"Virgin and Child with Saint Anne," Leonardo da Vinci, 1510, WikiArt photo.
“Virgin and Child with Saint Anne,” Leonardo da Vinci, 1510, WikiArt photo.

Part 2: Kirkor Revealed

Guardian of her sister and infant-nephew,
Rheta clad Kirkor’s bronze armor, dagger
And shield. Image of Kirkor, she led them
To refuge of mountain farmers, mistaken
For warrior-husband and wife, charity given
In name of gods and fallen heroes, thus
Their feigned marriage began. That Dordei’s
Newborn child was loving son was mere
Pretense than maternal facts realized.

At edge of sunlit mountain meadows Dordei,
And Rheta made their home, abandoned stone
Hovel, windowless with one door, resembling
Grim tomb more than warm shelter for the night.
Clothes of men Rheta was given, work of men
As well, back-straining seed planting, guiding
Oxen plowing fields. As Kirkor’s dark soul was
Tomb-escaped, his brutish shade moved from
Child to Rheta in quiet predawn light.

In evening Kirkor watched sleeping Dordei,
His chance for life again, but which would
Warrior choose, child, Rheta, or could he
Hover between the two? His attraction for
Dark-eyed Dordei confounded Rheta’s mind
As she strained from labours hard beneath
Beating mid-day sun. Her body now Kirkor’s
Secret lair, he worked Rheta to exhaustion,
Such insults to sisters and to newborn child.

Never sated with strife, Kirkor loved all fighting
Things, bloodstained swords and shields, horses
Hooves and chariot wheels. He cared not for
Dordei’s son other than innocent body by which
He could draw new life. Through Rheta, he could
Admire her olive-skin sister as she bathed and
Slept, delights of flesh he sought more than wine
And feast. Alas! In Rheta’s body, he had no stout
Thrusting shaft, no facility to spout brazen seed.

"Fountain of Love," Jean-Honore Fragonard," 1785, WikiArt photo.
“Fountain of Love,” Jean-Honore Fragonard,” 1785, WikiArt photo.

In maddened rage, Kirkor found child’s body an
Eternal prison, punishment of time, preferring
Rheta’s female form instead. Whilst sisters in
Solitude bathed, Kirkor advances made, clash of
Lips, breasts, abrading flesh, at such embraces
Dordei recoiled. Rheta wept, confessing her dark
Suspicions, Kirkor was so revealed. What recourse
Did they have against cursed entanglements of
Armor and bones, lust reaching beyond the grave?

Poem of dark magic and malignant shade, two women
and an infant seek shelter with mountain farmers.  What
recourse do Dordei and Rheta have in Part 3?

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