Andrzej Sapkowski - Blood of Elves

'They always say that, and it's always a lie,' the bard interrupted. 'Leave us alone, Lantieri, and see to it that we're not disturbed. I'm listening, sir.'

The man scrutinised him. He had dark, damp, almost tearful eyes, a pointed nose and ugly, narrow lips.

'I'll come to the point without wasting your time,' he declared, waiting for the door to close behind Mama. 'Your ballads interest me, master. To be more specific, certain characters of which you sang interest me. I am concerned with the true fate of your ballad's heroes. If I am not mistaken, the true destinies of real people inspired the beautiful work I heard beneath the oak tree? I have in mind… Little Cirilla of Cintra. Queen Calanthe's granddaughter.'

Dandilion gazed at the ceiling, drumming his fingers on the table.

'Honoured sir,' he said dryly, 'you are interested in strange matters. You ask strange questions. Something tells me you are not the person I took you to be.'

'And who did you take me to be, if I may ask?'

'I'm not sure you may. It depends if you are about to convey greetings to me from any mutual friends. You should have done so initially, but somehow you have forgotten.'

'1 did not forget at all.' The man reached into the breast pocket of his sepia-coloured velvet tunic and pulled out a money-bag somewhat larger than the one he had handed the procuress but just as well-filled, which clinked as it touched the table. 'We simply have no mutual friends, Dandilion. But might this purse not suffice to mitigate the lack?'

'And what do you intend to buy with this meagre purse?' The troubadour pouted. 'Mama Lantieri's entire brothel and all the land surrounding it?'

'Let us say that I intend to support the arts. And an artist. In order to chat with the artist about his work.'

'You love art so much, do you, dear sir? Is it so vital for you to talk to an artist that you press money on him before you've even introduced yourself and, in doing so, break the most elementary rules of courtesy?'

'At the beginning of our conversation' – the stranger's dark eyes narrowed imperceptibly – 'my anonymity did not bother you.'

'And now it is starting to.'

'I am not ashamed of my name,' said the man, a faint smile appearing on his narrow lips. 'I am called Rience. You do not know me, Master Dandilion, and that is no surprise. You are too famous and well known to know all of your admirers. Yet everyone who admires your talents feels he knows you, knows you so well that a certain degree of familiarity is permissible. This applies to me, too. I know it is a misconception, so please graciously forgive me.'

'I graciously forgive you.'

'Then I can count on you agreeing to answer a few questions-'

'No! No you cannot,' interrupted the poet, putting on airs. 'Now, if you will graciously forgive me, I am not willing to discuss the subjects of my work, its inspiration or its characters, fictitious or otherwise. To do so would deprive poetry of its poetic veneer and lead to triteness.'

'Is that so?'

' It certainly is. For example, if, having sung the ballad about the miller's merry wife, I were to announce it's really about Zvirka, Miller Loach's wife, and I included an announcement that Zvirka can most easily be bedded every Thursday because on Thursdays the miller goes to market, it would no longer be poetry. It would be cither rhyming couplets, or foul slander.'

'I understand, I understand,' Rience said quickly. 'But perhaps that is a bad example. I am not, after all, interested in anyone's peccadilloes or sins. You will not slander anyone by answering my questions. All I need is one small piece of information: what really happened to Cirilla, the Queen of Cintra's granddaughter? Many people claim she was killed during the siege of the town; there are even eye-witnesses to support the claim. From your ballad, however, it would appear that the child survived. I am truly interested to know if this is your imagination at work, or the truth? True or false?'

'I'm extremely pleased you're so interested.' Dandilion smiled broadly. 'You may laugh, Master whatever-your-name-is, but that was precisely what I intended when I composed the ballad. I wished to excite my listeners and arouse their curiosity.'

'True or false?' repeated Rience coldly.

'If I were to give that away I would destroy the impact of my work. Goodbye, my friend. You have used up all the time I can spare you. And two of my many inspirations are waiting out there, wondering which of them I will choose.'

Rience remained silent for a long while, making no move to leave. He stared at the poet with his unfriendly, moist eyes, and the poet felt a growing unease. A merry din came from the bawdy-house's main room, punctuated from time to time by high-pitched feminine giggles. Dandilion turned his head away, pretending to show derisive haughtiness but, in fact, he was judging the distance to the corner of the room and the tapestry showing a nymph sprinkling her breasts with water poured from a jug.

'Dandilion,' Rience finally spoke, slipping his hand back into the pocket of his sepia-coloured tunic, 'answer my questions. Please. I have to know the answer. It's incredibly important to me. To you, too, believe me, because if you answer of your own free will then-'

'Then what?'

A hideous grimace crept over Rience's narrow lips.

'Then I won't have to force you to speak.'

'Now listen, you scoundrel.' Dandilion stood up and pretended to pull a threatening face. 'I loathe violence and force, but I'm going to call Mama Lantieri in a minute and she will call a certain Gruzila who fulfils the honourable and responsible role of bouncer in this establishment. He is a true artist in his field. He'll kick your arse so hard you'll soar over the town roofs with such magnificence that the few people passing by at this hour will take you for a Pegasus.'

Rience made an abrupt gesture and something glistened in his hand.

'Are you sure,' he asked, 'you'll have time to call her?'

Dandilion had no intention of checking if he would have time. Nor did he intend to wait. Before the stiletto had locked in Rience's hand Dandilion had taken a long leap to the corner of the room, dived under the nymph tapestry, kicked open a secret door and rushed headlong down the winding stairs, nimbly steering himself with the aid of the well-worn banisters. Rience darted after him, but the poet was sure of himself – he knew the secret passage like the back of his hand, having used it numerous times to flee creditors, jealous husbands and furious rivals from whom he had, from time to time, stolen rhymes and tunes. He knew that after the third turning he would be able to grope for a revolving door, behind which there was a ladder leading down to the cellar. He was sure that his persecutor would be unable to stop in time, would run on and step on a trapdoor through which he would fall and land in the pigsty. He was equally sure that – bruised, covered in shit and mauled by the pigs – his persecutor would give up the chase.

Dandilion was mistaken, as was usually the case whenever he was too confident. Something flashed a sudden blue behind his back and the poet felt his limbs grow numb, lifeless and stiff. He couldn't slow down for the revolving door, his legs wouldn't obey him. He yelled and rolled down the stairs, bumping against the walls of the little corridor. The trapdoor opened beneath him with a dry crack and the troubadour tumbled down into the darkness and stench. Before thumping his head on the dirt floor and losing consciousness, he remembered Mama Lantieri saying something about the pigsty being repaired.

The pain in his constricted wrists and shoulders, cruelly twisted in their joints, brought him back to his senses. He wanted to scream but couldn't; it felt as though his mouth had been stuck up with clay. He was kneeling on the dirt floor with a creaking rope hauling him up by his wrists. He tried to stand, wanting to ease the pressure on his shoulders, but his legs, too, were tied together. Choking and suffocating he somehow struggled to his feet, helped considerably by the rope which tugged mercilessly at him.