Luna Nights

The Luna family is at war with the sabbat vampires and the Lycans. Humans are nothing more than slaves
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 Slave Postion basics

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Slave Postion basics Empty
PostSubject: Slave Postion basics   Slave Postion basics Icon_minitimeSun Jul 17, 2011 4:17 pm

The three most commonly used positions by a kajira are bind, tower, and nadu (there are variations of nadu that you will learn about later, for now we are just talking about the standard nadu position). You must ALWAYS kneel when in the presence of a Free unless asked or granted permission to stand.

Bind (specific (no copy) in Amethyst Sensations Collars)

This is a walk and is used in conjunction with tower or nadu, in the amethyst collars you would use .bind (or your prefix with bind such as kvbind to initiate this position) in bind you walk with a nice stride and gently sway your hips with your hands beind your back as if bound together. This position will be used by the city slaves of Thentis instead of an external AO. This will help reduce lag from girls wearing unnessecay AO's and also means you do not have to fidget with turning your AO on and off as the collar will switch between the kneeling position and the walking one when you move.

This is the position of white silk slaves, a white silk slave would always tower. This position is also used when a red silk slave serves a free woman or is in the pressence of only free women. This position you kneel with knees held tightly together, back straight and head up with eyes lowered. Your hands rest on your thighs with palms facing up.


This is the most basic of all the positions. This is the position of a red silk slave. If you are red silk you should nadu at all times when in the pressence of a Master (even if Free Women are present) unless asked to use another position. The slave kneels before her Master, her head held high, eyes downcast, knees spread wide open, shoulders back keeping her back straight (or arched slightly), breasts thrust outward. Her hands lie on her thighs, palms facing upward.

There are many positions in gor some of them are used more often then others however. Here are some of the more common positions.


This is a variation of nadu often used in place of the standard nadu as some Masters and Mistresses prefer this one. To the command "bracelets" the slave responds by placing her hands behind her back, wrists crossed, ready to receive bracelets. The head should be held tall with the chin lifted and turned to the left. It might be used to attach bracelets to a slave, easy access to the collar to grasp the collar or attach a leash, to display a girl, to capture a slave's attention, to test the training of a slave, or simply because it pleases the Master.


Kajira kneels, with her back straight. She raises her arms and crosses her wrists ready for binding, head lowered. This is the position assumed when a woman submits to a man as his slave.

Karta or Obeisance

This is a common position for begging forgiveness or begging for answer from a Free. In this position you kneel with thighs spread and lean forward, stretching your arms out in front of you palms pressed to the floor. You must NEVER leave this position until you have recieved a reply (like the answer or not) of the Master of Mistress you are begging.

There are more positions you will learn but these are the basics that new slaves should understand the use of. Here is a more extensive list for reference.
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Slave Postion basics Empty
PostSubject: Re: Slave Postion basics   Slave Postion basics Icon_minitimeSun Jul 17, 2011 4:24 pm

The Kajira

In the course of their training, rather rapidly, all slaves will learn to respond to a number of commands, some verbal, some not. Slaver Houses, who specialize in the breeding and training of slaves, will of course carry this to a more elaborate level. However, the basic practical commands of everyday life are among the first things a kajira will be taught no matter where her slavery takes her.

Most commands limit themselves to a word, or a quick and simple gesture. The position of the hand is used to command the slave to her belly or her back, depending on whether the master's palm faces up or down. Similarly, spread fingers would apear to indicate that the legs of limbs must be spread.

Two gestures then did he make, in quick succession, the first indicating the left shoulder where, had I been tunicked in that fashion, there would have been a disrobing loop, and the second indicating, fingers spread, palm down, the floor. Instantly I drew the tunic over my head, stripping myself before him, and turned about, and put myself to my belly, legs and arms spread widely, spread-eagled.
---Witness of Gor, 10:

It is also fairly simple to separate these commands into categories depending on their purpose. What remains key to the way kajiras move is the understanding that in all situations, the Gorean woman carries herself proudly. She has been made very conscious of her body and is very much in tune with its movements. She tends to be vital and beautiful to look upon. Grace and pride are demonstrated in everything she does. The Gorean slave knows that only in a collar, at the feet of a strong Master can she truly be completely woman.


Gestures of every day life such as kneeling, the way the slave stands, walks and runs, the performance of obeisance in its various forms, often do not require a command though the slave is at times specifically ordered to perform them. It is natural for the slave to kneel and expected, as it is for her to perform obeisance without being told to. Indeed the slave girl quickly assumes these positions in the presence of free persons. These movements are quite simply the non verbal expression of the girl's condition and status (or more adequately, the lack thereof).

One of the important things about the Gorean world, incidentally, is that its culture is natural, and familiar, to the Goreans, and it should be presented that way. It should be understood from the inside, not criticized from the outside. For example, a slave will commonly kneel in the presence of a free person, particularly if addressed. When a master enters a room his slaves will commonly kneel, or perform obeisance, etc.

This is not to be made a "big deal of." That would be a serious aesthetic and literary error. Such things are to be seen simply as a part of their world, not called out explicitly, not pointed out explicitly, not commented on explicitly, not editorialized about," either subtly or clumsily.

That these things are natural for them, that this is their way of doing things, is important. The whole business will have much more punch if these things, so different from our ways of doing and thinking about things, are simply presented, or shown, rather than emphasized, or in any way commented upon. Again, it is the psychological dimension which is most significant, most powerful, to which the Gorean world owes so much of its beauty, its attractiveness and its impact.
---John Norman, Letter to the Gorean Group, Sept 20th 2000

The training of the slave girls progressed. It had begun, following the period entirely consumed with exercises, with such small things as instruction on how to stand, to walk, to kneel, to recline, to eat, to drink. Grace and beauty, following Sura, and I would scarcely dare dispute such an authority, is mostly a matter of expression, both that of the face and body. I could, week to week, see the change in the girls, even Elizabeth. Some of the things they were taught seemed to me very silly, but I, at the same time, found it difficult to object.
---Assassin of Gor

Kneeling (Nadu) ...
The first command any slave girl learns. Quite simply, the word is the Gorean term for "kneel". When the command is issued, the girl will kneel according to her training. For the pleasure slave, trained and accredited by a slaver house, or simply expected to serve as one, 'nadu' or kneeling, is often stated simply as 'keeling in the position of a pleasure slave'.

There are a large number of various slave positions, which can differ from city to city. The common position is kneeling, back on the heels, back straight, head up, hands on the thighs. The tower slave, or domestic slave, is permitted to kneel with her knees closed. The pleasure slave adopts a similar position, but with her knees open.
---John Norman, Letter to the Gorean Group, Sept 20th 2000

The command to kneel is also one that can be issued silently, by the snapping of fingers and pointing to one's feet.

He suddenly snapped His fingers and, in the swift double gesture of a Gorean Master, pointed to a place on the dirt floor before Him, almost simultaneously turning His hand, spreading His first and index finger, pointing downwards. I fled to Him and knelt before Him, my knees in the dirt, in the position of the pleasure slave, my head down, trembling.
---Captive of Gor, p 143

Kneeling as a pleasure slave

'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, p 77

come now, my pretty slaves, said Ginger, kneel straight. Back straight, heads up. Back on your heels there! Spread those pretty knees. Yes, that is the way men like it. Put your hands, palms down, on your thighs. Good. Good. Excellent! The girls now knelt in the coffle as pleasure slaves.
---Savages of Gor, p 155

Kneeling as a Tower slave

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, p 47

Palms up or down?
The most common position will have the girl's hands laying palms down on her thighs though the reader is shown situations where the girl's hands are turned upward, more inadvertently than by training. This particular 'slip' in position is explained as an unconscious display of vulnerability. Too, we are told that the basic kneeling position may have variations from City to City. In Thentis for example, the hands are crossed at the back.

In the Tower slave position, as described above, the wrists are commonly crossed over the girl's lap.

Come now, my pretty slaves, said Ginger, kneel straight. Back straight, heads up. Back on your heels there! Spread those pretty knees. Yes, that is the way men like it. Put your hands, palms down, on your thighs. Good. Good. Excellent! The girls now knelt in the coffle as pleasure slaves.
---Savages of Gor, p 155

She knelt in the position of the Pleasure Slave but her hands on her thighs had unconsciously, pleadingly, turned their palms to me, and she no longer knelt quite back on her heels. It was as though she begged to be allowed to lift and open her arms and rise and come to my arms. But as I looked upon her sternly she turned her palms again to her thighs, knelt back on her heels and dropped her head, holding her eyes as if by force of will fixed on the plastic beneath my feet.

"Position!" I snapped. Swiftly she knelt again, as she had been commanded earlier. "You obey with the alacrity of a slave girl," I observed. "If I do not," she said, "I could be punished as one, could I not?" "Yes," I said, "and would be." I walked about her, examining her, She kept her back very straight, and her head up. I was then again before her. I noted that the palm of her hands, so soft, so vulnerable, had turned on her thighs, so that they faced up. Among slave girls this is a common ways of signaling need, helplessness, a desire to please.
---Vagabonds of Gor, p 209

Head up or down?
Again something that brings confusion at times. If most times the information remain rather consistent in the fact that slave girls do not look the Master they serve in the eye, and this is explained at length on various occasions, what is seen in the execution of this is not always quite so clear. The more common instruction seems to be that since the eyes are to be downcast, the head too would be bowed, and certainly that is the most frequently described position. There are however, descriptions and even instructions mentioned, when the girls are instructed to keep their heads up.

He suddenly snapped His fingers and, in the swift double gesture of a Gorean Master, pointed to a place on the dirt floor before Him, almost simultaneously turning His hand, spreading His first and index finger, pointing downwards. I fled to Him and knelt before Him, my knees in the dirt, in the position of the pleasure slave, my head down, trembling.
---Captive of Gor, p 143

"Look up," he said, "Kneel straightly. Put your hands on your thighs. Head up. Split your knees. More widely, slut!"
--- Dancer of Gor, p 51

Knees wide or not? ... a matter of training and purpose
Slaves, pleasure slaves in particular, are expected to keep their knees apart in almost any position but those that are used for binding. This is particularly true of the kneeling position. The tower slave kneel which is described as differing from the free woman's kneeling position only by the placement of the hands, will have the girl's knees close together.

The knees of the pleasure slave, when she is in a kneeling positions, are to be kept open before the master,and, indeed, before all free men.
---Kajira of Gor, p 282

"Kneel," I said. " 'Kneel?'" she asked. "That is my first order," I said. She regarded me. "Do you not know how a woman serves at table?" I asked. .... "You may keep your knees together," I said, "as you are a free woman."
--- Renegades of Gor, p. 69

"Kneel up," said a man. "Higher, up, off your heels. Keep those pretty knees wide. Hold still."
---Dancer of Gor, p 99

On your Belly ... (a variation of Bara)
Though the Bara command is more commonly used as a binding position, we see it here described as a more general *all purpose* command which quite simply, places the slave on her belly. The variations on hand position, on the placement of the head or the crossing of the legs, would depend on the purpose for which the command is being issued.

"On your belly," had said a men.
I complied.
It is unthinkable on this world that such a command not be obeyed instantly, or, at least, that one such as I not obey it instantly.
And so I lay on my belly, on the colorful tiles, in one of the sales rooms in the pens.
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. Other women, women unlike us, one supposes, do not know them. They, too, of course, can be taught. 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 slightly different command requires the crossing of the wrists behind the back and the crossing of the ankles, as well. This is sometimes used when one is to be bound. If one receives permission to look up, or is commanded to do so, which is frightening, the hands are normally placed to the sides, at the shoulders, and one then lifts one's upper body. The belly itself, of course, remains in contact with the surface on which one lies, the grass, the dirt, the gravel, the deck, the floor, the tiles, whatever the surface may be. But there are numerous variations in such things, as there are in ways to kneel, ways to hurry, ways to serve, ways to crawl to the furs, and such. There are even ways in which the whip, if called for, is to be brought.
---Witness of Gor, 6:

Crawling ...
The name rather seems self explanatory. The girl on her belly, head down, crawls to her master's feet, as is done with the performance of obeisance, or to any place she has been instructed to. This is also used on the command to -crawl to the furs-.

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.
---Tribesmen of, p 78

Crawling - the knee crawl ...
Again a fairly simple extension of the crawling command, where the girl is expected to walk on her knees. The movement is described as 'similar' to a dance move known as the Turian knee walk.

I indicated a flat leather box to one side. "Knee crawl," I said. "Fetch it here."

She went to the box on her knees and picked it up, and returned to a place before me. It had been a simple knee crawl. I was briefly reminded, however, of the Turian knee walk, sometimes used by slave dancers. I considered the slave. I did not doubt but what she might be taught to dance.
---Magicians of Gor, 20:

Entering a room ...
The extremely detailed training of the pleasure slave, as it is done in slaver houses that specialize in producing two legged livestock whose every movement is finely tuned with the purpose of being pleasing. Granted, most slaves will not be given this much training unless they are bred or specifically sent to these houses for training or sale.

"Observe," once had said Elizabeth to me, to my amusement, in the secrecy of our compartment, "the twelfth way to enter a room."
I had observed. It was not bad. But I think I preferred the tenth, that with the girl's back against the side of the door, the palms of her hands on the jamb, her head up, lips slightly parted, eyes to the right, smoldering at just the right temperature.
"How many ways are there," I asked, sitting cross-legged in the center of the compartment, on the stone couch, "to enter a room?"
"It depends on the city," said Elizabeth. "In Ar we are the best; we have the most ways to enter a room. One hundred and four."
I whistled.
"What about," I asked, "just walking straight through?"
She looked at me. "Ah," said she, "one hundred and five!"
---Assassin of Gor

Feeding Master ...
Yet another technique which is performed with the purpose of enticing and bringing the art of pleasing to the perfection that is the trademark of the trained pleasure slave.

One thing of that sort I recall is a trick where the girl feeds the master a grape held between her teeth. She may or may not have her wrists braceleted behind her back for this particular feat. One leg is folded beneath her and the other is extended behind her, toes pointed, and then she lifts the grape delicately to your mouth. Elizabeth and I used to laugh heartily over this one, but I think it was effective, as I seldom got beyond the third grape.
---Assassin of Gor

Handling money ...
The touching of money by slaves, is usually forbidden. Money given to a slave for delivery to her master, is commonly placed in the slave's mouth.

When a slave is sent on errands, she will likely be sent off, hands bound, with a pouch at her neck containing the coins for the purchase. Similarly, the girl sent by her master to the streets as 'coin girl', to receive money in exchange for her use, will either have the money placed in her mouth to carry or spit out into a bowl, or placed into a pouch that has been fastened to her neck for this purpose.

The fellow who stood by the table, scarcely noticing the girl, placed a tarsk-bit in her mouth, and she fled back to the counter where, under the eye of a paga attendant, she spit the coin into a copper bowl.
---Rogue of Gor, p 78

performing Obeisance ...
Webster says... obeisance n : bending the head or body or knee as a sign of reverence or submission or shame [syn: {bow}, {bowing}].

The performance of obeisance, for the Gorean slave girl, is indeed a display of submission. Though there are descriptions as to how this 'display' is more commonly performed, one could argue that any gesture by a slave girl that is done with the purpose of indicating she acknowledges herself slave and subject to men's power, can be grouped under the 'obeisance' label.

The first "obeisance position," in most cities, is a familiar one, kneeling with the head to the floor, the palms of the hands down on the floor. The second "obeisance position" is "bellying," in which the slave prostrates herself, prone, before the master.

The master may have his feet and legs licked and kissed. The whip may also be kissed, usually by a kneeling slave, who is normally expected to kiss, and lick it, tenderly, gratefully, lovingly and humbly. She may also be expected to fetch a thrown whip, on her hands and knees, and, on her hands and knees, bring it to the master, humbly, in her teeth.
---John Norman, Letter to the Gorean Group, Sept 20th 2000

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 form 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 little and come forward, substantially keeping the position. Forward a little more."

"But then my face will be at your feet," she said," My lips will be over them!" "Yes," I said, "Good, now, put your head down and lick and kiss my feet." "I am a free Woman!" She Said. "You are a woman," I said," now softly lingeringly, and lovingly, Good." "I am not a slave," she said "All women are slaves, "I said " Imagine what this would be like if you were truly a collared slave." She gasped.

"Now" I said, "for a third form of obeisance. You may belly to me." "I do not understand," she whispered. "There are various forms of bellying, " I said, and bellying may be suitably and pleasingly combined with other forms of floor movements, approaching the Master on all fours, turning to your sides and back, writhing before him, and so on. We will take a very simple variation, suitable for an ignorant free female who has not yet even begun to discover the depths of her sexuality.

"She looked up at me. "On your belly," I said. She backed off a bit , and went to her belly. Her hair was before her face, as she now on her belly before me looked up at me. "Now inch forward," I said, " remaining low on your belly, and when you reach my feet, once again, as before, lifting your head a little, tenderly and humbly, and beautifully, as though you were a slave , lick and kiss them.

Good. Good. Now take my foot and place it gently on your head. Very good. Now place it again on the Mat, and kiss it again. Good. You may now belly back a little, humbly. I have not yet given you permission to rise of course."
---Mercenaries of Gor, pp 409-410

We note then, two most often described ways to perform obeisance.

The first being a more 'static' prostrate position that is, in many Cities, expected to be instantly performed by slaves, when their master enters a room they are in.

Swiftly we assumed a common form of slave obeisance, kneeling, the palms of our hands on the ground, our heads to the ground. Many masters, though it tends to be rather associated usually with given cities, require this position of their girls, usually when they first enter his presence or find themselves, as in a room which he has entered, in his presence.
---Dancer of Gor, p 114

At his entrance Susan put the palms of her hands on the floor and lowered her head to the tiles, assuming a position of slave obeisance common with her in the presence of her master.
---Kajira of Gor, p 157

The second most commonly described form of 'obeisance' is often referred to as 'bellying' and as the term indicates, has the slave on her belly, head to the floor. It may be done directly at the man's feet, or used prior to the command to 'crawl', in which case the slave will 'belly' from wherever she is, and crawl on her belly, until she reaches the indicated spot, usually at the master's feet.

"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, p 427

"Approach me on your belly," I said. She squirmed to the table, her hands still behind her."
---Renegades of Gor, p 75

"I belly to you!" said the girl,her head down, over my foot. She held still to my ankle, her small hands about it. Her hair was about my foot. I felt her hot lips, press again and again to my foot.
---Magicians of Gor, PP 34-35

As is seen in the last quote and the more detailed quote higher up from Mercenaries of Gor, the kissing and licking of the feet may be included in the performance of obeisance, by command, or as a placatory gesture.

Running as a slave ...

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, p 45

Standing as a slave ...

He looked me over. I blushed, under Gorean appraisal, I only wore my tether. 'Stand as a slave,' he said. I stood beautifully, back straight, head high, belly sucked in, hip turned. No woman can stand more beautifully than as a gorean slave girl. 'Excellent', said Ladletender, smacking his lips. 'Master is pleased,' I said. 'Yes', he said. 'The slave too, is then pleased', I said.
---Slave girl of Gor, p 249

Stripping ...
Self explanatory, yet as with most of what slave girls are taught, it can be brought to an art and performed in many ways. The command is also issued by the gesture of

She trembled. "Reach now," I said, "to the cord at the left side of your waist." "I do not even know how to strip myself before a man," she said, in misery. "There are a thousand ways in which it may be done," I said. She touched the cord. Her fingers were on it. Then she looked up at me. "How might a slave do this?" she asked. "In one of a thousand ways,"

I smiled She moaned. "A typical way might be as follows," I said. "The girl might stand or kneel before the master. She might say, "Your property begs to be permitted to reveal herself to you." Then, if the permission is granted, she does so." "Your property begs to be permitted to reveal herself to you," she whispered, softly. "But," I said, "as you are a free woman, you are not my property." She regarded me. "And so I do not grant you permission."
---Renegades of Gor, p 165

Two gestures then did he make, in quick succession, the first indicating the left shoulder where, had I been tunicked in that fashion, there would have been a disrobing loop, and the second indicating, fingers spread, palm down, the floor. Instantly I drew the tunic over my head, stripping myself before him, and turned about, and put myself to my belly, legs and arms spread widely, spread-eagled.
---Witness of Gor, 10:


Positions for binding
There are various positions used for the binding of slaves, depending on whether this is done for immobilizing, securing, use, or transport. Any of the commands that are issued to the slave in order to prepare her for binding, refer to a position that will make binding quicker and easier.

"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. p 125

Bara ...
The word Bara, in Gorean, means "belly". The command 'Bara' however, is used specifically to describe a position used for binding. The slave moves to her belly, face down and turned to the left, she crosses her wrists behind her back, outstretching her legs and crossing her ankles as well.

"Bara, Kajira! he said. She rolled quickly to her stomach, placing her wrists behind her, crossed, and crossing her ankles, ready to be bound."
---Explorers of Gor, p 77

"Bara, said Mincon to Tula. Bara, said I to Feiqa. Both slaves went immediately to their bellies, their heads to the left, their wrists crossed behind their backs, their ankles also crossed. It is a common binding position."
---Mercenaries of Gor, p 145

Bracelets ...
This again is for the purpose of securing the slave. The command indicates to the slave that she is to be placed in slave bracelets. From standing or kneeling, she will pull her arms behind her and turn her face to the left, tipping her chin up.

"Bracelets, he snapped. She put her head in the air and placed her hands behind her back."
---Hunters of Gor, p 146

The girl snapped to position, hands behind the small of her back, head lifted,chin up, turned to the left. In such a posture she may be conveniently put in bracelets and leashed
---Tribesmen of Gor, p 78

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, p 132


Submission and Surrender

Capture ... (Supine Capture Position)
The position indicates a woman in under capture rights.

"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, p 442

Submission (female)...
Kneel (nadu) back on heels, arms extended overhead, wrists crossed as if for binding, head down, the woman expresses surrender and submits herself.

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. I submit to you, Master, she said. I tied her hands together; she then lowered her bound wrists; I pulled up her head. I held before her an opened collar, withdrawn from my sea bag. I had had one prepared.
---Explorers of Gor, p 74

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, p 16


Displaying ...
Many of the positions a slave will be told to assume or even placed in, serve the purpose of display. Whether it is for the purpose of identifying her, verifying the presence of a brand or the inscription on the collar, sale on the block, or simply a matter of 'showing off', the Gorean man enjoys displaying that which he owns, as well as examining females in general. The slave girl understands rather quickly, that this 'scrutiny' is quite normal, and indeed, learns to revel in it. It is under the eye of the Gorean man, that the girl becomes beautiful in all that she does, understanding that she is desirable to own, or striving to be.

In all slave displays, submission and helplessness is most obvious, and it is meant to be.

Bow ...
'Exposing the bow of a girl's beauty, is habitually done on slave blocks, where the auctioneer, a hand firmly grasped into the girl's hair, will hold her head back and force her into an arched position. In the course of a dance too, frequently the girl will use the bow to display herself, especially if she performs a dance in which she may not rise to her feet.

gorean love bow
... Over her iron collar she wore a heavy leather Kur collar,high, heavily sewn, with its large ring. He thrust her two wrists before her body, into the ring he had cut from the Kur. He then tied them inside, and to, the ring. He then, from his belt, tool a long length of binding fiber and, doubling it, keeing it, securing it, as its center to the ring, leaving two long ends. He then threw her, on her back, over the body, bead down, of the fallen Kur. He took the two loose ends of the binding fiber and, taking them under the body of the fallen Kur, 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. This was the Gorean Love Bow.
---Marauders of Gor, p 261

dancing the bow
... her head then touched the furs, her body a cruel, helpless bow.
---Assassin of Gor, p 185

Brand ...
The command is given to indicate that the slave must reveal her brand. More commonly, the left thigh will be move forth and the leg slightly turned to allow viewing of the branding site.

Collar ...
The command is given in order that the slave's collar be read. It indicates that the slave is to aproach, move her hands behind her and lift her chin to allow easy access to the collar.

In response to the "collar command," the slave approaches the male, that he need not inconvenience himself by coming toward her. She then lifts her chin and places her hands behind her. It is thus that a girl renders herself vulnerable for the reading of her collar.

... Still he put his finger under her collar, and, as she gasped, he pulled her even closer to him, indeed, quite close to him, "slave close," as the expression is. She could not move back, because of his hold on her.
---Witness of Gor

High Harness ...
The command indicates to the slave that the Master issuing it wants the girl to expose her throat to him, lifting her head as high as it can possibly lift up.

"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, PP 308, 309

Perform ...
A command to display oneself in as many ways as one has been taught and for as long as those the slave is trying to interest chose to have her -perform-. The command to -interest- them is also used in this context.

"Have her stand, and turn," said a man.
I heard the snapping of fingers.
Quickly I rose to my feet, and turned, before them.
"Interesting," said a man.
"Clasp your hands behind the back of your head," said a fellow from the house.
I complied.
"Arch your back," said another.
My left foot was now slightly advanced. I was bent backwards, my back arched. My hands were clasped behind the back of my head.
"Yes," said another. "Interesting."
"Belly," said the fellow who had first spoken to me.
Instantly I returned to my belly, as I had been before, my head turned to the left, my arms back, down at my sides, my hands turned so that my palms, their softness, faced up, exposed.
---Witness of Gor, 6:

"Let her perform," said he who, I took it, was first among the strangers.
"Prepare," said he who was first among those of the house.
I rose lightly to my feet, and turned, and, head down, put my hand to my left shoulder. I was unclothed, of course, but had I been silked the disrobing loop would have been at the left shoulder. I had learned how to remove the silk gracefully. Now, of course, I must merely pretend to do so. I moved my hand as though loosening the disrobing loop, and then, gracefully, stepped away from the silk which had supposedly fallen about my ankles. I then, facing the strangers, the newcomers, knelt before them, in a position of obeisance, my head down to the floor, the palms of my hands on the floor, too.
"She looks well in such a position," said a man.
"They all do," said another.
I had known, of course, for years, even before puberty, that such deferences, obeisances, and such, were owed to men, but I had never expected, except perhaps in dreams, to find myself in my present position, one in which I was subject to, and must behave in accordance with, such appropriatenesses.
"Begin," said he who was first among those of the house.
I rose to my feet, and, obedient to the injunction under which I had been placed, began to move. I moved first before one man and then another. I began, of course, with he whom I immediately sensed was first among the strangers. I sensed this from his position, central and prominent among them, and from the nature of his gaze upon me, which I could meet only for an instant. I moved before the men, first before one and then before another, approaching, withdrawing, sometimes as if unwilling, or shy, sometimes almost as if daring to be insolent or rebellious, but not quite, or not really, of course, for if such things are misunderstood one may quickly feel the lash. It is more as though a token challenge were offered but one which is clearly understood as, and is presented as, no more than that, for one knows that even such tokens may be swept away, and crushed, and one may find oneself suddenly upon one's knees, in one's place, cringing in terror, in the rightful servitude of one's nature. And then there is a sensuousness which can be taunting, in effect, a challenge to one's conquest, and a sensuousness which is taunting in another respect, an invitation to partake of proffered raptures. And there are the movements of petition, of pleading, of begging. There are movements of these, and of many other sorts. Some of these movements I had been taught. Others, in effect, were known to me from long ago. I had, in secrecy, practiced them, before mirrors, when alone. I had found them somehow in the piteous recesses of my needs, had drawn them forth as though from an ancient knowledge. I had wondered how it was sometimes that I could have known such things. Had I moved thusly long ago, in a former life, before a prince of some royal house on the Nile, before some caliph in his cool, white palace abutting the slow waters of the Tigris, in the house of some oligarch overlooking the Tiber? Or were these things locked in the very cells of my body, in the mysteries of genes and chromosomes, a part of my nature, selected for, over thousands of generations? Perhaps, thusly, such as I had, at times, writhed naked and piteous at the feet of some primitive hunter, before his fire, that he would not use the heavy stone in his hand, that I might be permitted to live. How I would have been prepared to accept, and relish, eagerly, gratefully, the harsh terms which he might decree! And here, too, it seemed, in this place, new revelations had come to me of my nature. Here, away from my own world, with its confusions, its lies, its contradictions, its asceticism, its hatred, its envy, its resentment, its pervasive negativities, it seemed as though for the first time I could be what I truly was, without pretending to be something else. Here for the first time I felt I could be me, not some other. Had I so moved in Thebes or Memphis, or Damascus, or Baghdad, or Athens or Rome? I did not know. But if I had, here, in this place, such possibilities seemed much more real to me. It was as though I were suddenly in touch with a thousand possible lives, ones which I might have lived, ones which, surely, I could have lived. Or if these things lurked in the beauties of a biological heritage, here, at any rate, it seemed such an inheritance, such a heritage, might, at last, be spread forth in the light, a treasure no longer concealed, denied, in dank vaults, but put forth to gleam in public view, to be honestly what it was, to be admired, to be prized, to be used.
Oh, there are many such movements, and they must flow into one another well.
"Ah!" said a man.
I then transposed into floor movements, as these are often the climactic episodes of such a performance.
I made certain, of course, that I concluded my performance before he who was first among the strangers. It would not do at all to have finished it elsewhere. Sometimes an item such as I, struck with love, or careless, may move cumulatively, so to speak, and most meaningfully, before one who is not first in such a group. Such an error, however, despite its understandability, the desire to display oneself before, to call oneself to the attention of, and to attract him in whose power one wishes to be, can be very dangerous. Such things can lead among the men to rivalries, to fallings out, even to duels and bloodshed. And for one such as I they might lead at best to the thonging of the wrists and the waiting at the post, for the lash.
I heard exclamations from the men, the sudden intakes of breath, tiny sounds of surprise, murmurs of approval. These things coursed through the group, some even from those in the house. Such as I, you see, do have some power, but the ultimate power, of course, is not ours.
Then I lay on my back, the performance concluded. My left knee was up, and drawn further back than my right knee, which was also raised. My hands were down beside me, at my sides. The palms were up, as is proper. The vulnerability of the palms is a part of the symbolisms involved. My head was turned to the right, and I looked toward he who was first among the strangers. Then having done this, I turned my head back, and looked up. I could see the pitting of ceiling above me. My hair was about. My body was covered with a sheen of sweat. I was breathing heavily.
---Witness of Gor, 6:


Going where Master goes

Slaves, taken out, in the city, and so on, may be leashed. Leashes may be of leather or chain. Most Gorean cities, in public places, are furnished with slave rings, to which a slave may be tethered. If not leashed, the slave commonly "heels" the Master, following behind, and on the left. Whereas most leashes are neck leashes, there are also wrist leashes and ankle leashes.
---John Norman, Letter to the Gorean Group, Sept 20th 2000

Heeling ...
Following closely behind and slightly to the left.

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, p 123

These things vary, I learned from city to city, and depend, also, on such matters as context and conditions. In a market, in the crowding and jostling for instance, a girl may follow so closely she pressed against the back of his left shoulder. Girls seldom follow behind and on the right. If she is thusly placed it is commonly a sign she is in disfavor. If more than one girl is involved, she who follows most closely on the left is generally taken to be in highest favor; girls compete for this position. In an open area, such a the fields in which we trekked, the girl is placed some five or ten feet behind, and on the left. If he must move suddenly she will not, thusly, constitute an impediment to his action.
---Slave Girl of Gor p 30

A slave girl, in heeling her master, commonly follows on the left. That she follows indicates that she is subservient, that he is master and she slave; that she follows on the left is a cultural matter probably indexed to the fact that most Goreans are right-handed. Her presence on the left, thus, is not likely to interfere with his draw or the movements of his sword arm.
---Renegades of Gor, p 433

Leading ...
At her master's left, standing behind him slightly, bend at the waist, hands at the back, head at his hip so that he may easily lead the girl by the hair while walking. The command for a girl to place herself in leading position may be verbally expressed, or indicated silently, by the placing of the left hand, opened, at the waist.

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. She winced. Women are helpless in this position.
---Beasts of Gor, p 409

'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.
---Rogue of Gor, p 248

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

The slave was pulled to her feet. She was roughly turned about. The hand of Tanalion'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, p 437

Leasha ...
The word 'leasha' drives from the word leash. The girl turns her head to the left, chin lifted, wrists behind as if for binding. Basically, leasha is to be assumed from whatever position a girl is in.

'Leasha', 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, p 76

A gorean saying has it that a leashed slave is a hot slave.
---Fighting Slave of Gor, p 366



The modality of the she-quadrupled ...
Under this discipline, the slave is not to use her hands until the master commands her to break position. She will perform all of her regular duties on hands and knees **without** the use of hands like an animal. She may not rise to her feet nor speak. Her mouth and teeth will be used to manipulate objects. This is usually used for punishment although some "Masters" will use it strictly for entertainment of themselves.

Assuming the modality of the she-quadruped. In this discipline the female is forbidden human speech.She is also forbidden human posture, in the sense that she is not allowed to rise to her feet. Her locomotion, unless commanded to roll, or put under similar commands, suitable for a pet, will be on all fours. Her food will be thrown to her, or put in pans on the ground. In either case, she must feed without the use of her hands. She may also, of course, be fed by hand, but, again, will not be permitted to touch the food with her hands. She may be taught tricks. Sometimes these are taught as functions of arbitrary sounds, so that she must learn them as any animal might, without the benefit of an earlier understanding of the word used. If she is slow to learn, of course, she is punished, as would be any other animal. When used, too, it will commonly be in the modality of the she-quadrupled. This discipline is often used as a punishment, but it may figure in the training of a new girl. It helps her to understand what she now is, an animal totally subject to her master.
---Mercenaries of Gor, PP 215-216

In this discipline the female is forbidden human speech. She is also forbidden human posture, in the sense that she is not allowed to rise to her feet. Her locomotion, unless commanded to roll, or put under similar commands, suitable for a pet, will be on all fours. Her food will be thrown to her, or put in pans on the ground. In either case, she must feed without the use of her hands. She may also, of course, be fed by hand, but, again, will not be permitted to touch the food with her hands. She may be taught tricks.

Sometimes these are taught as functions of arbitrary sounds, so that she must learn them as any animal might, without the benefit of an earlier understanding of the word used.

If she is slow to learn, of course, she is punished, as would be any other animal. When used, too, it will commonly be in the modality of the she-quadrupled. This discipline is often used as a punishment, but it may figure in the training of a new girl. It helps her to understand what she now is, an animal totally subject to her master.
---Mercenaries of Gor, p 215

Disciplinary slave rape ...
Used to remind a slave of her place and her purpose. In this position the master uses the slave for the sole purpose of his own relief, habitually violently and with little time wasted. From the name alone, this ritual is performed in various ways.

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.
---Explorer of Gor, p 202

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, p 434

"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.
---Dancer of Gor, p 458

Kneeling to the whip ...
A position of punishment and discipline, the girl kneels, crosses her wrists beneath her, she lowers her head to the floor and exposes her back.

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, p 200


For use, for fun, for training, and whatever Maser wishes ...
A wide variety of commands are used with the slave girl, sometimes to facilitate using her, sometimes to tease or teach, sometimes to remind her she is subject to whims and moods. In all cases, the command is to be executed swiftly, and without hesitation.


I then threw the second blanket, the top blanket, over her, covering her completely. When a blanket, or a 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, p 94

Bound by Master's will

"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. There are many ways, of course, of "binding by the master's will." The behind-the-back position is one of the simplest and loveliest. This exposes the girl, frames the beauty of her breasts and makes her helpless. That the bond is a "will bond," too, makes clear to her the power of the master over her. Another common bond of this sort is when the girl must kneel, grasping her ankles. Another is when she is forced to sit and reach forward between her legs, passing the right arm from inside the right thigh to outside and beneath the right calf, to grasp the right ankle between her legs, passing the right arm from inside the right ankle from the outside, the left arm from inside the left thigh to outside and beneath the left calf, to grasp the left ankle in the same way. In this position she is helpless and cannot rise. Too, after a time, it becomes apparent to her that she also cannot close her legs. A girl may be kept in such bonds for hours. Too, of course, she may be tied in such a position. There are also, of course, different ways of decreeing such bonds. For example, with the behind-the-back-hands-tied bond in which I had been placed I could have been informed, but had not been, that my shoulders were pulled tightly back, which, of course, forces the breasts forward for the pleasure, or attentions, of the master.
---Dancer of Gor, p 227

Making Slave Lips ...
This command would usually bring a smile to a girl's lips. It indicates she is to turn towards her master and purse her lips for a kiss. She may not move or break this position until released either verbally or with a kiss.

"Similarly, I was not required to respond to certain sorts of commands, for example, to make "slave lips," pursing my lips for kissing, or to writhe slowly before my viewers."
---Kajira of Gor, p 224

Nestle ...

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

Sula ...
Commonly used in slave training as one of the three most basic positions, sula, is done by laying on her back, hands at her sides, palms up and feet apart. Not very complicated.

'Sula! Kajira', said the man. She slid her legs from under her and lay on her back, her hands at her sides, palms up, her legs open.
---Explorers of Gor, p 77
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