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That was when I realized that I already knew the story. I had heard it sung. Ludmila and the Enchanter, only in the song, the brave countess disguised herself as an old peasant woman and cooked and cleaned for the wizard who had stolen her husband’s heart, until she found it in his house locked inside a box, and she stole it back and saved him. My eyes prickled with hot tears. No one was enchanted beyond saving in the songs. The hero always saved them. There was no ugly moment in a dark cellar where the countess wept and cried out protest while three wizards put the count to death, and then
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Most courtiers set peasants one degree above cows, and somewhat below their favorite horses.
I still couldn’t follow the story, or remember one sentence to the next, but I began to have the feeling that I wasn’t meant to. If I could have remembered, at least some of the words would have been wrong: like hearing again a half-remembered favorite tale from childhood and finding it unsatisfying, or at least not as I’d remembered it. And that was how the Summoning made itself perfect, by living in that golden place of vague and loving memory.
I had always been dubious of war stories, songs of battle: the occasional fights between boys in the village square had always ended in mud and bloody noses and clawing, snot and tears, nothing graceful or glorious, and I didn’t see how adding swords and death to the mix could make it any better.
He’d chosen to go for a soldier. Maybe he had a story that began that way: a poor widowed mother at home and three young sisters to feed, and a girl from down the lane who smiled at him over the fence as she drove her father’s herd out into the meadows every morning. So he’d given his mother his signing-money and gone to make his fortune. He worked hard; he meant to be a corporal soon, and after that a sergeant: he’d go home then in his fine uniform, and put silver in his mother’s hands, and ask the smiling girl to marry him. Or maybe he’d lose a leg, and go home sorrowful and bitter to find
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