped on the leather of the cloak. "I'm the champion," said I, "of Hrolf of the Inlet of Green Cliffs." I unsheathed the sword I wore at my belt. "He is mad," said Bjarni.

"Who will bear your shield?" asked one of the referees. "My weapon is my shield," I told him, lifting the sword. "He will not strike me." "What do you expect to do with that paring knife?" asked Bjarni of Thorstein Camp, looking at me, puzzled. He thought me mad.
"Your long sword," I told him, "is doubtless quite useful in thrusting over the bulwarks of ships, fastened together by grappling irons, as mine would not be, but we are not now, my dear Bjarni, engaging in combat over the bulwarks of ships." "I have reach on you!" he cried. "But my blade will protect me," I said. "Moreover, the arc of your stroke is wider than mine, and your blade heavier. You shall shortly discover that I shall be behind your guard." "Lying Sleen!" cried out the man of Thorstein Camp.


The chief referee looked at me. His office was indicated by a golden ring on his arm. To his credit, he had, obviously, not much approved of the former match. "Approve me," I said.
He grinned. "I approve you," said he, "as the champion of Hrolf of the Inlet of Green Cliffs." Then he said to me, "As you are the champion of the challenged, it is your right to strike the first blow." I tapped the shield of Bjarni of Thorstein Camp, it held by another ruffian from his camp, with the point of my sword. "It is struck," I said.

With a cry of rage the shield bearer of Bjarni of Thorstein Camp rushed at me, to thrust me back, stumbling, hopefully to put me off my balance, for the following stroke of his swordsman. I stepped to one side. The shield bearer's charge carried him almost to the hazel wands. Bjarni, sword high, had followed him. I now stood beside Bjarni, the small sword at the side of his neck. He turned white. "Let us try again," I said. Quickly he fled back, and was joined by his shield bearer. In the second charge, though I do not know if it were elegant or not, given the properties of the formal duel, I tripped the shield bearer. One is not supposed to slay the shield bearer but, as far as I knew, tripping, though perhaps not in the best form, was acceptable. I had, at any rate, seen it done in an earlier match. And, as I expected, neither of the referees warned me of an infraction. I gathered, from the swift looks on their faces, that they thought it rather neatly done, though they are supposed to be objective in such matters. The fellow went sprawling. Bjarni, quite wisely, he obviously brighter than his shield bearer, had not followed him so closely this time, but had hung back. Our swords met twice, and then I was under his guard, the point of my sword under his chin. "Shall we try again?" I asked. The shield bearer leaped to his feet. "Let us fight!" he cried. Bjarni of Thorstein Camp looked at me. "No," he said. "Let us not try again." He took the point of his sword and made a cut in his own forearm, and held it out, over the leather. Drops fell to the leather. "My blood," said Bjarni of Thorstein Camp, "is on the leather." He sheathed his sword.
~Marauders of Gor, pgs 145-150

The Thing-Fair

The Thing-Fair is held by the high Jarl of a given territory for all his men to attend, and serves as well as a gathering of Northerners from areas beyond the Jarl's territory. The one and only occurrence of a Thing-Fair the reader happens upon is found in the pages of Marauders of Gor and appears to be set in late spring time (if one uses the clues given about the growth of fall sa-tarna and the access to water for visiting ships).

It is not said whether or not this festival is related to a specific annual event or seasonal time though some of the games and events held at the fair would not be possible in winter time when the waters are frozen. Furthermore, as we are told the ships are put away for the winter months and taken out of the sheds in the spring time, attendance to the fair by as many as is read about would not be likely.

What we do know is that the Thing-Fair is an event that all free men MUST attend unless they are alone, needing to stay on their land to tend to it; that during this fair that they will present their weapons for inspection to one of their Jarl's officers; that there exists a set of rules and laws which pertain to what may or may not happen within the perimeter of the fair and that this law extends over the entire duration of the Thing and seems to supersede other existing laws for that time.

...At the Thing, to which each free man must come, unless he work his farm alone and cannot leave it, each man must present, for the inspection of his Jarl's officer, a helmet, shield and either sword or ax or spear, in good condition. ... Those farmers who do not attend the Thing, being the sole workers on their farms, must, nonetheless, maintain the regulation armament; once annually it is to be presented before a Jarl's officer, who, for this purpose, visits various districts. ...
---Marauders of Gor, 10:142

The general feel of the Thing-Fair may well remind the reader of the fairs at the Sardar in that the Fair is considered to be a peaceful event. Indeed, though the men of Torvalsdland would never consider it acceptable to move about unarmed, use of weapons and bloodshed for other than contests and settlements under what the reader learns is called the 'law of the Thing' are forbidden and will have to wait until after the event.

I carried my short sword. I carried, too, the great bow, unstrung, with its quiver of arrows.

The Forkbeard, too, and his men, were armed. Blows are not to be struck at the Thing, but not even the law of the Thing, with all its might, would have the temerity to advise the man of Torvaldsland to arrive or move about unarmed. ...
---Marauders of Gor, 10:141

"But the peace of the Thing is upon you," said Svein Blue Tooth. "You are safe among us. Do not fear, great Champion. We meet here not to threaten you, but to do you honor. Be not afraid, for the peace of the Thing is upon you, as on all men here."
---Marauders of Gor, 12:183-184



~ The Thing Fair ~



"We saw thralls, too, in the crowd, and rune-priests, with long hair, in white robes, a spiral ring of gold on their left arms, about their waist a bag of omens chips, pieces of wood soaked in the blood of the sacrificial bosk, slain to open the thing; these chips are thrown like dice, sometimes several times, and are then read by the priests; the thing-temple, in which the ring of the temple is kept, is made of wood; nearby, in a grove, hung from poles, were bodies of six verr."
~Marauders of Gor, page 152~





“How went the swimming?” I asked him. “The talmit of skin of sea sleen is mine!” he laughed. The talmit is a headband. It is not unusual for the men of Torvaldsland to wear them, though none of Forkbeard's men did.. They followed an outlaw. Some talmits have special significance. Special talmits sometime distinguish officers, and Jarls; or a district's lawmen, in the pay of the Jarl; the different districts, too, sometimes have different styles of talmit, varying in their material and design; talmits, too, can be awarded as prizes. That Thorgeir of Ax Glacier had won the swimming must have seemed strange indeed to those of the thing-fair. Immersion in the waters of Ax Glacier country, unprotected, will commonly bring about death by shock, within a matter of Ihn. Sometimes I wondered if the Forkbeard might be mad. His sense of humor, I thought, might cost us all our lives. There was probably not one man at the thing-fair who took him truly to be of Ax Glacier."
~Marauders of Gor, page 139~





"Prior to his winning the swimming he had won talmits for climbing the “mast”, a tall pole of needle wood, some fifty feet high, smoothed and peeled: for jumping the “crevice”, actually a broad jump, on level land, where marks are made with strings, to the point at which the back heel strikes the earth; walking the “oar”, actually, a long pole; and throwing the spear, a real spear I am pleased to say, both for distance and accuracy; counting the distance and the accuracy of the spear events as two events which they are, he had thus, prior to the swimming, won five talmits.

He had done less well in the singing contest, though he much prided himself on his singing voice; he thought, in that one, the judges had been against him; he did not score highly either in the composition of poetry contest nor in the rhyming games; “I am not a skald,” he explained to me later; he did much better, I might mention, in the riddle guessing; but not well enough to win; he missed the following riddle; “What is black, has eighty legs and eats gold?”; the answer, though it might not seem obvious, was Black Sleen, the ship of Thorguard of Scagnar; the Forkbeard's answer had been Black Shark, the legendary ship of Torvald, reputed discoverer and first Jarl of Torvaldsland; he acknowledged his defeat in this contest, however, gracefully; “I was a fool.” He grumbled to me. “I should have known!” Though I attempted to console him, he remained much put out with himself, and for more than an Ahn afterward.
In spite of his various losses, he had, even in his own modest opinion, done quite well in the contests. He was in excellent humor.
Perhaps the most serious incident of the contests had occurred in one of the games of bat and ball; in this contest there are two men on each side, and the object is to keep the ball out of the hands of the other team; no one man may hold the ball for more than the referee's count of twenty; he may, however, throw it into the air, provided it is thrown over his head, and catch it again himself; the ball may be thrown to a partner, or struck to him with the bat; the bat, of course, drives the ball with incredible force; the bats are of heavy wood, rather broad, and the ball, about two inches in diameter, is also of wood, and extremely hard; this is something like a game of “keep away” with two men in the middle. I was pleased that I was not involved in the play. Shortly after the first “knock off”, in which the ball is served to the enemy, Gorm, who was Ivar's partner, was struck cold with the ball, it driven from the opponent's bat; this, I gathered, is a common trick; it is very difficult to intercept or protect oneself from a ball struck at one with great speed from a short distance; it looked quite bad for Ivar at this point, until one of his opponents, fortunately, broke his leg, it coming into violent contact with Ivar's bat. This contest was called a draw. Ivar then asked me to be his partner. I declined. “It is all right,” said Ivar, “even the bravest of men may decline a contest of bat-and-ball.” I acceded to his judgment. There are various forms of ball game enjoyed by the men of Torvaldsland; some use bats, or paddles; in the winter, one such game, quite popular, is played, men running and slipping about, on ice; whether there is any remote connection between this game and ice hockey, I do not know; it is, however, ancient in Torvaldsland; Torvald himself, in the sagas, is said to have been skilled at it. Ivar Forkbeard, or Thorgeir of Ax Glacier, as we might call him, had won, all told, counting the swimming talmit, six talmits.
He was much pleased.
In the morning talmits would be awarded personally by the hand of Svein Blur Tooth.
“Let us, this afternoon,” said Ivar Forkbeard, “give ourselves to strolling.”
That seemed to me not a bad idea, unless a better might have been to flee for our lives.
In the morning we might find ourselves chained at the foot of cauldrons of boiling tharlarion oil.
But soon I, following the Forkbeard, together with some of his men, pressed in among the throngs of the thing.
I carried my short sword. I carried, too, the great bow, unstrung, with quiver of arrows.
The Forkbeard, too, and his men, were armed. Blows are not to be struck at the thing, but not even the law of the thing, with all its might, would have the termerity to advise the man of Torvaldsland to arrive or move about unarmed."
~Marauders of Gor, pages 140 & 141~





"Most of the men at the thing were free farmers, blond-haired, blue-eyed and proud, men with strong limbs and work-roughened hands; many wore braided hair; many wore talmits of their district; for the thing their holiday best had been donned; many wore heavy woolen jackets, scrubbed with water and bosk urine, which contains ammonia as it's cleaning agent; all were armed, usually with ax or sword; some wore their helmets; others had them, with their shields, slung at their back. At the thing, to which each free man must come, unless he work his farm alone and cannot leave it, each man must be present, for the inspection of his Jarl's officer, a helmet, shield and either sword or ax or spear, in good condition. Each man, generally, save he in the direct hire of the Jarl, is responsible for the existence and condition of his own equipment and weapons. A man in direct fee with the Jarl is, in effect, a mercenary; the Jarl himself, from his gold, and stores, where necessary or desirable, arms the man; this expense, of course, is seldom necessary in Torvaldsland; sometimes, however, a man may break a sword or lose an ax in battle, perhaps in the body of a foe, falling from a ship; in such a case the Jarl would make good the loss; he is not responsible for similar losses, however, among free farmers. Those farmers who do not attend the thing, being the sole workers on their farms, must, nonetheless, maintain the regulation armament; once annually it is to be presented before a Jarl's officer, who, for this purpose, visits various districts. When the war arrow is carried, of course, all free men are to respond; in such a case the farm may suffer, and his companion and children know great hardship; in leaving his family, the farmer, weapons upon his shoulder, speaks simply to them. “The war arrow has been carried to my house,” he tells them."
~Marauders of Gor, page 142~





"We saw, too, many chieftains, and captains, and minor Jarls, in the crowd, each with his retinue. These high men were sumptuously garbed, richly cloaked and helmeted, often with great axes, inlaid with gold. Their cloaks were usually scarlet or purple, long and swirling, and held with golden clasps. They wore them, always, as is common in Torvaldsland, in such a way that the right arm, the sword arm, is free.
Their men, too, often wore cloaks, and, about their arms, spiral rings of gold and silver, and, on their wrists, jewel-studded bands."
~Marauders of Gor, pages 142 & 143~





"In the crowd, too, much in evidence, were brazen bond-maids; they had been brought to the thing, generally, by captains and Jarls; it is not unusual for men to bring such slaves with them, though they are not permitted near the law courts or the assemblies of deliberation; the voyages to the thing were not, after all, ventures of raiding; they were not enterprises of warfare; there were three reasons for bringing such girls; they were for the pleasure of men; they served, as display objects, to indicate the wealth of their masters; and they could be bought and sold.
The Forkbeard had bought with him, too, some bond-maids. They followed us. Their eyes were bright; their steps were eager; they had been long isolated on the farm; rural slave girls, the Forkbeard's wenches, they were fantastically stimulated to see the crowds; they looked upon the thing-fields with pleasure and excitement; even had they been permitted, some of them, to look upon certain of the contests. It is said that such pleasures improve a female slave."
~Marauders of Gor, page 143~





"The Forkbeard had bought one thrall with him, the young man, Tarsk, who, even now, followed in the retinue of the Forkbeard; it was thought that if the Forkbeard should purchase a crate of sleen fur or a chest of bog iron the young man, on his shoulders, might then bear it back to our tent, pitched among other tents, at the thing."
~Marauders of Gor, page 153~


"In the bond-maid shed there was a rustle of chain, as the girls looked up.
Light filtered into the shed from windows cut high in the wall on our right. The girls at, or knelt or laid on straw along on our right. The shed is some two hundred feet long, about ten feet wide, and eight feet in height."
~Marauders of Gor, page 157~

_________________
The female slave, sometimes considered nothing, supposedly, is yet in actuality, valued commonly more highly than even gold, which in turn, is often valued for its capacity to buy such women, to bring them into chains."
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PostSubject: Re: 5/27/18-6/2/18   Tue May 29, 2018 10:17 am

05.29.2018
10:58:13



Slave Brands

On Gor, almost all slaves are branded. The brands have various meanings and uses. Below is a list of the different brands and what they are used for.

"It is here," said Hassan. He moved back the heavy iron door and we entered the room. I looked about, at the chains and devices. Tarna shrank back. She could not run, for my hand was on her arm. She seemed faint. I steadied her. It was dark in the room, except for a small Tharlarion-oil lamp on a chain in one corner, and a brazier, glowing, near the branding rack. Hassan stirred the coals in the brazier. In a large Kasbah irons are kept always hot. The slaves know this.
I ripped the bit of cloth away from her hips and threw her against the rack. I swung shut the two heavy bands and with the two twist handles, tightened them on her thigh. She turned, trying to pound at the metal that held her. I took her wrists and pulled them forward, to the two posts, some six inches apart, part of the branding rack, putting them in the snap bracelets which dangled there, one from each post. These are simple mechanisms. It is quite easy to open and shut them, and it may be done with a snap of the finger, one for each bracelet. As the bracelets are situated, some inches apart, of course, and as the snap is on each bracelet itself, at the wrist, the girl herself cannot get her finger, of either hand, on the mechanism. Others may open them easily; she, on the other hand, is perfectly held. I took again the twist handles. I turned them extremely tightly. "Oh, oh," she cried. She pulled futilely at the snap bracelets. Then I again turned the twist handles. "Please!" she cried. "Be quiet," I told her. She bit her lip. I tightened the handles more and put in the locking device, that they might not slip back. Her thigh was absolutely immobile.
"I see you like a left-thigh-branded girl," said Hassan.
The girl can writhe in the rack or squirm, or scream, but the held thigh will not move. It is held for the kiss of the iron.
With a heavy glove, Hassan pulled an iron from the brazier. "What do you think of this brand?" he asked.
It was the Taharic slave mark.
"It is beautiful," I said. "But let us assure ourselves that this will be a common slave, one fit to sell north."
"A good idea," said Hassan. He returned the one iron to the brazier and reached for another. It glowed red. It was a fine iron, clean and precise. At its tip, bright red, was the common Kajira slave mark of Gor. Tarna looked upon it with horror.
"It is not yet hot enough, my pretty," said Hassan. He returned it to the brazier.
We heard shouting, as though from far away. Hassan looked at me. "I shall investigate," I said. I left the room and ascended to the third level. The noise was coming from the level above, the second. A soldier was stumbling by. "What is going on?" I asked. "On the level above?"
"They are searching for Tarna," he laughed. He then stumbled away.
I saw two slave girls led past me, on wrist chains, in the grip of another soldier.
I returned to the fourth level. I returned to the room where Hassan waited.
"They are searching for Tarna," I said.
"On what level are they?" asked Hassan.
"The second," I said.
"Ah," said Hassan, "then we have plenty of time." In a few Ehn he removed the iron from the coals, and examined it. He then again replaced it. Shortly thereafter, however, for it must have been almost ready, he drew it-forth again. It glowed white.
"You may scream and cry out, my pretty," said Hassan, not unkindly.
She struggled in the bracelets, she watched the iron. Then she screamed. For five long Ihn Hassan held the iron, pressing it in. I saw it sink in her thigh, smoking and hissing. Then he, cleanly, withdrew it. Tarna was marked.
She sobbed, wildly. We did not rebuke her. I freed her thigh of the rack. She fell on her knees at the posts, sobbing. I freed her wrists of the snap bracelets. I lifted her, sobbing, in my arms.
--Tribesman of Gor p.337—



TYPES OF BRANDS

--------------------------------------------------------------------------------

"I have five brands," said the metal worker, "the common Kajira brand, the Dina, the Palm, the mark of Treve, the mark of Port Kar."
--Explorers of Gor, page 70--


The Kef

"The man, placing heavy gloves on his hands, withdrew from the brazier a slave iron. Its tip was a figure some inch and a half high, the first letter in the cursive script, in the Gorean alphabet, of the expression Kajira. It is a beautiful letter."
--Hunters of Gor, page 51--

The Dina

"I had seen the design at the tip of the iron. It was a small flower, stylized; it was circular, about an inch and a half in diameter; it was not unlike a small rose; it was incredibly lovely and delicate."
--Slave Girl of Gor-- page 52

The common brand of the North

"The brand used by Forkbeard is not uncommon in the north, though there is less uniformity in Torvaldsland on these matters than in the south, where the merchant caste, with its recommendations for standardization, is more powerful. All over Gor, of course, the slave girl is a familiar commodity. The brand used by the Forkbeard, found rather frequently in the north, consisted of a half circle, with, at its right tip, adjoining it, a steep, diagonal line. The half circle is about an inch and a quarter in height. The brand is, like many, symbolic. In the north, the bond-maid is sometimes referred to as a women whose belly lies beneath the sword."
--Marauders of Gor, page 87--


The Brands of the Wagon Peoples
--------------------------------------------------------------------------------

The Tuchuk standard: I supposed that on the morrow Kamchak would call for the Tuchuk Iron Master, to brand what he called his little barbarian; the brand of the Tuchuk slave, incidentally, s not the same as that generally used in the cities. which for girls, is the first letter of the expression Kajira in cursive script. but the sign of the four bask horns that of the Tuchuk standard; the brand of the four bosk horns, set in such a manner as to somewhat resemble the letter "H." is only about an inch high; the common Gorean brand, on the other hand, is usually an inch and a half to two inches high; the brand of the four bosk horns, of course, is also used to mark the bosk of the Tuchuks, but there, of course, it is much larger, forming roughly a six-inch square; following the branding, I supposed that Kamchak would have one of the tiny nose rings affixed; all Tuchuk females, slave or free, wear such rings; after these things there would only remain, of course, an engraved Turian collar and the clothing of Elizabeth Cardwell Kajir.
--Nomads of Gor, page 62--

The standard of the Kassars: The standard of the Kassars is that of a scarlet, three-weighted bola, which hangs from a lance; the symbolic representation of a bola, three circles joined at the center by lines, is used to mark their bosk and slaves;
--Nomads of Gor, page 106--

The standard of the Kataii: The standard of the Kataii is a yellow bow, bound across a black lance; their brand is also that of a bow, facing to the left ;
--Nomads of Gor, page 106--

The Paravaci standard: The Paravaci standard is a large banner of jewels beaded on golden wires, forming the head and horns of a bosk its value is incalculable; the Paravaci brand is a symbolic representation of a bosk head, a semicircle resting on an inverted isosceles triangle.
--Nomads of Gor, page 106—

Specialty Brands
--------------------------------------------------------------------------------


Priest-Kings and Kurii brands:


"Incidentally, there are many brands on Gor. Two that almost never occur on Gor, by the way, are those of the moons and collar, and of the chain and claw. The first of these commonly occurs in certain of the Gorean enclaves on Earth, which serve as headquarters for agents of the Priest-Kings; the second tends to occur in the lairs of Kurii agents on Earth; the first brand consists of a locked collar and, ascending diagonally above it, extending to the right, three quarter moons; this brand indicates the girl is subject to Gorean discipline; the chain-and-claw brand signifies, of course, slavery and subjection with the compass of the Kur yoke."
--Explorers of Gor, page 12--

Penalty brands:

"Four men held me, naked, near the brazier. I could feel the heat blazing from the canister. The sky was very blue, the clouds were white.
'Please, no!' I wept.
I saw Rask, with a heavy glove, draw forth one of the irons from the fire. It ruminated in a tiny letter, not more that a quarter of an inch high. The letter was white hot. 'This is a penalty brand,' he said. 'It marks you as a liar.'
'Please, Master!' I wept.
I no longer have patience with you,' he said. 'Be marked as what you are.'
I screamed uncontrollably as he pressed in the iron, holding it firmly into my leg. Then, after some two to four Ihn, he removed it. I could not stop screaming with pain. I smelled the odor of burned flesh, my own. I began to whimper. I could not breathe. I gasped for breath. Still the men held me.
'This penalty brand,' said Rask of Treve, lifting another iron from the brazier, again with a tiny letter at its glowing termination, 'marks you also as what you are, as a thief.'
'Please, no, Master!' I wept.
I could not move a muscle of my left leg. It might as well have been locked in a vise. It must wait for the iron.
I screamed again, uncontrollably. I had been branded as a thief.
'This third iron,' said Rask of Treve, 'is, too, a penalty iron. I mark you with this not for myself, but for Ute.'
Through raging tears I saw, white hot, the tiny letter.
'It marks you as a traitress,' said Rask of Treve. He looked at me, with fury. 'Be marked as a traitress,' he said. Then he pressed the third iron into my flesh. As it entered my flesh, biting and searing, I saw Ute watching, her face betraying no emotion. I screamed, and wept, and screamed.
Still the men did not release me.
Rask of Treve lifted the last iron from the fire. It was much larger, the letter at its termination some one and a half inches high. It, too, was white hot. I knew the brand. I had seen it on Ena's thigh. It was the mark of Treve. Rask of Treve decided that my flesh should bear that mark.
'No, Master, please!' I begged him.
'Yes, Worthless Slave,' he said, 'you will wear in your flesh the mark of the city of Treve.'
'Please,' I begged.
'When men ask you,' said he, 'who it was that marked you as a liar and a thief, and traitress, point to this brand, and say, I was marked by one of Treve, who was displeased with me.'"
--Captive of Gor, page 310--

Brand of Passage

The street was lined by throngs of Tuchuks and slaves. Among them, too, were soothsayers and haruspexes, and singers and musicians, and, here and there, small peddlers and merchants, of various cities, for such are occasionally permitted by the Tuchuks, who crave their wares, to approach the wagons. Each of these, I was later to learn, wore on his forearm a tiny brand, in the form of spreading bosk horns, which guaranteed his passage, at certain seasons, across the plains of the Wagon Peoples. The difficulty, of course is in first obtaining the brand. If, in the case of a singer, the song is rejected, or in the case of a merchant, his merchandise is rejected, he is slain out of hand. This acceptance brand, of course, carries with it a certain stain of ignominy, suggesting that those who approach the wagons do as slaves.
--Nomads of Gor, page 34--

Knife Brand

On an iron table, to the right of the rack, there was a flat box. 'Lie on your right side, exposing your left thigh, ' he said. 'Yes Master,' I said. From the box he then took a small curved knife and a tiny cylindrical leather flask. I gritted my teeth, but made no sound. With the small knife he gashed my left thigh, making upon it a small, strange design. He then took a powder, orange in color, from the flask and rubbed it into the wound.
--Explorers of Gor, page 330--

LOCATION OF BRANDS
--------------------------------------------------------------------------------

"'Yes, left thigh,' said Samos to one of the guards. I liked the left-thigh branded girl. A right-handed master may caress it while he holds her in his left arm."
--Beasts of Gor, page 25--

"Where are we branded?" She said. "A girl is commonly branded on the left or right thigh," I said, "sometimes on the lower left abdomen."
--Beasts of Gor, page 229--

"Left thigh or right thigh?" he asked. "Left thigh," said Ulafi. Slave girls are commonly branded on the left thigh. Sometimes they are branded on the right thigh, or lower left abdomen."
--Explorers of Gor, page 71--

"I also checked certain less common brand sites, such as the lower left abdomen, the interior of the left forearm, and the high instep area of the left foot."
--Players of Gor, page 191--

"I had seized her, half lifted her, and turned her from side to side, examining her slim, attractive thighs for the tiny brand which would confirm the matter. The most common brand sites, that on the left thigh, the favorite, and that on the right thigh, lacked slave marks. This determination, given the nature of her garmenture, could be instantly made. I then put her on her feet. "Oh!" she said. She was not branded on the lower left abdomen. That is perhaps the third most favored brand site. I then checked several other brand sites, such as the inside of the forearms, the left side of the neck, behind and below the left ear, the backs of her legs, and her buttocks. I even examined the insteps of her left and right feet. Her body was not branded."
--Renegades of Gor, page 124--

The Branding "Ceremony"
--------------------------------------------------------------------------------

The Master secures the slave in the branding rack (shaped rather like an X-shaped table, with either snap-bracelets (manacles) for her wrists and ankles at the ends of the X, or metal rings set into the wood so her wrists and ankles might be secured with binding fiber. A removable vise-like clamp fitted with spinning twist handles to adjust the tension can be attached to the left leg platform, to hold the slave's thigh motionless during the actual branding. The Master holds up the heated branding iron, white hot, for the slave to see and says, "You will soon be branded, girl." When the brand is ready, he holds it above here left thigh and says, "You are now to be branded, slave girl." He then brands the slave, pressing it firmly into her skin for five full Ihn (seconds), then swiftly and cleanly removing it. He examines the mark closely, hoping that it was clean and deep enough to create an excellent brand. It is common Gorean practice to allow the slave the luxury of screaming, since it is in effect her final act as Free Person. Sometimes assistants are standing by with small vials of oil and salve, which they then dab onto the brand to reduce chance of infection and promote faster healing. The Master then frees the slave from the rack.

_________________
The female slave, sometimes considered nothing, supposedly, is yet in actuality, valued commonly more highly than even gold, which in turn, is often valued for its capacity to buy such women, to bring them into chains."
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PostSubject: Re: 5/27/18-6/2/18   Wed May 30, 2018 9:10 am

05.30.2018
10:02:17



Gorean Collars

A collar is the symbol of a slave's submission to her Owner. It's as simple as that. It shows she is owned and she should be proud of that collar. A collar is NOT made of Velcro, once on, it is only removed at the discretion of the slave's Owner. It is a symbol of the bond between the two and just as sacred as a wedding ring. So take care that the collar going on wont be coming off anytime soon.

In Gor there are actually many different ways of collaring a girl. Depending on the needs of the slave and her Owner. One of the most common misconceptions is that a collar must be worn on the neck. This is actually not true. Below is a list of the different types of collars and how they might be used. Depending n circumstance, any one of these collars might be appropriate.

Body Chain:

closely meshed length of chain about 5 feet in length which can be used in a variety of ways to bedeck or secure a slave. Some are decorated with semi-precious stones and wooden beads. Detachable lock and snap clips allow the chain to be transformed from slave jewelry to slave restraint.
Book 15: Rogue of Gor, pages 71-72
Book 16: Guardsman of Gor, page 281



Coffle Collar:

various types of steel collars with rings front and/or back to hook 3 to 4 ft lengths of chain between them; some hinged in the back.
Book 17: Savages of Gor, page 135



Cord Collar:

made of cord fashioned from the rence plant it is worn by rencer slaves and carries a small disk to identify the owner.
Book 24: Vagabonds of Gor, page 341



Dance Collar:

a collar to which light- weight (but effective) chain has been attached in order to set off the dancer; a common type consists of a large oval of chain to which wrist cuffs and/or ankle cuffs are attached; once the two sides of the oval have been attached to a ring on the collar; there are variations depending on the region.
Book 19: Kajira of Gor, page 143



Identificatory Anklet:

a metal anklet fastened about a captured girl's ankle ; used in place of a collar.
Book 17: Savages of Gor, page 181



Identificatory Slave Bracelet:


used in lieu of a collar, described as silver, it is attached to the wrist of a slave. Information about the owner is inscribed.
Book 25: Magicians of Gor, pages 430, 441, and 459



Iron Belt:

commonly consisting of a horizontal metal bar or strap that snugly encircles a girl's waist with a vertical component attached to the front of this horizontal bar with a hinge. The vertical component is then swung up between a slave's legs and all are fastened at the small of the back with a padlock. Locked around a girl, it ensures that she will not be sexually used by any, save the one with the key.
Book 19: Kajira of Gor, page 103
Book 22: Dancer of Gor, page 299
Book 25: Magicians of Gor, pages 57 and 293



Leather Leash Collar:

a leather slave collar with attached which may be used when the slave is to be led, usually for reasons of security.
Book 25: Magician of Gor, page 33



Lock Collar:

a hinged collar easily removed by the use of a key; usually of flat stock c. 1-1/2 inches to 2 inches high; usually worn by trained slaves; the lock has one pin for each of the letters in the word 'kajira'.
Book 5: Assassin of Gor, page 51



Northern Collar:

a utilitarian sounding collar made of black iron with an iron ring to be used if a chain is attached. It is riveted around the neck of the bond-maid.
Book 9: Marauders of Gor, page 85



Plank Collar:

a two-piece board hinged at one end and capable of being locked at the other. It has two or more semi-circular holes cut in each side so that it may fit around the necks of more than one slave girl or captive free woman at one time.
Book 15: Rogue of Gor, page 69
Book 17: Savages of Gor, page 60



Plate Collar:

collar of flat stock which is hammered about a slave's neck; usually worn by untrained slaves.
Book 8: Hunters of Gor, page 13



Shipping Collar:

a temporary collar showing that the slave girl is part of a cargo.
Book 13: Explorers of Gor, page79



Transport Collar:

a collar with a metal tag attached listing destination or other vital information, to be used during transport of a slave.
Book 22: Dancer of Gor, page 73



Turian Collar:

a collar which fits more loosely and resembles a hinged ring looped about the throat. A man can get his fingers inside a Turian collar and use it to drag the girl to him.
Book 4: Nomads of Gor, page 29
Book 11: Slave Girl of Gor, page 251

_________________
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PostSubject: Re: 5/27/18-6/2/18   Thu May 31, 2018 9:14 am

05.31.2018
10:03:09



Part One

There are many different slave dances described in the books of Gor.

Below is a breakdown of each dance and what story it tells.

Name of Dance Description


Belt dance


This dance was developed and made famous by Port Kar dancing girls. It is performed on love furs with a Warrior. It receives its name from the basic principle that the girl is not supposed to rise above the Warrior's belt. It is very important that the girl does not rise to her feet. This dance will likely include many floor movements as the girl is not on her feet. This dance has phases and in the later phases of this dance the girl acknowledges that she is the Warrior's and tries to please him. He will remain aloof from her and her efforts will get more desperate. At the climax of the dance, the girl will be on her knees. The Warrior will be at her side, holding her behind the small of the back. The kajira will bends backwards until her head touches the furs and then the Warrior will lower her to the floor. They will end the dance in a kiss.


Chain Dance

The kajira obtains a length of chain from a Free person and uses it in a dance to show her submission and joy of being a slave. The chain can be wrapped around her body and the girl will writhe and fight at first, but knowing her true path as a slave in Gor, she will be submit because of her desire and the fire within her belly. In the end, she will rejoice at feeling the confinement of the chain around her slave heart.



Dance of the 6 Thongs

The girl has 6 leather thongs attached to her body at her ankles, wrists, belly, and neck. The dance begins with her capture. She will show her defiance until she is subdued by the Masters that hold her. The girl is presented to one Master, who asks her if she is slave, to which she will proudly proclaim, "la kajira!"



Gorean slave Dance

This can be done in any style a girl chooses. It typically begins with the girl seeming to be shy and timid, standing in the middle of the room, her eyes wide in fear and usually without silks. In the beginning, she fights being caught by the Master but then, under His strong hand, she feels the anger change to delicious submission as the Master subdues her and makes her His own. In the final stage of the dance, the girl will show her complete submission to the Master and her desire to please Him in all that she does. Often a chain and collar are used by the Master to "subdue" the girl.



Love dance of the Newly Collared Slave

There are many variations of this dance and most cities have their own version. The basic theme of this dance is that a girl dances with joy that she will soon lie in the arms of her strong master.



Need Dance

This dance is typically performed in five stages. During the first portion, the girl feigns indifference to her situation. In the second, she slowly becomes aware of the burning desires within, and struggles mentally to deny them. During the third stage, the girl will openly express her desire and willingness to please the Masters that she dances for...the girl will doubt her own worthiness, evident in her movements, both graceful and timid. In the fourth stage, the girl will blatantly display herself, showing her heat and need to be taken. The fifth and final stage, the girl openly begs to be used, needing this to make her complete.



Placatory Dance

This dance is performed to reassure the Master of the authenticity of the slaves contrition and the genuineness of her desire to do better. It is not a fixed-form dances, but is considered a 'free-form' dance, in which the slave, brings her own personality and movements, all based on her knowledge of the Master she is trying to appease.



Pole Dance

The kajira will seemingly attempt to arouse and entice the pole or "Master" with erotic movements that involve her touching and caressing "Him" (the pole), beckoning her use by "Him". This dance can be done by securing the kajira to the pole either real or imagined or the slave may remain free from the pole, swirling around in frantic and heated movements.



SA-EELA

The Sa-eela is one of the most moving, deeply rhythmic and erotic of the slaves dances of Gor. It belongs, generally to the genre of dances commonly known as the Lure Dances of the Love Starved Slave Girl. The common theme of the genre, of course, is the attempt on the part of a neglected slave to call herself to the attention of the master. The Sa-eela, usually performed in the nude, as though by a low slave, and by a girl freed of all impediments except her collar, is one of the most powerful of slave dances of Gor. This is because each girl, in her own way, brings the nature of her own body, her own dispositions, her own sensuality and needs, her own personality, to the dance.. For the woman, slave dance is a uniquely personal and creative art form. Too, it provides her with a wondrous modality for deeply intimate self-expression..



Serving (Scarf) Dance

Performed using ribbons or scarves as a form of enticement for the Master. The girl will offer to serve the Master in a most exciting manner. She typically wears a costume of scarves or uses a ribbon to arouse both herself and the Master. Falling to her knees, she offers a lustful serve of ka-la-na.



Submission Dance

Performed for the girl's true Master, each dance is different and unique, as is each Free person. It can be done in many ways, from the kajira allowing her hands to roam her own body in throbbing lust for her Master, to the girl writhing in desire and submitting at His feet. It is a very individual demonstration of a slave's true submission to her Master.



Tether dance

This dance is similar in some ways to the dance of the six thongs and the pole dance. The girl is tethered to a slave stake. She may then either fight the tether or love it. The tether may confine her body or caress it. The girl may also incorporate the slave stake in her dance so it becomes similar to a pole dance as well.



Tile Dance

Done on red tiles before a Master, this dance seeks to arouse Him to sexually take the girl. The slave does so by touching her own body and gesturing to Him that she is most willing to see to His every need. The dance is done completely upon the tiles often while the girl lays on her back or belly. The girl is usually attached to a slave ring below the Master's couch.



Virgin dance

There are three basic categories of virgin dances. First, they refer to the types of dances fitting for a virgin. These dances would rarely be seen in a tavern. Second, they refer to any dance that displays a virgin who is soon to lose her virginity. Third, and most commonly, it refers to a "role" dance where a girl dances as if she was a virgin but knows she is soon to be ravished. This type of dance is rarely done by an actual virgin. It is not a story dance but is more an emotional or attitudinal piece.



Whip Dance

This dance can involve the participation of a Master who will crack a whip above the girl's head as she dances, or, in most cases, the girl will be allowed the use of the whip and will crack it herself during her dance. It is performed to show the kajira's fear of being punished, but also to show the desire of the kiss of leather, the passion of and the fear of punishment.

_________________
The female slave, sometimes considered nothing, supposedly, is yet in actuality, valued commonly more highly than even gold, which in turn, is often valued for its capacity to buy such women, to bring them into chains."
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PostSubject: Re: 5/27/18-6/2/18   Thu May 31, 2018 9:24 am

05.31.2018
10:16:34




Part Two

*Basic Dance Points*

Try to keep the dances between 11-14 posts long. A slave does not wish to bore a Master by dancing forever nor does she wish to have the dance over before it seems to have started. Too short of a dance may seem like little effort was put into it.


Dances are not just movement. They are expressions of emotion. You should remember to add feelings and music into the poses while you dance. Give the Master something to focus on, remember, feel.


Each post should be 6-8 lines long. Not too short to get lost in the scroll and not too long to overflow the buffer. Do not cut and paste or use macros.....this is the sign of a lazy slave and also does not allow for changes to be easily made.


What will a slave do if something happens during the dance that will interrupt it? (I.E., A fight breaks out, an over enthusiastic Master decides to stop the dance and toss her over his shoulder, An assassination occurs). All kinds of things can happen. It is recommended that a slave watchs the screen and does not just go onto autopilot. A slave should change her dance depending on what is happening in the room.

Seperate poses with something like a BOLDED word or a small seperator like ~*~. This makes it easier for all to read.


One last thing. Remember that those who watch do not read minds. A slave should try to be clear on what is it she is doing. Have a definite beginning - where she is, what she is doing and a definite closing.




Basic Dance Structure


The first thing a slave should do before structuring a dance is to know which dance she will perform. Each gorean dance tells a specific story. Once a slave has decided which dance she will perform for a Master, it is time to begin scripting the flow of the dance.


Steps to a gorean dance:


The Introduction

This part of the dance is where the slave sets the scene, provides an environment and backdrop, and sets the type of dance to be performed perhaps.


The Crescendo

The part of the dance where the events of the dance are outlined

(e.g. In a capture dance, this is where the slave describes her anger at being pursued by the dark stranger. Which later leads to her emotions of being captured)


The Pinnacle

The part of the dance where the dance peaks, where the goal of the dance is reached, where for example, the slave is captured, collared, forgiven.

The Finish

The part of the dance where the dance is closed or completed. This is where the music stops, the slave expresses her efforts and perhaps performs a closing position for the audience. She should always remember to speak to the room so that the Free actually realizes she is finished.

example:

~ breasts rising and falling with the exertion of her movements, sparkling jade green eyes lift as her gentle voice carries across the dance pit~ "this one thanks the FREE for watching her submission dance, and prays her dance has pleased them this night"

How to begin writing a dance:

A slave should pick out the dance she wishes to perform. Once this has been accomplished, she should write down as many of the adjectives she uses normally to describe herself during serves.

Next, she needs to picture in her mind where she will be performing the dance. Will it be in sand, on the ground, on tiles or in a Master's home or private chambers. She should include in this rough draft the physical appearance of the area such as the lighting of the room, the effects of the lamps/fres, description of music, emotions, scents and aromas, sexual movements. The more realistic the description the better.

A slave should then design the basic structure. She needs to keep in mind the type of dance she are trying to perform and the four main areas of a dance. This will help her structure the dance itself.

She then needs to add her attributes to her structure and begin to construct each paragraph with description of the moves. This is still considered the rough draft so be wild with it. All dances should be origional so use materials found in the slaves home (sand, snakes, ribbons, sticks of fire, etc). Do not focus so much on perfection...simply write out the steps as they come to mind. A slave will edit her dance many times after this until she is satisfied with it.

Once this is done, a slave should go back and read the first draft in whole form. Asking herself, was the steps there correct, did the dance build in intensity and did she convey what she set out to when she first thought of her concept?


A slave should then take paragraph by paragraph, expanding on the movements and physical attributes of both the area and herself....making them match the image that she first concieved. She should determine if the movements are actually feasible. Make it realistic

(e.g. a girl cant drop to her back and writhe in the sand then in the next line jump and twirl)


A slave should polish the text, making it elegant, flowing, beautiful, free and easy to read. The salve should capture the audience with her story, bringing them into her circle with her beauty and seduction.

Dances are harder than serves to freehand. So most homes allow the slave to write them, then copy and paste. But remember to time paste correctly, just in case there are interruptions in the room she is as she may to pause or escape.

Do not paste the paragraphs so fast that readers do not have a chance to read and see the beauty of her hard work. It also shows an unrealistic time frame.

And last but not least, a slave should always spell check her dance before performing it. There is nothing more irritating than a FREE person focusing on a slaves grammar/vocabulary and having them miss what was intended.

_________________
The female slave, sometimes considered nothing, supposedly, is yet in actuality, valued commonly more highly than even gold, which in turn, is often valued for its capacity to buy such women, to bring them into chains."
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PostSubject: Re: 5/27/18-6/2/18   Thu May 31, 2018 9:33 am

05.31.2018
10:24:39



Part Three

Dances of Gor

Imagine yourself a wonderful ballerina who is dancing in front of kings or queens. The proud, trained beauty this one is full of spirit and fire, the soul that knows every muscle and sinew of her body. How it will react when standing or walking, every sense alive, every movement so toned and perfect. That is who the dancers of gor are, aware of every subtle movement they make everything timed to perfection of dance and spirit.


You want to learn to dance as the Goreans do the softly subtle dancers who please their Masters by expression of dance and grace. The sensual ease which flows through their body keeping the expression of slave beating in the hearts of the Masters/Mistresses, making yourself be delightful and pleasing to the eye, it is one of self expression of mind and body moving together fuelled with emotion and spirit. It is not an easy journey, but one of great spiritual and emotional conquest, to dance each dance with sensuality, rhythm, and co-ordination, keeping with the genre of each dance and what it means. Hopefully you will find this guide some help in your conquest.


The Pole Dance


The pole dance is one of beauty and of grace done with or without the pole, one can use an imaginary pole, refer to it in the dance or simply use the regular pole which is in the sandpit of most rooms. There are the following items that should be included in your dance:
1. Your body movements mean a lot, keep yourself focused on the way you move, each muscle trained for such a task.
2. In the pole dance usually in the beginning you feel the caress of the whip, your body would jerk and react as if being whipped.
3. You find yourself at the mercy of the Master/Mistress doing the whipping you would show your ability to please the person by dancing seductively for them using your body to show your desire to please.
4. At some point you begin to bring the dance to a climax of fast movements the music rises, you begin to dance hard and fast using the pole for your desire to please or your need for the Master/Mistress attention and approval.
5. You finally end the dance showing your need for attention, approval of the Masters/Mistresses, your sexual need increases, you worship the pole.
6. In the end of the dance, generally you do not use the pole, you would end at the foot of the Master/Mistress. Or in the sand away from the pole, when ending a dance it is good to know when it is done. One might stand and bow waiting for approval, or freeze in place seeking the approval of the patrons of the tavern, or refer to it in the dance. Nearing the end of her/his dance she/he pauses awe struck by the patrons interest she/he concludes the dance waiting for approval. Whatever you do, make sure they know it is the end of the dance.

Belt Dance


Called the belt dance because the dancer doesn't stand during the dance, and is never above the belt of the Warrior. Perhaps at the beginning of the dance, but soon is on the floor. This dance is done with a Warrior, may be referred to, or an actual Warrior may be used; however this person needs to act with you if you choose to do this dance with a Warrior, so you will have to practice with the Warrior if you are to use an actual one. This one uses an imaginary Warrior, as she would not begin to dream an actual Warrior would want to learn the dance of a slave. This dance shows the need of the dancer to have the Warrior take her and use her sexually. The following should be used in the dance:


1. At the beginning of the dance submission is shown, usually a slave is being whipped, show your body to the mark of the whip.
2. It is important to show the next stage as being willing to submit to the Warrior.
3. The next stage shows your need to be used sexually by the Warrior, how your body needs to have him notice you, and your desire to have him sexually.
4. As in all stages of Gorean dance you will build your crescendo your body needs to be satisfied your desire great to be seen and be used.
5. In the final stage you touch the Warrior begging to be used imploring he take you and use you, at the very end the Warrior will touch you hold you and finally kiss you deeply accepting your offer.
6. Again at the end of the dance the Warrior and the slave await approval for the dance. One might stand and bow waiting for approval, or freeze in place seeking the approval of the patrons of the tavern, or refer to it in the dance. Nearing the end of her/his dance she/he pauses awe struck by the patrons interest she/he concludes the dance waiting for approval. Whatever you do, make sure they know it is the end of the dance.


Dance of Seduction


This dance shows the need of the slave to be taken and used sexually by the Master/Mistress, it is a good dance for male or female slaves. This is usually done in front of the Master/Mistress you wish to please you, not in the sand or center of the room. The following should be used in the dance:


1. This dance is usually performed nude, may be either at the start, or your silks taken off in the beginning of your dance, your choice.
2. You are showing your need of being used sexually, it is important to start with showing your desire to please, preen yourself, make yourself desirable.
3. The next stage is to show your willingness to flaunt your body to the Master/Mistress touch your body make them notice you and your starvation of pleasure, how lonely you are for a touch or a look of approval.
4. You want to build to this point from the previous motions, in this stage you are trying to show how much your body desires touch, you then begin to beg for a touch or a look, they will look, you will respond.
5. The next stage is the crescendo once again your music is lively you noticed them look at you, you show your desire to please, refer to your lovely sex how you will please them.
6. The final stage is one of total submission; you must show your submission by ending kissing the slipper or boot, keeping your body to the floor. You may now touch the leg to the knee only and down to the foot, you are grateful for the attention the Master/Mistress has given you, you are now ready to be used sexually, and you submit your body. You generally don't look at them at all, ending with your eyes down. Remember to end the dance by either freezing or speaking your submission: Master/Mistress this most unworthy one submits her/his body for your pleasure. The music may die down or you show in another way that the dance has ended.

Dance of the Seven Veils


In this dance you wear seven veils, they are specific colors, you may choose which they are but the sequence of taking the veils off is very specific, when done you will be nude. You may start in the sandpit, but in during the dance you will seduce everyone in the room by taking off your veils for them. Flaunting around the room for all the Masters/Mistresses, and yes it is all right to give a veil to a Mistress, they love the dance as well, and will appreciate being included. You are there to please all in the tavern you are dancing for and wish to please and honor your Master or tavern with your dance. It is also nice and a great touch to name the Master/Mistress you dance before, be seductive in your dance as you take each veil off, describe how you do it, and who you do it to. It is not necessary to take each veil off in front of someone, but at the end of the dance you should be in front of a Master offering yourself nude for their pleasure. The following should be used in the dance in this order:


1. The first veil to be taken off should be the veil holding your hair back or the veil that is around your head as a head band, it is not necessary to tie the hair back, you may use a veil as a headband instead. This veil is usually a dark color.
2. The second veil is the left thigh; this veil is usually a red color.
3. The third veil is taken off the right thigh; it is usually a medium color such as a green or light green.
4. The fourth veil is off your front it is generally a lighter blue color, and that shows you have a veil underneath it hiding your sex yet.
5. The fifth veil is taken off your face showing your beautiful features that were hidden under it, and shows the veil that covers your breasts when taken off. This is a generally dark color as well.
6. The sixth veil is covering your breasts tightly as you move around and take it off, you are bare showing your naked breasts, it is usually a veil of lighter color wrapped around.
7. The last veil is obviously covering your sex, when taking the dark veil off, you should be on your knees your hips thrusting upwards unwrapping the small skirt and then naked. One might stand and bow waiting for approval, or freeze in place seeking the approval of the patrons of the tavern, or refer to it in the dance. Nearing the end of her/his dance she/he pauses awe struck by the patrons interest she/he concludes the dance waiting for approval. Whatever you do, make sure they know it is the end of the dance.


The Capture Dance

In this dance you are a Panther girl, you are hunting, and then being hunted. There are several logical stages to this dance, it is not overly sexual, but in the end it implies it. This could be modified for male slaves, as well, being a part of a community that is raided by slavers, still the end is the same you will be a slavers acquisition.

1. The first stage you are dancing showing you are on the hunt for prey, you search around looking for you catch. You are a proud Panther girl.
2. The second stage is that you have heard some noise, cries from the distance of others, you go and see what's up.
3. The next stage you are aware someone is after you, they are stalking you as you would your prey.
4. The next stage you are frightened hearing a slaver coming closer to you, yet excited you will not be captured, you will fight with your spear.
5. You hear them all around you trying to trap you, you try to escape but can't they have surrounded you, you will fight.
6. You are being taken roughly by a slaver, he strips you, shackles you, and you are now in his power, a slave.
7. The slaver is examining you roughly, you fight your bindings, and he gets rough with you slapping you or whipping you into his submission.
8. You give in and submit offering your submission to him in the way a slave; he may take you sexually if you wish to include that.
9. He accepts your submission to him and takes you from your home you are saddened; weeping knowing you are now slave to those you would have ruled.
8. In the end of the dance you go with him naked to an unknown world to you, a slave which is naked, he ko-lars you, keeping you bound, leashing you to a chain with the other slaves captured you are being taken away from your home. One might stand and bow waiting for approval, or freeze in place seeking the approval of the patrons of the tavern, or refer to it in the dance. Nearing the end of her/his dance she/he pauses awe struck by the patrons interest she/he concludes the dance waiting for approval. Whatever you do, make sure they know it is the end of the dance.


The Sa-eel Dance


This is one of the most powerful dances of Gor, it is especially hard to do, all of the changes in movement with regard to the music is difficult to get down. It is done normally in the nude showing the female at her most vulnerable. It shows the slave's need for her Master, the neglected slave to call her attention to her Master. The following steps should be included in the dance:


1. This is performed for an entire audience, but not in the sandpit, more on the floor before some of the tables, you are nude.
2. Start out by dancing close to some of the Masters, perhaps using a table or the furs to show you off first.
3. You are in a cage, taken away from men, you can't get out, feel lonely and detached, frustrated for being away from your Master.
4. While in the cage you seem to see someone to come and take you away, you look with your eyes to say I? But then no one is there you must show that clearly in the dance.
5. You begin to fantasize about your Master, don special silks and jewellery for him, then crosses her wrists as being led from the cage, but once to the bars, of course she is still in the cage you must show that part clearly. Knowing that you are still in the cage, you fall to the center of the floor and weep.
6. Suddenly you do hear a sound, the music changes, you see men coming for you, at first you don't care, showing indifference, then suddenly pleading to be considered, as the door opens you kneel in nadu.
7. She considers her jailers, then she is hit with a whip a couple of times, she kneels again, she is very happy to be taken to Master to dance, your eyes should show your excitement. Holding her arms out wrists crossed you are being taken out of the cell, you hands cruelly placed behind you and bound, a man takes your hair pulling you down you walk bent over in a wide circle.
8. You are thrown down on your knees, cruelly in front of Masters as a lowly slave, naked, bound, you rise, feeling your hands unbound, putting your hands in the air your wrists facing palms out as in the beginning of the dance.
9. Now are the final stages of the dance where you call upon yourself to make the Master want to notice you, the various aspects of your beauty.
10. The final stage is to be seductive to put yourself at the mercy of the Master through fear or desire, but make him notice you. One might stand and bow waiting for approval, or freeze in place seeking the approval of the patrons of the tavern, or refer to it in the dance. Nearing the end of her/his dance she/he pauses awe struck by the patrons interest she/he concludes the dance waiting for approval. Whatever you do, make sure they know it is the end of the dance.

The Need Dance


In this dance there are 5 distinct phases, it is a common Gorean dance, many slaves choose to do this dance, it shows in stages the intense need a girl has to be raped wanted by men, desired. The following are the stages to portray in your dance:


1. The first stage you are indifferent to the Masters you dance for, you are a slave and expected as a slave to dance.
2. For she has not yet been raped, her distress and uneasiness, her restlessness, her disturbance by her sexual urges, must become subtly more manifest. Here it must be evident that she is beginning to feel her sexuality, and drives, profoundly, and yet is struggling against them. Toward the end of this phase it must become clear not only that she has sexual needs, and deep ones, but that she is beginning to fear that she may not be, simply as she is, of sufficient interest to men to obtain their satisfaction. Here, need, coupled with anxiety and self-doubt, for she has not yet been seized by strong men, must become clear.
3. In the third phase of the dance she, in an almost ladylike fashion, acknowledges herself defeated in her attempt to conceal her sexuality; she then, again in an almost ladylike fashion, delicately but clearly, with restraint but unmistakably, acknowledges, and publicly, before masters, that she has sexual needs. Then, with smiles, and gestures, displaying herself, she makes manifest her readiness for the service of men, her willingness, and her receptivity. She invited them, so to speak to have her. But you have not been taken yet, you begin to doubt yourself slightly as no one has grabbed you yet
4. In this phase of the dance, then, shamelessly the woman dances her need and, shamelessly, begs for her sexual satisfaction. The phase of the dance is sometimes known as the Heat of the Collared She-Sleen.
5. In this phase the girl, overcome by sexual desire and terrified that she may not be found sufficiently pleasing, clearly manifests, and utterly, that she is a slave female. In this portion of the dance the girl is seldom on her feet. Rather, sitting, rolling, and changing position, on her side, her back, her belly, half kneeling, half sitting, kneeling, crawling, reaching out, bending backwards, lying down, twisting with passion, gesturing to her body, presenting it to masters for their inspection and interest, whimpering, moaning, crying out, brazenly presenting herself as a slave, pleading for her rape, she writhes, a piteous, begging, vulnerable, ready slave, a woman fit for and begging for the touch of a master, a woman begging to become, at the least touch of her master, a totally submitted slave. . One might stand and bow waiting for approval, or freeze in place seeking the approval of the patrons of the tavern, or refer to it in the dance. Nearing the end of her/his dance she/he pauses awe struck by the patrons interest she/he concludes the dance waiting for approval. Whatever you do, make sure they know it is the end of the dance.


The Whip Dance


Commonly on irc you will see the whip dance performed when a slave takes the whip into her hands and does a dance with it. However, in the books it is not done this way, since it is death to touch a weapon, one must consider this before doing this dance. It is performed when a man holds the whip, and cracks the whip; the slave is there to do a dance that is all. A male or female slave can perform this, as it is common for either to be whipped. The whip dance shows the following steps:


1. At first you are being indifferent to dance, you dance, but glare at the Masters who made you dance.
2. The whip cracks you are hit, you show the pain and start to dance with more rhythm; more effort put into your dance. The whip cracks again, you feel the pain searing through your body, you dance as your life depends on it.
3. The whip cracks again your body torn and sore you dance with more seduction, more fevered dance, it is your ability to dance for him, to him
4. You may or may not to be tied to the pole, or use it in your dance, the dance doesn't require it at all, but it is a nice touch.
5. As you dance the Master who yields the whip will crack it again, not touching your body, but making you dance faster, the music rises to a frenzied pitch.
6. At the end of the dance is it usual for the Master holding the whip to send you out to the crowd, so that you dance table to table (if you want to include that), but at the end you are successful in making the Master approve of your dance. One might stand and bow waiting for approval, or freeze in place seeking the approval of the patrons of the tavern, or refer to it in the dance. Nearing the end of her/his dance she/he pauses awe struck by the patrons interest she/he concludes the dance waiting for approval. Whatever you do, make sure they know it is the end of the dance.

_________________
The female slave, sometimes considered nothing, supposedly, is yet in actuality, valued commonly more highly than even gold, which in turn, is often valued for its capacity to buy such women, to bring them into chains."
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PostSubject: Re: 5/27/18-6/2/18   Thu May 31, 2018 9:40 am

05.31.2018
10:36:31




Part Four

Slave Dances

Greetings! A Gorean slave girl dances for the pleasure of her Master, to show her beauty, femininity, and need. Dancing is one of the most intense types of service a slave can perform. It's also one of the most terrifying on your first try! Here are a few basic tips on dancing, steps to creating your own dance, and a list of Gorean dances and examples. Although there are instructions for scripting a dance, a girl who has garnered some experience will dance spontaneously (as in serving) from her heart and belly.

A Few Basic Concepts:

Each dance is a story of your joy, sorrow, pain, need or submission. You should always strive to dance from your heart, not simply copy elements from the dance of another girl. Watch and learn from others, but be original.
The dance should have a definite beginning, middle and end, even those that don't have a prescribed sequence to the dance. Also, a girl might try to invent a little separator to insert between poses to make the dance easier to read. Something like ^*^*^* or ~*~*~*~.
Try to keep the dance between 10-14 poses. A girl doesn't want to bore the man she is serving by dancing endlessly, but she doesn't want to displease him by appearing as if not enough effort was put into her service either. Each pose should be between 3-6 lines long. This means it won't get lost in the scroll in a busy channel, and hopefully it won't be too long and overflow the buffer.
Add expression to your face and body, BE DESCRIPTIVE. Each dance is an expression of your emotions and your sensuality. A girl should dance her story, beauty or need as she feels it at that moment from her heart and belly, not from scripted movements or pop-ups (a girl's first dances are might be scripted, and she is able to dance spontaneously as she becomes more experienced).
Timing is important in dancing. About 60 seconds are enough time between poses. Coincidentally, this should be just enough time for you to read what you just wrote, make sure it was correct and physically possible, and type out the next pose. Please try to refrain from using pop-ups, macros, or cutting and pasting. This distances you from your dance. It seems as if you aren't truly putting your heart into it. It also does not allow for that random element, i.e. the Man decides he doesn't need to see the rest of the dance and orders you to an alcove, you could get disconnected, anything.
Modify your dance to fit your audience. Most importantly, you are dancing to please the man you are serving, who is only sometimes specifically your Master. If he likes breasts, incorporate a lot of that into your dance. If he likes for you to touch yourself, caress your body a lot. After all, what's the point if he is not pleased? That said, keep in mind there are times for blatant slave girl lust, and there are times for more subtle innuendo. Being sensual or sexual are not the same thing and each has its appropriate place.

Please check your spelling as you type or before you press return. Also, take the time to consider whether your dance and transitions are actually physically possible. A girl might try to actually do a bit of the dance, or read it to herself out loud.

Show other slaves the dance and solicit their opinions if you feel the need. However, if you ask for an opinion, expect an honest answer from those who care about you. Try not to get offended if it's not what you wanted to hear.

Create your own Dance

It can be difficult to know where to begin. This might be one of the hardest things. Try scripting your first couple of dances. This means create a basic timeline of events, and layer on top of that. Some dances have a natural progression of events or need a partner(s), like the Dance of the Six Thongs. Others are more free form. Keep this in mind as you begin to script the dance. Also remember that none of this is absolutely set in stone. A girl may go back and change poses or ideas at any time to fit her mood or vision of what she wants the dance to be.

Make a draft outline of your ideas. Simply write down your random thoughts about what you would like to do in the dance (keeping in mind some dances may have specific steps). After you have finished writing down these ideas, arrange them into steps. The sequence should have a logical beginning, middle and end.

Fill in the descriptions of the dance, step by step. A girl should add descriptions of her movements and the mood of the dance. But don't worry, adjectives will be added in the next step.

Fill in the descriptions with many, many adjectives (many) and polish and edit each pose. Remember typos and misspellings detract from the overall effect of your dance.

You are telling a story, try to make your mental images come across so that those watching can understand and truly see what you are feeling. If you can't fit everything into one pose, feel free to split it into two poses, making sure you include transitions so they flow from one to the other.

But don't get bogged down with TOO much detail slave girls, remember the idea that the dance should be between 10-14 poses.

The dance should have at least four sections, a beginning, build up, climax and end. The beginning consists of a girl moving to the dance area or preparing to begin. The build up is the progression of events leading to the climax of the dance. In certain dances, this progression may be predefined.

Remember that you are telling a story with your moods and movements. The climax is usually a pose or two from the end of the dance. It is the moment where a girl realizes she is slave or submits, it depends on which dance a girl is performing.

A girl should put a lot of effort into this section of the dance as it is the centerpiece of her performance. Finally, the end pose is a clear sign that the dance has come to an end. Some girls like to nadu, some to collapse to the floor at the feet of the man they are serving. It depends on the preferences of the man and the audience for which you are performing.

_________________
The female slave, sometimes considered nothing, supposedly, is yet in actuality, valued commonly more highly than even gold, which in turn, is often valued for its capacity to buy such women, to bring them into chains."
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PostSubject: Re: 5/27/18-6/2/18   Fri Jun 01, 2018 2:12 pm

06.01.2018
15:08:45



Dictionary

A-B-C


*agal
- (noun): length of cord which is used to bind the kaffiyeh to the head of the wearer, usually several loops secure it. The kaffiyeh is the head covering of the tribesmen of the Tahari, a folded, squarish cloth.
Book 10: Tribesmen of Gor, pages 20 and 301

*ah-il
- (noun): a unit of measure the distance from the elbow to the tip of the middle finger c. 18 inches, analogous to the Earth cubit. 10 ah-il equal one ah-ral.
Book 10: Tribesmen of Gor, page 50

*ahn
- (noun): the Gorean hour of which there are 20 in a Gorean day, numbered consecutively. The tenth Ahn is noon and the twentieth is midnight. Each Ahn consists of forty Ehn or minutes, and each Ehn of eighty Ihn or seconds.
Book 2: Outlaw of Gor , page 26
Book 10: Tribesmen of Gor, page 352

*ah-ral
- (noun): a unit of measure equaling 10 ah-il or approx. 180 inches.
Book 10: Tribesman of Gor, page 50

*Alars
-(noun): a nomadic wandering herds people well known for their skill with the axe and the Alar sword, they travel in wagons in the northern plains, but tend to camp near settlements, unlike the southern wagon people. Their Free women do not wear veils, rather simple, corded, belted, woolen, plain, widely sleeved, ankle-length dresses, tied snugly . There are few slaves in the Alar camps because they are killed by Free women. The Alars tend to be fair in complexion, blonde-haired and blue-eyed.
Book 21: Mercenaries of Gor , pages 43, 45, 47,48, 50 and 72

*ale
- (noun): served in tankards or horns, it is one of the two favored drinks of the Torvaldslanders, the other being mead.
Book 9: Marauders of Gor, pages 82-83, 99, 191, and 194

*al-ka
- (noun): first letter of the Gorean alphabet; corresponds to the Earth letter 'A'.
Book 1: Tarnsman of Gor, page 38
Book 3: Priest-Kings of Gor, page 94

*All Comrades
- (noun): a warrior society of the Kaiila tribe of Red Savages, also called the Fighting Hearts, represented by a heart over a black horizontal line with a lance below it on the flanks of their kaiila.
Book 17: Savages of Gor, page 314

*alphabet, Gorean
- (noun): composed of 28 characters derived from the various alphabets of Earth, such as Greek, Roman, oriental or Cretan influences, among others.
Book 13: Explorers of Gor, page 9

*amomona
- (noun): Kaiila or Dust Leg word meaning baby or doll.
Book 17: Savages of Gor, page 230

*amphora
- (noun): two handled narrow necked vessel with a pointed base it is commonly buried overnight in the earth with only it's neck left above the surface; to cool certain beverages
Book 21: Mercenaries of Gor, page 257

*ankle rack
- (noun): device used to lock a girl's ankles in wooden stockage. Girls who have been repeated runaways may be held in place to have their tendons cut or feet amputated.
Book 13: Explorers of Gor, page 68

*anklet, identificatory
- (noun): temporary metal anklet fastened about a captured Earth girl's ankle for transportation to Gor; used in place of a collar.
Book 17: Savages of Gor, page 181

*ant, marcher
- (noun): known in the jungles of Schendi as 'The Marchers' are these aggressive carnivorous insects. Each is about 2 inches long, with a shiny black exoskeleton and two antennae. Their name is derived from their, apparently seasonal, marches through the jungle in a single column, yards wide and pasangs in length. They may number in the millions, their path's widening to as much as 500 feet when they overtake, swarm over, and devour all flesh, living or dead, in their path. Their bite is extremely painful, but not poisonous. Their victims die from being weakened from relentless attack, being overcome until they are still. Tarl Cabot and the small men, led a column of Marchers, by baiting them with fresh meat, the ants, weaving like a whispering black snake through the jungle until they overran an encampment of the Mamba people, Cabot's intended target.
Book 13: Explorers of Gor, pages, 399-403

*anteater
- (noun): more than six varieties inhabit the rainforests of Schendi. The great spined anteater grows to 20 ft in length and feeds on white ants or termites breaking apart their towering nests of toughened clay with mighty claws then darting it's 4 foot saliva coated tongue, drawing thousands into it's narrow tube like mouth.
Book 13: Explorers of Gor, pages 293 and 312

*apricot
- (noun): apparently identical to the apricot of Earth; references exist of the fruit being sold in marketplaces of the Tahari.
Book 10 : Tribesman of Gor, page 45

*ar
- (noun): a letter of the Gorean alphabet.
Book 11: Slave Girl of Gor, page 383

*Ar, city of
- (noun): the largest, most populous, and most luxurious city of Gor. A city of lofty cylinders, spires, towers, lights, and high bridges lit by lanterns connecting many of the towers. Surrounded by great walls, it's great Gate opens onto the Viktel Aria and there are forty other gates as well. Her politics lack the grandeur of the city itself. The powerful of Ar contributed to a disaster in the delta by not supporting their own army against the invading forces of Cos. Her citizenry burned their gates and tore down their walls to aid the Cosians. Those Warriors who were betrayed by their city returned to it; their goal to liberate Ar by whatever means to revenge her humiliation and regain the glory that was hers.
Book 1: Tarnsman of Gor, page 64
Book 5: Assassin of Gor, page 25
Book 21: Mercenaries of Gor, page 256
Book 25: Magicians of Gor, pages 9 and 488

*Arani
- (noun): a minor tribe of the Tahari; they are a vassal tribe of the Aretai
Book 10: Tribesman of Gor, page 307

*archon of records
- (noun): a magistrate who is a records officer for a stated district or city.
Book 25: Magicians of Gor, page 442

*arctic gant eggs
- (noun): eggs of the migratory Arctic gant; when frozen, they are eaten like apples.
Book 12: Beasts of Gor, page 196

*Aretai
- (noun): a major tribe of the Tahari, their vassal tribes are the Arani, Luraz, Raviri, Tajuks, Tashid, Ti, and Zevar. Their war cry is 'Aretai Victorious!'.
Book 10: Tribesman of Gor, pages 47 and 160

*aria
- (adjective): of Ar, as in Viktel Aria, which translates as: 'The Triumph of Ar'
Book 19: Kajira of Gor, page 217

*armored gatch
- (noun): a marsupial mammal which inhabits the rainforests inland of Schendi
Book 13: Explorers of Gor, page 312

*arrow, flight
- (noun): about forty inches in length, it is metal piled and fletched with three half-feathers from the wings of the Vosk gulls. This and the sheaf arrow is used with the Gorean long bow.
Book 6: Raiders of Gor, page 68

*arrow, hunting
- (noun): an arrow with a long tapering point fastened firmly to the shaft to assist in easy removal from prey
Book 17: Savages of Gor, page 40

*arrow, sheaf
- (noun): slightly over a yard long, metal piled and fletched with three half-feathers made from the wings of the Vosk Gulls. This, and the flight arrow, is used with the Gorean long bow.
Book 6: Raiders of Gor, page 68

*arrow, Torvaldsland war
- (noun): dark and more than a yard long, it's shaft is an inch thick. It is piled with iron and barbed. It's feathers of the black-tipped coasting gull are five inches long, set in the shaft on three sides. The arrows are carried in a cylindrical quiver.
Book 9: Marauders of Gor, pages 234-235

*arrow, war
- (noun): the head of this arrow has an angled, wider base that is not as securely connected to the shaft; if the shaft is pulled to attempt removal, the head is more likely to break off and remain in the wound. Used by the Red Savages.
Book 17: Savages of Gor, page 40

*Ar's Station
- (noun): an outpost of the Ownerate of Ar and trading station on the south bank of the Vosk, founded four years after Pa-Kur's hordes gathered there, prior to their war against Ar. Ar's station was Ar's stronghold on the Vosk. When Cos landed at Brundisium, and moved it's forces toward Ar's Station, Ar failed to act because of political treachery. Ar's Station eventually fell to Cos. It stands at the northern terminus of the Viktel Aria which leads to Ar, also known as the Vosk Road.
Book 15: Rogue of Gor, page 62 and 63
Book 21: Mercenaries of Gor, page 164
Book 24: Vagabonds of Gor, pages18-19
Book 25: Magicians of Gor, page 16

*arthropod
- (noun): a creature found in the tunnels of the Nest of the Priest-Kings. It is 8 feet long and a yard high with a multi-segmented body and 8 legs. It's eyes are on long stalks.
Book 3: Priest-Kings of Gor, page 82

*askari
- (noun): an inland word which may be translated roughly as 'soldier' or 'guardsman' (Schendi)
Book 13: Explorers of Gor, page 152

*Askari Hodari
- (noun): a salute to the honor of another warrior; in Ushindi it means 'Brave Warrior' or simply 'Warrior'
Book 13: Explorers of Gor, page 442

*Assassins, Caste of
- (noun): the caste of those who kill for pay; exists only in Ar; their caste color is black
Book 5: Assassin of Gor, page 6

*axe, great (Torvaldsland)
- (noun): described as a great, curved, single bladed axe of hardened iron with a blunt hammer-like head, it is carried in a leather loop hung from a broad leather belt worn from the left shoulder to the right hip. It is fastened there by a hook, that the weight of the ax will not turn the belt, which fits into a ring in the master belt.
Book 9: Marauders of Gor, pages 27, 39, and 50

*axe, Kurii
- (noun): great, double-bladed iron axe some seven or eight feet in height. The blade, from tip to tip is two feet in width. The handle is made of carved, green needle wood, round and four inches in diameter
Book 9: Marauders of Gor, page 171



*Bakahs
-(noun): a minor tribe of the Tahari, they are a vassal tribe of the Kavars

Book 10: Tribesman of Gor, page 153



*bana

-(noun): jewelry of precious metals and stones worn by free persons.

Book 11: Slave Girl of Gor, page 82



*bar

-(noun): struck in a certain pattern by an iron hammer. When heard, it signifies the divisions of the day in certain houses. May also serve as an alarm.

Book 5: Assassin of Gor, page 85



*bara

-(command; lit. 'belly'): slave position: In this position the slave falls to her stomach face down to the floor and turned to the left, crosses her wrists behind her back and similarly crosses her ankles her legs straight in preparation for binding.

Book 13: Explorers of Gor, page 77

Book 21: Mercenaries of Gor, page 145

Book 22: Dancer of Gor, page 415



*barbarian

-(noun): a native of the planet Earth, usually used in a derogatory sense in reference to slave girls from that planet. Also defined as

slave girls captured from outlying regions or cities. Barbarian slave girls from Earth are considered shamelessly sensual.

Book 5: Assassin of Gor, page 20

Book 17: Savages of Gor, page 83



*bargemen, Cartius

-(noun): interrelated clans of fathers and sons, claiming Caste for themselves, who operate the barges that cross the Cartius River. The barges are constructed of layered timbers of Ka-la-na wood and are towed by teams of river tharlarion. Their passengers are bound for Turia.

Book 4: Nomads of Gor, pages 3 and 4 (footnote)



*bark cloth

-(noun): the inner bark of the pod tree dyed scarlet and plaited and pounded into a cloth akin to burlap but softer; it has a variety of uses including a rough wrap around the hips of a slave constituting her only clothing in some instances.

Book 13: Explorers of Gor, page 287



*Barrens, the

-(noun): a vast tracts of rolling grasslands, lying east of the Thentis Mountains. They are not as barren as the name suggests, but perhaps the nomenclature is intended to discourage their penetration. Not as arable as the rest of Gor because of the presence of the Thentis mountains and the absence of large bodies of water. They have extreme seasonal temperatures; bitterly cold winters and long, hot, dry summers. Their climate can also include booming thunderstorms and tornadoes and blizzards in which snow can drift as high as the mast of a light galley. The grasses, shorter at it's western edge, can reach a height of several feet as one moves further east. No white man has ever penetrated to the eastern edge of the Barrens.

Book 17: Savages of Gor, pages 64 - 65



*bastinado

-(noun): a punishment not otherwise described, however the earth translation is a beating, especially with a stick or cudgel. The beating may be specifically to the soles of the feet.

Book 25: Magicians of Gor, page 445



*bat, ball and

-(noun): A game, similar to Earth's 'keep-away' consisting of two 2-man teams. It is played with a wooden bat and wooden ball. Not for the weak or wary

Book 9: Marauders of Gor, page 140



*ba-ta

-(noun): second letter of the Gorean alphabet, it corresponds to the Earth letter 'B'

Book 3: Priest-Kings of Gor, page 94



*Battles of Oxen

-(noun): a gladiator type competition popular in Tharna; men are yoked with horns fitted to them; they battle each other in an arena, one trying to gore or maim the other.

Book 2: Outlaw of Gor, page 112



*Bazi Plague

-(noun): a deadly, rapidly- spreading disease with no known cure. Its symptoms include pustules which appear all over the body, and a yellowing of the whites of the eyes. Also called pox, it is believed to be transmitted by lice. Survivors of the pox convey an immunity to their offspring. Slaves diagnosed with pox are usually killed as a method of containing the disease.

Book 11: Slave Girl of Gor, page 325

Book 13: Explorers of Gor, page 117



*Bazi Tea

-(noun): Very aromatic tea brewed fresh from Bazi leaves. Traditionally in the Tahari, it is served hot and heavily sugared in three tiny cups to be drunk in rapid succession. In the North, Bazi Tea is highly prized, but served less formally as tea is served on Earth, for example.

Book 10: Tribesmen of Gor page 38

Book 12: Beasts of Gor, pages 206, 209, and 212



*beads on a chain

-(noun): a reference to free women chained in a coffle, it is an oblique reference to 'slaver's necklace'. Slaves on such a necklace are referred to as 'jewels', whereas a free women is merely a 'bead'.

Book 25: Magicians of Gor, page 161



*Beast

-(noun): a Kuriian military formation consisting of two Hands (six Kur) and two Eyes (leader of a Hand), is called a Beast or Kur. It's military leader is a Blood

Book 17: Savages of Gor, page 22



*beheading

-(noun): this ancient form of execution is seen as an option when the offender is of the same Home Stone; it consists of stripping, beating and beheading the offender and is considered a merciful death.

Book 23: Renegades of Gor, page 14-15



*belly, position

-(noun): a form of obeisance position with a girl on her belly and her head to boot or floor, palms pressed flat to floor; variations can include kissing the Master's boot.

Book 25: Magicians of Gor, page 34



*below-deck girl

-(noun): the term used for slave girls transported in the hold of a ship. They are held in individual cages and because of infestations of lice, all of their body hair is shaved. The term 'below-deck girl' is used derisively especially by those slave girls allowed to remain on deck in cages, who need not have shaved heads, though all slaves on a slaver ship are unclothed.

Book 11: Slave Girl of Gor, page 318 - 321



*bina

-(noun lit. 'slave beads'): slave jewelry usually consisting of plain metals colored string wooden or cheap glass beads; sometimes used as a slave name

Book 11: Slave Girl of Gor, page 82



*binding fiber

-(noun): stout twine made of strips of leather or of a fiber like hemp; a piece long enough to circle a slave girl's waist 2-3 times is often used as a belt for her slave tunic.

Book 1: Tarnsman of Gor, page 64

Book 22: Dancer of Gor, pages 375, 376, and 383



*binding strap

-(noun): a strap 3/4 inches wide and 18 inches long commonly used for binding the wrists and/or ankles of prisoners and slaves

Book 16: Guardsman of Gor, page 237 and 274



*bint

-(noun): a fanged, carnivorous, freshwater marsh eel which inhabits the rivers of the rainforests inland of Schendi; a large school of bints can strip a carcass in minutes.

Book 13: Explorers of Gor, page 267 and 271



*biscuits

-(noun): a dried pressed biscuits described as baked in Kailiauk from Sa-Tarna flour.

Book 17: Savages of Gor, page 328



*black wine

-(noun): described as a very expensive drink, even in Thentis, where it is grown on the mountain slopes. It is the same as coffee, and the original beans were probably imported from earth. Served steaming hot with creams or sugars as desired (See *second slave) or as a thick, bitter brew sipped from tiny cups.

Book 5: Assassin of Gor, pages 106-107

Book 10: Tribesmen of Gor, page 89

Book 11: Slave Girl of Gor, page 73

Book 12: Beasts of Gor, page 20-21

Book 16: Guardsman of Gor, page 244



*blanket

-(position): when a blanket or cloak or covering of any sort is thrown over a slave girl she may not speak or rise; she must remain silent until the blanket is lifted by a free person

Book 13: Explorers of Gor, page 94



*blindfold, gorean

-(noun): consists of two rounded pieces of soft felt, three to four inches in diameter, and the binding which is several turns of a dark thick, folded cloth, tied behind the head. The rounded pieces fit over the eyes, held in place by the scarf or tie. It is not normally used in transportation, the slave hood being preferred in those instances.

Book 15: Rogue of Gor, page 201



*block melodies

-(noun): certain melodies commonly used in slave markets in the

display of merchandise. They are intended to 'set the mood' in the mind of potential buyers.

Book 24: Vagabonds of Gor, page 37



*Blood

-(noun): in Kuriian military organizations; a leader of a military unit of varying sizes and strengths depending on his rank; the smallest Unit led by a Blood is 'Kur' or 'Beast' followed by 'Band' 'March' and 'People' each unit a large multiple of the former

Book 17: Savages of Gor, page 22



*blotanhunka

-(noun): the term for a war party leader of the red savages; he tends to be more experienced and mature, and exerts more control over the larger group.

Book 17: Savages of Gor, page 249



*Blue Flame

-(noun): controlled by the Priest-Kings seemingly emerging from the heavens this flash of energy literally burns it's victims to wisps of ash in an instant enveloping him in a fierce blue combustive mass.

Book 1: Tarnsman of Gor, pages 207-208



*Blue Sky Song

-(noun): a refrain from the Wagon Peoples which says in part 'though I die yet there will be the bosk the grass and sky'.

Book 4: Nomads of Gor, page 263



*Blue-Sky Riders

-(noun): a warrior society of the Fleer Tribe of Red Savages represented by a semi circle curved blue line over a black horizontal line on the flanks of their kaiila.

Book 17: Savages of Gor, page 260



*boards, chained on

-(noun): a ancient modality of execution that involves the person being chained, by collar and shackles, on parallel upright boards. Like the punishment of hanging from an iron collar, the victim may take two to three days to die; these structures are most common in harbor cities near the wharves.

Book 23: Renegades of Gor, page 14-15



*body chain

-(noun): closely meshed length of chain about 5 feet in length which can be used in a variety of ways to bedeck or secure a slave. Some are decorated with semi-precious stones and wooden beads. Detachable lock and snap clips allow the chain to be transformed from slave jewelry to slave restraint.

Book 15: Rogue of Gor, pages 71-72

Book 16: Guardsman of Gor, page 281



*bola

-(noun): a weapon developed by the Tribes it consists of 3 long straps of leather (5 feet) each terminating in a weighted leather sack. Whirled to great speed above the head it is released high or low depending on it's intent rapidly injuring or entangling it's prey. Also employed as a game where slave girls are ordered to run while the Masters attempt to ensnare them with the bola; it's image is a Kassar brand.

Book 4: Nomads of Gor, page 24

Book 25: Magicians of Gor, page 299



*bondage knot

-(noun): a loose knot tied in a slave's long hair near her right cheek or before her right shoulder that has two meanings, depending on how it is used. If a slave girl approaches a Master and kneels naked before him, looping the knot herself, she silently begs for use. If a Master ties the knot himself, notably during a time of battle, it is his way of marking the girl as taken if he must continue on, leaving her bound behind.

Book 10: Tribesmen of Gor, page 27 and 321

Book 22: Dancer of Gor, pages 299-300



*bond-maid

-(noun): the term for a slave girl used in Torvaldsland; also called a girl whose belly lies under the sword.

Book 9: Marauders of Gor, page 44



*bond-maid circle

-(noun): a female who enters the circle, drawn in the dirt for example, is declaring herself a bond-maid by the laws of Torvaldsland. She may enter voluntarily or be thrown into it bound and naked.

Book 9: Marauders of Gor, page 44



*bond-maid gruel

-(noun): a porridge served to bond-maids in Torvaldsland made of dampened Sa-Tarna and raw fish

Book 9: Marauders of Gor, page 67



*bone, baleen whale

-(noun): whale bone from the Baleen Whale used to fashion instruments and weapons by the Red Hunters.

Book 12: Beasts of Gor, page 334



*bones

-(noun): a game played with pieces carved from bones that are shaped to resemble an animal; a bone is dropped from a players hand and the bone which remains upright is the winner.

Book 12: Beasts of Gor, page 185



*bosk

-(noun): a huge, shambling animal, with a thick, humped neck and long, shaggy hair. It has a wide head and tiny red eyes, a fearful temper, and two long, wicked, curved and pointed horns. The horns, from tip to tip may measure two spears in length. It is for good reason the bosk is called 'The Mother of the Wagon Peoples'. It's flesh and milk furnish food and drink, shelter is made from it's hides, and clothing from it's tanned and sewn skins. Weapons are made from the leather of it's hump and many tools and implements from it's bone and horns. Even the dung is dried and used for fuel. The bosk is reverenced and the penalties for it's slaughter without reason are extreme.

Book 3: Priest-Kings of Gor, page 45

Book 4 : Nomads Of Gor, pages 4 and 5

Book 6: Raiders of Gor, page 26

Book 8: Hunters of Gor, page 34

Book 16: Guardsman of Gor, page 234



*bota

-(noun): a bag with a re-closable stopper or cork commonly made of verr skin leather; used to transport liquids and is often utilized by serving slave girls especially in the camps

Book 7: Captive of Gor, page 112

Book 10: Tribesman of Gor, page 36

Book 22: Dancer of Gor, pages 428 and 429



*Bound by the Master's will

-(phrase): refers to a slave being commanded to hold position, as though bound, hands clasping opposite wrists until she is released.

Book 22: Dancer of Gor, page 227

Book 25: Magicians of Gor, page 388



*bow, horn, of the Innuit

-(noun): bow formed with split pieces of tabuk horn, bound with sinew which is not effective beyond thirty yards, used in the land of the Innuit to hunt tabuk on the tundra.

Book 12: Beasts of Gor, page 205



*bow, horn, of the Wagon Peoples

-(noun): favored by the Wagon peoples, it hangs from their saddles. It does not have the range or force of the more powerful long bow or cross bow, but it is a fearsome weapon at close range. The young men of the Wagon Peoples are not given a name until they have mastered the bow, the lance and the quiva.

Book 13: Nomads of Gor, pages 11 and 66



*bow, long

-(noun): the Gorean long bow is the height of a tall man. It has a flat back and a round belly and may be made of supple Ka-la-na wood. A proficient bow man should be able to loose 19 arrows in a Gorean ehn. It is not as popular among Goreans because of some impracticalities of use. It cannot be used from the saddle, and the warrior must be standing or kneeling to aim, making him a target. It is favored by the peasants who make them and is also known as the peasant bow.

Book 6: Raiders of Gor, pages 2 and 3

Book 22: Dancer of Gor, page 303



*bow, northern

-(noun): a short bow, with short, heavy arrows, heavily headed, it is accurate with a short range of a hundred and fifty yards. It somewhat resembles the Tuchuk bow of layered horn in it's accuracy and striking ability, which is about a hundred and fifty yards. It is useful for close combat on a ship, and can easily be fired through a thole port with the oar withdrawn.

Book 9: Marauders of Gor, page 52



*bow, ship

-(noun): short stout maneuverable bow, easy to use in crowded quarters easy to fire across the bulwarks of galleys locked in combat.

Book 15: Rogue of Gor, page 307



*bow, small

-(noun): used with great skill by the Red Savages from kaiila back. No Gorean weapon can match it's rate of fire. A skilled warrior can fire ten arrows into the air, the last leaving the bow before the first has returned to the earth. It is highly maneuverable and easy to conceal. It can easily be swept from one side of the kaiila to the other.

Book 17: Savages of Gor, page 46



*bracelets, hook

-(noun): leather cuffs with locks on them and snaps; they are soft and the snaps require no key. Some men enjoy them on their slaves; by means of the straps the girl may be variously secured by the locked cuffs

Book 11: Slave Girl of Gor, page 297



*bracelets, or chaining position

-(noun): basic pleasure slave position. The slave girl on command thrusts her hands behind her back wrists together in preparation to be braceleted.

Book 8: Hunters of Gor, page 146

Book 10: Tribesmen of Gor, page 78



*bracelets, slave

-(noun): any of a variety of handcuff type restraints; used to restrain the wrists of slaves and others; usually metal.

Book 10: Tribesmen of Gor, page 156



*brak bush

-(noun): a shrub whose leaves have a purgative effect when chewed; traditionally branches of it are nailed to house doors during the Waiting Hand to discourage the entry of bad luck into the house for the New Year.

Book 5: Assassin of Gor, page 211



*brand

-(noun): burned into the flesh of animals and slaves to mark them as property; specific brands include the kef (common kajira brand), Dina, Palm, mark of Treve, mark of Port Kar, mark of the Tahari, mark of Torvaldsland etc.

Book 2: Outlaw of Gor, page 189

Book 8: Hunters of Gor, page 51



*brand, bond-maid

-(noun): described as a half circle about an inch and a quarter in width, adjoined at it's right tip by a steep, diagonal line an inch and a quarter in height. In the north, the bond-maid is referred to as a woman whose belly lies beneath the sword.

Book 9: Marauders of Gor, page 87



*brand, merchant

-(noun): a tiny brand in the form of spreading bosk horns for any wishing to do business with the Wagon Peoples that allows their passage over the plains; the stigma connected with this brand is that it suggests that any approaching the wagons do so as slaves .

Book 4: Nomads of Gor, page 34



*brand, passage

-(noun): a tiny brand in the form of spreading bosk horns found on the forearm of Goreans, it's presence guaranteeing their safe passage, at certain seasons, across the plains of the Wagon People.

Book 4: Nomads of Gor, page 34



*brand, penalty

-(noun): small 1/4 inch brands that mark a convicted liar, thief, traitor etc.

Book 7: Captive of Gor, page 310



*brand, thief's

-(noun): tiny 1/4 inch three-pronged brand worn on the cheek of those of the Caste of Thieves, who are found only in Port Kar .

Book 6: Raiders of Gor, page 104

Book 17: Mercenaries of Gor, page 239



*branding rack

-(noun): a device to which a new slave girl is chained for branding; her hands are chained above her head but the rest of her body is free to move except for whichever thigh is to be branded this being held motionless in a large vise.

Book 13: Explorers of Gor, page 71

Book 17: Savages of Gor, page 121



*bread, black

-(noun): mentioned without description

Book 8: Hunters of Gor, page 13



*bread, Sa-Tarna

-(noun): gorean bread made from Sa-Tarna grain, described as yellow, and since it is usually described as being cut in wedges, probably baked in a round flat pan.

Book 6: Raiders of Gor, page 114

Book 12: Beasts of Gor, page 349

Book 15: Rogue of Gor, page 191

Book 21: Mercenaries of Gor, page 22

Book 25: Magicians of Gor, page 469 (footnote)



*breeding cell

-(noun): also called a breeding stall. A slave who is designated to be bred is taken there. Both kajira and kajirus are hooded and though they will never know the other's identity their coupling is public, observed by Masters and others.

Book 22: Dancer of Gor, page 175



*breeding wine

-(noun): a sweet beverage which counteracts the effects of slave wine making a slave girl fertile; also called second wine.

Book 18: Blood Brothers of Gor, page 319



*bride price

-(noun): this fee is one paid by a Free Man to her family, for a Free Woman as he takes her as a Free Companion. If a man frees a slave, the slave's family is bound by honor to grant her to him without bride price.

Book 1: Tarnsman of Gor, page 71



*Brundisium

-(noun): one of the largest and busiest ports of Gor and a commercial metropolis, it is 100 pasangs south of the Vosk Delta on the Thassa. The Genesian Road links it with other coastal cities. Brundisium served as the staging point for the Cosian invasion of Ar.

Book 21: Mercenaries of Gor, page 38

Book 22: Dancer of Gor, pages 101 and 147

Book 24: Vagabonds of Gor, page 19



*bucket, grease

-(noun): a narrow, cylindrical, capped bucket full of tar and tallow that hangs under wagons, the handle of a brush protruding through a hole in the cap. This accessory is commonly used to grease moving parts on the wagons.

Book 23: Renegades of Gor, page 19



*Builders, Caste of

-(noun): the caste which includes architects, draftsmen, stonemasons. The Builders are one of the five High Castes. Yellow Caste.

Book 1: Tarnsman of Gor, page 62



*burnoose

-(noun): the loose, billowing outer robes favored by the men of the Tahari in caravan, it is invariably white in color, to reflect the rays of the sun. It's billowing, flowing movement aids in cooling the body, as it circulates over damp skin.

Book 10: Tribesmen of Gor, page 73



*buttons

-(noun): a 'recent' innovation for slave attire, not used on the garments of Freepersons. Most garments are fastened with hooks, pins or brooches. Buttons are considered rather sensuous on Gor.

Book 11: Slave Girl of Gor, page 417



*cage, plastic

-(noun): a means of exhibiting slave girls outside a slaver's establishment suspended from the roof of the portico or in a tier of cages with a comely wench inside.

Book 5: Assassin of Gor, page 286



*Camerius

-(noun): the third month of the Gorean calendar (in Ar and some other cities).

Book 5: Assassin of Gor, page 235



*camisk

-(noun): simple, poncho-like slave garment about 18 inches wide.

Book 7: Captive of Gor , page 64

Book 16: Guardsman of Gor, page 107

Book 22: Dancer of Gor, page 77



*camisk, Turian

-(noun): a style of camisk worn by slaves in the city-state of Turia; cloth shaped like an inverted 'T' with a beveled crossbar fastened

behind the neck & falls before the wearer's body; the crossbar then passes between her legs & is then brought forward snugly at the hips, is held in place by a single cord that binds it at the back of the neck behind the back & in front at the waist

Book 7: Captive of Gor, page 160

Book 16: Guardsman of Gor, page 107

Book 22: Dancer of Gor, page 155



*canjellne

-(verb): challenge

Book 11: Slave Girl of Gor, page 21



*capture cubicle

-(noun): a room designed or arranged for the capture of an unwary Free Woman, normally this captured Free Woman is then enslaved.

Book 25: Magicians of Gor, page 42



*capture knot

-(noun): a knot recognized for it's unique turnings as rope or binding fiber tied by a Warrior; usually in the capture of a slave girl but also used on any likely foe.

Book 13: Explorers of Gor, page 58



*capture scent

-(noun): an anesthetic widely employed to render it's victims unconscious; a rag soaked with it is held over the mouth and nose or shot into the victim as an anesthetic dart.

Book 9: Marauders of Gor, pages 115 and 116



*carnarium

-(noun): refuse pit

Book 25: Magicians of Gor, page 38



*carpet plant

-(noun): a plant of the rainforest area inland of Schendi having tendrils that are used in this example to bind a bandaged wound.

Book13: Explorers of Gor, page 347



*cart

-(direction): a gorean compass point equivalent to south west; the river Cartius was so named because of it's direction from Ar southwest.

Book 4: Nomads of Gor, page 3 (footnote)



*cart, leather-slung fee

-(noun): a public or rented 'coach' for transportation of passengers with seats facing each other. Its carriage is suspended by strong leather which causes a swaying, many times bringing on motion-sickness for passengers. Large hides are often suspended underneath to store items, as is a grease bucket for greasing the axles.

Book 23: Renegades of Gor, pages 19-20



*Cartius River

-(noun): broad, fast-flowing tributary that flows into the Vosk river far to the south and west of Ar. It is composed of three rivers, the Cartius Proper, Subequatorial Cartius, and Thassa Cartius. It's name is taken from the word cart, a compass point indicating southwest

Book 4: Nomads of Gor, page 2

Book 5: Assassins of Gor, page 207

Book 13: Explorers of Gor, page 106



*Casmu Band

-(noun): the Sand Band of the Kaiila Tribe of the Red Savages

Book 17: Savages of Gor, page 315

Book 18: Blood Brothers of Gor, page 24



*Caste Codes

-(noun): ethical teachings of Gor whose origins are lost in antiquity.

Book 1: Tarnsman of Gor, page 40



*Caste Sanctuary

-(noun): similar to seeking Sanctuary in a church; in times of need, a caste member can ask for sanctuary under another caste member's roof.

Book 5: Assassins of Gor, page 207-209



*Caste, Gorean

-(noun): rigid social structure which is conferred by birth on Goreans except for slaves, outlaws, and Initiates. There are 5 high castes (Initiates, Scribes, Builders, Physicians, Warriors), privileged by their status to be privy to Double Knowledge, unlike the many lower castes (tradesmen, craftsmen, artisans, artists, etc.) who may know only First Knowledge. Governments are elected and administered by High Caste members only. The Caste is a source of life long pride and brotherhood. The welfare of the Caste takes precedent over individual members. It is possible to change caste, but it is rarely done. To lose Caste is the ultimate in dishonor.

Book 1: Tarnsman of Gor, pages 41-42

Book 3: Priest-Kings of Gor, page 71

Book 14: Fighting Slave of Gor, pages 209 - 211

Book 22: Dancer of Gor, pages 186-187

Book 24: Vagabonds of Gor, page 378



*catapult

-(noun): this ancient military device is used extensively in the naval battles to control the Vosk River fought by the pirate armada of Ragnar Voskjard and Policrates against the alliance headed by Callimachus of Port Cos. Stones and clay bowls filled with burning pitch were hurled from ship to ship during their battles.

Book 16: Guardsman of Gor, pages 10 and 12



*catapult, cordage of

-(noun): an example of how the female slave on Gor, 'earns her keep'. Even her hair, described as soft, glossy, silky and resilient, stronger than vegetable fibers and more weather resistant, is used, shaved from her head, as raw material for catapult cordage.

Book 18: Blood Brothers of Gor, page 245

Book 21: Mercenaries of Gor, page 302

Book 24: Vagabonds of Gor, pages 8 and 44

Book 25: Magicians of Gor, page 49



*cats-cradle game

-(noun): a string game popular in the Gorean North

Book 12: Beasts of Gor, page 196



*chain luck

-(noun): the attempt to capture a slave girl without having a particular target in mind.

Book 3: Priest-Kings of Gor, page 61



*chalwar

-(noun): baggy pants of diaphanous silk worn by slave girls of the Tahari; similar to the harem trousers of Earth.

Book 10: Tribesmen of Gor, page 105



*chamber slave

-(noun): slave of the Priest Kings restricted to use within a particular chamber; these slaves cannot leave the chamber and are to serve the Freeperson living there fully.

Book 3: Priest Kings of Gor, page 36



*Char

-(noun): a minor tribe of the Tahari; they are a vassal tribe of the Kavars.

Book 10: Tribesmen of Gor, page 307



*chatka

-(noun): the strip of black leather, some 6 inches by 5 feet long, worn like a breech- clout over the curla by the slave girls of the Wagon Peoples.

Book 4: Nomads of Gor, page 30

Book 11: Slave Girl of Gor, page 329



*cheese, bosk

-(noun): described as melted over suls.

Book 5: Assassin of Gor, page 168



*chocolate

-(noun): chocolate on Gor is probably from beans grown from cacao tree's brought from Earth.

Book 19: Kajira of Gor, pages 42 and 61



*chronometer

-(noun): variety of rare and valuable devices used for various calibrations such as time keeping, including candles, sun dials, sand glasses, clepsydras (water clocks), and oil clocks.

Book 25: Magicians of Gor, page 358



*CINBIAK

-(acronym): a gentle warning often employed throughout the books. It's letters stand for 'Curiosity Is Not Becoming In A Kajira'

Book 7: Captive of Gor, page 14

Book 10: Tribesmen of Gor, page 315

Book 22: Dancer of Gor, pages 122, 151, 233, 277, and 290

Book 24: Vagabonds of Gor, page 447



*Cities of Dust

-(noun): the Gorean land of the dead or underworld.

Book 2: Outlaw of Gor page 61



*clad Kajir

-(phrase): among the Wagon Peoples, this phrase refers to slaves who wear four articles; the curla, chatka, kalmak and koora.

Book 4: Nomads of Gor, page 30



*clock, Kaissa sand

-(noun): a device used for timing Kaissa moves, it has a spigot arrangement to enable the flow of sand. When it is open for one player, it is off for the other. Each player enables it, as his play is completed.

Book 12: Beasts of Gor, page 85



*clock, oil

-(noun): mentioned as an example of the chronometer technology available on Gor.

Book 25: Magicians of Gor, page 358



*clock, sand

-(noun): large, cylindrical and re-set at midnight, the twentieth ahn, and perhaps at noon, as well.

Book 10: Tribesmen of Gor, pages 180 and 185



*clock, water

-(noun): mentioned, but not described. May also be called a clepsydra.

Book 14: Fighting Slave of Gor , page 212

Book 25: Magicians of Gor, page 358



*Code of the Warrior

-(noun): a creed characterized by a rudimentary chivalry emphasizing loyalty to the Pride Chiefs and the Home Stone; warrior's are expected to know and live by it's dictates.

Book 1: Tarnsman of Gor, page 41



*coffle

-(noun): a method of chaining a line of slaves together for trekking; common methods are to link the slaves by the left ankle left wrist or throat; also the line of slaves itself; sometimes called a 'slaver's necklace'.

Book 17: Savages of Gor, page 135



*coin girl

-(noun): a slave girl who with a coin box and triangular flat bell chained around her neck is sent out in the streets of a city to earn money from masters in return for her sexual use; woe to the girl who does not return with a jangling coin-box attached to her neck chain.

Book 15: Rogue of Gor, page 89-90

Book 16: Guardsman of Gor, page 143



*coin merchant

-(noun): terminology for all gorean bankers, ranging from the fellow sitting on a rug in his booth on the street to the financial institutions on the 'Street of Coins'.

Book 25: Magicians of Gor, page 411



*collar

-(noun): any of several iron or steel devices that fit around the neck of a slave; in Torvaldsland they are of iron hinged and fastened with a rivet; in Turia the steel is rounded and loose enough for a man to insert his hand beneath it. The first collar seen by Tarl Cabot was a simple band of steel which he took to be jewelry. Slave girls are required to repeat the purposes of a collar on demand. They are: (1) to visibly designate the wearer as a slave (2) to impress her slavery upon her (3) it identifies her master and (4) it provides ease of leashing. The gorean word for collar is ko-lar.

Book 1: Tarnsman of Gor, page 26 and page 46

Book 13: Explorers of Gor, page 80



*collar, coffle

-Noun): various types of steel collars with rings front and/or back to hook 3 to 4 ft lengths of chain between them; some hinged in the back.

Book 17: Savages of Gor, page 135



*collar, cord

-(noun): made of cord fashioned from the rence plant it is worn by rencer slaves and carries a small disk to identify the owner.

Book 24: Vagabonds of Gor, page 341



*collar, dance

-(noun): a collar to which light- weight (but effective) chain has been attached in order to set off the dancer; a common type consists of a large oval of chain to which wrist cuffs and/or ankle cuffs are attached; once the two sides of the oval have been attached to a ring on the collar; there are variations depending on the region.

Book 19: Kajira of Gor, page 143



*collar, leather leash

-(noun): a leather slave collar with attached which may be used when the slave is to be led, usually for reasons of security.

Book 25: Magician of Gor, page 33



*collar, lock

-(noun): a hinged collar easily removed by the use of a key; usually of flat stock c. 1-1/2 inches to 2 inches high; usually worn by trained slaves; the lock has one pin for each of the letters in the word 'kajira'.

Book 5: Assassin of Gor, page 51



*collar, message

-(noun): worn by slaves who convey messages, it is a thick, high, leather collar, fashioned by Turians, literally sewn around her throat. Sewn inside, within the leather itself is a message, written on a small piece of rolled rence paper. . The slave girl often does not know that her collar carries a message and of course would never know it's contents.

Book 4: Nomads of Gor, pages 35, 40, 48, and 49

Book 9: Marauders of Gor, page 127



*collar, northern

-(noun): a utilitarian sounding collar made of black iron with an iron ring to be used if a chain is attached. It is riveted around the neck of the bond-maid.

Book 9: Marauders of Gor, page 85



*collar, plank

-(noun): a two-piece board hinged at one end and capable of being locked at the other. It has two or more semi-circular holes cut in each side so that it may fit around the necks of more than one slave girl or captive free woman at one time.

Book 15: Rogue of Gor, page 69

Book 17: Savages of Gor, page 60



*collar, plate

-(noun): collar of flat stock which is hammered about a slave's neck; usually worn by untrained slaves.

Book 8: Hunters of Gor, page 13



*collar, shipping

-(noun): a temporary collar showing that the slave girl is part of a cargo.

Book 13: Explorers of Gor, page79



*collar, transport

-(noun): a collar with a metal tag attached listing destination or other vital information, to be used during transport of a slave.

Book 22: Dancer of Gor, page 73



*collar, Turian

-(noun): a collar which fits more loosely and resembles a hinged ring looped about the throat. A man can get his fingers inside a Turian collar and use it to drag the girl to him.

Book 4: Nomads of Gor, page 29

Book 11: Slave Girl of Gor, page 251



*Collaring Feast

-(noun): a private feast for a young Tarnsman and his family and friends; held to celebrate the capture of his first slave girl; during it the girl formally submits to him as his slave then proceeds to serve him at the Feast and afterwards in his quarters.

Book 2: Outlaw of Gor, page 52



*combing circle

-(noun): a whimsical method of grooming. A group of kneeling slaves form a circle, each combing the hair of the one in front of her.

Book 22: Dancer of Gor, page 112



*Companionship Price

-(noun): the gift in money or goods given by a man to the father of the woman he wishes to take in Free Companionship

Book 8: Hunters of Gor page 174



*con

-(conj.): from

Book 2: Outlaw of Gor, page 179



*contasta

-(adv.; lit. 'from the founding of Ar'): means of determining chronology; equivalent to the Earth term AD (Anno Domini) (abbrev: C.A.)

Book 2: Outlaw of Gor, page 179



*Contests of Arms

-(noun): gladiatorial contests where men fought to the death were banned in Ar when Kazrak of Port Kar became administrator of that city.

Book 3: Priest-Kings of Gor, page 11



*Cos

-(noun): an island 400 pasangs west of Port Kar and hundred pasangs north of Tyros; notable for growing ta-grapes on it's terraced hills. The perpetual enemy of Ar. It's capitol city is Telnus. Other cities are Selnar, Temos and Jad. As the western border of known Gor, the waters beyond it are referred to as 'the World's End' by those who have first knowledge. To those Goreans with second knowledge, who are taught that Gor is spheroid, the expression is merely a figure of speech.

Book 6: Raiders of Gor, pages, 139, 174, and 312

Book 12: Beasts of Gor, page 35



*cosian wingfish

-(noun): also known as songfish due to its whistling mating song; a tiny blue salt-water fish with 4 poisonous spines on its dorsal fin; found in the waters off Port Kar; its liver is considered a delicacy in Turia.

Book 4: Nomads of Gor, page 84-85

Book 6: Raiders of Gor, page 139



*Cosians

-(noun): derogatory name given to gangs of youth and young ruffians in Ar, affecting Cosian garments and haircuts.

Book 25: Magicians of Gor, page 168



*couching law

-(noun): any Free woman who voluntarily 'couches' with the slave of another may be taken as slave herself by the Master of the slave she 'couched' with.

Book 25: Magicians of Gor, page 7 and page 303



*Council of Captains

- (noun): a governing body of the city of Port Kar, their administrative status is below that of the various Owners who control the city. The Council is responsible for maintaining and managing the great arsenal, as well as the fleets of Port Kar.

Book 6: Raiders of Gor, pages 104 and 127



*coup

-(noun): the complicated ranking of battle exploits by the Red Savage tribes. The coup earned by an individual are reflected in the feathers and adornment to which he is entitled. Interestingly, killing the enemy ranks far beneath the besting of an enemy. A first warrior who strikes an armed enemy with an open hand is rewarded with the first coup; the 2nd and 3rd man to accomplish this would receive 2nd and 3rd coup. Killing an enemy with a bow and arrow from ambush might be counted as only a fifth or seventh coup. The counting or tallying of coup within the tribe determines his entitlement to certain advantages.

Book 17: Savages of Gor, pages 44-45



*courage scar

-(noun): A facial marking of the warrior of the Wagon Peoples. This scar is the first one applied and without it no other scars can be applied. Each scar is placed by members of the Clan of Scar Makers. The can be read by each tribe of the Wagon Peoples as easily as one reads a newspaper. Each scar represents a act of courage and honor in the wearer's life. The Courage Scar is the highest and most important.

Book 4: Nomads of Gor, pages 15-16, 68, and 343



*crossbow

-(noun): called the weapon of the Assassin, it is considered more accurate at short distances. Described as having heavy cable and leaves of steel it can be loaded and kept loaded like a firearm.

Book 6: Raiders of Gor, page 2



*curla

- (noun): the red waist cord worn by slave- girls of the Wagon Peoples; supports the chatka.

Book 4: Nomads of Gor, page 30

Book 11: Slave Girl of Gor, page 328



*Cur-lon Fiber

-(noun): fiber spun by the Swamp Spiders (Spider People) and used in the textile mills of Ar.

Book 1 Tarnsman of Gor, page 83



*Curulean

-(noun): the most prestigious slave auction house in the city of Ar.

Book 7: Captive of Gor, page 355



*cylinder

-(noun): the primary architectural form of buildings in major Gorean cities; they are of varying heights and colors, flat-topped and cylindrical, connected by narrow, colorful bridges that arch between them.

Book 1: Tarnsman of Gor, page 23



*cymbals

-(noun): There are various sorts similar to the ones found on Earth.

Book 7: Captive of Gor, page 209



*czehar

-(noun): musical instrument consisting of a flat oblong box having 8 strings which are played with a horn pick; similar to a Japanese koto

Book 19: Kajira of Gor, page 108



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PostSubject: Re: 5/27/18-6/2/18   Sat Jun 02, 2018 10:27 am

06.02.2018
11:22:17



Dictionary

D-F

da

-(conj.): here

Book 11: Slave Girl of Gor, page 81



*dance, placatory

-(noun): a dance intended to assuage the anger of a Master. It is usually free-form, depending on the situation. The 'Contrition Dance' of Turia is an example of a formal placatory dance.

Book 22: Dancer of Gor, page 332

Book 25: Magicians of Gor, page 44



*dar

-(adj.): holy; priest

Book 1: Tarnsman of Gor, page 150



*Dar-Kosis

-(noun; lit. 'holy disease'): an incurable wasting disease, also known as the 'Sacred Affliction' , so named because it is regarded as being holy to the Priest-Kings and those who are afflicted are considered as consecrated to the Priest-Kings. The disease is highly contagious, and those who suffer from it are required to wear yellow robes, and constantly sound a wooden clacker to warn of their approach.

Book 1: Tarnsman of Gor, pages 113 and 150-151



*Dar-Kosis Pit

-(noun): a place where those afflicted with Dar-Kosis may voluntarily incarcerate themselves while they die. These huge pits have rudimentary shelter and a well. Once within, the sufferer may never leave. Food and necessities are thrown down from tarn back to help the diseased

Book 1: Tarnsman of Gor, page 151



*date

-(noun): a staple of the diet of the Tahari Tribesmen; they are sold in a tef (a handful with the 5 fingers closed; a tefa is 6 tefs (a small basket); Five such baskets constitute a huda. In large compressed bricks they are used in trade.

Book 10: Tribesman of Gor, page 46



*deck cage

-(noun): small cages fastened to the deck of a ship to transport slaves not kept in hold.

Book 13: Explorers of Gor, page 26



*deck stones

-(noun): white smooth soft stones used for sanding boards and decks on ships.

Book 13: Explorers of Gor, page 98



*degradation stripe

-(noun): a 2 inch wide band shaved into the hair of men captured by talunas or panther girls; it runs from the forehead to the nape of the neck.

Book 8: Hunters of Gor, page 137



*delka

-(noun): fourth letter of the gorean alphabet it corresponds to the Earth letter D and is formed as the Earth 'delta'.

Book 25: Magicians of Gor, page 176



*Delta Brigade

-(noun): a rebel group which quietly fought Cosians with 'resistance' tactics during their occupation of Ar. Their trademark was a bloody 'delka' mark often slashed into the skin of their victims. The existence of this unorganized group began from a comment made in a tavern by Tarl Cabot. The rumor led others, independent of each other, to use similar tactics, which convinced the Cosians of a more concerted effort against them.

Book 25: Magicians of Gor, pages 176-189



*dice

-(noun): many forms of dice games exist on Gor, ranging from those played with a single die to five dice. Various symbols are usually painted on their surfaces. Some are sold in sealed boxes bearing their cities imprint.

Book 25: Magicians of Gor, pages 59 and 60



*dina

-(noun): a small short-stemmed flower indigenous to hillsides; sometimes called the 'slave flower' it is often used as a design for slave brands; sometimes used as a slave name.

Book 11: Slave Girl of Gor, page 61



*disk golden tarn

-(noun): the gold tarn disk of Ar is considered to be the standard by which other cities, such as Ko-Ro-Ba and Port Kar. set the value of their own coinage. It is worth, generally, 10 silver tarsks, but standardization is slight due to the shaving or splitting of the coin as well as faulty scales that contribute to the debasing of the coinage.

Book 15: Rogue of Gor, page 155



*display chain

-(noun): slave girls who are sold in groups are put into a chain which may be fastened taut at either end; the girls are spaced on the chain so that they don't crowd together and be more easily displayed; unclothed always.

Book 10: Tribesmen of Gor, page 14



*display slave

-(noun): a slave girl whose primary purpose is for the display of her beauty to reflect the affluence of her master; often chained in coffle with other display slaves behind the palanquin or other transport of her master.

Book 22: Dancer of Gor, page 367



*dock eel

-(noun): a black freshwater fish 4 feet long, weighing 8-10 lbs.; carnivorous and aggressive, they inhabit the shallow waters around the dock and wharves of river ports.

Book 15: Rogue of Gor, page 155

Book 16: Guardsman of Gor, page 130



*Double Knowledge

-(noun): their are two forms of knowledge provided on Gor. The simpler or first knowledge is taught to the lower castes, and includes some misinformation as compared to the Second Knowledge, taught to the higher Castes. The term, 'Double Knowledge' refers to the fact that high castes are privy to both knowledges.

Book 1: Tarnsman of Gor, page 41



*double leashing

-(noun): a method of slave control. Either two collars with leashes are affixed to her neck, or a collar with a leash on opposite sides is used.

Book 25: Magicians of Gor, pages 360-361



*drum, Red Hunter's

-(noun): large, heavy, handled and disk like. The frame, made of wood with a cover of Tabuk hide, is struck on the frame with a stick, giving the drum an odd resonance sound.

Book 12: Beasts of Gor, pages 261-262



*dung sack

-(noun): used to contain bosk (or any) dung after it has been raked up or collected; also employed as a punishment when slave girls are forced to 'spend a night in the dung sack'.

Book 4: Nomads of Gor, page 285



*Dust Legs

- (noun): a tribe of Red Savages which inhabits the Barrens; so called because they were the last tribe to domesticate kaiila.

Book 17: Savages of Gor, page 148



*Duty of the Twelve Joys

-(noun): Muls (slaves to the Priest-Kings) wash completely 12 times a day.

Book 3: Priest-Kings of Gor, page 111


*Earth girls

-(noun): slave girls abducted from Earth called barbarians. They are considered among Goreans to be the lowest and hottest of slaves.

Book 16: Guardsman of Gor, page 67



*eel

-(noun): a voracious animal which can maim or kill a slave in moments.

Some varieties are edible and considered a gorean delicacy. Varieties include: river eel, black eel, and spotted eel.

Book 25: Magicians of Gor, page 428



*egg, Priest-King's

-(noun): the last egg of the Mother sought by Tarl Cabot as an agent of the Priest-Kings so that they might replenish their race and keep it from extinction. It was found in plain sight, a gray, squarish, grained, leathery object in the wagon of the Tuchuk Owner San, Kamchak.

Book 4: Nomads of Gor, pages 326-327



*ehn

-(noun): the Gorean minute of which there are 40 in an ahn (hour); it consists of 80 ihn (seconds).

Book 2: Outlaw of Gor, page 26

Book 10: Tribesmen of Gor, page 352



*eleven kisses

-(noun): a component of training for a pleasure slave.

Book 13: Explorers of Gor, page 36



*en

-(adj.): first

Book 2: Outlaw of Gor, page 178



*enemy

-(noun): stranger

Book 13: Explorers of Gor, page 26



*energy bulb

-(noun): dome-like, wire-protected bulbs emitting a clear soft light for years without replacement. They were invented by the Caste of Builders more than a century before the time of Tarl Cabot.

Book 1: Tarnsman of Gor, page 197



*En'Kara

-(noun; lit. 'first turning'): the first month of the Gorean calendar that of the vernal equinox which is the Gorean new year; roughly equivalent to the Earth calendar month of March.

Book 2: Outlaw of Gor, page 178



*En'Var

-(noun; lit. 'first resting'): the fourth month of the Gorean calendar that of the summer solstice roughly equivalent with the Earth calendar month of June.

Book 2: Outlaw of Gor, page 178



*Equinox, autumnal

-(noun): (lit. The Second Turning of the Central Fire ); the month of Autumnal Equinox is Se`Kara or The Second Kara; also called Se`Kara Lar-Torvis

Book 2: Outlaw of Gor page 178



*Equinox, vernal

-(noun): (lit. The First Turning of the Central Fire); the month of Vernal Equinox is En'Kara or the First Kara; also called En'Kara Lar-Torvis.

Book 2: Outlaw of Gor, page 178



*Erhard Ringer

-(noun): the artist whose rendering of the Map of Gor appears in this dictionary. It first appeared in a German Edition of Renegades of Gor, Book 23



*errand capsule

-(noun): unescorted slave girls may be questioned about their destination or it's purpose by any Free Person. A piece of scroll rolled and inserted into an errand capsule which she carries or is hooked to her collar contains information about her errand.

Book 22: Dancer of Gor, page 300



*eta

-(noun): a letter of the Gorean alphabet, possibly adapted from the Greek alphabet. Eta, in Gorean, is the most frequently occurring letter.

Book 11: Slave Girl of Gor, pages 383-384

Book 13: Explorers of Gor, page 9



*exile, ritual of

-(noun): a man being exiled for whatever reason is publicly refused bread and salt, and is then ordered to leave the city by sundown under penalty of death. The exiled one may not come within ten pasangs of the city from that day forward.

Book 1: Tarnsman of Gor, page 216



*exotic

-(noun): a slave male or female bred for special purposes producing quaint or unusual purposes; an example is the passion slave.

Book 6: Raiders of Gor, page 15



*Eye

-(rank): in the Kuriian military organization the leader of a Hand consisting of six beasts is called an 'Eye'.

Book 17: Savages of Gor



*face-strip

-(verb): to remove the veil(s) worn by a free woman; to do so usually means that she is to be enslaved.

Book 15: Rogue of Gor, page 176

Book 19: Kajira of Gor, page 183

Book 22: Dancer of Gor, page 295



*Fair of En'Kara

-(holiday); one of four great fairs held in the shadow of the Sardar range in the first month of the Gorean year.

Book 3: Priest-Kings of Gor, page 8



*Falarian

-(noun): an exquisite, rare, fabulously expensive wine, it's cost would purchase a city. It's existence is only rumored among collectors.

Book 21: Mercenaries of Gor, pages 158-159



*falarina

-(adv): a female who is no longer a virgin or 'glana' preceded by the state of 'profalarina' indicating a female who is about to be 'falarina' and before that by 'meta glana' one who looks forward to her deflowering.

Book 17: Savages of Gor, page 203

Book 22: Dancer of Gor, page 128



*fan palm

-(noun): found in the jungles of Schendi more than 20 feet high which spreads it's leaves in the form of an opened fan; an excellent source of water; as much as a liter at the base of each leaf's cupped stem.

Book 13: Explorer's of Gor, pages 310 and 347



*field slave

-(noun): one who works outdoors, usually gardening, fetching wood or water, etc. She is commonly dressed in plain, sturdy slave tunics. Her hair is shorn.

Book 25: Magicians of Gor, pages 299-302



*finch, whistling

-(noun): flighted bird found at the ground level of the rainforest it is insectivorous.

Book 13: Explorers of Gor, page 311



*fire-maker

-(noun): a small device consisting of a small reservoir of tharlarion oil a wick a thumb-activated ratcheted steel wheel and a splinter of flint; not unlike an old-fashioned cigarette lighter.

Book 17: Savages of Gor, page 15



*fire-maker, cylindrical

-(noun): a small silverish tube used for igniting cooking fires. When the cap is removed, and the implement inside is exposed to the air, it glows a fiery red.

Book 3: Priest-Kings of Gor, page 138



*first girl

-(noun): slave appointed by the Master to oversee other usually younger or less experienced girls; she rules when Free Persons are not present as the Master, but she is subject to his total authority.

Book 13: Explorers of Gor, page 78

Book 17: Savages of Gor, page 231

Book 22: Dancer of Gor, page 170, 211, and 380

Book 25: Magicians of Gor, page 123



*First Knowledge

-(noun): the education available to the lower castes such as the Peasants; it is practical if occasionally deliberately erroneous (i.e. it purports that Gor is a flat disk).

Book 1: Tarnsman of Gor, page 58



*First Spear

-(noun): the designated leader of a unit of spearmen.

Book 3: Priest Kings of Gor, page 19



*First Sword

-(noun): the leader of the Guards in a given city such as Ar.

Book 4: Nomads of Gor, page 129



*fisherman

(noun): name given to an arena combatant who fights with net and trident.

Book 24: Vagabonds of Gor, page 91



*flahdah

-(noun): a tree of the Tahari having lanceolate leaves; the trunk leans like that of a palm tree

Book 10: Tribesmen of Gor page 72



*Flame Death (see also Blue Flame)

-(noun): a form of capital punishment imposed by the Priest-Kings and triggered from the Sardar; in it the victim seems to spontaneously erupt in blue flames.

Book 1: Tarnsman of Gor, pages 207-208



*flaminium

-(noun): a largish scarlet flower having 5 petals.

Book 8: Hunters of Gor, page 154



*fleer

-(noun): large hook-billed bird which hunts at night.

Book 11: Slave Girl of Gor, page 117



*Fleer Tribe

-(noun): a tribe of Red Savages a member of the Blue Sky Society a warrior society of the Fleer which inhabits the Barrens; they have long hair combed back and flowing down the back like cornstalks; They ride their kaiila bareback and carry a long feathered lance and a small round war shield with medicine signs inscribed on it.

Book 17: Savages of Gor, page 256



*fleer, long-billed

-(noun): a bird inhabitant of the emergent level of the rainforest.

Book 13: Explorers of Gor, page 311



*fleer, prairie

-(noun): yellow bird with long wings and a sharp bill; sometimes called the 'maize bird' or 'corn bird' from the belief that it is usually the first bird to find food.

Book 17: Savages of Gor, page 246



*flute girl

-(noun): a slave trained in the art of music, specifically the playing of the double flute. They perform at various functions and are available for sexual use by those free men of their audience.

Book 25: Magicians of Gor, pages 118-122



*flute, double

-(noun): a wind instrument.

Book 22: Dancer of Gor, pages 281 and 283

Book 25: Magicians of Gor, pages 120, and 156



*foot, Gorean

-(noun): slightly longer than the Earth foot based on supposition that each of its 10 horts is roughly 1 1/4 inches long (12 1/2 inches Earth measure); it's standard is a metal rod kept at the Sardar. Also called the Merchant's Foot.

Book 6: Raiders of Gor, page 127



*fora

-(noun): chain; pl. fori - chains; as in sa`ng-fori, 'without chains'

Book 2: Outlaw of Gor, page 216



*Fort Haskins

-(noun): Boswell pass, bordered by the southern edge of the Thentis Mountains and the northern range of the Voltai, opens into The Barrens, the world of the Red Savage. Fort Haskins is situated at the foot of the pass. Once a trading post maintained by the Haskins Company and later a military outpost flying the flag of Thentis, it's military and strategic influence declined with the development of the Thentesian Tarn cavalries and the growth of the population. It is once again a trading center, maintained by the Caste of Merchants of Thentis.

Book 12: Savages of Gor, pages 76-77



*fountain, higher bowl

-(noun): the portion of the public fountains from which free persons drink. There is a lower level is available for the use of animals and slaves.

Book 25: Magicians of Gor, pages 216, 217, and 224-225



*fountain, lower bowl

-(noun): a portion of public fountains allotted for the watering of animals and slaves. Slaves caught drinking from the upper bowl face punishment by the magistrates of the city.

Book 25: Magicians of Gor, pages 217 and 228



*four chains

(noun): method of chaining a girl used frequently in taverns of Port Kar.

Book 13: Explorers of Gor, page 42



*four-strap

-(noun): one of a series of straps used in the navigation of a Tarn, namely descent in preparation to land; it is also a command to land for Tarns trained in verbal cues. Four-Strap!

Book 2: Outlaw of Gor, page 130



*Frame of Humiliation

-(noun): wooden frame to which the condemned person is tied before it is set adrift in the Vosk River so that he may die of exposure and/or dehydration if he is not eaten by tharlarion or other carnivorous reptiles.

Book 1: Tarnsman of Gor, pages 136 and 138



*francisca

-(noun): in the dialect of the Alars a heavy, single bladed war axe.

Book 21: Mercenaries of Gor, page 71



*Free Companion

-(noun): spouse; consort

Book 1: Tarnsman of Gor, page 213



*Free Companionship

-(noun): the closest equivalent to marriage on Gor. A woman is bought from her parents and is considered a Free Companion, even though she may not have been consulted in the arrangement. A woman, may agree of her own free will to be a Free Companion, and a Master may free his slave for Free Companionship. A man may have only one Free Companion at a time, but the relationship is considered binding, sundered usually, only by death as long as it is annually renewed.. A Gorean free woman does not change her name in the ceremony of the Free Companionship. From the Gorean point of view, the wife of Earth occupies a status which is higher than that of the slave, but lower than that of the Free Companion.

Book 1: Tarnsman of Gor, page 216

Book 2: Outlaw of Gor, page 54

Book 8: Hunters of Gor, page 9

Book 9: Marauders of Gor, page 14

Book 13: Explorers of Gor, pages 365-366



*Free Islands

-(noun): also known as exchange islands, they are administered as Free Ports by the Merchants. Included are Teletus, Tabor, and Scagnar. Others were Farnacium, Hulneth and Asperiche. In the south are Anango and Ianda, and in the far north, Hunger and Skjern, west of Torvaldsland. These islands, and free ports on the coast such as Lydius and Helmutsport, Schendi and Bazi make possible the commerce between Cos and Tyros and cities of the mainland.

Book 6: Raiders of Gor, page 137



*free labor, citizenship and

-(concept): In the cities, the rights of citizenship are clearest and free labor has held its own. In rural areas which fall outside the sphere of influence of nearby cities, it is difficult to be a citizen of a city if one cannot reach it within a days march. Retention of citizenship may be contingent on such things as attending public ceremonies, such as an official semi-annual taking of auspices, and participating in numerous public assemblies, some of which are called on short notice. The inability of the rural inhabitants to effectively exercise citizenship leads to disenfranchisement, or most often a fierce independence, repudiating allegiance to anything save one's own village. The farmers, or peasants, are more likely to suffer from the results of cheap competition than their urban brethren.

Book 22: Dancer of Gor, pages 302-303



*Free Ports

-(noun): the 4 free ports maintained on the Thassa north and south of the gorean equator are Lydius, Helmutsport, Schend,i and Bazi.

Book 6: Raiders of Gor, page 137



*Free Women, enslavement of

-(noun): all women on Gor are subject to the dominance and order of men. Free women may lose their status, if strict rules of dress and decorum are not followed. Lacivious dress or behavior usually results in a sentence of slavery.

Book 23: Renegades of Gor, pages 367-368, and 372



*frevet

-(noun): small quick mammal, an insectivore that is kept in some homes for insect control.

Book 21: Mercenaries of Gor, page 276



*frobicain

-(noun): a sedative injection used during Voyages of Acquisition to render a captured barbarian unconscious.

Book 5: Assassin of Gor, page 126



*fruit tindel

-(noun): a bird which inhabits the canopy zone of the rainforests of the Schendi area.

Book 13: Explorers of Gor, page 311



*Fulvians

-(noun): foothills of the Voltai Mountains, northeast of Ar. The villa district of Ar is found here.

Book 25: Magicians of Gor, page 299

_________________
The female slave, sometimes considered nothing, supposedly, is yet in actuality, valued commonly more highly than even gold, which in turn, is often valued for its capacity to buy such women, to bring them into chains."
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