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"The Musicians began to play, and the girls in Pleasure Silk, hands over their heads, lifted themselves slowly to the melody, their bodies responding to it as though to the touch of a man. 'These girls are not much good yet,' said Ho-Tu. 'They are only in the fourth month of their training. It is good for them to get the practice, hearing and seeing men respond to them. That is the way to learn what truly pleases men. In the end, I say, it is men who teach women to dance.' I myself would have spoken more highly of the girls than had Ho-Tu, who was perhaps overly negative in his evaluation, but it was true that there were differences between these girls and more experienced girls. The true dancing girl, who has a great aptitude for such matters, and years of experience, is a marvel to behold, for she seems always different, subtle and surprising. Some of these girls, interestingly, are not even particularly beautiful, though in the dance they become so. I expect a great deal has to do with the girl's sensitivity to her audience, with her experience in playing to, and interacting with, different audiences, teasing and delighting them in different ways, making them think they will be disappointed, or that she is poor, and then suddenly, by contrast, startling them, astonishing them and driving them wild with the madness of their desire for her. Such a girl, after a dance, may snatch up dozens of gold pieces from the sand, putting them in her silk, scurrying back to her master." Book 5, Assassin of Gor, pages 90 - 91 ~¤~
"The dancing girls of Port Kar are said to be the best of all Gor. They are sought eagerly in the many cities of the planet. They are slave to the core, viscious, treacherous, cunning, seductive, sensous, dangerous, desirable, excruciatingly desirable." Book 6, Raiders of Gor, page 100
" 'You will begin at the beginning,' he said. 'You will perform the entire dance, from beginning to end, for us.' 'Please, no,' I said. I could not stand the thought, the terrifying thought, of putting myself, in the beauty of dance, before men such as these. I could not even dream of letting such men see me dance. It was utterly unthinkable. I had not even dared to show myself thusly to common men, to banal, safe, inoffensive, trivial, conquered men, men of the sort with whom I associated, men of the sort I knew. Who knew what they might think, how they might be tempted to act, what they might be prompted to do? The piece was excellent, in its melodic lines, its moods, and shifts. It was one of my favorites. But never before had I danced to it in terror. Never before had I danced to it before men. Then it finished in a swirl and I spun and sank to my knees before them, my head down, my hands on my thighs, in a common ending position for such a dance. Never before, however, I think, had I been so suddenly and deeply struck with the meaning of this ending position, it following the beauty of the dance, its presentation of the dancer in a posture of submission." Book 22, Dancer of Gor, pages 32 - 33
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