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A Moment’s Silence
Crescens tests Heinrix’s oral fixation.
Heinrix has his head down between her thighs and he’s been sucking constellations of love bites into her skin like he’d be happy to do it for an eternity. He seems lost in the act, tension released in a way she rarely gets to see. His uniform jacket is draped over a chair in the corner, his shirt sleeves are rolled up and his collar open. He’s laying on his stomach on her bed, his hands resting on the outsides of her thighs.
He came in an hour ago to discuss something suspicious he’d noticed in one of the lesser noble houses on Janus, but she had been changing into an afternoon dress and he’d lost his train of thought after the initial brief.
It’s easy to fall into bed with him, warm and comfortable. He never seems more at ease, than when he’s kissing her or going down on her or sucking at her nipples.
It’s something she thinks about often ever since she noticed it. How his tirelessly working mind seems, however briefly, to shut off when his mouth is otherwise engaged.
She leans up slowly from the pillow, bracing herself on one arm. He blinks at her, pulling his lips back from her skin.
Without a word she reaches out with her free hand pressing her middle and index fingers against his lips. For a moment he’s perplexed, she can see it in his gaze. He opens his mouth to say something and she takes the opportunity to push her fingers between his lips.
He closes his mouth around them almost on reflex. She lets the pads of her fingertips rest against his tongue. They’re still, looking at each other. Their breaths rise and fall in sync for a moment.
He swipes his tongue back and forth over her fingers, testing before he starts to suck on them. He exhales heavily through his nose.
She tilts her head and lets him, feeling the wet and pleasant heat of his mouth and watching as his eyes drift closed. She pushes her fingers further in, down to the second knuckle and he sighs again, running his tongue along the seam between the digits. He pillows his head against her thigh as he sucks at them.
He will be embarrassed about this later, she thinks. He often is when they do anything outside the common bounds of intimacy. But right now his shoulders are dropped, his jaw is untensed. He breathes in long, slow pulls. He is quiet and relaxed in a way she wishes she can bottle and keep forever.
Deux Jeunes Filles à l'étoile de mer (Two Young Girls with a Starfish) (1899) by Paul Émile Chabas (French, 1869 – 1937), signed ‘Paul Chabas’ (bottom right), oil on canvas, 60.5 x 80 cm (23 1/3 x 3 1/2 in), Private Collection
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It's a little embarrassing how immediately I locked on to this book as soon as it became apparent that Percy was desperately in love with his wife.
Sir Percy also made no attempt to detain his wife. With that perfect, somewhat affected gallantry which characterised his every movement, he opened the coffee-room door for her, and made her the most approved and elaborate bow, which the fashion of the time dictated, as she sailed out of the room without bestowing on him more than a passing, slightly contemptuous glance. Only Sir Andrew Ffoulkes [...] noted the curious look of intense longing, of deep and hopeless passion, with which the inane and flippant Sir Percy followed the retreating figure of his brilliant wife.
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One of the things I find fascinating between all the versions of The Scarlet Pimpernel that I know about is that each of them has a different explanation for why Marguerite betrays the St. Cyr's to Chauvelin and the Republic.
The book has her doing it because the Marquis St. Cyr had her brother beaten nearly to death for being in love with their daughter. The 1937 movie swaps it and makes it so that the Marquis lied and had her thrown into a women's prison as a prostitute because their son loved her. The musical makes it so that she was blackmailed into it by Chauvelin under threat of telling Percy about her past because she actually *was* a prostitute.
It's fascinating because all of these changes tell you something about what the time period in question would find a sympathetic or acceptable cause for her to act the way she did.
Obviously I find it much more compelling to think about her willingly choosing to speak against the St. Cyr's out of revenge or a sense of justice, even if she later regrets the unintentional end result of the death of the whole family.
I actually have a few nitpicks about the musical (which I loved, to be clear). It works very hard to make Marguerite more sympathetic in a way that I personally think makes her less compelling than if she'd made all those mistakes herself.
It's fascinating to think that she was 1. part of the revolution and 2. in a relationship with Chauvelin. But the musical refuses to get into the details of either. It's very quick to reassure you that she never loved Chauvelin and it was all terrible and she's not even a little bit moved by Chauvelin's entreaties.
And like, I understand that an audience may demand that her loyalty be perfect and absolute even under the circumstances she's in (Percy's sudden coldness and apparent contempt for her), and she has a lot of reasons to be furious with Chauvelin (his murder and manipulation and bloodthirst) but like, we're not going to explore even a little the implication of her direct involvement with the revolution and a revolutionary before her marriage to the wealthiest aristocrat in England??? Not a single second to consider the cognitive dissonance that must have required on her part?
You're telling me that all of Chauvelin's songs are that hot and I'm supposed to believe they didn't have any chemistry before???
One of the things I find fascinating between all the versions of The Scarlet Pimpernel that I know about is that each of them has a different explanation for why Marguerite betrays the St. Cyr's to Chauvelin and the Republic.
The book has her doing it because the Marquis St. Cyr had her brother beaten nearly to death for being in love with their daughter. The 1937 movie swaps it and makes it so that the Marquis lied and had her thrown into a women's prison as a prostitute because their son loved her. The musical makes it so that she was blackmailed into it by Chauvelin under threat of telling Percy about her past because she actually *was* a prostitute.
It's fascinating because all of these changes tell you something about what the time period in question would find a sympathetic or acceptable cause for her to act the way she did.
Obviously I find it much more compelling to think about her willingly choosing to speak against the St. Cyr's out of revenge or a sense of justice, even if she later regrets the unintentional end result of the death of the whole family.
The Sleeping Beauty (also known as The Rose Bower or The Sleeping Princess) (1871) by Sir Edward Burne-Jones (English, 1833 – 1898), watercolor, bodycolour (gouache), and gold paint on vellum, 25.9 × 36 cm (approximately 10.2 x 14.2 in) Manchester Art Gallery
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