"The dancers were lovely," said Glyco, pausing, a spoon lifted in the air over a small yellow, spiced custard. "Perhaps I can rent them for a supper of my own in Port Cos, before their cages are ticketed for Turmus, and thence to Cos."

"It pleases me," I said, "that you found them not displeasing."

"It is an interesting mode of dance," he said, plunging his spoon again into the custard, "one of which women are capable before men have taught them their collars."

"Yes," I said.

I then watched the two slaves, in their chains, continuing their serving. They, too, serving in their chains, were a part of the entertainment, as much as the music of Tasdron's musicians in the background.

The Gorean's concept of entertainment is perhaps simpler, or more subtle or broader than is that, doubtless, of many individuals in many other cultures. For example, he can enjoy watching a slave putting on her tunic or taking it off; he can enjoy seeing a woman chained, and rechained, many times, in many ways, each time being exhibited in her helplessness; and he can enjoy watching his slave working naked in the kitchen, or cleaning, or doing laundry or sewing; I think this is probably because he enjoys being with her, and finds her precious and beautiful.

I had informed Lola that the little slave, now clad in bluish gauze, was to be included in the entertainment. And how delightfully and subtly had Lola complied with my directive! Even she had had the little slave announce the desserts to the guests. I observed the chains on the little slave in bluish gauze. How beautiful they were on her! I wondered if she even realized that she, thus, was now not only serving but was also now a pleasant portion of our entertainment. But of course she must understand this. Surely she had heard the murmur of pleasure and appreciation which had coursed about the table, greeting the appearance of herself and her fellow slave.

In more sophisticated Gorean banquets, incidentally, the serving slaves often change costume and jewelry, and sometimes chains, with each course of the meal, their ensembles and accessories being matched to the various courses. I smiled to myself. Lola had put the two slaves in chains for the dessert course. That seemed a delightful and subtle touch. Slave girls know that to some men, and perhaps to any man some of the time, they are, in effect, and will be treated as, only meaningless, delicious desserts. They are, after all, slaves.

"Master?" asked the small, chained slave in bluish gauze.

I took another pastry, and, with a movement of my hand, dismissed her.

She went then, again, to Miles of Vonda.

"Please, Master, that one," begged Florence.

He took the indicated pastry from the tray, gave it to the slave, and continued his conversation with Tasdron.

"Thank you, Master," said Florence, and, kneeling behind her master, began to eat the pastry.

The chaining on the two slaves did not much restrict their movements, nor was it intended to. Like much chaining on Gor their chaining was primarily aesthetic and symbolic. On a world such as Gor chains are used far less for holding purposes than might be expected. For example, the girls are branded and collared, and their world is one in which the institution of slavery is accepted and respected; there is, in effect, no place for them to run, no place for them to go. On the other hand, chains do hold, and this is one of the major reasons for their symbolic effectiveness. The girl knows, for example, that her chains will keep her exactly where the master has chosen to place her; she is going to stay there; she has been chained there; it is his will which has determined this; she is only his slave.

Just as a woman may be chained in many ways, and Goreans can be ingenious in chaining their females, so, too, there can be many reasons for chaining her. Security against, say, escape or theft, is only one reason. She may also be chained for instructional purposes, that she may be taught, or reminded, that she is a slave. She may also be chained, particularly in certain positions, to humiliate her. She may also be chained as a punishment or discipline. She may also be chained for so simple a reason as that her master merely chooses to do so.

There are many reasons for which a woman might be chained. The women tonight, for example, were chained largely for purposes of beauty. Chains, as is well known, often enhance, and incredibly so, the beauty of a female. This matter is doubtless partly aesthetic and partly emotional and intellectual. The contrast of the unbreakable, merciless, interwoven metallic links, with their tasteful shackles, or cuffs and rings, with the confined, helpless softness of the slave is aesthetically interesting, providing, as it does, a lovely study in surfaces, textures and materials; too, of course, it is only fair to note that the meshed linkage of the chain, with its weight and harshness, with its metallic simplicity and solidity, with its uncompromising, unyielding, inescapable efficiency, merciless and unbreakable, contrasts with, calls attention to, and accentuates remarkably the vulnerability and softness, in all its beauty and curves, of its captive. But the greatest beauty of the chain, like that of the brand and collar, doubtless lies in the realm of the intellect and emotions, in its meaning, and how it makes the girl feel.

The brand and collar, though mighty in their significance, offer little actual impediment to a girl's action, unless, perhaps, she desires to pass alone and unchallenged through a city gate. Chains, on the other hand, permit her only certain latitudes of movement or keep her fixed in a given place. They, by actually putting a physical bond on her, and one which she knows she is powerless to break or escape, one in which she is absolutely helpless, bring her slavery home to her in a clear and unmistakable manner. They well teach her that she is a slave and owned. How could it be made more clear to her, that she is his to do with as he pleases, than when she actually wears his chain?

It is difficult to describe the subtle and exquisite emotions, so profound, and helpless and feminine, which may be felt by the chained woman. "You are chained, and a slave," the chains say to her. "He has chained you, and he is your master. He may now do with you as he pleases. You are now in your place. Choice is gone. Now you can be only, and wholly, a woman. Prepare now to serve your Master, beautiful chained slave."

It is a well-known fact that the mere sight of chains can make many women, even free women, sexually uneasy. Imagine if they were put in them! The chain, like the rope and the strap, and the whip, even when they have no reason to believe they will ever be used on them, speak on some profound level to women. Imagine, then, that a woman, falling slave, suddenly realized that she was now, in effect, subject to them! Consider her fears, her curiosity, her arousal! A woman, often, particularly if stripped, seeing a chain and knowing that it is to be placed upon her, will feel uncontrollable sexual desire, her body opening like a humid flower in its receptivity. That response can characterize even a free woman. Imagine, then, if you will, that now the woman is not free, but has fallen slave! She now knows that she is subject, categorically and in all ways, to the full domination of the master. No longer does she have even the theoretical option of offering a token resistance. Open, enraptured, joyful, she writhes moaning and crying out on the furs of love, a conquered slave, a fulfilled woman.

"There must be levies of men and ships, from the signatory towns," Glyco was saying to Callimachus, "rotations of men, and perhaps, too, of ships. Patrols must be organized. Communications and signals will be of great significance."

"You are now first captain in Port Cos, are you not?" I asked Calliodorus. He had been captain of the valiant _Tais_. I assumed, with the fall of Callisthenes, that the mantle and helmet of the first captain would surely devolve upon him.