#Italian Hannibal

[chronicroderick]

Post-Fall

Hannibal and Will are together once again, peacefully undisturbed, and in a moment of intimacy and affection, Hannibal reveals how he dealt with their separation after Mizumono.

Fluffy Fluff, Post-Fall, Light Mentions of Canon Violence, Light Mentions of Smut

-----

“I went ahead and searched through all of time. There is only you,” Hannibal said, caressing the loc at the forefront of the other man’s scalp. “There is only you. Some people produce a soft echo from their soul that may sound like you on occasion, or hum a funny little tune that tastes like something you would sing, but there is only one you. He sits here before me.”

There was the cooing of a dove somewhere outside the window. Spring had greeted the Earth as it did every year, washing the room with yellow light, a combination of the blue morning and the foliage in the garden. A breeze, gentle, warm, swept the lace curtain inwards, as if the house was taking a breath at the same time the men were. It carried with it the sweet scent of the hyacinths, cascading on some invisible river.

“There was a man,” He started again, tracing small shapes on Will’s chest, “nothing like you. Not in wit or in tongue. I did not long for him, ache for him, like I do for you. Nevertheless, I had spent so much of my journey on my own, searching for someone who could compare to you, who could fill this hole in my chest that screamed only your name, that when I came upon this blue eyed man, who looked all for naught like some cherub version of my Dogfox...”

Hannibal paused, moved his hand against Will’s cheek, forefinger gently rubbing the stubble, as if he couldn’t get enough of the sensation, and turned the brunet’s face towards his. Will, who had been peacefully listening with his eyes closed, opened them, a pleasant smile on his face.

“Oh how I missed that oceanic gaze.” Hannibal whispered, maroon eyes darting back and forth as he focused on one eye and then the other, his face sharp and intense for a long moment of glinting pupils.

“Are you attempting to memorize my eyes?” Will whispered back, a twinge of humor in his voice.

“I never forgot them. I simply find comfort in confirming it is really you in this bed.” His jaw flexed as he swallowed, “If you’ll permit me to finish my story I will. The last thing I want is to upset you or cause you jealousy.”

Will shook his head, “I’m jealous, but I’m not that jealous. We had parted ways. There was no way to know we would find our way to each other again,” Will absently rubbed the center of the sideways scar that ran across his belly, a phantom pinch manifesting itself as he spoke, “Plus, you already buttered me up to soften the blow, might as well keep going.”

Those dark eyes flickered to where Will’s fingers drifted over his skin. Hannibal made no attempt to grab his hand, but he could use their love language to convey comfort.

“Before I continue it might be helpful to know the man I speak of is dead. Never was there a time I was compelled to take his life for any reason other than to consume him.”

Will nodded once, “Playing with your food. Tsk tsk,” the slightest curve of the corner of his mouth all the permission Hannibal needed to go on.

The breeze blew inwards once again, the change in air pressure causing the closed door to the adjoining bathroom to rattle quietly against the doorframe. This time the wind carried the sound of a moped horn, polite in its short spurts, yet assertive.

“I sought a place I had not been in so long in the limbs of a body that was no more comforting than the empty halls of a hospital,” a pale hand ran over Will’s bicep, into the dip of the inside of his elbow, “though it may have brought physical excitement, and though even now it is with great shame that I retell such a sordid encounter in your presence,” his hand ran down the swell of Will’s forearm, “hiding from you has never been my instinct.”

He turned Will’s hand palm up, and began running his thumb back and forth over the veins on the inside of Will’s wrist, in exactly the spot where Hannibal’s skin was pulled together in a long apricot colored scar.

“I called him by your name, Will.”

Then a deliberate silence, filled with all the sounds of a lovely morning. Agitated tweeting of chickadees in the apple tree. A lawn mower in the deep distance. Even the sunbeams seemed to exist with an elegant hum.

“He grit his teeth then chuckled,” Hannibal continued. “There seemed to be no resistance to the name. I realized what I'd done, almost struck to apologize, but I withheld that apology. Then, the amoeba that he was, told me to say your name, to call for you, and I did. Over and over it was your name through my lips, your skin I wished to have beneath me, the whisper of your hair that I smelled in the back of my mind. I can not live without you, Will. There is nothing except you.”

Will glanced slyly at him when he finished speaking, “That story makes you sound incredibly pathetic. Desperate, even, for a shred of me.”

“Pathetic indeed,” Hannibal agreed with wide, insistent eyes, “you occupy every part of my memory palace. Every minute without you was an eternity. I lament fate for not bringing us back together sooner.”

Warmth streaming in from outside. Everything is hazy. Their hair does not seem to have edges, only obscure clouds of curves, and their limbs do not have a beginning or end when it comes to each other or to the way they form white snakes beneath the sheets. Electricity buzzes, sparked by the honesty from Hannibal, sustained by the acceptance from Will, who leans upwards to press a soft kiss onto his nose.

To anyone else, there may be an assumed hostility in the idea of a lover telling his man of old conquests. Fortunately for us these are no ordinary men. The time they spent apart was hollow for Will, was he not sharp enough to know that Hannibal was a hot commodity? Was there not a worm of wonder, no matter how much Will tried to squash it, as to where Hannibal would be and who he would be with in his time in Europe? Now he had his answer; in his mind Hannibal was always with Will, he was just as hollow, enough so that he fucked someone with Will’s name spilling from his lips. Someone with low enough self-esteem to allow such a thing. Someone weak. Someone Hannibal could never love. Will is charmed, as is evident from the soft look in his eyes. He had had a wife after all, a screaming, purposeful, opposition to all that Hannibal was, in an attempt to pull a cloth over those burning, burgundy irises.

“We both tried to survive separation,” Will said as Hannibal lays back down, “why tell me now?”

Hannibal is quiet for a moment, “I was curious what you would think. I'm always curious what you think.”

Will chuckles, “I like the idea of you using someone else as a surrogate for me. It's kind of… bittersweet.”

“Like when you killed Randall Tier.” The older man suggested with a smile.

“Yes, like when I killed Randall.” Will rolled over, one leg thrown over Hannibal as he laid his head on his shoulder.

Hannibal only hums and pulls Will closer. Another moped horn sounds, farther this time, softer. The wind becomes rhythmic, bursts of flowery aromas fill the lungs of the house, so strong you can almost see them, and a lazy bee tries to figure out what a window pane is. The two men do not stir, though they lay awake, adorned in this Italian spring. Their heads are not empty, never empty, but their scars remain healed. We must retreat now. This intimate moment is theirs and theirs alone. If you do not understand it then I will not judge you, but we must go. Let them enjoy this bliss. They've been through so much.

[flock-of-cassowaries]

[honeygrahambitch]

"Hannibal, have you been reading The Divine Comedy to our 6 weeks old daughter? Again?" Will asks as he finds the book next to the little crib

[quackerofoatz]

Primavera and the Love of Hannibal ♥

( @manilovedinosaurs tagging as they had given me this wonderful idea with their question :D )

Uffizi Gallery and seen Primavera over ten times. He could have sat before any painting while Will was chasing him but chose Primavera.

Botticelli's work Primavera is an allegorical tableau. It depicts a scene from classical mythology, where the three Graces dance together. The central figure is the goddess of love, Venus, who stands on the right, surrounded by a retinue of gods, nymphs, and attendants. In the background, the horizon is filled with a scene representing the season of spring. The painting is considered a masterpiece of early Italian Renaissance art.

Primavera would have been a personal painting and would reflect his thoughts and feelings to me. Especially as Hannibal is a man of high-class taste including Renaissance art and Greek mythology. Primavera is a painting from the Italian Renaissance expressing the feeling of love.

There are many theories and ideas on what this painting could mean or represent with its symbolism with the characters. Some are the allegory of spring, humanism during the Renaissance, showing of Neoplatonism, the kindling of love, and the metamorphosis of time.

 It is generally agreed among historians that these are the main themes but there are many theories about if there is more.  For Hannibal, the main themes I think he sees are the metamorphosis of change, Neoplatonism, and the kindling of love. There are way too many themes in this beautiful painting so I will focus on these themes briefly. 

The metamorphosis of time is shown in this painting by combining the ideas of the past and present. It showed how religion and the subject matter of art have changed from Greek mythology to Christianity showing a clash of these. It’s in this sense that it matches the way Hannibal sees the world. He has a complex relationship with God yet sees the parallels of mythology around him. Like the Renaissance, he seems to reveal and understand more the violent and the gritty parts of Christianity. This is considered an uncommon theme for the time this painting is set in the Renaissance. There are several transformations in this painting with the figures of Venus to Mary and Chloris into Flora. In the same way, Hannibal had changed from Il Monstro to the Chesapeake Ripper, Will having his becoming as well.

( Where does the difference between the past and the future come from? 

Mine? 

Before you and after you.

 Yours? )

This painting by looking at it from a broad perspective is about the depiction of the seasons and the changing characters. The painting illustrates a spring scene as the flowers bloom and the seasons change and shows the passing of time in the changing nature of the characters themselves. The image of Zephyrus, the west wind, represents the coming of spring and fertility, while Chloris, the goddess of flowers, holds the nymph Flora as she blossoms in the springtime. Other figures symbolize the different ages of life, symbolizing the changing faces of time. Venus is pictured illustrating the natural cycle of life, which is birth and fertility, which this goddess represents, in combination with the Virgin Mary. With the change that has emerged in Hannibal’s life, there was always a change of women in his life from his past, present, and future.

She is depicted with the themes associated with the Virgin as being visibly pregnant, dressed modestly, and hand raised like in the annunciation. The Venus/Virgin Mary is represented in every woman he’s encountered. Bedelia is his present, Mischa and Chiyoh are his past and Abigail is his future. It is also paralleled with the women WIll has met in his life, (Alana, Abigail, Margot). Yet with meeting these women, they have begun to combine and blur more into each other with time The women in his life change just like the seasons, yet Will is the only person he wants to stay with.  Hannibal has seen this painting as a young man and now as a man in his late forties. He has changed with time and with the meeting of Will Graham.

(Where does the difference between the past and the future come from? 

Mine? 

Before you and after you. 

Yours?

 It's all starting to blur. 

Mischa.

 Abigail.

 Chiyoh.)

He visited Florence with Will and without Will. WIll in that way represents the change Hannibal saw in himself and the change he wanted to cause in Will. Like Zephyrus, he wants to change Chloris and elevate her in the name of love to Flora. He wanted Will to transform into the person he should be, into the person Hannibal envisions him to be. He comes to Florence in hopes of a fresh start and in a way to forget the kindling of the love he shared with Will. As with the final, Hannibal left heartbroken wanting to have shown Will many things about himself and the world. With every turn and step, Hannibal could never truly be free or forget Will as he did with others.  The figures of Zephyr, the personification of the west wind, and Chloris symbolize the romantic pursuit and connection. Zephyrus's gentle touch as he holds Chloris’ hand depicts a tender and loving moment between them as they begin their journey together are the centers of attention in the painting's narrative of romantic love. Zephyr's romantic pursuit of Chloris, portrayed by his touch, represents the initial connection and attraction between the two. This scene reflects the idea that love often blossoms unexpectedly, resembling the way the wind blows swiftly and suddenly without warning. This romantic chase is a representation of the deep emotional connection between the two, capturing the raw passion and determination in their pursuit of love. 

It reflects the Renaissance emphasis on Humanism, particularly in its portrayal of the kindling of love. During this period, Humanism emphasized the importance of human potential and individual experience. The painting illustrates a moment of blossoming love, with The themes of love and fertility in the painting reflecting the Humanist focus on the individual's emotional and physical well-being and the celebration of natural beauty and desire. Hannibal in a way was always for expressing his nature and that violence was a part of it and believed to be natural. He believed there was nothing wrong with expressing oneself in this manner believing it to be biblical. Many scenes in the Renaissance have gory scenes in the Bible or mythology and love can be attributed during or before the scene. He thinks of violence and love to be parallel to each other. 

(You dropped your forgiveness, Will.

 You forgive how God forgives.

 Would you have done it quickly?

 Or would you have stopped to gloat?

 Does God gloat? 

Often.)

He is the foil to Hannibal, in more ways than one. They are conjoined, yet not similar. The love and understanding they share are as natural as the coming of spring.  They are as conjoined as the themes of violence and love in Renaissance art, neither can exist without the other. It is a tango of both desire and passion with these themes. Violence and love share a strange connection in life and literature. While they appear to be complete opposites, they coexist in an unusual dance of power and desire. This push-pull relationship is a raw expression of human emotion on the most fundamental level. It is in the very being of the relationship between Hannibal Lecter and Will. 

He is the Clrois to his Zephyrus. 

Patrocules to his Achilles. 

Love to his Violence. 

[luna-moth-0]

Me after making the most simple pasta dish that took me less than 20 minutes:

"Hannibal would be so proud of me 🤭"

[neick-hitlz]

Husbands' Italian dinner

‧₊˚ ⋅ 𓐐𓎩 ‧₊˚ ⋅

06/10/24

[image-repertoire-stress-disorder]

watching hannibal for the first time and hannibal shamelessly drawing self insert fanart of him and will as achilles and patroclus was not on my bingo card for s2

[strangeasf]

I'm watching this couple's reaction to the third season of Hannibal and husband just asked what is Anthony Dimmond's motivation??

Like they sat and watched how Italian Will give Hannibal thirsty looks and shamelessly flirt with him since they first met, and still wonder hmm what does this guy wants??🤔

[artthatremindsmeofhannibalnbc]

Caravaggio, Judith Beheading Holofernes, 1598-99 Oil on canvas

[multifandom--mess]

what movies do you guys think hannibal would enjoy?

[deer-daughterx]

//Imavera di sandro Botticelli - la primavera (1477-1478)

[neitherofusideal]

THE SNORT I LET OUT AT THIS SCENE EVERYTIME BECAUSE NOT HIM BATTING HIS EYELASHES AND SHIT 💀😭

[cannibalovers]

when ure so done with the conversation that u gotta say goodbye in Italian (u dont know italian) as u mysteriously back off into the darkness

[honeygrahambitch]

Have a good day and remember Hannibal is half italian

[doegraham]

im thinking about how Hannibal was Il Monstro. The Ripper. always above or below "human." he was either unholy, sinful, or seemed elevated above human folly. then Will comes along, and Will is just painfully human. he knows humanity intimately, all of its sins and greatness, and was incredibly burdened by the knowledge. and suddenly Hannibal's Achilles heel is a man of raw humanity he (and others) so often saw him apart from.

[fedyjkn]

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