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aboutanancientenquiry · 11 months

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"Poetics of Fragmentation in the Athyr Poem of C. P. Cavafy

Gregory Nagy

[Originally published in Imagination and Logos: Essays on C. P. Cavafy (ed. Panagiotis Roilos) 265-272. Cambridge, MA 2010. The original pagination of the article will be indicated in this electronic version by way of curly brackets (“{“ and “}”). For example, “{265|266}” indicates where p. 265 of the printed article ends and p. 266 begins.]

Ἐν τῷ μη[νὶ] Ἀθύρ

[[1]] Μὲ δυσκολία διαβάζω στὴν πέ��ρα τὴν ἀρχαία. [[2]] <<Κύ[ρι]ε Ἰησοῦ Χριστέ>>. Ἕνα <<Ψυ[χ]ὴν>> διακρίνω. [[3]] <<Ἐν τῷ μη[νὶ] Ἀθὺρ>> <<ὁ Λεύκιο[ς] ἐ[κοιμ]ήθη>>. [[4]] Στὴ μνεία τῆς ἡλικίας <<Ἐβί[ωσ]εν ἐτῶν>>, [[5]] τὸ Κάππα Ζῆτα δείχνει ποὺ νέος ἐκοιμήθη. [[6]] Μὲς στὰ φθαρμένα βλέπω <<Αὐτὸ[ν] … Ἀλεξανδρέα>>. [[7]] Μετὰ ἔχει τρεῖς γραμμὲς πολὺ ἀκρωτηριασμένες· [[8]] μὰ κάτι λέξεις βγάζω – σὰν <<δ[ά]κρυα ἡμῶν>>, <<ὀδύνην>>, [[9]] κατόπιν πάλι <<δάκρυα>>, καὶ <<[ἡμ]ῖν τοῖς [φ]ίλοις πένθος>>. [[10]] Μὲ φαίνεται ποὺ ὁ Λεύκιος μεγάλως θ’ ἀγαπήθη. [[11]] Ἐν τῷ μηνὶ Ἀθὺρ ὁ Λεύκιος ἐκοιμήθη.

It is hard to read . . . . on the ancient stone. “Lord Jesus Christ” . . . . I make out the word “Soul”. “In the month of Athyr . . . . Lucius fell asleep.” His age is mentioned . . . . “He lived years . . . .”? The letters KZ show . . . . that he fell asleep young. In the damaged part I see the words . . . . “Him . . Alexandrian.” Then come three lines . . . . much mutilated. But I can read a few words . . . . perhaps “our tears” and “sorrows.” And again: “Tears” . . . . and: “for us his friend mourning.” I think Lucius . . . . was much beloved. In the month of Athyr . . . . Lucius fell asleep . . . .

Translated by George Valassopoulo in E.M. Forster, Pharos and Pharillon, Hogarth Press, 1923 from C. P. Cavafy, Poems 1916-18 as published on the Official Website of the Cavafy Archive, http://www.cavafy.com/

My contribution, however slight, to an understanding of this difficult poem starts with an alternative translation of my own, followed by an exegesis. My translation has no literary merit: it is simply a working translation, keyed to the exegesis that follows it. In order to facilitate the reading of the exegesis, I have numbered, within double-square brackets ([[ ]]), the lines of the translation to match the verses of Cavafy as printed in their original format. As we will see, even the formatting of this poem is part of its meaning. Here, then, is my translation of the poem—and of its formatting:

[[1]] “With difficulty, I am reading … what is on the ancient stone. [[2]] It starts <<Lord Jesus Christ …>> Then there is another word, <<psyche>>, I can make out that much. [[3]] <<In the month Athyr …>> <<… Lucius went to sleep>>. [[4]] In remembrance of his age … <<He lived for such-and-such number of years>> [[5]] —the letters <<Kappa>> and <<Zeta>>, for twenty and seven, show … that he was a youth when he went to sleep. {265|266} [[6]] Right in the middle of the damaged parts, I see <<… himself … the Alexandrian>>. [[7]] Then there are three lines that are … very much dismembered, [[8]] but I can somehow make out some words … like, <<our tears>>, <<pain>>, [[9]] then once again <<tears>>, … and, <<for us his friends, sorrow>>. [[10]] It seems to me that Lucius … would have been very much loved. [[11]] In the month Athyr … Lucius went to sleep.”

What follows is my exegesis, pursued line by line. In this exegesis, double quotation marks enclose wording xxx spoken by the poet who is reading an inscription in his poem: so, “xxx”. Double angular brackets enclose wording pictured as seen by the poet in the act of reading the inscription: so, <<xxx>>. And single quotation marks enclose wording that I use to translate Greek wording that falls outside the poem: so, ‘xxx’.

I start with the first comma, “,” at line [[1]] of my translation of the poem. With the placement of this comma “,” I mean to convey a double meaning inherent in the poem. That is, there are two levels of difficulty in this poem. One, it is difficult to read the fragmentary inscription engraved into stone. And two, it is difficult to read the poem. Not only is the fragmentary inscription difficult to read; even the act of reading the poem is difficult in the first place. For us as readers, it is as difficult to read the fragmentary poem as it is difficult for the poet to read the fragmentary inscription. That is because the reader of the fragmentary inscription, who is the poet of the poem that pictures the inscription, is implying that all poems are fragmentary inscriptions. Even more, the poet is implying that any act of reading anything is difficult: “With difficulty, I am reading.”

At line [[2]], the first three words of the fragmentary inscription seem at first to be easy enough to read. <<Κύ[ρι]ε Ἰησοῦ Χριστέ>> or <<Lord Jesus Christ>>… So far, so good. Maybe the reading will not be so difficult after all. Some letters have broken off, yes, but they can be restored without too much difficulty by the reader poet, who is following here the convention of experts in the heuristic science of epigraphy, making restorations of missing letters xxx by enclosing the letters of their restoration within square brackets: so, [xxx].

But now the real difficulties begin. Now the reader poet is starting to have a difficult time reading the next word at line [[2]], as the inscription becomes more and more fragmented. The reader thinks he can still make out the word <<Ψυ[χ]ήν>>, which translators tend to render as <<Soul>>, but the letter <<χ>>, which is also the first letter of <<Χ>>ριστός or <<Ch>>rist, has broken off, and it can only be restored within square brackets, just as experts in epigraphy restore missing letters within square brackets. Now, on second thought, the {266|267} reader is made more aware that the <<Lord>> of <<Lord Jesus Christ>> as read earlier at line [[2]] is also fragmented. There the missing letters are <<ρι>> in <<Κύ[ρι]ε>>, but those missing letters had been easily restored, also within square brackets, by the reader poet reading as an expert in epigraphy.

There is more to be said about the word <<Ψυ[χ]ήν>> as read by the reader poet at line [[2]]. This word, which is conventionally rendered as <<Soul>>, has been left untranslated in my working translation, where I give simply <<psyche>>. I do so because the translation ‘soul’ for ψυχή works only if the Christian sense of ψυχή is meant. But what if a pre-Christian sense is also meant here? In the Greek of Homeric diction, for example, ψυχή can refer either to the breath of life, when someone is alive, or to a disembodied simulacrum of identity after death, when someone is dead. And, by contrast with ψυχή, the word αὐτός in Homeric diction means not only ‘self’ when someone is alive but also ‘body’ when someone is dead. We see such a contrast between the words ψυχή and αὐτός at the very beginning of the Iliad:

Μῆνιν ἄειδε θεὰ Πηληϊάδεω Ἀχιλῆος οὐλομένην, ἣ μυρί’ Ἀχαιοῖς ἄλγε’ ἔθηκε, πολλὰς δ’ ἰφθίμους ψυχὰς Ἄϊδι προΐαψεν ἡρώων, αὐτοὺς δὲ ἑλώρια τεῦχε κύνεσσιν οἰωνοῖσί τε πᾶσι, Διὸς δ’ ἐτελείετο βουλή

Anger, sing it, goddess! The anger of the son of Peleus, Achilles, the baneful anger that caused countless pains for the Achaeans and hurled to Hades many powerful psychai of heroes, but they themselves [autoi, = their bodies] were made prizes for dogs and for all kinds of birds. And the will of Zeus was being accomplished.

Iliad I 1-5

The Homeric body, as expressed by αὐτός or ‘self’, is still the self even after death, while the Homeric ψυχή after death is no longer the self but merely a disembodied simulacrum of the self. It is the ψυχαί or disembodied simulacra of the self who are being hurled down to Hades, not their bodies, who are the ‘selves’ themselves, the αὐτοί.

So then the question is, does the <<Αὐτόν>> or <<himself>> in the accusative case, as we read this word later on at line [[6]] in the poem of Cavafy, refer to the <<Alexandrian>> at the same line [[6]] in the Christian sense of the ‘self’ as a ψυχή that transcends death—or to the ‘self’ in the Homeric sense of a body left {267|268} behind by the ψυχή after death? At line [[2]] of the poem by Cavafy, the word <<Ψυχήν>> is also in the accusative case, just as the <<Αὐτόν>> or <<himself>> is in the accusative case at line [[6]]. Something is happening to the psyche, is being done to the psyche—whether this psyche is a Christian or a pre-Christian ψυχή.

At line [[3]], the reading continues, but we do not find out what happened to the psyche. All we can find out so far is that whatever did happen happened <<in the month of Athyr>>. That is what the inscription says in the first part of the line. In the second part, which is separated from the first part by a break in the line, the inscription goes on to say that a young man <<went to sleep>>, and we learn that his name was <<Lucius>>>. I translate the break between the first part and the second part of the line not with three dots marking ellipsis but with two sets of three dots marking two separate ellipses. That is because the break comes in the middle of a quotation, and there is no way of knowing whether the missing words are part of one syntactical sequence or of two.

The fragmentary inscription, as imagined at line [[3]], does not say outright that the young man <<went to sleep>>, since the root of the verb that I translate as <<went to sleep>>, <<κοιμ->>, is imagined as a learned epigraphical restoration. In the inscription, the root <<κοιμ->> has broken away and has to be restored within square brackets: <<ὁ Λεύκιο[ς] ἐ[κοιμ]ήθη>>, which can be approximated as <<Lucius [went to sleep]>>. The experience of going to sleep is epigraphically conjectured, without being poetically realized. At line [[5]] and then again at line [[11]], by contrast, the epigraphical conjecture will become a poetic reality. In those two lines, [[5]] and [[11]], the experience of going to sleep is a reality created by the poetry, no longer a conjecture derived from the heuristic science of epigraphy.

At line [[4]], the remembrance of the age of the young man Lucius anticipates a certainty—that the number of years he lived is known to the reader poet—who anticipates what is already known by the writer of the inscription. But the number is missing in this line, where the reader would expect to read it. That is why I translate here at line [[4]] the missing number by using the words <<such-and-such>>. What line [[4]] says is that <<He lived for such-and-such number of years>>. Line [[5]], which comes next, will fill in, adding the numbers that are expected but not yet found at line [[4]]. The <<such-and-such>> number of years at line [[4] can finally be filled in with real numbers at line [[5]], but only because the reader can now make out the <<Kappa>> and the <<Zeta>>, Greek letters reused for the Attic numerals <<20>> and <<7>>, in this case showing <<27>> as the age of the young man Lucius when <<he went to sleep>>.

At line [[5]], my working translation starts with a dash, and the first letter of the line is not capitalized. These details in formatting are meant to show that the previous line [[4]] did not end in a full sentence. The present line [[5]] {268|269}continues where the previous line [[4]] had left off. Meanwhile, the reading in the inscription that had to be restored as <<went to sleep>> at line [[3]] is now the reading in the poem as written by the poet and as read by the reader of the poem at line [[5]].

In the lines that follow, both in the lines of the inscription and in the lines of the poem, the fragmentation is so severe that the reader of the inscription and the reader of the poem can barely make out any readable words. All there is to read in the inscription is what the speaking reader actually sees, as signaled by “βλέπω” or “I see” at line [[6]]. If we take this word “βλέπω” in a sublime Platonic sense, not in the everyday sense of ‘βλέπω’ as ‘I see’ in everyday modern Greek, then what the “I” actually “sees” is an absolute Form, in that Plato’s use of βλέπω focuses on the seeing of Forms in Plato’s Theory of Forms. But the question is, what Form does the reader poet see “in the middle of the damaged parts”? And the answer is, he sees what he reads, which is <<… himself … the one from Alexandria>>. That <<himself>>, conveyed by <<Αὐτό[ν]>> in the accusative case at line [[6]], could be not only Lucius, the young man from Alexandria. It could be Cavafy himself from Alexandria. Or, as I noted some moments ago, the <<himself>> could be the Homeric body, which is temporarily the ‘self’ as distinct from the ψυχή after death. Or again, in a Christian sense, it could be the ‘self’ as permanently reunited with the ψυχή after death.

Or, yet again, in an ancient Egyptian sense that is most appropriate to Alexandria in Egypt, the <<self>> conveyed by the <<Αὐτό[ν]>> in the accusative case at line [[6]] could be the body of Osiris. In Egyptian myth, the god Osiris was the first person to die and then be resurrected after death. He had gone to sleep while sealed within a larnax or ‘chest’—and his body was then dismembered and scattered by Seth, lord of chaos, only to be reassembled and restored to life by the goddess Isis, loving consort of Osiris, in the month of Athyr. The ancient Egyptian myth about the fragmentation of Osiris and about his subsequent restoration by his consort Isis in the month of Athyr has been retold in the learned essay of Plutarch, On Isis and Osiris. The form of the myth as known to Plutarch was doubtless well known to Cavafy. Here is my paraphrase of the Egyptian myth as retold in the Isis and Osiris of Plutarch:

356B. It all happened on the 17th day of the month Athyr. The occasion for the death of Osiris is a sumposion ‘symposium’ attended by the god and 72 symposiasts who conspire to trick Osiris into lying down into a larnax ‘chest’ that fits him perfectly—and him only. Once Osiris takes his place inside the perfect fit of the larnax, the conspirators seal it and cast it into the Nile. With reference to the sacred number 72, we may compare the number of assembled men in the narrative about the genesis of the Septuagint. {269|270}

357A. The larnax containing Osiris floats down the Nile and into the sea, floating onward all the way to the Phoenician seacoast city of Byblos, a place that becomes the namesake for ‘papyrus’ and ‘book’ and, ultimately, ‘bible’ as represented by the Septuagint. Isis ultimately brings back the body from Phoenicia to Egypt.

357D. In Egyptian ritual, Plutarch says, the eidōlon ‘image’ of any dead person, when it is ritually carried around in a kibōtion ‘box’, is not just some ‘reminiscence’ [hupomnēma] of the ‘sacred experience’ (pathos) concerning Osiris. The ritual act of carrying around such an eidōlon is in the specific context of a sumposion ‘symposium’.

357E. The mythical honorand of the ritual symposium, Maneros, is envisioned as the inventor of ‘the craft of the Muses’ [mousikē].

357F-358A. Seth finds the sōma ‘body’ of Osiris in the moonlight and ‘dismembers’ (dieleîn) it.

358A. Then Isis looks for the parts of the sōma in a papyrus boat. The narrative adds an aetiology: how papyrus boats are immune from attacks by crocodiles. It is implied that Isis is reassembling the parts of the body of Osiris in order to reintegrate it for his eschatological resurrection.

358A. There is a different taphos ‘tomb’ of Osiris for each different ‘part’ [meros] of Osiris in different places throughout Egypt because Isis performed a separate taphē ‘entombment’ for each. Another version has it that she made eidōla ‘images’ for each polis in which Osiris is entombed.

The dismemberment of the body of Osiris is matched by the dismemberment of the poem of Cavafy, which is pictured as the reading of a dismembered inscription. The fragmented members of the poem need to be reassembled by the reader poet just as the fragmented members of the body of Osiris need to be reassembled by Isis. Just as the task of reassembling the fragmented body of Osiris is the key to the eschatological restoration and resurrection of Osiris, so also the task of reassembling the fragmented body of the poem is the key to restoring this poem and bringing it back to life.

But the task is difficult for the reader, perhaps so difficult as to be impossible. That is because the missing parts of the body of the poem, which match the missing parts of the inscription that is read by the reader poet, may perhaps never be found, may perhaps never be reunited with the parts that remain. And so the remains of the body of the poem may perhaps never be brought back to life. Unlike the goddess Isis, whose quest is to reassemble and restore all the missing parts of the body of Osiris, the reader of the poem may have to give up any hope, settling for something that falls far short of restoring the whole poem. The reader may have to settle for the fragmentation that remains. {270|271}

But the reader poet persists. He continues to read the inscription, as if to sustain a hope of restoring it and bringing it back to life simply by continuing to read. The reader continues to restore missing fragments within the square brackets that mark what is missing. The remains of the body of the poem call for the restoration of the fragments that are missing.

But now the reading becomes even more fragmentary, even more difficult. In the three lines that follow line [[6]], the fragments that remain are too disjointed to be read in continuity. Here the dismemberment of the body of the poem becomes decisive. It happens immediately after the <<self>> is signaled at line [[6]]. The next line [[7] signals that the reader of the fragmentary inscription is about to read “three lines that are … very much dismembered.” These “three lines” in the inscription will now be reenacted in the fragmentary wording and syntax of the next three lines in the poem, [[8]] and [[9]] and [[10]].

At lines [[8]] and [[9]], the reader reads words that break apart from each other, such as <<our tears>> and <<pain>> at line [[8]] and <<tears>> and <<for us his friends, sorrow>> at line [[9]]. The words at lines [[8]] and [[9]] are separated from each other by the breaks in the inscription. They are no longer connected to each other organically. And the two lines [[8]] and [[9]] are disjointed even as lines, since line [[8]] does not close in a full sentence but is picked up by the disjointed additions that follow. That is why the tears cannot end at [[8]] but need to start all over again at [[9]].

Then, at line [[10]], even the poem breaks apart, breaks up, disintegrates. This time, it is not the wording of the inscription that disintegrates. Rather, the disintegration happens in the wording of the poem itself. The wording at line [[10]] has taken over from the wording of the fragmented inscription. The wording of the poem here at line [[10]] is meant to tell what the fragments cannot tell fully, but now even the wording of the poem becomes fragmented. It is not that the fragmentation is caused at line [[10]] by breaks in the inscription. It is caused by breaks in the structure of the poem, in the body of the poem. The syntax of “It seems to me that Lucius … would have been very much loved” shows that the poetry is becoming fragmented, just as the inscription is already fragmented. The line is not a complete sentence, since something is syntactically missing in the ellipsis (…) that separates the two parts of the line.

Then, at the end, at line [[11]], the fragmented words of the poem as expressed in the previous line [[10]] are replaced by the restored words of the inscription. There are no more square brackets to indicate the missing letters of the inscription. Now “Lucius went to sleep” for sure, “ὁ Λεύκιος ἐκοιμήθη,” and these words are no longer quotations from the inscription, enclosed in double angular brackets and showing the epigraphical restorations, as they had been before at line [[3]], <<ὁ Λεύκιο[ς] ἐ[κοιμ]ήθη>>, which I had translated {271|272} as <<… Lucius went to sleep>>. This time, at line [[11]], the words “ὁ Λεύκιος ἐκοιμήθη” or “Lucius went to sleep” are not the words spoken by the inscription but the words spoken by the reader poet. But these words too, like the words of the inscription, are fragmentary, as we see from the spacing between the first and the second part of the line.

What ultimately reintegrates the disintegrating poem as it draws to a close is the love expressed for Lucius at line [[10]]: “μεγάλως θ’ ἀγαπήθη” – “[he] would have been very much loved.” In the logic of the inscription, this love was experienced by the original readers of the inscription—and by its original composer. But now we see it experienced all over again by the composer of the poem that frames the inscription. This composer becomes the first reader of this poem by virtue of being the last reader of the fragmentary inscription that he sees being framed within his poem. And just as the ultimate reintegration of Osiris after his disintegration is driven by the love of Isis in the ancient Egyptian myth, now the ultimate reintegration of the poem after its own disintegration is being driven by love—a love restored in the act of reading a fragmented inscription. Such is the integrating power, paradoxically, of Cavafy’s poetics of fragmentation."

#cavafy #gregory nagy #ancient egypt #isis and osiris #greco-egyptian culture

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bruhhxiao · 1 month

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Rebirth

(sfw/nsfw)

Seth x fem!Reader

!Warnings: there might me some sexual scenes but not to much, death and rebirth of reader, (Y/N) rarely used !

Requested by: @lillycore

☥•☥•☥•☥•☥•☥•☥•☥•☥•☥•☥•☥•☥•☥•☥•☥

You and Seth were one thing, always thinking about each others but unfortunately your relationship was secret since you were just a mortal.

He would have left his throne exposed or his temple in silence just to spend a few hours with you. He was the god of violence and desert tempests, but your eyes met for the first time and there was only one tempest and it was in his chest, so he got curious.. visiting you at night watching your body wrapped around the linen sheets, or he would dissolve into sand and follow you around while you were busy with duties, or maybe worry Horus for his less anger towards anything. Because he was in love.

He would burst out of the temple after Nephthys begged him to end this story, she knew he started to get affectionate with you. Until a day he couldn’t take it anymore and shows himself to you. His body building little by little with sand while you holed the heavy container of water, his hand caressing your cheek as he leaned closer. You were completely froze, did you do something wrong to make the god Seth get to you?

When he has gotten closer to you doesn’t take time for you to reply, his lips sweetly touching yours making you drop the container and he realized. But from them moment and after he fully fell in love with you.

Your relationship started to grow time to time, he would visit you at night or take you in his chamber, and he would make it embarrassing because he doesn’t lay a hand on you, he just sits on the bed listening to your journey thinking how boring is to be a god.

But he noticed something, he would have thought that it was just a habit or that your lungs were just weak because you were a mortal, he didn’t mind it, he thought it was normal till your coughing got worse. To the point you had to hold your chest for the pain and find small drops of blood in your hand. You hide it from Seth but he notice your body getting weaker as days pass. And after a few days of absence the day came.

He could find you or even his servants couldn’t find you in the village and he finally decided to go to your house. He came at night when everyone where asleep a part of him regretted to see you but the other made him realize that maybe that was the last time he could hug you.

He knelt next to your shaking figure. Your body was boiling and sweating, your lung taking just the half of air. His arms sliding behind your shoulders and pulling you closer to his. He never felt this way: scared, strengthless, sad.

He kissed your temple and picked you up running to Anubis temple, of cousin the other gods were aware of the situation. There he goes begging on his knees with your body cooling in his arms, so pitiful, begging Anubis to talk to Osiris and make him spare your life.

The god ignored his request but Anubis done something that would have changed Seth life without his knowledge. He kept you as wandering soul till the day he betrayed Osiris and made you reborn.

There were you finally visiting Egypt for the first time in your life. All the studies and stories they told you about ancient Egypt made you more curious day by day. Your mother told you that your first word was a god name. And as you grew up you choose to believe in Egypt gods going against your own religion, but why.

There was something that no one couldn’t explain, how you got so affectionate to them from a very young age.

After a long period of stress you went to a trip with your friends to visit Cairo. You were excited. The next day you went visiting all the places and talked with some people and shared differences of culture and religion.

You packed your bag full of cameras and polaroids since you’re going for a tour of the Nile. It was dark and the only option was to find a place to eat and go to an Hotel around the area.

There you were enjoining the view on the restaurant balcony, the air was hot but the soft wind made it fell better. You were walking down the stairs for the silent garden downstairs, you laid on a bench as the smell of nature relaxed your tense muscles as your heart was beating in peace, you closed your eyes smiling like a dork remembering all the funny things that happened during these days and how this beautiful places made you feel like home.

You opened your eyes as you felt a drop falling down your cheek, you were expecting to find the stars covered by clouds and the moon losing her brightness. But you found two shining eyes hiding under a mask. You jolted by the surprise and sat yourself holding your chest meanwhile the figure also stepped back while the fountain limits the escape distance behind him.

You stood up you had plenty space to run away but you didn’t, you weren’t scared.

“Y/N it’s time to go back to the hotel!! Y/N!” you heard your friend scream from the balcony.

“Y/N…” Seth repeated your name under his breath, your eyes glued on the jackal-shaped mask until your friend called for you once again, Seth noticed and he dissolved himself into send disappearing.

He left you speechless, left you like a sculpted statue. You snapped out of your thought and rushed to the others.

Once you arrived at the hotel you locked yourself in, those eyes, just thinking about them made your heart race.

That mask was familiar, you searched on internet and bingo, that mask was related to a god very dear to you, Seth.

“The doctor warned me, there are too many flus and viruses going around here. I am hallucinating.” You said checking your temperature and turning on the Air Conditioning.

“But weren’t they half animals?..” you kept wondering till the day you had to go back home.

You searched on the internet but there were so many theories that the one you knew from childhood sounded crazy to you in that moment. You kept reading, working day after days neglecting your sleep and hunger. It was around midnight when your headache was getting worse and sometimes you would feel dizzy as well, you lay on the bed. “Just five minutes” sounded like a loop in your head till you fall asleep.

You felt a warm sensation o your left cheek but you thought it was from the sickness, but then you hear pressure one you chest, you heard a mumbling voice and it sounded relieved.

Your head moves to your chest and meets a very familiar but strange texture, you slowly open your eyes and by the soft light from the light stand you see a few red strings of red hair falling out the clothing that was attached to his mask.

You kind felt better but your muscles were too weak push him away. Seth raised his head turning towards your face, you couldn’t see much because of the jackal mask but you saw his trembling lips. It felt like Deja vu…

His hand reached the mask taking it off slowly and when your eyes met you saw a very similar expression but this time he wasn’t crying. You smelled sand, you smelled wheat and some hints of flax for a were short second. His name, hi face, his touch and his voice sounded clearer in your head.

“I thought he was going to take you away from me again…” he said before you could even clear your throat.

As you pronounce his name he holds you hand to his chest while his left hand holds your cheek, he sat closer next to you leaning down slightly. You couldn’t tell if it was a dream or not because you started to remember how the warm sand felt under your feet while you walked next to him talking about the mortals life.

Suddenly you got flashbacks of your last hour of life, he was sitting just like in the past and you felt pain on your chest, you were living a nightmare but the difference was that you’re staying alive. He noticed something was wrong, how your breathing got heavier and how your eye contact was so intense.

Who would have thought that the god of violence, destruction and desert tempest had stopped everything with a simple gesture, a simple kiss, a sweet stamp pressed against your lips. You felt something, you felt free, you felt hundreds chains letting you go and run towards freedom like a curse was broken.

You finally spoke, calling his name. Your hand reached his back pulling him in a hug, he leaned closer and both of his arms hugged you. Kiss sweet as figs while he laid on top of you making everything more passionate. Only he knows how much he wanted to do that before, holding you while making love and not seeing you suffering till your last breath.

His hands traveling under your T-shirt and take it off eventually, his right hand didn’t hesitate and he moved to your shorts. His hand slips inside the clothing serving you of some preparation before taking both shorts and panties off. He breaks the kiss for a few seconds waiting for a reaction from you, but you didn’t, you felt like him.

He toke off the cloth around his waist and position himself against your intimacy, he holds you as he slides into you. He was gentle, how his hands caressed your body made you feel like you were made of thin glass. His hips attached to yours, your back arches making you wrap your arm around his neck. The room was death silent, just your heavy breaths. Your reflection reflected back to you by the mirror next to your closet showing you how his buttocks contracted how he thrusted faster.

Somehow he noticed, his shoulders moved back a little as his hand turned your chin to him and he kissed you as you both reached pleasure. His hip’s grinding against yours and his arms held you tight against him, his lips travelled to your next leaving sweet pecks.

“My sweet baby.. I won’t let anyone anything happen to you again” he said kissing your cheek.

“But you’re a god, I’m a mortal” you said caressing his face.

“I can make you a demigod, but it won’t be easy for Ra” he says.

“but you might lose your memory…” he continued showing a bit of concern and worries in his eyes.

“I won’t never let anyone take you away from my memory.” You said cupping both of his checks kissing him.

Sure the Demi god might have suffered for thousand years and he never expected to hold you again in a healthy body like she always been with him.

~•~•~•~•~•~•~•~•~•~•~•~•~•~•~•~•~

Helooo, again sorry for taking so long, I apologize to the one who requested :’)

Hope y’all enjoy<3 btw I have more requests of ennead coming up soon, very soon :p see yaa!!!

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