Guy Kay - Sailing to Sarantium

The soft-featured man, clad only in a dove-grey tunic with no undergarments in the aftermath of lovemaking, shakes his head. His own sand-coloured hair is thinning a little but not yet grey. "Our beloved Emperor is dead, no heir in sight, Sarantium in mortal peril, and you idly torment a grieving and troubled man."

"May I come and do it some more?" she asks.

She sees him actually hesitate. That surprises and even excites her, in truth: a measure of his need of her, that even on this morning.

But in that instant there comes a sequence of sounds from the street below. A lock turning, a heavy door opening and closing, hurried voices, too loud, and then another, flat with command. The man by the beaded curtain turns quickly and looks out again.

The woman pauses then, weighing many things at this moment in her life. But the real decision, in truth, has been made some time ago. She trusts him, and herself, amazingly. She drapes her body-a kind of defending in the bed linen before saying to his now-intent profile, from which the customary genial expression has entirely gone, What is he wearing?"

He ought not to have been, the man will decide much later, nearly so surprised by the question and what she-very deliberately-revealed with it. Her attraction for him, from the beginning, has resided at least as much in wit and perception as in her beauty and the gifts that drew Saran-tines to the theatre every night she performed, alternately aroused and then driven to shouts of laughter and applause.

He is astonished, though, and surprise is rare for him. He is not a man accustomed to allowing things to disconcert him. This happens to be one matter he has not confided in her, however. And, as it turns out, what the silver-haired man in the still-shaded street has elected to wear as he steps from his home into the view of the world, on a morning fraught with magnitude, matters very much.

Petrus looks back at the woman. Even now he turns away from the street to her, and both of them will remember that, after. He sees that she's covered herself, that she is a little bit afraid, though would surely deny it. Very little escapes him. He is moved, both by the implications of her voicing the question and by the presence of her fear.

"You knew?" he asks quietly.

"You were extremely specific about this apartment," she murmurs, "the requirement of a solarium over this particular street. It was not hard to note which doorways could be watched from here. And the theatre or the Blues" banqueting hall are sources of information on Imperial maneuverings as much as the palaces or the barracks are. What is he wearing, Petrus?"

She has a habit of lowering her voice for emphasis, not raising it: training on the stage. It is very effective. Many things about her are. He looks out again, and down, through the screening curtain at the cluster of men before the one doorway that matters.

"White," he says, and pauses before adding softly, no more than a breath of his own,'bordered, shoulder to knee, with purple."

"Ah," she says. And rises then, bringing the bedsheet to cover herself as she walks towards him, trailing it behind her. She is not tall but moves as if she were. "He wears porphyry. This morning. And so?"

"And so," he echoes. But not as a question.

Reaching through the beads of the curtain with one hand, he makes a brief, utterly unexceptionable sign of the sun disk for the benefit of the men who have been waiting in the street-level apartment across the way for a long time now. He waits only to see the sign returned from a small, iron-barred guard's portal and then he rises to cross towards the small, quite magnificent woman in the space between room and solarium.

"What happens, Petrus?" she asks. "What happens now?"

He is not a physically impressive man, which makes the sense of composed mastery he can display all the more impressive—and unsettling— at times.

"Idle torment was offered," he murmurs. "Was it not? We have some little leisure now."

She hesitates, then smiles, and the bedsheet, briefly a garment, slips to the floor.

There is a very great tumult in the street below not long after. Screaming, desperately wild shouts, running footsteps. They do not leave the bed this time. At one point, in the midst of lovemaking, he reminds her, a whisper at one ear, of a promise made a little more than a year ago. She has remembered it, of course, but has never quite let herself believe it. Today—this morning—taking his lips with her own, his body within hers again, thinking of an Imperial death in the night just past, and another death now, and the uttermost unlikeliness of love, she does. She actually does believe him now.

Nothing has ever frightened her more, and this is a woman who has already lived a life, young as she is, where great fear has been known and appropriate. But what she says to him, a little later, when space to speak returns to them, as movement and the conjoined spasms pass, is: "Remember, Petrus. A private bath, cold and hot water, with steam, or I find myself a spice merchant who knows how to treat a high-born lady."

All he'd ever wanted to do was race horses.

From first awareness of being in the world, it seemed to him, his desire had been to move among horses, watch them canter, walk, run; talk to them, talk about them, and about chariots and drivers all the god's day and into starlight. He wanted to tend them, feed them, help them into life, train them to harness, reins, whip, chariot, noise of crowd. And then—by Jad's grace, and in honour of Heladikos, the god's gallant son who died in his chariot bringing fire to men—stand in his own quadriga behind four of them, leaning far forward over their tails, reins wrapped about his body lest they slip through sweaty fingers, knife in belt for a desperate cutting free if he fell, and urge them on to speeds and a taut grace in the turnings that no other man could even imagine.

But hippodromes and chariots were in the wider world and of the world, and nothing in the Sarantine Empire—not even worship of the god—was clean and uncomplicated. It had even become dangerous here in the City to speak too easily of Heladikos. Some years ago the High Patriarch in what remained of ruined Rhodias and the Eastern Patriarch here in Sarantium had issued a rare joint Pronouncement that Holyjad, the god in the Sun and behind the Sun, had no born children, mortal or otherwise—that all men were, in spirit, the sons of the god. That Jad's essence was above and beyond propagation. That to worship, or even honour the idea of a begotten son was paganism, assailing the pure divinity of the god.

But how else, clerics back in Soriyya and elsewhere had preached in opposition, had the ineffable, blindingly bright Golden Lord of Worlds made himself accessible to lowly mankind? If Jad loved his mortal creation, the sons of his spirit, did it not hold that he would embody a part of himself in mortal guise, to seal the covenant of that love? And that seal was Heladikos, the Charioteer, his child.

Then there were the Antae, who had conquered in Batiara and accepted the worship of Jad-embracing Heladikos with him, but as a demi-god himself, not merely a mortal child. Barbaric paganism, the orthodox clerics now thundered-except those who lived in Batiara under the Antae. And since the High Patriarch himself lived there at their sufferance in Rhodias, the fulminations against Heladikian heresies were muted in the west.

But here in Sarantium issues of faith were endlessly debated everywhere, in dockfront cauponae, whorehouses, cookshops, the Hippodrome, the theatres. You couldn't buy a brooch to pin your cloak without hearing the vendor's views on Heladikos or the proper liturgy for the sunrise invocations.

There were too many in the Empire-and especially in the City itself-who had thought and worshipped in their own way for too long for the Patriarchs and clerics to persecute aggressively, but the signs of a deepening division were everywhere, and unrest was always present.