Time of Contempt (19 page)

Outside their chamber cicadas chirped and from far off quiet voices and laughter could also be heard, testimony that the banquet still wasn’t over, in spite of the late hour.

‘Geralt?’

‘Yes, Yen?’

‘Tell me.’

‘About the conversation with Vilgefortz? Now? I’ll tell you in the morning.’

‘Right now, if you please.’

He looked at the writing desk in the corner of the chamber. On it were various books and other objects which the novice who had been temporarily rehoused to accommodate Yennefer in Loxia had been unable to take with her. A plump ragdoll in a ruffled dress, lovingly placed to lean up against the books and crumpled from frequent cuddling, was also there. She didn’t take the doll, he thought, to avoid exposing herself to her friends’ teasing in a Loxia dormitory. She didn’t take her doll with her. And she probably couldn’t fall asleep without it tonight.

The doll stared at him with button eyes. He looked away.

When Yennefer had introduced him to the Chapter, he’d observed the sorcerers’ elite intently. Hen Gedymdeith only gave him a tired glance; it was apparent the banquet had already exhausted the old man. Artaud Terranova bowed with an ambiguous grimace, shifting his eyes from him to Yennefer, but immediately became serious when he realised others were watching him. The blue, elven eyes of Francesca Findabair were as inscrutable and hard as glass. The Daisy of the Valleys smiled when he was introduced to her. That smile, although incredibly beautiful, filled the Witcher with dread. During the introductions Tissaia de Vries, although apparently preoccupied with her sleeves and jewellery, which seemed to required endless straightening, smiled at him considerably less beautifully but with considerably more sincerity. And it was Tissaia who immediately struck up a conversation with him, referring to one of his noble witcher deeds which he, incidentally, could not recall and suspected she had invented.

And then Vilgefortz joined the conversation. Vilgefortz of Roggeveen, a sorcerer of imposing stature, with noble and beautiful features and a sincere and honest voice. Geralt knew he could expect anything from people who looked like that.

They spoke briefly, sensing plenty of anxious eyes on them. Yennefer looked at the Witcher. A young sorceress with friendly eyes, constantly trying to hide the bottom of her face behind a fan, was looking at Vilgefortz. They exchanged several conventional comments, after which Vilgefortz suggested they continue their conversation in private. It seemed to Geralt that Tissaia de Vries was the only person surprised by this proposition.

‘Have you fallen asleep, Geralt?’ muttered Yennefer, shaking him out of his musings. ‘You’re meant to be telling me about your conversation.’

The doll looked at him from the writing desk with its button gaze. He looked away again.

‘As soon as we entered the cloister,’ he began a moment later, ‘that girl with the strange face . . .’

‘Lydia van Bredevoort. Vilgefortz’s assistant.’

‘Yes, that’s right, you said. Just a meaningless person. So, when we entered the cloister that meaningless person stopped, looked at him and asked him something. Telepathically.’

‘It wasn’t an indiscretion. Lydia can’t use her voice.’

‘I guessed as much. Because Vilgefortz didn’t answer her using telepathy. He replied . . .’

‘Yes, Lydia, that’s a good idea,’ answered Vilgefortz. ‘Let’s take a walk through the Gallery of Glory. You’ll have the opportunity to take a look at the history of magic, Geralt of Rivia. I have no doubt you’re familiar with it, but now you’ll have the chance to become acquainted with its visual history, too. If you’re a connoisseur of painting, please don’t be horrified. Most of them are the work of the enthusiastic students of Aretuza. Lydia, be so good as to lighten the gloom around here a little.’

Lydia van Bredevoort passed her hand through the air, and it immediately became lighter in the corridor.

The first painting showed an ancient sailing craft being hurled around by whirlpools among reefs protruding from the surf. A man in white robes stood on the prow of the ship, his head encircled by a bright halo.

‘The first landing,’ guessed the Witcher.

‘Indeed,’ Vilgefortz confirmed. ‘The Ship of Outcasts. Jan Bekker is bending the Power to his will. He calms the waves, proving that magic need not be evil or destructive but may save lives.’

‘Did that event really take place?’

‘I doubt it,’ smiled the sorcerer. ‘It’s more likely that, during the first journey and landing, Bekker and the others were hanging over the side, vomiting bile. After the landing which, by a strange twist of fate, was successful, he was able to overcome the Power. Let’s go on. Here we see Jan Bekker once more, forcing water to gush from the rock, in the very spot where the first settlement was established. And here, if you please, Bekker – surrounded by settlers – drives away the clouds and holds back a tempest to save the harvest.’

‘And here? What event is shown in this painting?’

‘The identification of the Chosen Ones. Bekker and Giambattista put the children of the settlers through a magical test as they arrived, in order to reveal Sources. The selected children were taken from their parents and brought to Mirthe, the first seat of the mages. Right now, you are looking at a historical moment. As you can see, all the children are terrified, and only that determined brown-haired girl is holding a hand out to Giambattista with a completely trusting smile. She became the famous Agnes of Glanville, the first woman to become an enchantress. The woman behind her is her mother. You can see sadness in her expression.’

‘And this crowd scene?’

‘The Novigradian Union. Bekker, Giambattista and Monck are concluding a pact with rulers, priests and druids. A pact of nonaggression codifying the separation of magic and state. Dreadful kitsch. Let’s go on. Here we see Geoffrey Monck setting off up the Pontar, which at that time was still called Aevon y Pont ar Gwennelen, the River of Alabaster Bridges. Monck sailed to Loc Muinne, to persuade the elves there to adopt a group of Source children, who were to be taught by elven sorcerers. It may interest you to know that among those children was a little boy, who came to be known as Gerhart of Aelle. You met him a moment ago. That little boy is now called Hen Gedymdeith.’

‘This,’ said the Witcher, looking at the sorcerer, ‘is just calling out for a battle scene. After all, several years after Monck’s successful expedition, the forces of Marshal Raupenneck of Tretogor carried out a pogrom in Loc Muinne and Est Haemlet, killing all of the elves, regardless of age or sex. And a war began, ending with the massacre at Shaerrawedd.’

‘And your impressive knowledge of history,’ Vilgefortz smiled once again, ‘will remind you, however, that no sorcerer of any note took part in those wars. For which reason the subject did not inspire any of the novices to paint a work to commemorate it. Let’s move on.’

‘Very well. What event is shown in this canvas? Oh, I know. It’s Raffard the White reconciling the feuding kings and putting an end to the Six Years’ War. And here we have Raffard refusing to accept the crown. A beautiful, noble gesture.’

‘Do you think so?’ said Vilgefortz, tilting his head. ‘Well, in any case, it was a gesture with the weight of precedent behind it. Raffard did, however, accept the position of first adviser so became the de facto ruler, since the king was an imbecile.’

‘The Gallery of Glory . . .’ muttered the Witcher, walking up to the next painting. ‘And what do we have here?’

‘The historical moment when the first Chapter was installed and the Law enacted. From the left you see seated: Herbert Stammelford, Aurora Henson, Ivo Richert, Agnes of Glanville, Geoffrey Monck and Radmir of Tor Carnedd. This, if I’m to be honest, also cries out for a battle scene to complete it. For soon after, those who refused to acknowledge the Chapter and submit to the Law were wiped out in a brutal war. Raffard the White died, among others. But historical treatises remain silent about it, so as not to spoil a beautiful legend.’

‘And here . . . Hmm . . . Yes, a novice probably painted this. And a very young one, at that . . .’

‘Undoubtedly. It’s an allegory, after all. I’d call it an allegory of triumphant womanliness. Air, water, earth and fire. And four famous enchantresses, all masters at wielding the forces of those elements. Agnes of Glanville, Aurora Henson, Nina Fioravanti and Klara Larissa de Winter. Look at the next – and more effective – painting. Here you also see Klara Larissa opening the academy for girls here, in the building where we now stand. And those are portraits of renowned Aretuza graduates. This shows a long history of triumphant womanhood and the growing feminisation of the profession: Yanna of Murivel, Nora Wagner, her sister Augusta, Jada Glevissig, Leticia Charbonneau, Ilona Laux-Antille, Carla Demetia Crest, Yiolenta Suarez, April Wenhaver . . . And the only surviving one: Tissaia de Vries . . .’

They continued. The silk of Lydia van Bredevoort’s dress whispered softly, and the whisper contained a menacing secret.

‘And that?’ Geralt stopped. ‘What is this dreadful scene?’

‘The martyrdom of the sorcerer Radmir, flayed alive during the Falka rebellion. In the background burns the town of Mirthe, which Falka had ordered to be consumed by flame.’

‘For which act Falka herself was soon consumed by flame. At the stake.’

‘That is a widely known fact; Temerian and Redanian children still play at burning Falka on Saovine’s Eve. Let’s go back, so that you may see the other side of the gallery . . . Ah, I see you have a question.’

‘I’m wondering about the chronology. I know, naturally, how elixirs of youth work, but the simultaneous appearance of living people and long dead ones in these paintings . . .’

‘You mean: you are astonished that you met Hen Gedymdeith and Tissaia de Vries at the banquet, but Bekker, Agnes of Glanville, Stammelford or Nina Fioravanti are not with us?’

‘No. I know you’re not immortal—’

‘What is death?’ interrupted Vilgefortz. ‘To you?’

‘The end.’

‘The end of what?’

‘Existence. It seems to me we’ve moved from art history to philosophy.’

‘Nature doesn’t know the concept of philosophy, Geralt of Rivia. The pathetic – ridiculous – attempts which people undertake to try to understand nature are typically termed philosophy. The results of such attempts are also considered philosophy. It’s as though a cabbage tried to investigate the causes and effects of its existence, called the result of these reflections “an eternal and mysterious conflict between head and root”, and considered rain an unfathomable causative power. We, sorcerers, don’t waste time puzzling out what nature is. We know what it is; for we are nature ourselves. Do you understand?’

‘I’m trying to, but please talk more slowly. Don’t forget you’re talking to a cabbage.’

‘Have you ever wondered what happened when Bekker forced the water to gush from the rock? It’s generally put very simply: Bekker tamed the Power. He forced the element to be obedient. He subdued nature; controlled it . . . What is your relationship to women, Geralt?’

‘I beg your pardon?’

Lydia van Bredevoort turned with a whisper of silk and froze in anticipation. Geralt saw she was holding a wrapped-up painting under one arm. He had no idea where the picture had come from, since Lydia had been empty-handed a moment before. The amulet around his neck vibrated faintly.

Vilgefortz smiled.

‘I enquired,’ he repeated, ‘as to your views concerning the relationship between men and women.’

‘Regarding what respect of that relationship?’

‘Can obedience, in your opinion, be forced upon women? I’m talking about real women, of course, not just the female of the species. Can a real woman be controlled? Overcome? Made to surrender to your will? And if so, how? Answer me.’

The ragdoll didn’t take her eyes off them. Yennefer looked away.

‘Did you answer?’

‘Yes, I did.’

With her left hand, the enchantress squeezed his elbow, and with her right squeezed his fingers, which were touching her breasts.

‘How?’

‘You surely know.’

‘You’ve understood,’ said Vilgefortz a moment later. ‘And you’ve probably always understood. And thus you will also understand that if the concept of will and submission, of commands and obedience, and of male ruler and servant woman will perish and disappear, then unity will be achieved. A community merging into a single entity will be achieved. All will be as one. And if something like that were to occur, death would lose its meaning. Jan Bekker, who was water gushing from the rock, is present there in the banqueting hall. To say that Bekker died is like saying that water has died. Look at that painting.’

Geralt looked.

‘It’s unusually beautiful,’ he said after a moment. At once he felt a slight vibration of his witcher’s medallion.

‘Lydia,’ smiled Vilgefortz, ‘thanks for your acknowledgement. And I congratulate you on your taste. The landscape depicts the meeting between Cregennan of Lod and Lara Dorren aep Shiadhal, the legendary lovers, torn apart and destroyed by the time of contempt. He was a sorcerer and she was an elf, one of the elite of Aen Saevherne, or the Knowing Ones. What might have been the beginning of reconciliation was transformed into tragedy.’

‘I know that story. I always treated it as a fairytale. What really happened?’

‘That,’ said the sorcerer, becoming serious, ‘nobody knows. I mean almost nobody. Lydia, hang up your picture over here. Geralt, have a look at another of Lydia’s impressive works. It’s a portrait of Lara Dorren aep Shiadhal taken from an ancient miniature.’

‘Congratulations,’ said the Witcher, bowing to Lydia van Bredevoort, finding it hard to keep his voice from quavering. ‘It’s a true masterpiece.’

His tone didn’t quaver, even though Lara Dorren aep Shiadhal looked at him from the portrait with Ciri’s eyes.

‘What happened after that?’

‘Lydia remained in the gallery. The two of us went out onto the terrace. And he enjoyed himself at my expense.’

‘This way, Geralt, if you would. Step only on the dark slabs, please.’

The sea roared below, and the Isle of Thanedd stood in the white foam of the breakers. The waves broke against the walls of Loxia, directly beneath them. Loxia sparkled with lights, as did Aretuza. The stone block of Garstang towering above them was black and lifeless, however.