"Kay,.Guy.Gavriel.-.A.Song.For.Arbonne" - читать интересную книгу автора (Kay Guy Gavriel)

Astonishment and a different kind of anger flashed in the eyes of Bertran de Talair.
"Ariane, what, precisely, do you think you are doing? Is this a game? If so you have overreached yourself."
Ariane. Ariane de Carenzu, who was queen of the Court of Love. The woman so sharply addressed brought up one elaborately ringed hand and cast back her hood, shaking free her hair with an unconcerned motion.
She's married, though, Blaise thought stupidly. Her hair is supposed to be bound up, even in Arbonne. It wasn't. Her hair was thick and raven dark, and as he watched it fell in waves down her back, liberated from the transitory confines of the hood. There was a confused, excited murmur in the room. Looking at the woman standing beside Urtй de Miraval, momentarily unable, in fact, to look away from her, Blaise thought he understood why.
"Overreach?" she said now, very quietly. "I don't think I allow language like that even from a friend, Bertran. I wasn't aware that I needed permission from you to visit The Liensenne. "
"You need no such thing. But you also know that-"
"I know only that the duke of Miraval was kind enough to invite me to join his company this evening to observe the delights of Carnival, and I was happy to accept. I would also have thought, evidently wrongly, that two high lords of Arbonne might, for tonight at least, lay down a petty feud they carry, at least enough to be civil in the company of women and on the night dedicated to the goddess."
"A petty feud?" Bertran echoed, incredulity in his voice.
Urtй de Miraval laughed. "This is becoming tedious in the extreme," he said. "I came to hear what passes for music this season in Tavernel, not to bandy words in a doorway with a choleric degenerate. Whose songs are we hearing tonight?"
There was a stiff, short silence, then:
"Mine," said Alain of Rousset clearly. "We will hear my songs, if you like. Lisseut, will you be good enough to sing for us?"
It was, she thought much later, when she had space for calmer reflection on the turbulent events of that night, not so greatly surprising when looked at in a certain light. Remy and Aurelian were both out of the room, and Bertran was certainly not going to have his own verses sung at Urtй de Miraval's request; of the troubadours who remained, Alain had more ambition than most and as much right to step forward as any, and since she'd just finished a season of touring with him it was perfectly logical that he ask her to perform.
All such clear thinking came afterwards, though. At the moment, Lisseut was aware only that she had just been humiliatingly inverted in a tub of Cauvas gold wine, that there was a spreading puddle beneath her feet, that her clothing was ruined, her hair soaked, and in such a resplendent condition she was now being asked to sing-for the first time-in the presence of three of the most powerful personages in Arbonne, one of whom also happened to be the most celebrated troubadour of their day.
She made a small, gulping sound in her throat, hoping immediately after that no one had heard. The big coran from Gorhaut turned, though, and favoured her with an ironic scrutiny from behind his thick, reddish beard. She glared fiercely up at him, and that brief surge of anger, as much as anything else, calmed her momentary attack of fright. With what she hoped was a casual gesture she tossed the towel she was still holding to the bearded man and turned to Alain.
"I would be honoured," she said, as calmly as she could.
Alain's face, visibly contending with anxieties of his own, didn't much help her to relax. She understood, of course: the troubadour was boldly seizing an unexpected chance to make a bid for wider renown-and was handing her the opportunity to do the same. A moment such as this, singing in The Liensenne at Midsummer Carnival before the dukes of Talair and Miraval and the reigning queen of the Court of Love ... Lisseut blinked and swallowed. If she thought too much about the potential implications of what seemed about to happen she would probably make herself sick.
Fortunately, the next face she focused on was Marotte's, and the delighted encouragement she read in the innkeeper's visage was exactly what she needed. Someone brought her a harp, someone else placed a low stool and a floor cushion in the usual place near the booths on the left-hand wall, and somehow Lisseut found herself sitting there, holding and tuning the harp, even as she adjusted the cushion for comfort.
She was still wet, if not actually dripping any more, and she'd had no time at all to prepare. Glancing up, she saw Duke Bertran walking over, a thin smile playing about his lips. It didn't reach his eyes, though. With Urtй de Miraval in the room, Lisseut doubted if En Bertran could actually be amused by anything. The duke removed his lightweight summer cloak and draped it loosely over her shoulders.
"You'll catch a chill otherwise," he said mildly. "If you leave it draped so, it won't get in the way of your hands." The first words he'd ever spoken to her. He turned and walked away, to sink gracefully into one of the three cushioned chairs Marotte had hastily provided near the performing area. Lisseut had a moment to absorb the fact that she was now wearing the midnight-blue cloak of the duke of Talair before Alain of Rousset, two spots of excitement showing on his cheeks, came over and said, softly, for her ears alone, "The 'Garden Song,' I think. Sing it, don't shout it, Lisseut."
The troubadours' ancient, standard injunction to their joglars rang almost unheard in Lisseut's ears. What registered was that in his choice of song Alain was offering her another gift. She smiled up at him, confidently she hoped. He hesitated a moment, as if about to say more, but then he too withdrew, leaving her alone in the space where music was made.
Lisseut thought of her father, as she always did when she needed to find serenity and sureness, then she looked out over the slowly quieting crowd and said, pitching her voice carefully, "Here is a liensenne of the troubadour Alain of Rousset. I sing it tonight in honour of the goddess and of the Lady Ariane de Carenzu, who has graced us with her presence here." Better that, she thought, than trying to sort out some kind of precedence. She was conscious though, very conscious, that she was wearing En Bertran's cloak. It was scented with an elusive fragrance. She didn't have time to decipher what it was. What she did realize, as she always did before she sang-a fleeting awareness but real as the stones of a wall-was that moments like this, with music about to follow, were why she lived, what made her feel most truly alive.
She began with the harp alone, as Gaetan, her father's brother, had taught her years ago, letting the audience settle, and then, when the stillness was deep enough, she sang.
When you came into my garden,
When you came to tell me of your love,
The one moon in the sky
Seemed brighter than the sun
And a white light was shining in my heart.
When you took me in your arms,
To whisper words of a long desire,
The scents of the garden
Were my garments in the dark
And day a distant rumour of despair
It was a well-made song, if not a brilliant one. Alain knew his craft and he was young enough to be maturing still. The special thing though-the gift this song offered Lisseut-was that it was written for a woman's voice. There weren't many, which was why the female joglars of Arbonne spent much of their time transposing tunes written for male voices and ignoring as best they could the obvious inappropriateness of most of the themes.
In this piece Alain had changed a great many elements of the traditional liensenne, shifting the narrative to the woman's point of view, while keeping enough of the familiar motifs to leave the audience in no doubt as to what they were hearing and appraising. Lisseut, keeping her instrumental ornamentation to a minimum, took them through it, serving the song as best she could, in simplicity. It was a long tune-most of the formal liensennes were, for audiences would balk and complain at the absence of elements they were expecting. The troubadour's challenge in this kind of song lay in using all of a the familiar motifs while making them vivid and new, in whatever ways his art allowed. Lisseut sang the rising of the second moon, the customary menace of jealous, prying eyes, a formulaic, if rather clever stanza on the three flowers that traditionally sheltered lovers, another on the trusted friend watching out from beyond the wall with his mood-shattering warning of sunrise, and the lovers' parting words.
It was honest, professional work, and she knew she had the listeners with her. Even here, with an audience as profoundly versed as this one was, Lisseut knew, the way she sometimes did in the midst of performing, that she was doing justice to Alain's words and music. She was holding something in reserve, though, for the ending, for the place where Alain of Rousset had surprised even himself by reaching for something more than the usual closing platitudes of love triumphant and enduring and had found instead the rather more painful integrity of art.
Lisseut allowed herself the briefest pause, no more, for more would be to point the change, the new thing, too greatly and mar the effect; then she pitched her voice upwards towards sorrow and sang the last verse of the song.
When you come to say goodbye,
When you come to say that you will wed,
Do one thing for me
In memory of love,
Bring balm for the breaking of my heart.
She looked at Bertran de Talair for a moment as she began, then at the bearded coran behind him, but she ended gazing out over the heads of her listeners at the doorway beside the bar through which Remy and Aurelian had gone. A reprise of the opening notes, as an echo of what had passed, a chord for the watchman, a chord for the garden nights that were gone, and she was done.

In Bertran's blue cloak the brown-haired girl looked delicate and fragile, not exalted, Blaise thought. She was more clever-looking than formally beautiful, but there was no missing-even for him-the purity of her voice, and the unexpected sadness at the very end of the song caught him for a moment. He didn't know the new thing that note of sorrow represented, but he could hear the sound of it, and the meaning of the words took his mind down unusual channels. Not for long of course: he wasn't inclined to that sort of thing, by background or experience-but for just a moment Blaise of Gorhaut, looking at the slender woman sitting on the low stool with Bertran de Talair's cloak around her, held, in his mind's eye, a clear image of a woman in a garden, weeping for the loss of love.
"Oh, wonderful," Ariane de Carenzu said in an oddly wistful voice, far removed from her imperious tones of before. The words carried clearly in the stillness that followed the last notes of the harp, and with them came the release of a tautness like the tension of a drawn bow in the room. Blaise drew a long breath and noted, with some surprise, that most of the people around him were doing the same.
There would have been other cries of approval doubtless, a swelling of applause to honour the singer and the troubadour who'd written the song, but just then the door to The Liensenne banged loudly open, letting in raucous noises from the darkening street outside. Blaise turned quickly to look and saw who was standing there, and the shape and nature of the evening changed entirely in that moment.
He was looking at the man he had killed on the black horse by Lake Dierne.

CHAPTER 5
It wasn't, of course. It wasn't the same man; the dead remained dead, even here in Arbonne, even on Midsummer Eve. But the dark-skinned, arrogant look was the same, the heft and build, the muscled, dangerous quality of the Arimondan was exactly as Blaise remembered it from that afternoon by the lake with the Arch of the Ancients just beyond.