PZA Boy Stories

Vittorio Carvelli

The Story of Gracchus

LIBER V
The Fifth Book

Chapters 33-34

Table of Contents

    LIBER I
    LIBER II
    LIBER III
    LIBER IV

    LIBER V

  1. Ludi pro Auspicatu Novi Ætatis (Games for the Inauguration of a New Era)
  2. Ludi pro Auspicatu Novi Ætatis, IIa Pars(Games for the Inauguration of a New Era, 2nd Part)


    LIBER VI

 

XXXIII. Ludi pro Auspicatu Novi Ætatis
33. Games for the Inauguration of a New Era

And so the day of the Ludi pro Auspicatu Novi Ætatis dawned – eventually bright and fresh and sunny. For Marcus it was to be the day when he could take his revenge, and rid himself of those who had tried to bring him down as the Dominus of the House of Gracchus. For the four conspirators it was the day of their worst nightmare – a day of humiliation, agony and eventually – after much suffering – death.

For the young runaway slave-boy, Varus, it was to be his day to be famous, and a 'star' – but that would be short lived, and although he thought the day might bring him his reprieve, and freedom, in fact it would bring a swift – yet merciful – death.

And for many other prisoners, condemned to die in the arena, it would bring death – painful and humiliating.

For some of the fighters (gladiators, wrestlers and boxers) there would be victory, and glory.

And also recognition from their esteemed Dominus, and a chance to appear before the son of the renowned emperor, Vespasian – and maybe a small reward – perhaps an hour or so with a young slave-boy, or girl,(according to taste), or perhaps a gold or silver trinket, given by the Magister Ludorum (Petronius), on behalf of the Dominus.

For the less fortunate fighters – defeat – and if they were lucky, a reprieve to fight another day, and if they were unlucky, an ignominious and horrific death.

Ad Mane Ludorum (The Morning of the Ludi)

Adonios and Aurarius were awake just before the dawn, and made sure that Marcus got up and took some breakfast. As for Glaux, he was suffering from an owl equivalent of a 'hangover', having allowed Titus the ply him with many pieces of roast dormouse most of the previous evening. As a result, he was not fit to sit on anyone's shoulder, and he was left clinging on to the back-rail of a couch.

Once Marcus had been given his clothes, and his breakfast, Adonios and Aurarius went down the corridor to waken Petronius and Demetrius, and take them breakfast.

When everyone was fully awake, Adonios ran down to the main entrance to alert the grooms that the horses were to be readied for Marcus, Petronius, Demetrius and himself and Aurarius, plus an escort of four villa guards. On his return the party made their way down to the main entrance to 'mount up'.

The air was cool and fresh, and the sun was just rising above the hills to the east as they trotted down the wide road to the amphitheater in Baiae. As they rode through the streets of Baiae, the early morning deliveries were being made to the various shops. By now, many in the town knew who Marcus was, and the way was made clear for them, and many of the male plebs' saluted, (not that there were many women or girls around at that time in the morning).

As they arrived in sight of the amphitheater – which was covered in banners displaying images of Marcus (from when he was a little younger, however) with the text 'Ave Marcus Octavianus Gracchus' – there was a bustle of arena slaves, as they hurried to get Theon, the senior arena-slave (the position that Petronius had once held),

At the same time low wooden steps were brought forward the help the riders dismount (remember, no stirrups).

Grooms quickly came forward to take control of the horses, and the whole group, Marcus, Petronius, Demetrius, Adonios and Aurarius all dismounted.

Instantly Theon was bowing and greeting Marcus, Petronius and Demetrius, (incidentally, he didn't have a clue who Demetrius was, but by the boy's clothes, and lack of a slave collar he was obviously a young Patrician – and Theon was not foolish enough to ask).

He then guided them to to the amphitheater prothyrum (despite the fact that they very well knew the way). Marcus then corrected Theon, saying that he wanted to go straight to the Ludus. Quickly Theon redirected them, at the same time ordering the slave to take the refreshments to Petronius' rooms. At that point Theon took Marcus and Petronius aside, out of ear-shot of Adonios, Aurarius and Demetrius.

"Dominus, Paris and Varus are about to have a run through of their scene together in the Ludus. If you and Petronius wish to observe I will take you to where they are," Theon said, rather quietly.

"Well, why not?" Marcus said, turning to Petronius.

Petronius nodded, grinning.

"You boys – wait here. – Petronius, Theon and I have some matters to discuss." Marcus explained to the boys, as he and Petronius followed Theon.

Paris and Varus were in a room below Petronius' rooms. The κλίνη – kline, which Marcus had recently obtained in Neapolis, had been set up. Paris and Varus were partly reclining on the couch, apparently locked in a passionate embrace, and kissing. It seemed to Marcus to be far from just 'acting', and he had the feeling that both the older dancer, and the young 'rent boy' had rather quickly developed some real feelings – or maybe just 'lust' for one another. I was all to the good, and both he an Petronius looked on, fascinated.

Paris, of course, had a reputation in the Ludus of being obsessed with attractive young boys, although not in the rather unhealthy manner that Atticus, and later Servius had displayed, so it was not surprising that Paris was very attracted to young Varus. Paris also was aware of the fate awaiting Varus (he had been told by Petronius), but was under oath not to reveal that information to the boy. Knowing that he would only have a very limited time with Varus also probably made his attraction to the boy even more ardent.

As Marcus and Petronius looked on, they could see that both participants were obviously highly excited, and in a matter of moments young Varus was lying on his belly, with his legs wide, while Paris penetrated him slowly, but quite forcefully. The naked boy groaned as the shaft of Paris' huge penis disappeared inside him, while Paris ardently kissed the boy's neck. Slowly Paris began move backwards and forwards, passionately fucking the moaning boy.

Theon whispered to Marcus – "They are under strict instructions not to 'cum'. We just want them to maintain a level of high arousal, so the they will give a first class performance later this afternoon."

And that was exactly what happened. After about five minutes of vigorous thrusting, Paris pulled his cock out of the boy's 'hole'.

Varus moaned, obviously inpatient for the stimulation to continue, but arena-slaves approached the couch, and helped the two 'lovers' up, and led them away to separate cublicum, where Agathorn (the Medicus) was waiting to fit 'cock-cages' to prevent any masturbation, until the next 'run through' a little later in the day.

"Very clever, Theon!" Marcus commented. "By the time they get into the arena they won't be able to keep their hands off each other."

"We hope so, Dominus. We want this to go very well for you and your honored guest," Theon replied.

Marcus nodded, and then he and Petronius followed Theon back to where Adonios, Aurarius and Demetrius were 'innocently' filling up on olives, cheese, garum (a weird fish sauce made mainly of anchovies) and a little watered wine.

Not that any of the boys were really innocent, as most slaves were sexually experienced, in some form or another, very early in life (remember that Demetrius had been a slave – and had been abused by Menelaus, one of the 'conspirators' who was to be tortured and executed that very day).

After joining the boys for a quick snack, Marcus and Petronius continued to to check all the numerous preparations for the Ludi – which was to start in the late morning. Satisfied that all was well, Marcus then took Adonios, and two arena guards, back with him to the villa to collect Titus, leaving Demetrius and Aurarius in the care of Petronius.

When Marcus got back to the villa, he found Titus chatting to Terentius in the Officium Domini, where Terentius had been going through the accounts. Titus and Terentius had much in common, as both knew the city of Rome intimately. Titus was very interested to know more about the late Dominus, and how he had come to adopt Marcus. Terentius, of course, was very careful with his answers, but generally found Titus very pleasant and amenable, despite his grim reputation.

Marcus, however, had to interrupt his honored guest, as he needed to question Terentius regarding messages about the delivery of an essential item for the Ludi – which was now only a couple of hours from starting.

Titus immediately turned to Adonios. "So where is my little owl this morning?" he asked in an avuncular fashion.

"Well, sir, Glaux is indisposed," Adonios replied, very seriously.

"I think that he ate too many dormice last night," Adonios explained.

"I see," Titus replied, charmed by the young boy's seriousness.

"Well, I think that I may be partly to blame," Titus continued, "And I'm very sorry." An this, you should consider, was coming from a man who had recently ordered many thousands of Jews to be crucified during his recent pacification of Judea.

"When I went back to Rome, I asked about buying a little owl like Glaux for a pet, but I was told that they were very hard to keep. If you didn't cage them they just flew away, and if you did cage them then they pined away and died," Titus continued.

"So 3; I was possibly hoping that perhaps your Dominus might let me have Glaux as a present?" Titus suggested, hopefully.

"I'm sure that the Dominus would be only too happy to give you Glaux as a present – but, you see, he can't. Glaux is not really just an owl. He's a gift from the Goddess Athena to my Dominus – and he flew down from Olympus. So to try to give him away would anger the Goddess – and anyone who took Glaux would simply die," Adonios said, perfectly seriously.

Titus was taken aback. Not only did people rarely refuse his requests, but equally they didn't threaten him – but at the same time Adonios' seriousness, and the story that Marcus had told him about what had happened in the peristyle garden the night of the late Dominus' murder, and the events at Cumae unnerved him – and he though it wise not to pursue the matter.

"Of course, Adonios. I understand," he replied, trying to mollify the boy. "Well perhaps I can visit him tonight, if he's feeling better – and I promise not to feed him too much," Titus concluded, hoping that he had not damaged the trust between himself and the boy.

"So 3; is the delivery sorted out?" Titus then asked Marcus, making no mention of his conversation with Adonios about Glaux

"Yes, but we shall have to take it with us, as it has been delivered to the villa rather than the amphitheater," Marcus replied

"And what is this important item, may I ask?" Titus said.

"Yes indeed," Marcus replied.

"It's a sculpture of the God Janus for the Ludi pro Auspicatu Novi Ætatis – and as I'm sure you will understand, we couldn't really continue without it," Marcus added.

"Of course – so may I see it?" Titus asked.

"Yes – it's in the small Atrium," Marcus answered, showing Titus the way.

And there it was 3;

In Roman religion and myth, Janus (Latin: Ianus) is the god of beginnings, gates, transitions, time, doorways, passages, and endings. He is usually depicted as having two faces, since he looks to the future and to the past. Janus presided over the beginning and ending of conflict, and hence war and peace. The doors of his temple were open in time of war, and closed to mark the peace. As a god of transitions, he had functions pertaining to birth and to journeys and exchange, and he was concerned with travelling, trading and shipping. Janus had no flamen or specialized priest (sacerdos) assigned to him, but the Rex Sacrorum himself carried out his ceremonies. Janus had a ubiquitous presence in religious ceremonies throughout the year, and was ritually invoked at the beginning of each one, regardless of the main deity honored on any particular occasion. The ancient Greeks had no equivalent to Janus, whom the Romans claimed as distinctively their own. Janus was always invoked at the beginning of any period of time, (such as the new year or beginning of the month) or any new event.

As the Ludi that Marcus was holding was the 'Games to Inaugurate a New Era', it was obvious that Janus would have to be represented, and a sacrifice and invocation would be made to the God in the arena before the Ludi began – and it was for this reason that Marcus had commissioned the statue from Neapolis, according to the design of Apelles, Marcus' new artist 'in residence'.

Interestingly, Marcus had the statue designed in the 'Neo Attic' style, despite the fact that Janus was a god of Etruscan origins. He did this, possibly as a homage to the 'Philhellenism' of the late Dominus, but maybe also in deference to the Greek origins of the town of Baiae.

Neo-Attic Classical Style is a sculptural style, beginning in Hellenistic sculpture and vase-painting of the 2nd century BCE, and climaxing in Roman art of the 2nd century CE, copying, adapting or closely following the style shown in reliefs and statues of the Classical (5th-4th centuries BCE) and Archaic (6th century BCE) periods. It was first produced by a number of Neo-Attic workshops at Athens, which began to specialize in it, producing works for purchase by Roman connoisseurs, and was taken up in Rome, probably by Greek artisans. The Neo-Attic mode, a reaction against the 'baroque' extravagances of Hellenistic art, was an early manifestation of Neoclassicism, which demonstrates how self-conscious the later Hellenistic art world had become. Neo-Attic style emphasizes grace and charm, serenity in adapting a reduced canon of prototypical figures and forms, in crisp and refined execution. Marcus was particularly fond of the Neo-Attic Style.

"So, if you are ready, sir, I think it would be good if we made our way to the amphitheater," Marcus said, turning to Titus, who was admiring the statue of Janus.

"Of course!" Titus replied. "Wouldn't do to be late!".

Terentius, who was to accompany them in a second carriage with Novius, who was sitting patiently in the atrium, waiting, then ordered slaves to cover the statue with a dark cloth and place it in a third carriage. Four slaves were to accompany the statue, which was treated with great deference. The three carriages, complete with outriders then set off for the Amphitheater.

After the Funeral for Gracchus, and the munera, most of the citizens of Baiae recognized the carriages and, because of the posters, which mentioned Titus, guessed that the son of the Emperor was riding to the Ludi – so, for the first time, Marcus' arrival at the amphitheater was treated with cheers and applause.

Adventus ad Amphitheatrum (Arrival at the Amphitheater)

They pulled up at the ornate main entrance – another fine piece of work by Gracchus' architect, Lucius Septimius Severus – while arena slaves hurried to open the doors of the carriages as Petronius and Aurarius stepped forward to greet the honored guests (young Demetrius, who was not officially part of the amphitheater staff, was waiting in the prothyrum – entrance hall – for the guests.)

The whole exterior of the amphitheater was 'en fête', with banners depicting Marcus placed in every archway. In addition, Marcus had a real flame issuing from a marble vase, in the form of a Greek 'kylix', mounted on the uppermost arch of the arcade, above the main entrance, to indicate that Ludi were in progress.

A kylix (κύλιξ, pl. κύλικες;) is type of wine-drinking cup. The word comes from the Greek kylix "cup," which is cognate with Latin calix, the source of the English word 'chalice'. Unlike the original form of the 'kylix', the huge marble 'kalix' that Marcus had Apelles design for the amphitheater was simplified, and dispensed with the usual double handles.

Petronius then led the guests to the prothyrum, where they met Demetrius.

There was then a pause, to give time for the arena slaves to install the statue of Janus in the arena, and during that time Marcus, Titus and Petronius discussed the program of the Ludi, while slaves served the guests with refreshments.

Adonios and Aurarius, who spent the time chatting to Demetrius, particularly enjoyed occasions like this, as they were treated as guests, and served by the arena slave-boys.

(as has been pointed out previously – in Roman society there were endless gradations of status, and in many cases low status slaves would attend to high status slaves. Adonios and Aurarius, despite their youth – being the personal slaves of the Dominus had the highest status among the slaves of the House of Gracchus.)

All during this time the interior of the amphitheater was slowly filling. The attendance was excellent, not only because of the publicity organised by Marcus' new 'artist in residence', Apelles, but also because Titus had returned to the town to attend this 'inaugural' Ludi – and many of the citizens saw this occasion as a new beginning for the town, under the dynamic leadership of the new Dominus of the House of Gracchus.

Of course, it should not be forgotten that there was a religious aspect to the Ludi, even although they were not a 'true' munera. It was believed that the blood of the those slain in the arena would form a propitiatory sacrifice to the Gods, and in particular Apollo, who was the patron of the town, and also the patron of the Dominus of the House of Gracchus, and the blood would also be a sacrifice to the God Janus, the God who presided over 'beginnings' and new ventures.

Eventually the positioning of the plinths and statues directly below the Pulvinar was achieved to Theon's satisfaction, and an arena-slave was sent up to the prothyrum to tell Petronius that the Ludi could begin.

The statues of the Gods were essential to the proceeding in the arena. Without the appropriate libations and sacrifice to the Gods no munera or Ludi could take place. This particular Ludi, being a 'celebratory inaugural' Ludi required special attention to the image of the God Janus – for it was believed that the whole future of the House of Gracchus, and the amphitheater – and even the town itself – depended on the rites being performed correctly in the presence of the image of the God.

Petronius then sent the messenger back to Theon – telling him to check the Pompa, and if all was ready, to send a message to the trumpeters to give a fanfare, announcing the opening of the vast gilded bronze gates of the Porta Sanavivaria, so that the litter, bearing an additional bust of Marcus, could be carried into the arena, followed by the various participants in the Games.

Ludos incipiunt (The Games Begin)

Moments later the blare of the tubas sounded, and the audience could be heard clapping and cheering as the great gilded doors opened. At the sound Petronius ushered the guests up the grand stair case to the Pulvinar, with Marcus and Titus leading the way, followed by Terentius and Novius, and then Demetrius, and finally Adonios and Aurarius.

As Titus and Marcus appeared on the balcony of the Pulvinar, a roar was heard from the waving, cheering audience. This was the part that Adonios and Aurarius really enjoyed, as they fantasized that the people were cheering them.

The trumpeters were now arranged on either side of the Pulvinar where some of the elite in the audience were once seated, (none of the audience were allowed anywhere near the special guests now – considering Petronius' concerns for security).

Again the fanfares were sounded, as arena slaves, arrayed as Greek warriors (Petronius had a surfeit of Grecian style helmets), carried an elegant marble bust of Marcus into the arena, on a litter.

Apelles had copies made of the wooden sculptures of Apollo (now burned to ashes and modeled on a nude pose by Petronius) that had graced the coffin of the late Dominus, but now these sculptures (cast in hollow, gilded bronze) held a victor's golden wreath of laurels over Marcus' head.

Copies of the eagles, (also cast in hollow, gilded bronze), that had been used at the funeral of the late Dominus, also now decorated the corners of the ebony and gold litter.

The idea of Apelles was to make a direct link in people's minds between the recently deceased Dominus, and his new, young successor, and heir – and the applause from the audience indicated that Apelles' plan had been successful.

And so the Ludi pro Auspicatu Novi Ætatis had begun.

After the marble bust of Marcus had been set before the cult image of Janus, the priests offered prayers for the success of the Ludi, the continuing affluence of the House of Gracchus and the good of the town of Baiae.

Closely linked to ritual action prayer was often formulated as imperatives. Prayer was 'performative' and mistakes could not be corrected, unlike incorrect actions, which could through a piaculum (expiatory sacrifice). Once uttered they had their effect for good or ill, which is why they were read from texts. Gestures could be ambiguous, words could not. Great care was taken over the correct names of the deities involved, the beneficiaries and the exact effect desired. This was particularly important in rites designed to encourage a deity to provide a service, prayer was not to provide metaphysical or spiritual basis for the ritual, nor to explain it; it was simply to express it in words. Some rituals included hymns (carmena) sometimes sung to a musical accompaniment. Hymns are not strictly prayers but rather works of art to please the gods, they could be addressed to several at once, prayers could not.

The priests then sacrificed, two pure white, 'intact' (not castrated), rams (which was the accepted sacrifice to the God Janus).

Animal sacrifices were, by their mere nature, very elaborate and bloody affairs. The animal's head had wine and sacred bread ( mola salsa) sprinkled over it. The animal was killed by having its throat cut. The most important organs of the dead beast were burnt on the altar. The rest of the animal was then either moved away, or later eaten as part of a feast. A priest would then say more prayers, or better he would whisper them. This too was a closely guarded ritual, by which the priest himself would be wearing some form of mask or blindfold to protect his eyes from seeing any evil and a flute would be played to drown out any evil sounds Should anything about the sacrifice go wrong, then it had to be repeated. But only after another, additional, sacrifice had been made to allay any anger of the god about the failure of the first one. For this purpose one would usually sacrifice a pig. Thereafter the real sacrifice would be repeated.

During the sacrifice the audience sat in silence, patiently awaiting the outcome. The sacrifice was successful, with no negative auspices (the priests were well paid to ensure that all went well), and the priests declared that the Games were favored by the Gods.

There then followed two paeans, the first to Vespasian and his son Titus, and the second to Marcus – both composed by Lucius (Marcus' Latin tutor), and sung by a chorus of boys culled from the most patrician of the families of Baiae.

A paean is a song or lyric poem, expressing triumph or thanksgiving. Such songs were originally addressed to Apollo. In classical antiquity, it is usually performed by a chorus. It comes from the Greek παιάν (also παιήων or παιών), "song of triumph, any solemn song or chant." 'Paeon' was also, appropriately, an epithet of Apollo. The most famous paeans are those of Pindar (in Greek), on which Lucius based his paeans (in Latin). Typically the paean was in the Dorian mode. and was accompanied by the κιθάρα – kithara, which was Apollo's instrument.

The cithara or kithara (Greek: κιθάρα – Latin: cithara) was an ancient Greek musical instrument in the lyre or lyra family. The kithara was a professional version of the two-stringed lyre. As opposed to the simpler lyre, which was a folk-instrument, the kithara was primarily used by professional musicians, called kitharodes. The kithara's origins are likely Asiatic. The barbiton was a bass version of the kithara popular in the eastern Aegean and ancient Asia Minor. The kithara had a deep, wooden sounding box composed of two resonating tables, either flat or slightly arched, connected by ribs or sides of equal width. At the top, its strings were knotted around the crossbar or yoke (zugon) or to rings threaded over the bar, or wound around pegs. The other end of the strings was secured to a tail-piece after passing over a flat bridge, or the tail-piece and bridge were combined. Most vase paintings show kitharas with seven strings, in agreement with ancient authors, but these also mention that occasionally a skillful kitharode would use more than the conventional seven strings. It was played with a rigid plectrum held in the right hand, with elbow outstretched and palm bent inwards, while the strings with undesired notes were damped with the straightened fingers of the left hand. The kithara was played primarily to accompany dances and epic recitations, paeans, odes, and lyric songs. It was also played solo at the receptions, banquets, and Games.

There was then a brief pause in the proceedings – while arena slaves removed the temporary altar, used for the sacrifices, and laid new sand – and during the short interval music was played on the newly acquired ὕδραυλις (Hydraulis or water organ).

A hydraulis is an early type of pipe organ that operated by converting the dynamic energy of water (Ancient Greek: ὕδωρ húdōr) into air pressure to drive the pipes (Ancient Greek: αὐλός aulós). Hence its name hydraulis, literally "water (driven) pipe (instrument)." It is attributed to the Hellenistic scientist Ctesibius of Alexandria, an engineer of the 3rd century BC. The hydraulis was the world's first keyboard instrument and was, in fact, the predecessor of the modern church organ. The hydraulis was played by hand, and the keys were balanced and could be played with a light touch, as is clear from the reference in a Latin poem by Claudian, who uses this very phrase (magna levi detrudens murmura tactu 3; intonet, "let him thunder forth as he presses out mighty roarings with a light touch"). Marcus had another hydraulis installed in his private apartments, and one installed at the Domus, as they were 'all the rage' in Rome.

Meanwhile the doors of the Porta Sanavivaria had opened, and Theon was marshaling a group of Pankration wrestlers – all stark naked – who were about to engage in the first contests of the Games.

It was Petronius' custom the begin a Ludi in a low key. Wrestling, and sometimes boxing would come first, as they were slower moving and less violent (or at least less bloody) than fights between gladiators.

Normally executions would come before the gladiators, as the executions required little concentration on the part of the audience.

Equally, in any section of the program, Petronius favored using the less attractive 'performers' first – and he reserved the very attractive, and usually younger, 'performers' to when the audience was beginning to become blasé about the proceedings.

The first of the Pancratium contests was between two slightly older wrestlers. Patronius had taken care to ensure that the least attractive of the pair was also the least experienced, and the weaker wrestler – in the relatively safe knowledge that the more attractive combatant would win. It was a simple matter of the audience almost always preferring the good looking competitor to be the winner. Beauty, nobility and success, it seemed, were always inseparable.

While most of the slaves used in the Ludus were given Latin names, Pancratium wrestlers were often Greeks, and were permitted to keep their Greek names. The reason for this was that the Pancratium derived from the Greek Pankration.

Pankration – παγκράτιον was an event introduced into the Greek Olympic Games in 648 BC and was a combat contest with scarcely any rules. The athletes used techniques from boxing and wrestling but also other types, such as kicking and holds, locks and chokes on the ground. The only things not acceptable were biting and gouging out the opponent's eyes. The term comes from the Greek παγκράτιον [paŋkrátion], literally meaning "all of might" from πᾶν (pan-) "all" and κράτος (kratos) "strength, might, power". By the time of The Story of Gracchus, the Romans had adopted the Greek Pankration (spelled in Latin as Pancratium) into their Games. Pankration itself was an event in the Olympic Games for some 1,000 years.

The other main factor which was responsible for 'Greeks' (or at least slaves purporting to be Greek by having Greek names) being considered suitable for the Pancratium was the fact that the Pancratium was always staged with the combatants performing completely naked – as was the Greek custom.

The Romans were somewhat 'put off' by nakedness in the arena, apart from where executions were concerned (it was part of the humiliation of execution to be naked in public), and so Pancratium wrestler were always presented as being Greeks.

WARNING:
the following paragraphs are focused on gory gladiator fights and executions
You may want to skip it and continue with Chapter 34

Proteas & Thibron

So – for the first event of the Games we had Proteas, a very large, well muscled and experienced wrestler, put up against Thibron (both wrestlers named after famous Greek generals). Thibron was not so good looking, not so muscular, and not so aggressive, and had very little fight experience – and Petronius was pretty sure that Thibron would lose the bout – which would be bad news for Thibron, as this bout, (like many Pancratium fights), was 'ad morte' (to the death).

Because weapons were not used in the Pancratium, killing your opponent usually meant either strangling (throttling) him, or breaking his neck. Alternatives were stamping on the rib cage, or jumping on the man's back – to break the spine – both moves performed when the defeated opponent was lying flat on the sand.

The good thing about the Pancratium was that it immediately caught the attention of the audience, manly because the wrestlers were naked.

The bout began with a lot of preliminary grappling before the pair really got started.

Right from the start Thibron was erect, probably in anticipation of fucking a defeated Proteas, however, trying to fight while sexually aroused was not the best strategy – despite the fact that it amused the audience. Many Pancratium bouts were decided by blows to the groin, which were quite permissible. This was the move that Thibron made, after a session of grappling on the sand. It was a good move if it landed well, crushing the opponent's testicles, and completely disabling him.

Thibron's attempt, however, was not completely successful, and the enraged Proteas grabbed his opponent from the rear by both arms. Proteas then rammed his knee into the small of Thibron's back, and pulled his helpless opponent's arms wide and back. The result was that both Thibron's shoulders were partially dislocated, and he was simply unable to fight.

"I 'give'!" Thibron groaned, looking up the the Pulvinar.

But it was a contest ad morte, so Petronius, bending over the Pulvinar balcony, waved Proteas on.

Thibron was still sitting on the sand, and Proteas first raised his fists in triumph, as the audience applauded, and then put his helpless opponent into a standing leg-scissors, with Thibron's head poking out between Proteas's thick, muscular thighs.

"Shit no! 3;," Thibron screamed.

"Mercy! 3;," – was Thibron's final plea, as Proteas grabbed his defenseless opponent's head.

"Fuck!" Thibron groaned – long and loud, as his still stiff cock jerked up, and his seed squirted over his chest and belly in the moments before his neck was broken.

By then the audience had quietened down, fascinated by the scene, – and then, as Proteas forcefully twisted Thibron's head right round, there was an audible crunch as Thibron's spine snapped, followed by a long, noisy fart as the dead wrestler voided the stinking contents of his bowels onto the sand. Proteas released his dead opponent's head, which flopped over at an impossible angle, and Thibron's body flopped back, his still stiff cock continuing to dribble the last of his semen onto the sand.

As Proteas raise his hands once again in triumph, the dribble from Thibron's twitching cock was no longer of creamy spunk, but rather pale steaming piss, as his bladder emptied.

Because of the debacle at the Munera pro Gracchum, when the munera gladiator Impavidus was found to be still alive when he arrived in the Spolarium, Petronius (with Marcus' agreement) had re-introduced the role of 'Charun'.

'Charun' was a masked arena slave who had the duty of ensuring that fighters who appeared to be dead – really were dead. He would be accompanied by a slave with a red-hot iron, who would prod the possibly feigning fighter, and if there were any signs of life, he would use a large, heavy hammer to smash the skull of the fighter, and usually, just to make sure, decapitate the presumably now dead individual – and this was done with Thibron, despite the fact that his neck was obviously broken.

'Charun' was popular with audiences, and Marcus was unsure as to why the late Dominus had discontinued the practice in the arena. Undoubtedly a smashed skull made a spectacular climax to a fight, and 'Charun' was a grim reminder of the fate of those who were defeated, and a link with the Etruscan origins of the Ludi, by way of the munera.

In Etruscan mythology, Charun (also spelled Charu, or Karun) acted as one of the psychopompoi of the underworld. His name was imported from Greek Charon, although it is uncertain whether Etruscans had a native name for a god of the underworld before this. In Roman amphitheaters a Charun-like figure, called Dispater, would hit the loser with a hammer to make sure he was dead. The hammer might also be used to protect the dead; it is sometimes swung at serpents attacking the deceased (as shown on the Orvieto amphora). An Etruscan krater from François Tomb depicts Charun with Achilles slaughtering Trojan prisoners (an inspiration for Marcus tableaux to appear later in the Luid)

Thibron's death was the first killing of the Ludi. Theon immediately ordered the arena-slaves to drag the naked wrestler out of the arena, through the Porta Libitinaria, while Proteas was escorted through the Porta Sanavivaria.

Quickly the mess that Thibron had left on the sand was shoveled up, and fresh sand was laid, ready for the next bout.

The Pancratium bouts continued – each one featuring younger wrestlers, and eventually coming to the boy-wrestlers, who were favorites of the audience.

Dracon & Glaucus

Dracon and Glaucus appeared in the middle of the Pancratium program, being neither older and well muscled, or boy-wrestlers, who were usually 'gracile'. Fortunately for Glaucus, Petronius had not scheduled this bout as ad mortem (to the death), partly because both slaves were quite attractive, and he wanted the opportunity to use them again.

The boys put on a good fight and, much to the satisfaction of the audience, both lads early on became quite obviously very 'horny'. Petronius, though, at this point in the Ludi had forbidden any fucking in the arena, as this would be reserved for later – after midday.

Glaucus was undoubtedly the weaker wrestler, and ended up over Dracon's knee having his balls twisted and crushed. This obviously ended with Glaucus 'giving'. Normally the fight would continue until the defeated fighter raised his finger (or his hand or whole arm) to signal to the Magister Harenae (Petronius) that he was 'giving in' to his opponent, and the fight should stop. Unfortunately for Glaucus he was unable to raise a hand or arm because of the position he was in.

His cries of "Stop! 3; I fuckin' 'give'!" were initially not heard by Petronius, partly because he was talking to Demetrius, and partly because of the noise of the audience cheering, laughing and applauding.

Eventually, Petronius realized there was a problem, and signaled for Dracon to release the squirming, squealing boy.

In the end, Glaucus had to be helped on his way to the Porta Sanavivaria by two arena-slaves, as he was unable to walk after the vicious treatment that he had been given by Dracon.

As a recompense, Petronius tossed down some coins to the limping lad, as he passed close to the Pulvinar.

Reflexiones ad Pancratium (Reflections on the Pancratium)

While Marcus was quite used to the Pancratium – or Pankration as he had known it during his time in Athens', many Romans considered the Pancratium 'un-Roman' – firstly because it was Greek (and therefore not part of the original munera), and also because of the nudity, and close physical contact, which could be viewed as distinctly 'sexual'.

Gladiatorial contests, on the other hand, avoided physical contact, as both combatants were armed.

The Pancratium, however, became increasingly popular, particularly as Philhellenic culture was espoused by the ruling classes. Nero, of course was a Philhellene, and so were those around him, including many who were closely involved in the 'Year of the Four Emperors'. In addition, the late Dominus had been a Philhellene, and Marcus himself had been brought up in Athens.

Philhellenism ('the love of Greek culture') and Philhellene ('the admirer of Greeks and everything Greek'), from the Greek φίλος philos "friend, lover" and ἑλληνισμός hellenism 'Greek', was an intellectual fashion prominent in Rome towards the end of the Julio-Claudian Dynasty. The literate upper classes of Rome were increasingly Hellenized. There were however, some Romans during the late Republic, who were distinctly anti-Greek, resenting the increasing influence of Greek culture on Roman life, an example being the Roman Censor, Cato the Elder and also Cato the Younger who lived during the 'Greek invasion' of Rome, but towards the later years of his life he eventually became a philhellene. The lyric poet Quintus Horatius Flaccus (Horace) was another philhellene. He is notable for his words, 'Graecia capta ferum victorem cepit et artis intulit agresti Latio' – (Conquered Greece took captive her savage conqueror and brought her arts into rustic Latium), meaning that after the conquest of Greece the defeated Greeks created a cultural hegemony over the Romans. Roman emperors known for their Philhellenism include Nero, Hadrian, Marcus Aurelius and Julian the Apostate.

It should be remembered that Baiae itself was far more Greek that Roman, having originally been a Greek colony before it became part of the Roman Republic. The overt sexuality of much of the Games should be viewed in the light of Roman culture which, at the time of our story had not been influenced by Jewish/Christian morality. Sex was seen as essentially healthy and natural, and this included sex between males (within certain social norms – see the Preface for more information). There is documentary evidence that the external arcades of amphitheater were the haunts of both male and female prostitutes during and after the Ludi – indicating that the events in the arena were found by many men to be highly arousing. These arcades were called fornices, from which derives the English word 'fornication'.

Aetolus & Ion

'The final section of the Pancratium in the Ludi pro Auspicatu Novi Ætatis was a series of bouts between boy-wrestlers.

The most outstanding was a fight between Aetolus and Ion.

The Boys Pancratium was based on the Greek example, when the boys (paides – παῖδες – boys) Pankration – (παγκράτιον) was established at the Olympic Games in 200 B.C – nearly 300 years before our story. The boys' Pancratium, in the Roman Games, was very popular, not so much because of the display of strength, endurance and wrestling skills, but more, not surprisingly, because the boys were, by and large, extremely attractive. While Marcus understood that there was a strong element of 'voyeurism' on the part of the audience, with regard to this event, he was at pains to give it a gloss of Greek professionalism. To this end, he had employed a Greek freedman called Timon, who had achieved Roman citizenship, as Palaestrae Lanista (wrestling coach) specifically to be responsible for the slave-boys who were used as Pancratium wrestlers in the Baiae amphitheater. Timon was independent of Theon, Petronius' deputy, (as Theon was a slave and was not permitted to have authority over a freedman), and was directly responsible to Petronius, and thereafter Marcus. During the Ludi, when the boys fought, he would take the duty of Referendarius Palaestrae – (Referee), beating the boys with his cane for any infringement of the rules (not that there were many rules) and, in addition, beating them for any lack of enthusiasm in their performance. His decision was also final with regard to the winner, if there was no submission, 'knock-out, or even death (unless Marcus declared otherwise), with regard to the winners and losers. He undoubtedly gave an aura of formality and respectability to the boys' bout, as he always wore a toga (as he was entitled to as a Roman citizen).

The boys, Aetolus and Ion, in this bout, were exceptionally slim, lithe and agile, which made for a 'fast-moving' contest. From very early on both boys were also very 'aroused' – one of the main reasons why this aspect of the Games was so popular with audiences.

Timon had no need to intervene as the fight proceeded, and both boys kept to the rules, and fought with remarkable enthusiasm. Both boys obviously hoped that they would be allowed, if they won, to sexually dominate their defeated opponent, as a public Fututio Victoriae (in plain English – victory-fuck) in the arena was something that all the boy-fighters aspired to.

As this was the last of the Pancratium bouts, and as the two good-looking boys were so popular with the audience, when Timon gave the victory to Ion, Petronius, (with the permission of Marcus) sent down a message from the Pulvinar to say that Ion could 'have his way' with Aetolus.

Ion immediately got Aetolus on the sand on his back, pulled his opponent's legs up and wide, and penetrated him – in good Roman style – despite the fact that Ion was a Greek slave. After a magnificent fuck, Ion pulled out and, stepping back, allowed Aetolus legs to flop back onto the sand.

Then, surprisingly, he gave his defeated, and probably humiliated opponent a hand up, put his arm round the boy's shoulder, and the two of them strolled off to the Porta Sanavivaria, apparently the best of friends, to the tumultuous applause and cheers of the audience.

Supplicia (The Punishments)

And so the first part of the Ludi pro Auspicatu Novi Ætatis came to an end.

It was now approaching noon, and many of the audience had a snack, either in the amphitheater itself, or outside, in a thermopolium close by the amphitheater. The guests in the Pulvinar, of course, had a light, airy atrium, where they were served snacks and wine by the arena slave-boys.

While they chatted about the sacrifices, Pompa, and the Pancratium wrestling, particularly the last bout, Petronius grabbed a bite, slurped some wine, and rushed down to the Ludus to give last instructions for the next part of the Games – the Supplicia – the punishments of those condemned to the arena.

After about a half and hour, a fanfare from the trumpeters either side of the Pulvinar announced the start of the Supplicia. People hurried from the thermopolia, and the guests made their leisurely return to the Pulvinar. This was the part of the Games that Marcus had been particularly looking forward to – the time when he would get his revenge.

When the guests returned to the Pulvinar, they saw opposite them a number of evil looking contraptions, mainly composed of black iron frames – designed by Petronius, and the work of the villa blacksmith, Vulcan (Vulcan had been one of the first people that Marcus, [or 'Markos' as he was], had met when he was first brought to the villa as a slave).

First on the agenda, however, were a number of common criminals – slaves who had been condemned to death in the arena by the local magistrates. Marcus was under contract to perform these executions within a certain time limit, and for these slaves their time was up.

It should be noted that all these public executions were of slaves, as it was illegal to publicly execute Roman citizens – except in certain very exceptional circumstances – so (the death of Marcellus, in film The Robe, along with numerous other executions staged in films and TV series, are totally inaccurate). Equally, crucifixions, while a normal form of execution for slaves, were normally not carried out in the arena (so the scene in Demetrius and the Gladiators, where the arena is awash with 'Christians' on crosses is again inaccurate). Occasionally, in the Baiae Amphitheater, slaves were crucified, but only when this was combined with emasculation, impaling and/or disemboweling – to be 'finished off' with a slit throat. Normally crucifixion was a long drawn out affair (taking days) and was usually conducted on the roadsides leading into towns and cities – and no one was going to sit in an arena for two or three days, just to watch a slave being crucified.

Most of the common criminals – about ten in all, would simply be garroted (decapitation was not permitted for slaves). The advantage of garroting was that it was relatively quick, although appallingly painful, and not too messy. Then the arena could be quickly tidied up for the the elaborate tortures and executions that Petronius had prepared for the four who had conspired against Marcus.

The four, in case you need reminding, were Servius – the late Dominus' Tribune, Menelaus – the late Dominus' Magister Domus in Rome, Glykon – Custos Portæ of the Villa at Baiae, and Petram – Iuvenis Gladiator. All four had been held, incommunicado, for many weeks in cells in the Ludus – not knowing anything of the happenings in the outside world, and unaware that their end had come on the fine day of the Ludi.

Thoughts about 'creepy dungeons' – Now if you have watched such mini series as Spartacus, in its numerous incarnations, or classic Hollywood movies about ancient Rome, you will have noticed that all prisons, torture chambers and gladiator schools are disgustingly filthy.

Are we to believe this?

One point to consider that is that a filthy dungeon has lower 'production costs' movie-wise, than one that is clean, and maybe even elegant.

Strange as it may seem the Romans did use soap. The word sapo, Latin for soap, first appears in Pliny the Elder's Historia Naturalis, which discusses the manufacture of soap from tallow and ashes. The Romans' preferred method of cleaning the body, however, was to massage oil into the skin and then scrape away both the oil and any dirt with a strigil. 'Galen', the great doctor, describes soap-making using lye, and prescribes washing to carry away impurities from the body and clothes. This is significant reference to true soap in antiquity. It should be noted that the Roman Empire reigns supreme, by historical standards, in cleanliness, sanitation and water supply, and the Romans were well aware that dirt spread disease (although they didn't know why).

But back to the Ludus.

The late Dominus, and also Marcus and Petronius, insisted that the Ludus was well kept, and clean. By the standards of the day it was an expensive group of buildings, designed to be easily cleaned by slaves. Being a place to house, feed and give medical care to slaves who fought in the arena, it was essential that infections were not spread. Even the holding cells for condemned prisoners (such as Servius, Menelaus, Glykon and Petram) needed to be kept clean, as Petronius did not want the place crawling with cockroaches and other vermin that could spread infection to his valuable arena-slaves and arena-guards.

In the case of condemned prisoners Petronius had and interesting attitude towards presenting them to the audience. The main intention of public executions and torture was as a deterrent to the spectators. Petronius wanted the spectators to see the condemned as similar to themselves, (and not as hairy, dirty barbarians) – with the object of implying that such a fate could befall them if they infringed the Roman law – and this particularly applied to slaves – as there were many slaves in the audience (and even in the Pulvinar) accompanying their master and mistresses.

Petronius therefore made sure that condemned slaves, while held in the Ludus, should be fed adequately, allowed to sleep, be kept clean, and be regularly shaved. He also permitted the wearing of loincloths, for the somewhat devious purpose of making their appearance in the arena, stark naked, all the more humiliating for them.

Servius, Menelaus, Glykon and Petram were confined to stocks during the day, to prevent possible escape), and were chained by the wrists to the walls at night, when they were given a clean, straw-filled mattress to sleep on.

Executio Servorum (The Execution of Slaves)

Before Servius, Menelaus, Glykon and Petram were to be executed, it was the time for the execution of condemned slaves.

Roman society, being obsessed with matters of status, had differing methods of execution depending on an individual's position in society. Patricians, in normal circumstances, were never executed in public, and were usually given the option of suicide (sometimes assisted, however) – the usual methods being to 'fall on one's sword' (for military types), open a vein (usually in the wrists), or take poison.

For slaves, however, there were numerous kinds of execution, often depending on the nature of their (supposed) crime – standards of evidence being far from strict. In the case of the slaves at this Ludi, Petronius had decided to get this part of the proceedings over quite quickly. This was a stroke of good fortune for the slaves concerned, (not that any form of execution could really be described as 'good'), as they were to be garroted.

Garroting was usually quite a speedy death, but did involve a lot of humiliating writhing, squirming and thrashing around – which, of course, the audience enjoyed, particularly as the slaves who were being executed were naked. Another feature of garroting which made it a popular spectacle was the fact that very often the victim of the garroting developed a very strong erection, (referred to as priapism), which often culminated in orgasm and ejaculation as they died.

The unfortunate slaves were led into the arena, with their wrists bound behind their back and wearing a brief thong. Then, one at a time they were tied to an iron post, set in the arena floor. Once tied, the slave, somewhat ceremoniously, had his thong removed – to be executed completely naked. Thick cord was then looped round the slave's neck, and while the other slaves were forced to watch, an arena-slave inserted a metal bar through the cord loop, and then slowly twisted the bar – thus tightening the loop round the slave's neck. Eventually, after a lot of useless struggling, the slave asphyxiated, and flopped forwards. Checks were then be made that the slave was really dead, and the naked corpse was then be untied and pulled to one side, to make way for the next victim.

Servius, Menelaus, Glykon and Petram had all been led into the arena, along with the other condemned slaves, and Petronius intended that they would presume that they were to be executed in the same manner.

So, under guard, they watched the series of executions, unaware that their own execution would be neither as quick or a simple as the executions that they were then watching.

Once the garroting was over, the naked corpses were dragged to the Porta Libitinaria, while arena-slaves shoveled up the soiled sand, and removed the iron stakes that had been used to restrain the recently executed criminals.

New, fresh sand was then laid, and arena slaves fixed some new iron frames to the arena floor in preparation for the executions of Servius, Menelaus, Glykon and Petram.

Proditorum Executiones (The Execution of the Traitors)

Having made preparations for the main executions, a cute, naked little slave-boy – who was attached to the Ludus, (maybe a future Petronius), paraded round the arena, holding a large placard, held modestly, apparently to hide his 'privates'.

On the placard was the following inscription, beautifully lettered by Apelles, so that even Quintus approved:

EXECUTIO
CAPTIVORUM
QUI PRODIDERANT
EORUM DOMINUM

roughly translated as -

'The Execution of Prisoners who Betrayed their Master'

So 3; no one would be in any doubt as to why the 'gang of four' were to be publicly executed. The audience were looking to the Pulvinar – and particularly to Marcus, who was leaning forward, eager to observe every detail of the ensuing executions.

The cheers and applause of the audience made it obvious that, without any direct publicity, the rumors that had circulated round the town, after Marcus' funeral oration, meant that everyone was satisfied that the four individuals in the arena were undoubtedly responsible for the attempt on the life of Marcus, and the murder of the late Dominus (Gnaeus Octavian Gracchus).

Theon indicated that Petram was the first of the four to be dealt with. Regardless of the relatively quick deaths that he had seen the previous prisoners undergo, he had also seen the iron frames that had been erected opposite the Pulvinar, and he was sure that his death was going to be neither quick, nor easy.

Having been trained as a gladiator, even though his experiene had been limited, he had known some killing, (see The Ludi for Nymphidius), but regardless, he was shaking and terrified as his shackles were taken off, and his tiny thong was cut away, and he was taken, naked, over to one of the iron frames.

The other three could only watch as their 'companion' was led away to his inevitable death.

In some ways Petram was the least guilty, having only supplied the conspirators in Rome with information – probably unintentionally, and Marcus had given orders to Petronius that Petram should be executed without excessive torture and humiliation.

Naked Petram was then bound by his legs, thighs, waist, chest and wrists, and hung from an iron frame. One of the arena-slaves then rammed a short, metal shaft into Petram's exposed anus. Not content with penetrating the helpless boy, the arena-slave, scarcely older that Petram (who was only a teenager), then roughly fucked Petram with the shaft, while another arena-slave held Petram's shoulders, to prevent him from swinging uncontrollably. Almost immediately Petram started to get aroused, and very soon had a huge erection. Petram's writhing and wriggling then ensured that he remained 'hard' as his movements caused the shaft to move in his rectum.

And so the first prisoner was suitably humiliated, providing a good distraction for the audience while the other prisoners were attended to.

While Petram was hanging, naked and penetrated, the arena-slaves then picked out Glykon for his initial torture. The arena-slaves first unshackled Glykon, and then cut away his tiny thong, and then fastened leather cuffs to his neck, wrists, ankles and knees. He was then dragged, naked and protesting to a fiendish looking device, positioned facing the Pulvinar, that had been 'dreamed up' by Petronius and Vulcan some weeks before.

The iron and brass contraption (brass was used widely by the Romans – being an alloy of Copper and Zinc) was, effectively, a 'sex machine'.

According to Wikipedia: A 'sex machine', also known as a 'fucking machine', is a mechanical device used to simulate human sexual intercourse or other sexual activity. A typical penetrative machine works by the transfer of rotational or reciprocating force from a motor (in the case of a Roman machine, a hand cranked wheel) to a directional motion on a shaft, which is tipped by a dildo.

While Petronius had the device 'tested out' successfully on a number of condemned slaves, immediately prior to the Ludi, Glykon was the first individual to be subjected to the device in public. The device, of course, was not intended to provide sexual pleasure, but was designed as a form of torture. The shaft, which was designed to penetrate the victim, could be fitted with various sizes of dildos, and also bladed objects which were capable of inflicting severe internal injuries. As a result it could even be used as a means of execution, although this was not intended at this point for Glykon.

The audience were fascinated by what was, to Roman minds, the ultimate in 'hi tech'.

Glykon is to be tortured (before being executed) more thoroughly than Petram, as Glykon was the slave-boy who actually made an attempt on the life of Marcus.

When Marcus first came to Gracchus' villa as the slave Markos, he spent his mornings helping Glykon at the main entrance to the villa.It was the Roman custom for a patrician to be visited by his clients every morning, and Markos was intended to learn about Gracchus' many important and influential contacts by assisting Glykon at the huge, gilded bronze doors of the Villa. As time went on Markos became 'friendly' with slave-boy 'Cleon' (later killed by Terentius, as Cleon was one of the conspirators against the House of Gracchus), and also Petronius. Glykon became jelous, and turned against Marcus (as he became known) when Gracchus adopted Marcus and made his heir to the House of Gracchus. When patricians in Rome developed a plot against Gracchus and Marcus, Glykon, for money and his freedom, was prepared to help them. In the end it was Glykon who actually made an attempt on the life of Marcus – and for that he was condemned to be tortured and executed in the arena.

Despite his struggles, Glykon was strapped onto the device, and a large brass dildo, suitably oiled, was selected. It was then simply a matter of an arena-slave turning the handle attached to the smaller wheel, while another arena slave, would hold Glykon steady, when necessary. What had attracted Petronius to the idea of this device was that, in the first case it did nor require an arena slave to rape a condemned prisoner.

Public nudity was not popular with Romans (although a glimpse of certain areas of Baiae beach, or the Greek gymnasion at Baiae might incline you to think otherwise). But Petronius, and more importantly Marcus, were not keen on their arena-slaves exposing their genitals, or stripping in public.

Equally, this device could 'rape' a condemned slave continuously, with very little effort on the part of the operator. Finally, the ability to alter the size and nature of the object penetrating the condemned slave made the device particularly suitable for inflicting torture – and even death.

While Glykon was being tortured with the 'fucking machine'. Petram was untied, and the metal shaft removed from his anus. He was then hung by steel chains from a much taller frame by his arms, and an impaling stake was placed beneath him. The chains ran on pulleys, and Petram's height above the impaling stake could be adjusted by a wheel on the side of the frame. As Petram was lowered, and thus impaled, he became enormously erect, and the recently acquired blond arena slave was instructed by Theon to masturbate the boy to orgasm. Once Petram had 'cum' – to the applause of the audience, the new young slave was ordered to castrate Petram. Considering this was his first castration, he did a very good job, leaving the penis intact, and not cutting into the thighs or perinaeum.

Petram, as expected, started squealing, but was quickly silenced with a leather gag. He was then left impaled and castrated until his execution, which was to occur a little later.

Mors Menelai (The Death of Menelaus)

Meanwhile, Glykon was being continuously fucked, much to the amusement of the audience, while Menelaus was stripped of his thong, and beaten and fucked by some of the more burly arena-slaves. He was then dragged over to a large stone 'cisterna' (from the Greek κίστη).

The 'cisterna' was unusual in that it had leather straps attached to the inside, and an iron fame bolted to the interior.

The audience had been wondering, ever since the various frames and columns had been erected opposite the pulvinar, what the purpose of thes moderately large 'cisterna' could be. Now, however, they would discover that it was to be used in an unusual form of execution.

Parts of the iron frame were removed by arena-slaves, and Menelaus, struggling and terrified was strapped into the the 'cisterna'. The removed parts of the frame were then replaced and bolted into position, effectively trapping Menelaus in the 'cisterna'. Theon then went over to his helpless, naked struggling victim and, using Petronius' castration knife, cut off Menelaus' genitals.

Two lines of arena-slave were then formed, and leather buckets, filled with water, were passed up the line from one slave to another. At the end of the line the water was emptied into the 'cisterna', and the bucket was then passed down the second line, to be refilled, and then sent back up the first line. The result was that the 'cisterna' was filled, but very slowly.

This gave the audience plenty of time to listen to Menelaus squealing for his prick and balls – and then, realizing that he was being executed, pleading for mercy, and trying to explain his innocence. Some of the audience in the lower tiers did not have a very good view of Menelaus, but Marcus, Titus and the guests in the Pulvinar were literally looking right down on the struggling, emasculated wretch.

Theon had thrown the severed genitals into the tank and, rather than sink, they floated in the water, obscenely, bobbing up and down, by Menelaus' head.

Eventually Menelaus' cries and screams for help were transformed into bubbling and gurgling, and his jerking attempts to free himself ceased, as he was finally fully submerged and drowned, while the water turned red from the blood pumping from his mutilated crotch.

The 'beauty' of this particular form of execution, of course, was its slow inevitability, as the victim struggled helplessly, in the sure knowledge that his unpleasant death was approaching.

Menelaus mutilated, drowned corpse was then unbolted and unstrapped from the 'cisterna'. Iron hooks were then forced through the ankles of the corpse, and Menelaus was dragged, ignominiously, across the sand to the Porta Libitinaria. Arena slaves then wheeled the 'cisterna', still heavy with water, and with Menelaus' severed genitals still visible, floating in the tank.

Meanwhile, Servius had his tiny thong cut away, and three arena-slaves began the task of 'roping him up'. Ropes were tied round his shoulders and chest, and he was dragged over to a large Corinthian column, now standing where the 'cisterna' had previously been located. While the column looked substantial it was, in fact, constructed of wood that had been carefully painted by Apelles (Ἀπελλῆς – remember him? he's Marcus' Greek artist and designer in residence) assistants in imitation of expensive veined marble.

Servius was then hoisted up, with the ropes already binding him attached to a ring near the top of the column. Then further ropes were tightly tied round the root of his genitals, his penis and his scrotum, and then attached to ropes holding his ankles, ensuring that his bent legs were held either side of the column. and well off the floor of the arena. Such a position, of course, was excruciatingly painful, and also caused Servius to very quickly develop an extremely prominent erection.

Servius was then condemned to remain hanging until Glykon and Petram had been executed.

Mors Petrami (The Death of Petram)

It was then Petram's turn to be executed. After having been very skillfully castrated by the newly acquired arena-slave, the same blond slave was ordered, by Theon, to garrott young Petram. After being impaled and losing his balls, Petram was not only in a lot of pain, but had practically given up, and was, to some extent accepting of the fact that he was now to be executed. He was then taken over to an iron garroting stake, set in the arena floor, made to kneel down, and his hands were tied behind him, and to a small cross piece on the stake. His severed balls were placed, somewhat ceremoniously, in front of him, between his knees. The garroting noose was then placed round his neck, and the handsome young blond slave, without further ado, started twisting the iron bar, which he had passed through the slack of the noose.

Slowly, as the noose tightened, Petram, involuntarily started to struggle, and as he did so, despite the fact that he had just been castrated, he developed and enormous 'hard-on'.

Slowly the blond arena slave twisted the iron bar round and round, and Petram started gurgling and spluttering, desperately trying to get his breath. As he struggled he started crying. He may have been trained as a gladiator, and killed a few opponents, but he was still very young, and could not measure up to the Roman ideal of stoically facing his own death. After a few moments his windpipe was crushed, and he started to suffocate. At the same time he had a strong orgasm, and spunk spurted from his stiff, jerking prick. While he was cumming, he noisily voided his bowels, and then his head flopped forward.

The young arena slave then stopped twisting the iron bar as Theon came over to check if Petram was dead. As there were no vital signs, Theon ordered the slave to loosen the noose, and untie Petram's hands. Petram, naked and castrated, flopped forward onto the sand. Arena-slaves then lifted Petram away from the garroting stake, and laid him on his back. By then he no longer had an erection, and his penis looked remarkably small and insignificant.

The blond arena-slave then picked up dead Petram's balls, and placed them on the boy's chest, prior to him being dragged to the Porta Libitinaria.

'and the story continues -
and the Ludi pro Auspicatu Novi Ætatis continues.
With Menelaus and Petram executed that leaves only Glykon and Servius to be killed in the arena, and their executions are planned to reflect their more serious involvement in the plot against the House of Gracchus.
There then follows the long awaited 'tablaux' of 'Achilles and Patroclus' followed by some gladiatorial contests.
Then its back to the villa to plan Marcus' trip to Rome, for his first visit to the 'Domus Gracchi', and his meeting with Vespasian ind induction as a senator.

XXXIV. Ludi pro Auspicatu Novi Ætatis, IIa Pars
34. Games for the Inauguration of a New Era, 2nd Part

Reactiones (Reactions

In the Pulvinar there were polite applause as Petram was garroted, and then his naked, castrated corpse was laid out on the sand, and finally dragged to the Porta Libitinaria. Marcus was not entirely happy that young Petram had been tortured and executed, but as the lad had been implicated in the plot, if only incidentally, he had little choice. The boy, of course, was only a slave, and could easily be replaced, but Marcus till felt a certain twinge of guilt. It was a guilt, of course, that he was unable to show.

As a result of the guidance that Marcus had received from the late Dominus, he was acutely aware of the concept of 'virtus', as it was reflected in his behaviour and attitudes.

Virtus carries connotations of 'valor', 'manliness', 'excellence', 'courage', character', and 'worth', – all perceived as masculine strengths (from Latin 'vir', "a man").

Therefore, to show any guilt or sorrow regarding the death of a mere slave would throw Marcus', virtus into doubt, which was completely incompatible with his role as Dominus, let alone as a Roman male. Interestingly, Demetrius had watched the horrific complete emasculation and drowning of Menelaus with complete equanimity.

Unlike the reserved reaction, on the part of the audience, to the death of Petram, which was relatively dignified (apart for his ejaculation at the moment of death), the audience reacted to Menelaus' struggling and gurgling with laughter, ending in cheers.

Undoubtedly, Demetrius must have gained some satisfaction for seeing his abuser and tormentor of many years tortured and executed, but for one so young, he seemed able to to view the events in the arena with a distinctly 'Roman' lack of emotion. (for more information about Demetrius go to chapter 29).

Petronius, on the other hand, was not emotionally involved in any of the events in the arena. His only concern, understandably, was that all the complex ingenious planning that had gone into the performance in the amphitheater produced a flawless result that pleased the audience and, more importantly, pleased his Dominus, Marcus.

While the attention of the audience, and those in the Pulvinar had been centered on the drowning of Menelaus, and the garroting of Petram, Glykon, the young 'door-slave', by then limp and moaning, had been removed from the 'fucking machine' (with some difficulty, as he had been so deeply penetrated).

WARNING:
the following paragraphs are focused on gory gladiator fights and executions
You may want to skip it and continue with the end of the games

Plus Carnificinæ (More Executions)

Two of the conspirators were now dead – Menelaus and Petram. (for the full story go to Chapter 33)

That left only Glykon and Servius. These two conspirators were considered, generally, to be the most guilty, and therefore the ones who were liable to the most brutal, painful and demeaning executions. Young Glykon had been the senior doorkeeper to the villa at Baiae. He had also been Marcus' first friend, when Marcus had arrived at the villa as the slave-boy 'Markos'. (for the full story go to Chapter 3)

Glykon's growing jealousy of the priviliges afforded to Markos by the late Dominus, culminating in his adoption and being made the heir to the House of Gracchus, had prompted Glykon to join a conspiracy, hatched in Rome. He joined the conspiracy not only to satisfy his hatred for his erstwhile friend, but also, because he expected, obtain a substantial sum of money, and so be able to establish himself as 'aparently' free-born. As a result, he was the conspirator chosen to actually attack Marcus as he bade farewell to his guests at the main entrance to the villa. (for the full story go to Chapter 24)

Regardless, however, the stimulation had been so intense that his penis had become terminally engorged, even although he was not actualy sexualy 'aroused' in the normal sense of the word. With his prick abnormally stiff, and jerking obscenely with every step he took, Glykon was led over to one of the iron frames. There, arena-slaves skilfully tied ropes round his legs, waist, shoulders and chest. Finally ropes were tied round his wrists, and he was hoisted up. Once he was hanging, a tight ligature was tied round the root of his genitals to ensure that he remained 'hard'. In addition, a wooden stake was rammed up his much abused anus. A thin cord was then tied around the top of his scrotum. The new, blond arena-slave then placed some bronze weights of various sizes by the side of the iron frame. Then, taking one of the weights, and not the heaviest by any means, he attached it to the cord which was hanging from the slip knot around Glykon's ball-bag.

"No 3;! Not my balls 3;! Please 3;!" Glykon groaned, as the handsome blond slave released the heavy bronze weight. Almost immediately Glykon began to panic. "Oh shit 3;! My fuckin' bollocks 3;!" he moaned to the blond arena-slave. "Fuck 3;! – Take the weight off 3;!" Glykon whimpered, struggling frantically – which only made the weight swing, and pull even more on his horribly stretched scrotum.

The arena-slave, however, only grinned, and watch the naked, horny boy struggle. The added pressure on the root of his prick only served to increase his already abnormally large erection, and he began to dribble a long string of glistening pre-cum from his exposed cock-head.

While Glykon was thus being tortured, Theon gave instructions for Servius to be taken down from the column where he has been hanging for some considerable time.

Mors Glykonis (The Death of Glykon)

Meanwhile, as the weights being used on Glykon's genitals were obviously insufficient to rip off his genitals (intentionally so, – a they were simply a form of torture), the new, blond arena-slave began to work on Glykon's balls. The first step was to cut open Glykon's ball-bag.

"Shit 3; no!" the poor lad groaned, and spurted a huge 'load' of spunk across the arena sand.

Having slit open the bag, the blond arena-slave cut the cords, but left the testicles loose in Glykon's scrotum. Glykon, by then a eunuch, squirted for a second time – and also the last time 3; The arena-slave then cut deftly at the point where Glykon's scrotum was attached to his crotch, while Glykon squealed. He then let the ripped scrotum, containing the mutilated testicles, drop carelessly onto the sand below the screaming young lad. The arena-slave then took hold of Glykon' massively engorged penis.

"No! 3; Not my prick as well! 3;," Glykon squealed.

"You don't need a prick, now you've got no balls!" the arena slave told him cruelly.

Those in the audience who heard the comment sniggered and laughed. The arena-slave then cut squealing Glykon's cock, which was still jerking and dribbling spunk, off at the root.

"Shit! 3;" Glykon moaned, finding himself completely emasculated.

The pathetic, sexless lad continued to struggle against his ropes as the arena-slave tied some stout twine round the severed member, and hung it round Glykon's neck. Finally, on instructions from Theon, the blond slave sliced open Glykon's trembling belly, and slowly pulled out the screaming boy's guts.

"Fuck! 3; My fuckin' guts! 3;," Glykon groaned, as he twisted helplessly on the ropes that were tightly holding him.

Eventually Glykon's intestines were stretched all the way from his bleeding belly to the blood spattered sand below him. If left, Glykon would have taken a long time to bleed to death, but as he was required to be executed before Servius, the blond arena-slave cut Glykon's throat. Within moments Glykon had sprayed out so much blood that he simply gurgled "Cunt!" and died.

Mors Servii (The Death of Servius)

o that left only Servius alive out of the four conspirators who had entered the arena and, as the conspirator who was believed to have actually murdered the late Dominus, (Gnaeus Octavian Gracchus), it was intended by Marcus that Servius should be executed slowly and painfully. Servius first error had been to sexualy use the slave-boy Markos (later adopted by Gracchus as Marcus). There was nothing wrong, in itself, for a Roman citizen (as Servius had been) to have sex with a slave-boy, but it was entirely wrong to do so with a slave that one did not own. Markos, at the time, was the slave of Gracchus (and also his favourite). (for more information about Servius and Markos go to Chapter 7).

Gracchus overlooked the slight, as it was the 'Year of the Four Emperors', and at the time he needed Servius as his Tribune (for his protection). Servius, however, compounded the issue by later having sex with Demetrius (another of Gracchus' slaves – who was, unknown to almost everybody, Gracchus' natural son, by one of his slave-girls). (for more information about Servius and Demetrius go to Chapter 25).

It was during the argument between Servius and Gracchus, over Demetrius, that Gracchus was killed. Gracchus' death, of course, made Marcus, who was Gracchus' adoptive heir, (now known as Marcus Octavianus Gracchus) the new Dominus. Marcus was then determined to have Servius killed, and through the offices of his client, Legatus Marcellus, and Titus Vespasianus, (eldest son of the new Emperor Vespasian) Marcus was able to have Servius' citizenship rescinded, and have him executed in the arena as a slave.

The method devised by Petronius for the execution of Servius was flaying alive, an ancient practice, enshrined in myth, and related to the God Apollo, patron God of the late Dominus, and also Marcus. (Interestingly, it was Petronius who had been the model for the new statues of the God Apollo, set up in the Augustine Temple at Cumae, and in the villa at Baiae, and in the 'Domus Gracchi' in Rome.)

Flaying, also known colloquially as skinning, is a method of slow and painful execution in which skin is removed from the body. Flaying of humans is used as a method of torture or execution, depending on how much of the skin is removed. This is often referred to as 'flaying alive'.

There are also records of people flayed after death, generally as a means of debasing the corpse of a prominent enemy or criminal, sometimes related to religious beliefs (e.g. to deny an afterlife); sometimes the skin is used, again for deterrence, magical uses, etc. (e.g. scalping). The typical causes of death due to flaying are shock, and the critical loss of blood and other body fluids. In Greek mythology, the satyr Μαρσύας (Marsyas) is a central figure in an account of flaying alive when he challenged the God Apollo to a contest of music and lost his skin, and his life. In antiquity, literary sources often emphasise the hubris of Marsyas and the justice of his punishment. During the Principate, Μαρσύας became a subversive symbol in opposition to Augustus (Octavian – Octavianus is also the second name of Marcus), whose propaganda systematically associated him with the satyr's torturer, Apollo, and the poet Ovid twice tells the story of Marsyass' flaying by Apollo, in his epic Metamorphoses and in the Fasti. Flaying, in Roman times was therefore seen as an appropriate punishment for 'hubris', of which Servius was undoubtedly guilty.

Ὕβρις ('hubris') describes a personality quality of extreme or foolish 'pride', or dangerous 'over-confidence'.In its ancient Greek context, it typically describes behavior that defies the 'norms of behavior', or challenges the gods, and which in turn brings about the downfall, or nemesis, of the perpetrator of hubris.

Flaying alive was not a skill possessed by any of the arena-slaves at the Ludus at Baiae. Therefore, Terentius, well before the Games, had sent to Nicander, (Chief Steward of the Domus in Rome – the replacement for the now executed Menelaus), to acquire a suitable slave who had such skills. The problem with flaying, as with many other tortures, was to avoid accidentally killing the victim before the torture had been completed. Nicander found a slave called Achemus, who was a young Greek. His previous owner, a senator, guaranteed his skill (offering to repay the original fee if he proved unsatisfactory).

On arriving at the Ludus, Petronius set the handsome blond slave to work on two slaves who had been condemned by the magistrates to die in the arena. For them, however, death did not come in the arena, but instead in the Ludus, where Achemus proudly showed off his skill by removing all their skin in one piece. Both condemned slaves, at the end of the process, were still alive, and had to be finished-off by having their throats cut.

Back in the arena, Servius was chained by his wrists (held high above his head) to a iron pole set in the floor of the arena. Deftly the new arena slave caught hold of the young, one-time centurion's bullky genitals.

"No! 3; Please! 3; Not that! 3;" Servius begged, having seen the other conspirators castrated. "Let me keep them!" he finally spluttered, presumably referring to his prick and balls.

Obviously, Achemus ignored Servius, and neatly sliced off the penis and scrotum (still containing the testicles) in one piece. While the new eunuch squirmed and squealed, the severed organs were then hung round Servius' neck. Achemus then began the work of flaying Servius, starting at Servius' shins and calves, while the audience looked on, fascinated. So that Achemus would not be distracted, Servius, who by then was continually squealing, was initially gagged.

Flaying, if done skillfully, was a long process, especially if it was intended to remove all of the skin in one piece. There was not time for this, so Achemus had been instructed by Petronius to flay only the front of the body, removing portions of skin from the arms, legs, chest and belly. The only area that was to be completely skinned was to be the head.

When Achemus came to flay Servius' head, the gag had to be removed, and Servius, demented with the pain, squealed and screamed throughout the whole process.

"Finish me! 3; Please! 3;", Servius screamed, obviously quite unable to take the appalling pain.

Achemus looked to Theon – then Theon looked up to Petronius in the Pulvinar – and Petronius spoke to Marcus, who appeared to be watching the proceeding with some satisfaction. Petronius nodded to Marcus, and then made a 'throat-slitting gesture' with his hand. Theon nodded, and told Achemus to 'finish off' Servius.

As Servius was wearing a wide leather collar, Achemus had to lift up Servius' bloody chin to get at his neck. The act itself was accomplished with just one quick slash across the front of Servius' neck, and flayed Servius jerked up, as blood started bubbling and spraying from the top of the leather collar. In a few moments he started to sag, as the blood gushed down his heaving, skinless chest and belly, and soon he was simply hanging by his wrists from the manacles attached to the top of the iron post, as piss sprayed from his cock-stump, and he noisily voided his bowels. His eyes, of course, stayed open and staring, as he had no eye-lids, but it was obvious that he was seeing nothing.

So now all four conspirators had been executed – and Marcus had his just revenge.

While the audience applauded, arena-slaves unlocked Servius' manacles, and the bloody, and partially skinned corpse was dragged across the arena by the heels to the 'Porta Libitinaria', while at the same time the iron posts were removed, the fouled sand was shovelled up, and new, fresh sand was laid and raked

Scaenae de Achille et Patroclo (The Tableaux of Achilles and Patroclus)

There was then a brief pause in the proceedings, and there was further music from the Hydraulis, followed by some readings from Homer's Iliad to prepare the audience for the following 'tableaux'.

Ἰλιάς – the Iliad – (sometimes referred to as the 'Song of Ilion' or 'Song of Ilium') is an ancient Greek epic poem in dactylic hexameter, traditionally attributed to Homer. Set during the Trojan War, the ten-year siege of the city of Troy (Ilium) by a coalition of Greek states, it tells of the battles and events during the weeks of a quarrel between King Agamemnon and the warrior Achilles.

The 'tableaux', featuring Achilles and Patroclus, which forms an important part of the Ludi pro Auspicatu Novi Ætatis was originally conceived some considerable time in the past by Marcus and Petronius,when they first met, and before Marcus became Dominus. Various situations prevented the performance of the 'tableaux', which is now, finally to be performed.

The exact nature of Achilles' relationship with Patroclus has been a subject of dispute in both the classical period and modern times. Despite there being no direct evidence in the text of the Iliad that Achilles and Patroclus were lovers, this theory has been commonly believed. In 5th-century BC Athens, the intense bond was often viewed in light of the Greek custom of 'paiderasteia'. In Plato's Symposium, the participants in a dialogue about love assume that Achilles and Patroclus were a lovers. It is important to note that the ancient Greeks and Romans had no words to distinguish heterosexual and homosexual, and it was assumed that a man could both desire handsome young men and have sex with women.

According to the Iliad, when the tide of war had turned against the Greeks, and the Trojans were threatening their ships, Patroclus convinced Achilles to let him lead the Myrmidons into combat. Achilles consented, giving Patroclus the armor Achilles had received from his father, in order for Patroclus to impersonate Achilles. Achilles then told Patroclus to return after beating the Trojans back from their ships. Patroclus defied Achilles' order and pursued the Trojans back to the gates of Troy. While battling, Patroclus' wits were affected by the God Apollo (Apollo – again), after which Patroclus was hit with the spear of Euphorbos. Hector then killed Patroclus by stabbing him in the stomach with a spear. Achilles retrieved the body, which had been stripped by Hector and protected on the battlefield by Menelaus and Ajax. Achilles did not allow for the burial of Patroclus' body until the ghost of Patroclus appeared and demanded burial in order to pass into Hades. Patroclus was then cremated on a funeral pyre, When Patroclus is cremated twelve Trojan captives are sacrificed.

While the guests in the Pulvinar took some refreshment, and chatted, arena slaves laid out the (imitation) stone slabs, which marked the limits of Achilles tent, and within the circle placed the couch which had be made and purchased from Neapolis, and beneath the couch was palced Achilles' magnificent, crested helmet.

At the same time slaves, dressed as Trojan warriors were gathering at the Porta Sanavivaria, which was intended to represent the Gate of Troy, where Patroclus, played by young Varus, wearing the helmet of Achilles, would battle the Trojans, led by a slave playing the part of Hector.

The Trojan warriors, dressed in silver – with all the equipment designed and supplied by Greek artisans from Neapolis are examples of how the Romans, at the time of our story, envisioned the Greeks and Trojans at the time of the 'Iliad'. We now know that the 'Iliad' (which is probably a work of fiction – based loosely on some historical incidents) is set in Archaic times, when the Greeks and Trojans would have looked rather less sophisticated, and would definitely not have worn 'Corinthian helmets' with massive horse-hair plumes. In this 're-enactment' the Trojans wear silver, and the Greeks wear gold.

Marcus, at this stage in the Games, was markedly more relaxed and amenable, as he was secure in the knowledge that his 'known enemies' had been suitably punished and killed, and his reputation, having taken his revenge in true Roman style, was now completely established.

While the Greek and Trojan warriors continued to gather, young Varus – playing the part of Patroclus, and Paris – playing the part of Achilles, entered the arena from a side door. As soon as they appeared – naked in the arena – the audience began applauding. The two bowed to the Pulvinar, and then to the audience.

Paris took Varus' hand, and gently led him over to the kline (couch) that had been set up for them.

Then, a chorus of young boys, appeared either side of the Pulvinar, and sang an ode – written, of course by Lucius, and accompanied on the kithara (lyre). This ode, which took some liberties with Homer, described the intense love that existed between Achilles and Patroclus. Varus and Paris had been well 'schooled' and rehearsed by Petronius, and beautifully acted out the delicate and loving preliminaries that preceded the more robust activities of the eventual 'sex act'.

Paris was already highly 'aroused' as he entered the arena, and gently held his hugely engorged penis as elegantly as possible. Varus looked somewhat nervous, but also seemed to be eagerly anticipating being penetrated by his handsome lover – at least for that afternoon. Once on the kline, Paris laid Varus down and began gently caressing the boy's head, shoulders and chest, while kissing the naked boy repeatedly on the lips.

The singing of the boy's chorus gradually faded away as their conductor sensed that the audience needed no accompaniment to the seduction that was taking place in the arena. There was then almost complete silence in the amphitheater.

Slowly, and with remarkable skill, Paris began caressing Varus' belly, and then his thighs. As he did so the sighing, naked boy became fully erect. Paris then began caressing Varus' balls, and his stiff cock, and then the only sound that could be heard was Varus' gentle groans of delight. For a short while Paris masturbated the now squirming boy, who was obviously eager to 'cum'. Have got Varus incredibly 'hard', Paris gently turned the naked boy onto his front, and slightly spread the boy's legs at the same time.

"Fuck me hard!" Varus moaned quietly to Paris, not intending the audience to hear, but it was so quiet in the arena that the front rows and the guests in the Pulvinar heard the eager boy quite distinctly.

Paris then knelt over Varus, and slowly pushed his massively erect cock into the boy's tight little 'hole'. Varus panicked for a moment, surprised and shocked at just how large Paris' 'virile member' actually was.

"Oh fuck! 3;" Varus groaned, as Paris attempted to force his way in.

"Relax, boy," Paris said gently, and almost immediately young Varus opened himself, and Paris' huge cock slowly started to disappear inside the panting boy. Varus gave a further groan, and then he was fully penetrated.

Paris remained still for a few moments so that the young lad could get used to the feel of the swollen 'tool' inside him. He then started moving backwards and forwards – very gently at first – thrusting deliberately, but carefully, into his young partner. With each thrust of Paris' huge cock young Varus moaned, but it seemed that, despite Paris' size, Varus was finding the fuck deeply satisfying. Slowly Paris speeded up, and thrust more deeply. Varus' moans and grunts became louder, but the movements of his hips showed that he was undoubtedly enjoying the experience.

The audience remained quiet, as everyone, from the guests in the Pulvinar, to the lowliest arena-slaves watched the proceeding intently.

"Shit! I can't hold on! 3; I'm gonna cum soon! 3;", Varus moaned, his sweating face contorted, as he seemed to be approaching his orgasm. Paris immediately slowed down his thrusting, and Varus seemed to regain some self control.

"I'll go slow," Paris whispered.

"We need to take our time – Petronius wants a long fuck."

"Good!" Varus grunted.

And it was – but not too long – with almost simultaneous orgasms at the end, with Varus spurting over the sand, and the fine dark red covering of the couch, and Paris, pulling out, and splattering his creamy seed over Varus' neat 'bubble-butt' and sweat slicked back.

Eventually, rising for the couch, the two left the arena by a small side entrance, to some considerable applause. Paris, of course, as Achilles, would return later to extravagantly mourn the death of his beloved.

Meanwhile, as the Trojans gathered, arena-slaves, stripped to loincloths, piled up the funeral pyre to be used in the last section of the 'tableaux'. Once the pyre was ready, it was covered with a huge black cloth, so as not to be a distraction with regard to the subsequent action.

De conflictu ante portas Troiae (The Conflict Before the Gates of Troy)

Varus, as Patroclus, then returned to the arena, clad in Achilles' magnificent helmet and a gold loincloth, accompanied by Achilles' faithful 'Myrmidons'.

Μυρμιδόνες – the Myrmidons – were a legendary people of Greek mythology, native to the region of Thessaly. The Myrmidons of Greek myth were known for their skill in battle and loyalty to their leaders. In pre-industrial Europe the word Myrmidon carried many of the same connotations that 'minion' does today. During the Trojan War, they were commanded by Achilles, as described in Homer's 'Iliad'. According to Greek legend, they were created by Zeus from a colony of ants and therefore took their name from the Greek word for ant, 'myrmex'. The Myrmidons left their native island of Aegina and moved to Thessaly. From there, Aeacus' grandson, Achilles, led the Myrmidons to battle in the Trojan War as an ally of the Achaeans (Greeks). Homer's 'Iliad' gives an account of a portion of the Trojan War, with a focus on the role of Achilles. When King Agamemnon of the Achaeans disrespects Achilles, he abandons the Greek forces and takes his army of Myrmidons with him. The Achaeans begin to suffer tremendous losses, and Patroclus pleads to Achilles to rejoin the battle. Achilles refuses to fight, still bitter about the wrongs committed against him, but he allows Patroclus to borrow his armour, and his army of Myrmidons. Patroclus commands the Myrmidons in battle, they push the Trojan forces back. Patroclus, however, is killed by Hector in battle.

At the same time that Patroclus (Varus) emerged to do battle with the Trojans, the Main Gates of the arena opened slightly to allow a lone figure to enter – who later joined the small group of 'Trojan' warriors already assembled, This was Galen, one of Petronius' more able gladiators (expendable, however, as we shall see in the next Ludi). This young fighter was to take the part of the Trojan hero, Hector.

In Greek mythology, Ἕκτωρ – Hector – was a Trojan prince, and the the most renowned of the Trojan warriors. As the first-born son of King Priam and Queen Hecuba, who was a descendant of Dardanus and Tros, the founder of Troy, he was a Prince of the Royal House, and the heir apparent to his father's throne. He was married to Andromache, with whom he had an infant son, Scamandrius (whom the people of Troy called Astyanax). He acted as leader of the Trojans and their allies in the defense of Troy. Indeed, Homer places Hector as peace-loving, thoughtful as well as bold, a good son, husband and father, and without darker motives.

Patroclus, Achilles' lover, disguised in the armor of Achilles, enters the combat leading the Myrmidons to force a Trojan withdrawal. After Patroclus has routed the Trojan army, Hector, with the aid of Apollo and Euphorbus, kills Patroclus with a spear thrust, believing him to be Achilles.

Hector, therefore, has been instructed by Petronius to kill Patroclus (Varus), and strip him naked and attempt to claim the body for the Trojans, and drag it through the 'Gates of Troy'. There will then follow a battle between the Greeks and Trojans for the stripped body of Patroclus, which the Greeks will finally win – returning the body to Achilles.

Achilles revenge on Hector will then take place in the next scheduled Ludi.

And so Hector's warriors (in the first wave all relatively experienced gladiators) gathered at the main gateway into the arena, which by then bore a plaque, (wood skilfully painted to imitate marble – by Apelles), and bearing the legend 'TROAS' – meaning Troy. This piece of stage management was intended to alert the audience to the fact that the gateway was, for the next part of the tableaux' to represent the famed 'Gates of Troy', from Homer's 'Song of Ilium' (the Iliad). This group was, of course, just the first batch of warriors. Some would probably be killed in the skirmish, and a reserve group of gladiators, identically equipped, would then follow, and would assist Hector in killing Patroclus (young Varus).

Patroclus was supported by the 'Myrmidons' – who were also Marcus' slaves, and in most cases condemned criminals, (condemned to death in the arena by the local magistrates). This first wave of 'Myrmidons' had been carefully chosen by Petronius, and were sent in as 'arena fodder'. As expected, they were soon being being roughly impaled on the spears of the more experienced Trojans. A couple of the young 'Myrmidons' were kneeling on the sand, screaming, and holding onto theirs guts, as they had been viciously disemboweled.

It was at this point that four of the 'Trojan' warriors were sent out by Theon, (Petronius' Senior Arena Slave), in two pairs, carrying large, and obviously heavy boulders – roughly cut into spheres. Many in the audience thought that they were yet another example of Apelles' trompe l'oeil scenic effects – with the Trojans putting on a very good show of manhandling the 'weighty' objects (which it was supposed were just wood and canvas, cleverly painted). These Trojans were directed to two wounded 'Greek' warriors, who had been conveniently hamstrung – thus making them quite helpless. The first two Trojans then laboriously put down their 'heavy' burden, and stood watching as their companions slowly made their way over to one of the hamstrung 'Greeks'.

All the other fighters had been instructed to ignore these interlopers (and as they were not being threatened in any way, they carried on fighting, apparently oblivious to what was going on). On reaching the first Greek, the Trojans stood over him, while the poor Greek squirmed helplessly, pleading for mercy. The Trojans then simply dropped the large stone on the Greeks upper body. There was a horrible scream and a sickening crunch. The 'Greek's' helmet and head disappeared in an enormous spray of blood, and simply ceased to exist, along with his upper thorax. The arms and legs of the unfortunate 'Greek' continued to jerk and twitch for some considerable time, and his loincloth became sodden and stinking as his bladder and bowels emptied but, in fact, he must have died instantly.

Patroclus (Varus) heard the applause of the audience, and looked round to see the other two Trojans repeat the same method of killing with the second Greek. In the case of the second lad, however, they dropped the stone on his lower belly. Unfortunately, for the young 'Greek', this did not kill him instantly. The boy's abdomen and pelvis were instantly crushed, and the sudden compression of his internal organs caused him to explosively vomit blood, while his eyes burst from their sockets. Screaming in agony, the lad also forcefully evacuated his crushed bowels and bladder, which caused his loincloth to rip open at the crotch, as urine, excrement and guts splattered forcefully out onto the sand. It took the Greek many minutes to die, as he screamed and uselessly tried to push the boulder away with his trembling, uncontrolled hands, while he pathetically kicked his legs in his agony. In the end, because he was making so much noise, and distracting the audience from the upcoming killing of Patroclus, one of the Trojans slit the Greek lad's throat.

Mors Patrocli (The Death of Patroclus)

Patroclus (Varus) who had dropped his spear (unwise) was by then armed with a gladius and shield, looked around, appalled at the carnage, as he gamely fought off a some rather half-hearted attacks by one or two 'Trojan' fighters. He had survived the initial assault, not through his own skill, but because he had been 'reserved' for the attention of Hector. And that intention was not long in coming. One of the Trojans, playing the part of Apollo who, according to Homer, had disguised himself as Panthous, a Trojan fighter in order to disable Patroclus, crept up behind Patroclus and thrust a spear into the boy's back.

'Panthous' now cast his sharp spear, and struck Patroclus in the back, between the shoulders. He was first to hurl his spear, not killing Patroclus, but pulling the ash spear from the flesh.

Homer – Book XVI – The Iliad

At that moment Patroclus had come face to face with Hector. At this point the re-enactment departs slightly for Homer's account – but the result is the same – the killing of Patroclus. Having been speared, Patroclus (Varus) squealed and dropped to his knees. Being no real warrior, young Varus also dropped his shield and sword – and face Hector unarmed and on his knees.

"NO! Mercy!" the terrified boy screamed, holding his hand up as if to ward off the inevitable thrust.

Seeing his chance, Hector then rushed with his spear at Patroclus, and true to Homer's account he thrust the spear into the pleading boy's lower belly with such force that it emerged just above the squirming boys' buttocks. Unlike in the Iliad, the spear thrust to Varus' lower belly did not kill him, but he fell to one side, in apalling pain. Again, not following Homer's account exactly, Panthous and Hector proceeded to strip their defeated opponent in the apparently misguided belief, (according to Homer), that he was Achilles. Both fighters had been coached by Petronius to feign surprise when they removed the boy's helmet to discover that the defeated 'enemy' was in fact Patroclus – who was simply wearing the armour of Achilles. Regardless, they continued to strip the prostrate boy, removing his leather harness and gold loincloth, as well as his magnificent, crested helmet.

It was the usual practice in the Greek and Roman world for defeated enemies to be stripped. With common soldiers this was simply a matter of plunder and a means of shaming the defeated enemy – and if the defeated enemy was still alive he would often be raped and emasculated. For high status enemies the stripping of an enemy was also sen as an ultimate humiliation, but also the armour, weapons and clothing were take as trophies to be displayed in the subsequent triumphal celebrations.

Young Varus, despite his wounds was not dead, and there was no time to wait for him to die from internal bleeding so Hector to neatly cut the groaning boy's throat – which provided a somewhat meriful end to the unfortunate lad's suffering. And so, as expected, the 'cute' boy Varus died in the arena, (in compliance with his sentence), having played his parts well, as both young lover and as a warrior.

But Hector, seeing brave Patroclus withdraw, struck by the blade, made his way to him through the ranks, and drove at him with his spear, piercing the lower belly and ramming the point home. Patroclus fell with a thud, to the grievous sorrow of the Achaean army. Then straddling him, Hector shouted in victory. With this, he planted his heel on Patroclus' body, drew the spear from the wound, and thrust the corpse away, to lie on its back.

Homer – Book XVI – The Iliad

At that point a second wave of 'Myrmidons' (some of Marcus' best gladiators) entered the arena to attack the Trojans, who had stripped Varus (Patroclus) corpse naked, and were proceeding to drag it, by leather straps round the ankles, to the 'Gates of Troy'. These new ('Greek') gladiators made short work of the Trojans – taking many of them 'prisoners', and returned to the center of the arena in triumph, with the naked corpse of Patroclus.

Funus Patrocli (The Funeral of Patroclus)

There was then a short intermission, with a brief declamation from Homer's 'Iliad', (accompanied by the Kithara or Lyre), summarizing the action so far, and describing what was to follow – the funeral for Patroclus. The declamation was also, in the more dramatic sections, accompanied by appropriate music on the Hydraulis – Marcus' new 'toy'.

During this time the dead and dying were removed from the arena (along with the two boulders), and the fouled sand was shoveled up, and fresh sand was laid a raked smooth. At the same time a huge pile of logs, (the pyre for Patroclus) mounted on a bronze frame was slowly and carefully wheeled into the arena by burly arena slaves, and set over a section of the arena that had a concrete, rather that a wooden floor, as Petronius was not keen on the idea of the arena floor being set on fire.

At the same time, on the other side of the arena, one of Apelles' magnificent painting was wheeled by slaves into the arena It was a 'backdrop' intended to represent the Greek camp – where some of the Greek galleys had been converted into living quarters for the leaders of the Greek armies. Once the backcloth and pyre were in place the funeral could begin.

While the declamation from the 'Illiad' was taking place, and the arena was being prepared, young Varus had been taken to the Spoliarium, where it had been washed and prepared for the funeral.

The Spoliarium is an area in the Ludus Gracchii, (the gladiator school and accomodation near the Amphitheater), where the dead bodies of those killed in the arena were taken and laid out on marble slabs to have their bodies stripped and washed, prior to their disposal. Depending on their status, some corpses would be then prepared for a modest funeral, normally cremation – while low status individuals or noxii (condemned criminals) would be disposed of by having their naked corpse weighted with stones, and thrown into the sea. In Varus case he was to be given a funeral appropriate to an 'ancient hero' – or in reality, a funeral for one of Petronius' favorites.

Surprisingly, the funeral was to be conducted as a real funeral, and to this end priests and two bullocks (to be sacrificed) entered the arena. The one element that was to be unusual in this funeral was the presence of human sacrifices – as fourteen 'Trojan' prisoners (captured by the Greeks) were to be killed, and their blood offered to the infernal deities. Technically human sacrifices at funerals (despite the tradition of the 'Munera') were against the law in the Roman Empire at this time. In the Munera the blood of the dead gladiators was not offered to the gods of the underworld by priests (although Gracchus had come very close to such a ritual in his Munera ad Augustum. In this case, however, the blood sacrifice as recounted in Homer's 'Iliad' was to be faithfully re-enacted.

Of course, the reason that Marcus was able to do this without fear of censure or prosecution was because Titus Vespasianus was seated next to him in the Pulvinar. And so, along with the priests and the bullocks, the 'Trojan' prisoners, in small groups, were brought into the arena. These however, were not the young men who had fought in the 'tableaux', not that the audience were aware of the fact, as all the warriors had worn Corinthian style helmets, which almost completely hid their features.

The naked, bound boys, (posing as prisoners of war), who were now brought into the arena, were all condemned criminals – condemned to die in the arena. The unfortunate 'Trojan Prisoners' were then bound onto iron poles carefully crafted by Marcus' master smith, Vulcan, which had been set into prepared sockets in the concrete underfloor, either side of the bronze frame surrounding the funeral pyre.

The body of Varus (Patroclus) was then brought into the arena on a funeral bier, and slowly raised by slaves, one layer at a time, onto the summit of the funeral pyre. The priests then made their prayers, and sacrificed the bullocks, the blood being allowed to flow into a bronze trough, from where it was piped out of the arena to soak into the ground (as was required by ritual). The pyre, which had been drenched with oil, wine and incense, was then lit.

As the smoke and flames rose up, (and the audience looked on – stunned), blond Achemus, who had now taken on the role of Marcus' executioner, carrying a gold garroting cord, and accompanied by a slave with a small wooden platform, went to the first boy in the row of bound captives. Stepping onto the wooden platform to reach the appropriate height, Achemus wrapped the thick cord round the naked lad's neck, and proceeded to tighten it with an iron bar. Slowly the boy began to struggle, and to gag. At the same time, as usually happened in cases of garroting, the boy very quickly became priapic (massively erect).

Then Theon, accompanied by an arena slave with two bowls – one silver and one gold, went in front of the struggling boy. Moments before the struggling lad lost consciousness, Theon emasculated the lad, depositing the severed genitals in the silver bowl, while the arena slave caught the blood spurting rhythmically from the boy's mutilated groin, in the gold bowel. The other 'prisoners' seeing what had happened to their colleague immediately began to struggle against their bonds, but the arena slaves had skilfully roped them so, for these condemned slaves, there was no escape.

And so Achemus and Theon went down the line of captives, slowly obtaining the blood that was needed to complete the sacrifice to the infernal gods. After the first group of slave were sacrificed, the mutilated naked bodies were untied from the iron stakes, and dragged to the Porta Libitinaria, to be prepared for their ignominious disposal.

Then almost immediately a new group of boys were bound to the iron stakes, and Achemus and Theon repeated the process – and all the while Varus' funeral pyre burned, consuming the naked boy's body. Eventually all fourteen boys had been disposed of, and the considerable quantity of blood that had been obtained was delivered to the priests who, with appropriate prayers, consigned the blood to the bronze trough, from where it was piped out of the arena to soak into the ground in order to satisfy the infernal gods. Arena slaves then removed the iron stakes from their sockets and fill the sockets with sand, which was then compacted.

Ludi Funebres pro Patroclo (The funeral games for Patroclus)

Then, while Patroclus' pyre continued to burn, filling the aren with the thick, sweet smell of incense, the warriors who were to perform the 'funeral games' entered the arena. In ancient Greek 'heroic' style (as used in Greek sculpture and vase paintings), they wore leather arm-guards and Greek style helmets, made of steel, but nothing else.

Marcus and Petronius designed the final part of the 'Trojan Tableaux' to be a reconstruction of Ancient Greek Funeral Games (in as far as Romans of the time understood such a ritual). It was the Roman belief that such games were performed naked (which was probably correct – see above), however, Petronius insisted on a Roman 'flourish', having his 'gladiators' (the term was unknown to the ancient Greeks) wearing leather waistbands which incorporated straps to enhance the appearance of the fighter's genitals – presumably to please the jaded audience. by pulling up the scrotum and penis and, as a result of the constriction, encouraging the fighters to develop an erection. This, of course, would make emasculation or castration during the combat much easier. All the fighters also wore the silver slave collars of the House of Gracchus – supposedly an honour.

The combatants for the 'Funeral Games' then lined up before the burning pyre and, and now slowly crumbling pyre, and saluted what were by then only the ashes of young Patroclus. They then divided into pairs. Finally, at a sign from Petronius, who was seated in the Pulvinar, they began fighting. This was the final act in the somewhat extended Ludi pro Auspicatu Novi Ætatis. This final section would, of course, would play out quite quickly, as all the participants were fighting at the same time – and this was as well, as many in the audience were tiring, in the hot sun, despite the magnificence of the spectacle that Marcus had provided. The gladiators were fighting in front of the still glowing and smoking remains of the Funeral Pyre, and it was as well that they were naked, as the heat from the glowing embers was intense.

Prima Pugna – First Combat

The first gladiator down was a well muscled young fighter called Denatus, who was skewered low in the belly.

"Shit! 3; My fuckin gut! 3;", he cried out frantically, as he fell over onto his backside, involuntarily squirting hot piss over his thigh and belly, and partially voiding his bowels. "Fuck! 3; I'm fuckin' pissin' " 3; – and shittin' 3;!" Denatus grunted, as he stared in disbelief at his his rapidly stiffening, and wildly jerking prick, which was uncontrollably spraying urine everywhere.

"Fuck him! 3;" (not literally, of course), Velox shouted, as he raised his arm in victory. He then bent down and began pulling the gladius from his helpless opponent's bleeding belly.

"Fuck!" Denatus grunted, as the sword slowly emerged from his trembling gut, leaving a gaping wound which immediately began to spurt gobs of blood.

"No! 3; Spare me! 3;" terrified Denatus then squealed, as he managed to sit up. By then he had drenched himself with piss, and fouled himself, and the sand around him was stained with splatters of blood that was pumping from gut. Velox then dragged Denatus up of the sand and made him kneel.

Although this was supposed to be a reconstruction of Greek funeral Games, Velox, possibly out of habit, as he was a well trained fighter, decided to 'finish off his opponent in the classic gladiatorial manner.

Examples of this method of killing are to be found in the TV series Rome and also Spartacus, and there are representations of this method of killing on Roman bas reliefs and wall paintings.

Velox, having positioned Denatus kneeling, and facing away, then positioned the tip of his gladius in the gap between his the terrified fighter's clavicle and sternum.

"Shit 3; NO! 3; Please! 3;" a practically naked – and very 'horny' Dentus screamed, – realizing what was happening, and knowing that he only had moments to live.

"Say goodbye! – you stupid fuck!" Velox hissed, grinning, as he deliberately took his time pushing his his gladius downward – intending that Denatus would feel that he was slowly dying.

The long blade eventually sliced through the Donatus's heart.

"Fuck! 3;" Donatus instantly spluttered, and began to choke as blood filled his nose and mouth.

"Cunt! 3;" Deantus then grunted in obvious surprise, as he saw that he squirting what was obviously his last ever 'load' of spunk onto the sand. And just to add to poor Denatus' humiliation, his erection becameso strong that his foreskin slipped back, completely exposing is shiny, purple 'glans' (the Roman Latin slang – meaning 'acorn'), which was considered by the Romans to be the height of obscenity – along with exposure of the anus, (hence their horrified aversion to circumcision).

Intense, and very obvious sexual arousal in young combatants – often culminating in orgasm and ejaculation – was a common response to the adrenaline fed stress which occurred during the final moments, when a fighter was being 'finished-off' – and was just one of the many reasons why the Ludi were so popular.

Then Denatus, still massively 'hard', and violently 'cumming', keeled over onto his side, farting loudly as he did so. For a few moments young Denatus' legs jerked stiffly during his brief, but obscenely intense, orgasm – As the audience applauded, Denatus twitched spasmodically, dying excruciatingly slowly while arena slave, eager to let the next fight continue unimpeded, tied ropes round the practically naked boys' ankles and got ready to drag him off to the Spoilarium (where he was found to be still alive – and therefore had to have his throat cut).

An arena slave then led the Velox to the Porta Sanavivaria, while two arena slaves dragged away Denatus' bloody, and obscenely naked corpse by his heels through the Porta Libitinaria.

Secunda Pugna – Second Combat

The second gladiator to go down was a lad called Agili, – however, he was not 'agile' enough. His opponent, Lentus, took advantage of Agili when he was distracted by the crowd applauding the boy being 'finished off' with a gladius rammed down into his heart. In one lightning move, Lentus managed to get his gladius under the lower edge of the Corinthin helmet, and sliced through Agili's neck. The boy gave a strangled scream, as his head fell from his shoulders, while at the same time his now useless helmet fell seperately.. The helmet thudded onto the sand, and a second later Agili's severed head landed beside it. For another fraction of a second Agili stood, headless, and spraying blood from his neck, and then he dropped to his knees, and collapsed forwards, nearly falling onto his severed head. At the same time, from his bent-over position, on his knees, with his backside in the air, he drenched the sand with his piss. Then, having emptied his bladder, he farted, and then noisily voided his bowels.

Lentus turned away from the now stinking dead boy, and raised his word in triumph, as the audience applauded.

Tertia Pugna – Third Combat

The third fight ended with the loser, 'horny' young Levem, being disembowelled.

In traditional combats, it was common for gladiators to wear wide, metal reinforced belts (often elaborately ornamented) to protect the abdominal area, while leaving the chest bare to take fatal gladius thrusts. The chest and upper abdomen were supposed to be protected by the gladiator's shield, and it was down to his skill' with sword and shield, to protect his upper body. In contests where no body armour was worn – such as the 'Greek style' funeral games disembowelments were a common occurrence, and often happened almost accidentally, as fighters slashed at each other with razor sharp swords, particularly if they either were not armed with a shield, or had lost it during the fight. Disembowelments were spectacular, but were not immediately fatal, and always required a thrust – usually to the heart, or a slash across the neck, or even a decapitation in order the 'finish off' an opponent.

As Levem's intestines began to slide from the large gash in his heaving belly, the screaming, mutilated boy dropped his sword and his shield, and grabbed at his guts, in an attempt to prevent them from sliding out onto the sand, and at the same time the pathetically aroused lad shuddered and had a strong orgasm.

"Oh fuck! 3;", Levem moaned, as he looked down to see his 'seed' squirting over his own, exposed bowels.

Panicking, Levem, still pumping out his spunk, then started to stagger towards the Porta Libitinaria, – desperately trying to hold onto his guts, in a pointless and stupid attempt to escape. Screaming all the way, the crazed boy didn't get very far, however, as Versutus, his implacable opponent, came up behind him, bent the boy over, and skewered Levem between the legs with his gladius, impaling the poor boy through his anus.

"Shit! 3; My fuckin' arsehole!" Versutus squealed, dribbling piss from his still stiff prick.

Versutus then let Levem stagger on for a little longer – still impaled and 'horny', for the 'amusement' of the audience – but eventually Versutus reached between Levem's legs and pulled the gladius from the boy's backside. Versutus then grabbed Levem by the neck, pulling him backwards.

"No! 3; Help! 3;" young Levem screamed, as Versutus rammed his gladius into Levem's back so hard that it and emerged from the helpless lad's chest.

The thrust was to be fatal, and the practically naked, spluttering boy clutched at his chest, releasing his guts in the process. His unsupported, bloody bowels then tumbled from his mutilated belly, with strands of the guts, as they fell, getting caught on his rigidly stiff, spasmodically jerking prick. Most of his bowels ended up on the sand, leaving hysterically groaning Levem with a practically empty abdominal cavity, while his stiff, jerking prick sprayed yet more hot piss over the sand.

Versutus then released Levem, and the skewered boy slowly fell to his knees. For a moment Levem knelt on the sand.

"Shit! 3; 3;My fuckin' guts! 3;" he sobbed, gazing in disbelief at his bowels, which were strewn on the arena floor. The naked boy then stopped pissing – and moaned "Cunt!" as he squirted out a final 'load' of thick, creamy 'seed'. He tottered on his knees for a moment, and then finally fell forward, – still obscenely 'hard' – drenching the sand with his blood. And that was the end of Levem.

Versutus, of course, ignored the stinking corpse of his one time youthful opponent, and turned away, to be greetd by a senior arena-slave, who was designated to lead him, triumphantly, to through the 'Porta Libitinaria' – the gateway that hysterical Levem had pathetically tried to reach when he was first disemboweled.

Quarta Pugna – Fourth Combat

The last of the four gladiatorial fights ended quite quickly.

Occisor – the dominant fighter – almost immediately developed a massive 'hard-on', (referred to as a mors libidine – 'killing-lust') The losing fighter, callously known to the other slaves as 'Laetitia' – (a feminine name – because of his pretty looks, and his readiness to allow his colleagues to fuck him), met his end by first having his genitals sliced off, which was facilitated by the fact that he (like the other fighters) was not wearing a loincloth, and his genitals were standing proud because of the leather straps tightly held round his 'cock-root'. Instantly the pretty boy squealed, and dropped his sword and his shield.

"You cunt! 3;" Laetitia sshrieked, in a high pitched falsetto 3; "My fuckin' bollocks! 3;" as his knees came together, and his hands went to his mutilated groin. Apparently Laetitia had not noticed that his prick had also been sliced off – along with his balls.

Occisor, taking advantage of Laetitia's obvious, and excruciatingly painful distraction, made a very accurate swing with this gladius from the rear, and neatly severed the squealing boy's head (helmet and all). With his bloody genitals and his severed head head already lying on the sand in front of him, headless Laetitia took two unsteady steps forwards, with his arms flailing and blood spraying from his neck, and then toppled over onto his front – dead.

Levem, the disembowelled and skewered boy from the previous combat was still being dragged away to the Porta Sanavivaria, as headless Laetitia's ankles were tied with rope, prior to him also being dragged from the arena.

And so 3; the often fucked Laetitia's death and emasculation brought to an end the fabulous Ludi pro Auspicatu Novi Ætatis.

Petronius finit Ludos pro Auspicatu Novi Ætatis
(Petronius Concludes the Ludi pro Auspicatu Novi Ætatis)

While the applause from the audience rang out, the arena sand was shovelled up and raked. Then, almost immediately, a loud fanfare rang out from the trumpeters on either side of the Pulvinar. Petronius, his polished cuirass gleaming in the russet coloured light of setting sunlight – rose to his feet, and raised his hand as a sign for complete silence. Almost immediately the applause died away, only to be replaced by a faint murmuring from the audience – it was the first time that Petronius had addressed the audience in the amphitheatre.

"My Dominus – the noble Marcus Octavianus Gracchus – has instructed me to thank all those present – and in particular his excellency Titius Flavius Vespasianius – Praetorian Tribune and eldest son of our beloved Emperor, for attending this Ludi pro Auspicatu Novi Ætatis – and my Dominus looks forward to greeting you all again at the next Ludi in the Amphitheatrum Gracchi.

"I now declare this Ludi pro Auspicatu Novi Ætatis – which has been blessed by the God Apollo, to be at an end."

As Petronius resumed his seat – Marcus, who was sitting beside him, patted him on the shoulder, as a sign of his approval. Marcus and Titus then rose from their elaborately gilded and carved chairs – and the entire audience rose in a sign of respect. Marcus and Titus then led the way from the Pulvinar, followed (significantly) by Demetrius – and Petronius, and then Novius and Terentius, followed by Titus' Tribunes, and finally Adonios and Aurarius – and, of course, 'Glaux'.

'and the story continues – so 3; the Ludi pro Auspicatu Novi Ætatis ends – and then it's back to the villa. Novius also makes as startling revelation about Aurarius, and Marcus and Petronius initiate new relationships with Aurarius and Adonios. Finally all the leading characters set out on their journey to Rome and the 'Domus Gracchi'.

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