Time of Contempt (The Witcher) (19 page)

‘You’re thanking me? Not sincerely, I should imagine. There are precisely eleven women in this hall flashing their tits through transparent blouses. I leave you for just half an
hour, and I catch you talking to two of them –’

Yennefer broke off and looked at the fish-shaped dish.

‘– and eating illusions,’ she finished. ‘Oh, Geralt, Geralt. Come with me. I can introduce you to several people who are worth knowing.’

‘Would one of them be Vilgefortz?’

‘Interesting,’ said the enchantress, squinting, ‘that you should ask about him. Yes, Vilgefortz would like to meet you and talk to you. I warn you that the conversation may
appear banal and frivolous, but don’t let that deceive you. Vilgefortz is an expert, exceptionally intelligent old hand. I don’t know what he wants from you, but stay
vigilant.’

‘I will,’ he sighed. ‘But I can’t imagine your wily old fox is capable of surprising me. Not after what I’ve been through here. I’ve been mauled by spies and
jumped by endangered reptiles and ermines. I’ve been fed non-existent caviar. Nymphomaniacs with no interest in men have questioned my manhood. I’ve been threatened with rape on a
hedgehog, menaced by the prospect of pregnancy, and even of an orgasm, but one without any of the ritual movements. Ugh . . .’

‘Have you been drinking?’

‘A little white wine from Cidaris. But there was probably an aphrodisiac in it . . . Yen? Are we going back to Loxia after the conversation with Vilgefortz?’

‘No, we aren’t.’

‘I beg your pardon?’

‘I want to spend the night in Aretuza. With you. An aphrodisiac, you say? In the wine? How fascinating . . .’

‘Oh heavens, oh heavens,’ sighed Yennefer, stretching and throwing a thigh over the Witcher’s. ‘Oh heavens, oh heavens. I haven’t made love for so
long . . . For so very long.’

Geralt disentangled his fingers from her curls without responding. Firstly, her statement might have been a trap; he was afraid there might be a hook hidden in the bait. Secondly, he
didn’t want to wipe away with words the taste of her delight, which was still on his lips.

‘I haven’t made love to a man who declared his love to me and to whom I declared my love for a very long time,’ she murmured a moment later, when it was clear the Witcher
wasn’t taking the bait. ‘I forgot how wonderful it can be. Oh heavens, oh heavens.’

She stretched even more vigorously, reaching out with her arms and seizing the corners of the pillow in both hands, so that her breasts, now flooded in moonlight, took on curves that made
themselves felt as a shudder in the Witcher’s lower back. He hugged her, and they both lay still, spent, their ardour cooled.

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.