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Vittorio CarvelliThe Story of Gracchus
LIBER V
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XXXIII. Ludi pro Auspicatu Novi Ætatis
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| 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.
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'.
PART