"You've been crying."
Jaskier laughs as Geralt sits beside him on the pebbles and raises his eyebrows, not looking at him still. "Now you can tell the salt of tears from that of the sea too?"
A light hum. "Always could."
A red ray escapes the setting sun and hits the waves, making the tears in his eyes melt as they mirror it. He sniffles and wipes at the trails his previous crying had pathed on his cheeks, and puts on a brave smile. Not really a smile. A curve of lips, at least, because Geralt is here now, the warmth of his body resembling a lit hearth, and it's a kind of comfort. Always has been.
Except. Geralt is staring at him.
Geralt is waiting.
And it's nothing, it really is. Jaskier likes to convince himself it is trivial, because how else could he mend a broken heart, if not with lies. The truth just seems too far out of reach.
But maybe now he is tired. And maybe in another time he wouldn't talk about it, he would only smile wider but now Geralt's stare is so gentle, and his eyes so safe like the sun on a spring's day.
"I feel like I've been missing, you know," he says at last and looks at him straight, soft, because Geralt really does know. "On love. And it's been too long."
What Geralt doesn't know, perhaps, is the way his heart clenches inside his chest and curls on itself like a child punished in the corner. So he frowns. "You? Jaskier, you can have anyone you want. I've seen you." Then, a smile, almost fond. "You fall in love with everyone."
Everyone, everyone. Anyone. Anyone there is. Anyone who looks like maybe, maybe, they will stay, or he is just too careless at this point that he tries anyway. A heart that never has too much. He knows they won't stay. And he knows the one who will stays for a different reason. So, so close.
He smiles, bittersweet, and lowers his look. "Yes, indeed. Everyone." Everyone, she sent a letter today. Never to meet again, never to be seen. Jaskier shakes his head. "And me? Who of all them has fallen in love with me, Geralt?" As if to answer his question, a seabird cries along. The sea, too, a cruel mistress. His voice quivers. "I feel like a desperate dog chasing love, while running from it all the same."
With the corner of his eye he sees Geralt parting his lips and a fake hope blooms in his chest, fading at once when he holds back, and stays silent. And he can only bask in the imagined possibility of what he intended to say.
The tears are done with him now. Only numbness remains.
Eventually, Geralt speaks. "If it is any helpful, no one has ever been in love with me either." The lightness in his voice sounds exactly like the pained strings mending Jaskier’s heart.
But oh, what a foolish man. Jaskier can't help but smile and turn at him, and for a bit he remembers that lonely as it is, he can't stop loving. "Well, that's just not true. I'm in love with you."
As though he doesn't know, as though it's not as simple as it was uttered, Geralt flinches. Jaskier chuckles and averts his gaze again, a little happier than before. Love, it is simple. It's what he does.
Just not something that happens to him.
"Well, then," he hears after some moments, "that makes us even."
He laughs before he thinks. "It does?" And then.
His head spins at once, eyes wide as they meet Geralt's, almost afraid. No, not afraid. Unbelieving. It's been so long, you see. But Geralt only rolls his eyes, oh so fondly, and before Jaskier manages to splutter any words sweet lips are on his, and a hand holding his nape. And it's not like other times. Not like everyone else. It's certain and terrifying and deep like a promise, like two stray roots finding each other through the earth and keeping their living hearts bound forever. Like what he has been craving for so long he forgot he may one day have it. Like Geralt.
And then, as though to seal it, this promise, Geralt pulls back and looks at him like he always does and Jaskier wonders, wonders how this that he never caught stands right here, catching itself. Geralt smiles, voice soft as a feather. "I'm in love with you, Jaskier." And that's it. Simple as that.
His eyes are burning again and Jaskier can only nod, and smile back. And it's almost funny, almost tender how love happens to be so close, so close he can taste its kiss without even trying, just for once.
Just for once, how love happens to him.
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Do you have favorite actors for the various roles in "Cyrano de Bergerac"? I would love to hear your thoughts!
I do! I actually rambled a lot about this while I was watching the different productions I could get my hands on (I tagged it "Cyrano de Bergerac" and "I talk too much").
My favorite productions are the one with José Ferrer and the one with Benoit Solès, and those actors make the best Cyranos in my opinion. Though that's probably something in part beyond the actors' choice, their dynamic with their respective Roxane and Christian are the best ones, I think, and I find how Cyrano moves around these two particular characters at the core of a good Cyrano characterisation.
José Ferrer's use of his voice, which is arguably Cyrano's true most characteristic feature, is unmatched imo (although McAvoy does a very good job with this too), and he manauvers very well several of the different aspects of the character, such as his playfulness, his shittiness and longing. By the end of the play you believe he is the most beautiful man on Earth. Cyrano, however, is a bit pathetic (not just in a "pathos" way), and I'd say Ferrer gives off an air full of dignity very fitting of many scenes, but that eats almost entirely this aspect of Cyrano; Benoit Solès manages this very well, while also playing well with some of the other ones, such as the playfulness, the longing, the pain and the despair. Both Ferrer and Solès are hilarious, tender, a bit shitty, vulnerable, playful and sad. Albeit neither of them portrays 100% what Cyrano is, I think both come pretty close in slightly different flavours, and by the end of the play one ends up being terribly fond of them.
My favourite Roxane is Clara Huet in the production with Benoit Solès, but Mala Powers in the 1950 film is a close second. I think they portray wonderfully Roxane's spunk, and her mix of honest playful cheerfulness and her haughtiness, her intelligence and wit, and how much like Cyrano she is.
I've not come to love for now any Christian as much as I've loved Ferrer, Solès, Huet and Powers, but again I think the Christians in the 1950 film and the Solès productions are very very good. I love the dynamic they have with their Cyranos, especially the one Christian and Cyrano have in the 1950 film, enhanced positively by the added scenes (they actually work so well in showing their developing as friends, their deep love and care for each other!). I don't want to expand too much on this to avoid spoilers (beyond the already known 'Christian dies' ones I mean), but some things they do with both these Christians are a thing of genius, and both feel vulnerable, kind, ready to fight and truly desperate at times; I like when they do that.
There's an Italian production which has a Cyrano I truly enjoy as well, despite how they dumbify him more than I usually like my Christians. His mix of anger and deep pain when he discovers Cyrano's feelings for Roxane were so well made, and his physical presence makes you identify who Christian is even before the play starts.
The Podalydès production has two different Christians. The one in the version on youtube isn't bad, but @ride-a-dromedary likes Éric Ruf a lot. I actually adore him based on the clips and gifs she's posted of him, but I haven't been able to find the version with him online, so I can't know. But he truly seems one of the best. Based on what little I've seen, I love his intense gazes and subtle gestures.
I'm not entirely sold on any Le Bret, De Guiche or Ragueneau yet.
I think the German musical has a decent Ragueneau in vibes, and the 1990 French film does as well. I found his poem made song for what I think is a Spanish production (I'm not sure if it's a fan creation based on the Spanish production), and while I've not been able to find that production online, the song works well in vibes too I think.
The German musical's Le Bret in vibes is very good. He encompasses well his deep love and worry for Cyrano while also being done with his shit. They truly feel like close friends. The 1950 film kind of combines Gaston de Castel-Jaloux and Le Bret into one character, which sadly changes Le Bret's dynamic with Cyrano a bit, but that's a very good Le Bret as well. The one in Solès' production is pretty good too. He has my favourite delivery of the scene in which Le Bret chastises Cyrano for risking his life sending letters.
De Guiche is complicated. I think productions often make him too pathetic and laughable or too bad, so bad it makes the last act kind of not make sense. The 1950 one, the 1990 French one, the Kevin Kline one and the Solès one are all good, but I am not passionate for any of them either.
And basically that's it!
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