back to life.
When at last I went downstairs again, it was with her to give me courage.
Barna, having been told I'd had a fever, treated me kindly, and told me I mustn't recite again till I was perfectly well. So though my days were again mostly spent with him, often in the winter evenings I'd go to Diero's peaceful rooms and sit and talk with her alone. I looked forward to those hours and cherished them afterwards, thinking of her greeting and her smile and her soft movements, which were professional and mannered like those of an actor or dancer, and yet which expressed her true nature. I knew she welcomed my visits and our quiet talk. Diero and I loved each other, though she never held me in her arms but that once, by the great hearth, when she let me cry.
People joked about us, a little, carefully, looking at Barna to be sure he didn't take offense. He seemed if anything amused by the idea that his old mistress was consoling his young scholar. He made no jokes or allusions about it, an unusual delicacy in him; but then he always treated Diero with respect. She herself did not care what people thought or said.
As for me, if Barna thought she and I were lovers, it kept him from suspecting me of "poaching" his girls. Though they were so pretty and apparently so available as to drive a boy my age crazy, their availability was a sham, a trap, as men of the household had warned me early on. If he gives you one of the girls, they said, take her, but only for the night, and don't try sneaking off with any of his favorites! And as they knew me better and came to trust my discretion, they told me dire stories about Barna's jealousy. Finding a man with a girl he himself wanted, he had snapped the man's wrists like sticks, they said, and driven him out into the forest to starve.
I didn't entirely believe such tales. The men themselves might be a bit jealous of me, after all, and not sorry to scare me off the girls. Young as I was, some of the girls were even younger; and some of them were cautiously flirtatious, praising and petting me as their "Scholar-dí," begging me prettily to make my recital a love story "and make us cry, Gav, break our hearts!" For after a while I became their entertainer again. The words had come back to me.
During the first time of agony, when I regained all that I had cut out of my memory, all I could remember was Sallo, and Sallo's death, and all my life in Arcamand and Etra. For many days afterwards, I believed that that was all I ever would remember. I didn't want to remember anything I'd learned there, in the house of the murderers. All my treasure of history and verse and stories was stained with their crime. I didn't want to know what they'd taught me. I wanted nothing they had given me, nothing that belonged to the masters. I tried to push it all away from me, forget it, as I had forgotten them.
But that was foolish, and I knew it in my heart. Gradually the healing took place, seeming as it always does that it wasn't taking place. Little by little I let all I'd learned return to me, and it was not stained, not spoiled. It didn't belong to the masters, it wasn't theirs: it was mine. It was all I ever really had owned. So I stopped the effort to forget, and all my book learning came back to me with the clarity and completeness some people find uncanny, though the gift isn't that rare. Once again I could go into the schoolroom or the library of Arcamand in my mind, and open a book, and read it. Standing before the people in the high wooden hall, I could open my mouth and speak the first lines of a poem or a tale, and the rest would follow of itself, the poetry saying and singing itself through me, the story renewing itself in itself as a river runs.
Most of the people there believed that I was improvising, that I was the maker, the poet, incomprehensibly inspired to spout hexameters forever. There wasn't much point in arguing with them about it. People generally know better than the workman how the work is done, and tell him;