He began to play a real song. A simple melody at first, soft, subdued. A song for a silent night when the entire world changed.
One of the soldiers cleared his throat. “So what is the most valuable talent a man can have?” He sounded genuinely curious.
“I haven’t the faintest idea,” Wit said. “Fortunately, that wasn’t the question. I didn’t ask what was most valuable, I asked what men value most. The difference between those questions is both tiny and as vast as the world itself all at once.”
He kept plucking his song. One did not strum an enthir. It just wasn’t done, at least not by people with any sense of propriety.
“In this,” Wit said, “as in all things, our actions give us away. If an artist creates a work of powerful beauty – using new and innovative techniques – she will be lauded as a master, and will launch a new movement in aesthetics. Yet what if another, working independently with that exact level of skill, were to make the same accomplishments the very next month? Would she find similar acclaim? No. She’d be called derivative.
“Intellect. If a great thinker develops a new theory of mathematics, science, or philosophy, we will name him wise. We will sit at his feet and learn, and will record his name in history for thousands upon thousands to revere. But what if another man determines the same theory on his own, then delays in publishing his results by a mere week? Will he be remembered for his greatness? No. He will be forgotten.
“Invention. A woman builds a new design of great worth – some fabrial or feat of engineering. She will be known as an innovator. But if someone with the same talent creates the same design a year later – not realizing it has already been crafted – will she be rewarded for her creativity? No. She’ll be called a copier and a forger.”
He plucked at his strings, letting the melody continue, twisting, haunting, yet with a faint edge of mockery. “And so,” he said, “in the end, what must we determine? Is it the intellect of a genius that we revere? If it were their artistry, the beauty of their mind, would we not laud it regardless of whether we’d seen their product before?
“But we don’t. Given two works of artistic majesty, otherwise weighted equally, we will give greater acclaim to the one who did it first. It doesn’t matter what you create. It matters what you create before anyone else.
“So it’s not the beauty itself we admire. It’s not the force of intellect. It’s not invention, aesthetics, or capacity itself. The greatest talent that we think a man can have?” He plucked one final string. “Seems to me that it must be nothing more than novelty.”
The guards looked confused.
The gates shook. Something pounded on them from outside.
“The storm has come,” Wit said, standing up.
The guards scrambled for spears left leaning beside the wall. They had a guard house, but it was empty; they preferred the night air.
The gate shook again, as if something enormous were outside. The guards yelled, calling to the men atop the wall. All was chaos and confusion as the gate thumped yet a third time, powerful, shaking, vibrating as if hit with a boulder.
And then a bright, silvery blade rammed between the massive doors, slicing upward, cutting the bar that held them closed. A Shardblade.
The gates swung open. The guards scrambled back. Wit waited on his boxes, enthir held in one hand, pack over his shoulder.
Outside the gates, standing on the dark stone roadway, was a solitary man with dark skin. His hair was long and matted, his clothing nothing more than a ragged, sacklike length of cloth wrapping his waist. He stood with head bowed, wet, ratty hair hanging down over his face and mixing with a beard that had bits of wood and leaves stuck in it.
His muscles glistened, wet as if he’d just swum a great distance. To his side, he carried a massive Shardblade, point down, sticking about a finger’s width into the stone, his hand on the hilt. The Blade reflected torchlight; it was long, narrow, and straight, shaped like an enormous spike.
“Welcome, lost one,” Wit whispered.
“Who are you!” one of the guards called, nervous, as one of the other two ran to give the alert. A Shardbearer had come to Kholinar.
The figure ignored the question. He stepped forward, dragging his Shardblade, as if it weighed a great deal. It cut the rock behind him, leaving a tiny groove in the stone. The figure walked unsteadily, and nearly tripped. He steadied himself against the gate door, and a lock of hair moved from the side of his face, exposing his eyes. Dark brown eyes, like a man of the lower class. Those eyes were wild, dazed.
The man finally noticed the two guards, who stood, terrified, with spears leveled at him. He raised his empty hand toward them. “Go,” he said raggedly, speaking perfect Alethi, no hint of an accent. “Run! Raise the call! Give the warning!”
“Who are you?” one of the guards forced out. “What warning? Who attacks?”
The man paused. He raised a hand to his head, wavering. “Who am I? I… I am Talenel’Elin, Stonesinew, Herald of the Almighty. The Desolation has come. Oh, God… it has come. And I have failed.”
He slumped forward, hitting the rocky ground, Shardblade clattering down behind him. It did not vanish. The guards inched forward. One prodded the man with the butt of his spear.
The man who had named himself a Herald did not move.
“What is it we value?” Wit whispered. “Innovation. Originality. Novelty. But most importantly… timeliness. I fear you may be too late, my confused, unfortunate friend.”
The end of
Book One of
THE STORMLIGHT ARCHIVE
Endnote
“Above silence, the illuminating storms – dying storms – illuminate the silence above.”
The above sample is noteworthy as it is a ketek, a complex form of holy Vorin poem. The ketek not only reads the same forward and backward (allowing for alteration of verb forms) but is also divisible into five distinct smaller sections, each of which makes a complete thought.
The complete poem must form a sentence that is grammatically correct and (theoretically) poignant in meaning. Because of the difficulty in constructing a ketek, the structure was once considered the highest and most impressive form of all Vorin poetry.
The fact that this one was uttered by an illiterate, dying Herdazian in a language he barely spoke should be of particular note. There is no record of this particular ketek in any repository of Vorin poetry, so it is very unlikely that the subject was merely repeating something he once heard. None of the ardents we showed it to had any knowledge of it, though three did praise its structure and ask to meet the poet.
We leave it to His Majesty’s mind, on a strong day, to puzzle out the meaning of why the storms might be important, and what the poem may mean by indicating that there is silence both above and below said storms.
– Joshor, Head of His
Majesty’s Silent Gatherers,
Tanatanev 1173
ARS ARCANUM
The Ten Essences and Their Historical Associations
The preceding list is an imperfect gathering of traditional Vorin symbolism associated with the Ten Essences. Bound together, these form the Double Eye of the Almighty, an eye with two pupils representing the creation of plants and creatures. This is also the basis for the hourglass shape that was often associated with the Knights Radiant.