Books of Skyrim

by Bethesda Softworks

  "I may not join as an archer, maybe I'll join as an acrobat," she said. "Or maybe as both. I figured that Valenwood would be the place to go to see what I could learn. You've got all those great teachers to imitate in the trees here. Those ape men."

  She coiled up, bracing her left leg before springing forward on her right. In a second, she had leapt across to a neighboring branch. I found it difficult to keep talking to her.

  "The Imga, you mean?" I stammered. "Aren't you nervous up at that height?"

  "It's a cliche, I know," she said, jumping to an even higher branch, "But the secret is not to ever look down."

  "Would you mind coming down?"

  "I probably should anyhow," she said. She was a good thirty feet up now, balancing herself, arms outstretched, on a very narrow branch. She gestured toward the gate just barely visible on the other side of the road. "This tree is actually as close as I want to get to your Duchess's palace."

  I held back a gasp as she dove off the branch, somersaulting until she landed on the ground, knees slightly bent. That was the trick, she explained. Anticipating the blow before it happened. I expressed to her my confidence that she would be a great attraction at the Quill Circus. Of course, I know now that never was to be.

  On that day, as I recall, I had to return early. It was one of the rare occasions when I had work, of a sort, to do. Whenever the Duchess had guests, I was to be at the palace. That is not to say that I had any particular duties, except to be seen standing at attention in the dining room. The stewards and maids worked hard to bring in the food and clear the plates afterwards, but the footmen were purely decorative, a formality.

  But at least I was an audience for the drama to come.

  Part II

  By Gorgic Guine

  On the last dinner in my employ at the palace, the Duchess, quite surprisingly, had invited the mayor of Moliva and Master Hiomaste himself among her other guests. The servants' gossip was manic. The mayor had been there before, albeit very irregularly, but Hiomaste's presence was unthinkable. What could she mean by such a conciliatory gesture?

  The dinner itself progressed along with perfect if slightly cool civility among all parties. Hiomaste and the Duchess were both very quiet. The Mayor tried to engage the group in a discussion of the Emperor Pelagius IV's new son and heir Uriel, but it failed to spark much interest. Lady Villea, elderly but much more vivacious than her sister the Duchess, led most of the talk about crime and scandal in Eldenroot.

  "I have been encouraging her to move out to the country, away from all that unpleasantness for years now," the Duchess said, meeting the eyes of the Mayor. "We've been discussing more recently the possibility of her building a palace on Moliva Hill, but there's so little space there as you know. Fortunately, we've come to a discovery. There is a wide field just a few days west, on the edge of the river, ideally suited."

  "It sounds perfect," the Mayor smiled and turned to Lady Villea: "When will your ladyship begin building?"

  "The very day you move your village to the site," replied the Duchess of Woda.

  The Mayor turned to her to see if she was joking. She obviously was not.

  "Think of how much more commerce you could bring to your village if you were close to the river," said Lady Villea jovially. "And Master Hiomaste's students could have easier access to his fine school. Everyone would benefit. I know it would put my sister's heart to ease if there was less trespassing and poaching on her lands."

  "There is no poaching or trespassing on your lands now, Your Grace," frowned Hiomaste. "You do not own the jungle, nor will you. The villagers may be persuaded to leave, that I don't know. But my school will stay where it is."

  The dinner party never really recovered happily. Hiomaste and the Mayor excused themselves, and my services, such as they were, were not needed in the drawing room where the group went to have their drinks. There was no laughter to be heard through the walls that evening.

  The next day, even though there was a dinner planned for the evening, I left on my usual walk to Moliva. Before I had even reached the drawbridge, the guard held me back: "Where are you going, Gorgic? Not to the village, are you?"

  "Why not?"

  He pointed to the plume of smoke in the distance: "A fire broke out very early this morning, and it's still going. Apparently, it started at Master Hiomaste's school. It looks like the work of some traveling brigands."

  "Blessed Stendarr!" I cried. "Are the students alive?"

  "No one knows, but it'd be a miracle if any survived. It was late and most everyone was sleeping. I know they've already found the Master's body, or what was left of it. And they also found that girl, your friend, Prolyssa."

  I spent the day in a state of shock. It seemed inconceivable what my instinct told me: that the two noble old ladies, Lady Villea and the Duchess of Woda, had arranged for a village and school that irritated them to be reduced to ashes. At dinner, they mentioned the fire in Moliva only very briefly, as if it were not news at all. But I did see the Duchess smile for the first time ever. It was a smile I will never forget until the day I die.

  The next morning, I had resolved to go to the village and see if I could be of any assistance to the survivors. I was passing through the servants' hall to the grand foyer when I heard the sound of a group of people ahead. The guards and most of the servants were there, pointing at the portrait of the Duchess that hung in the center of the hall.

  There was a single black bolt of ebony piercing the painting, right at the Duchess's heart.

  I recognized it at once. It was one of Missun Akin's arrows I had seen in his quiver, forged, he said, in the bowels of Dagoth-Ur itself. My first reaction was relief: the Dunmer who had been kind enough to give me a ride to the palace had survived the fire. My second reaction was echoed by all present in the hall. How had the vandal gotten past the guards, the gate, the moat, and the massive iron door?

  The Duchess, arriving shortly after I, was clearly furious, though she was too well bred to show it but by raising her web-thin eyebrows. She wasted no time in assigning all her servants to new duties to keep the palace grounds guarded at all times. We were given regular shifts and precise, narrow patrols.

  The next morning, despite all precautions, there was another black arrow piercing the Duchess's portrait.

  So it continued for a week's time. The Duchess saw to it that at least one person was always present in the foyer, but somehow the arrow always found its way to her painting whenever the guard's eyes were momentarily averted.

  A complex series of signals were devised, so each patrol could report back any sounds or disturbances they encountered during their vigil. At first, the Duchess arranged them so her castellan would receive record of any disturbances during the day, and the chief of the guard during the night. But when she found that she could not sleep, she made certain that the information came to her directly.

  The atmosphere in the palace had shifted from gloomy to nightmarish. A snake would slither across the moat, and suddenly Her Grace would be tearing through the east wing to investigate. A strong gust of wind ruffling the leaves on one of the few trees in the lawn was a similar emergency. An unfortunate lone traveler on the road in front of the palace, a completely innocent man at it turned out, brought such a violent reaction that he must have thought that he had stumbled on a war. In a way, he had.

  And every morning, there was a new arrow in the front hall, mocking her.

  I was given the terrible assignment of guarding the portrait for a few hours in the early morning. Not wanting to be the one to discover the arrow, I seated myself in a chair opposite, never letting my eyes move away for even a second. I don't know if you've had the experience of watching one object relentlessly, but it has a strange effect. All other senses vanish. That was why I was particularly startled when the Duchess rushed into the room, blurring the gulf for me between her portrait and herself.

  "There's something moving behind the tree across the road from the gate!" she roared, pu
shing me aside, and fumbling with her key in the gold lock.

  She was shaking with madness and excitement, and the key did not seem to want to go in. I reached out to help her, but the Duchess was already kneeling, her eye to the keyhole, to be certain that the key went through.

  It was precisely in that second that the arrow arrived, but this one never made it as far as the portrait.

  I actually met Missun Akin years later, while I was in Morrowind to entertain some nobles. He was impressed that I had risen from being a humble domestic servant to being a bard of some renown. He himself had returned to the ashlands, and, like his old master Hiomaste, was retired to the simple life of teaching and hunting.

  I told him that I had heard that Lady Villea had decided not to leave the city, and that the village of Modiva had been rebuilt. He was happy to hear that, but I could not find a way to ask him what I really wanted to know. I felt like a fool just wondering if what I thought were true, that he had been behind Prolyssa's tree across the road from the gate every morning that summer, firing an arrow through the gate, across the lawn, across the moat, through a keyhole, and into a portrait of the Duchess of Woda until he struck the Duchess herself. It was clearly an impossibility. I chose not to ask.

  As we left one another that day, and he was waving good-bye, he said, "I am pleased to see you doing so well, my friend. I am happy you moved that chair."

  The Black Arts On Trial

  By Hannibal Traven

  Archmagister of the Arcane University, Imperial City

  HISTORY

  Necromancy, commonly called the Black Arts, has a history that dates back before recorded time. Virtually all the earliest laws of the land make mention of it as expressly forbidden on pain of death. Independent practitioners of the arts of sorcery, however, continued its study.

  The Psijic Order of the Isle of Artaeum, precursor to our own Mages Guild, also forbade its use, not only because it was dangerous, but their belief in the holy and unholy ancestor spirits made it heretical. Again, despite this, we hear many stories of students and masters who ignored this stricture. When Vanus Galerion left Artaeum, he may have disagreed with the Psijics on much, but he also refused to allow Necromancy to be taught in the Guild.

  Almost 1100 years have passed since the time of Vanus Galerion, and there have been many archmagisters to lead his guild. The question of Necromancy has continued to be asked. The strictures against it in the Guild have never been lifted, but attitudes about it have shifted back and forth over the years. Some archmagisters have been inclined to ignore it entirely, some have fought very actively against it, and still other archmagisters have been rumored to be Necromancers themselves.

  In my new role as Archmagister of the Mages Guild, it is my duty to set policy on this matter. Though I have my own opinions on the Black Arts, I took counsel with two of the most learned mages in the Empire, Magister Voth Karlyss of Corinth and Magister Ulliceta gra-Kogg of Orsinium, and we debated for two days.

  What follows are summaries of the salient points of the debate, arguments and counter-arguments, which led to the resolution of the Mages Guild on the subject of Necromancy.

  ARGUMENT

  Argument by Master gra-Kogg: Necromancy is poorly understood. We will not make it disappear by ignoring it. As an intellectual institution dedicated to the study of the magickal arts and sciences, we have obligations to the truth. Censoring ourselves in our scholarship is antithetical to our mission of neutrality and objectivity.

  Counter-Argument by Master Karlyss: The Mages Guild must balance its quest for knowledge with responsible caution and ethical standards. It is not 'censoring' a student's course of study to have him proceed cautiously and with purity of purpose. It is not limiting a student's freedom to set rules and boundaries - indeed, it is essential.

  Argument by Master Karlyss: Necromancy is an anathema throughout the civilized world. To embrace it publicly, the Mages Guild would inspire fear and hostility in the populace at large. Vanus Galerion wanted this institution to be unlike the Psijic Order, which was elitist and separatist. We ignore public opinion at our own risk. We will certainly lose our charters in many places including, very likely, the whole of Morrowind, where sentiment against Necromancy is very strong.

  Counter-Argument by Master gra-Kogg: Yes, we should be sensitive to the concerns of the community, but they should not and must not dictate our scholarship. 'Necromancer' to many uneducated persons simply means an evil mage. It is madness to limit our work because of prejudices and half-formed understanding. It is an affront to the purpose of objective study to turn our back on a subject merely because of public opinion.

  Argument by Master gra-Kogg: Necromancers are the scourge of Tamriel. Whether operating independently or in concert with the sloads or King of Worms, Mannimarco, they are responsible for many horrors, animated zombies and skeletons and other forms of the undead. To best combat this menace, we must understand the powers of the Necromancer, and we cannot do that by restricting our study of the Black Arts.

  Counter-Argument by Master Karlyss: No one is disputing the threat of the Black Arts - in fact, that is the very essence of my argument against the Mages Guild making it a School to be taught to our initiates. We can and should know what our enemy is capable of, but we must be careful not to step into a trap of looking too deep into his ways, and making those ways our own. We do no one any good if by studying the evil ways, we become evil ourselves.

  Argument by Master Karlyss: Necromancy is inherently dangerous. One cannot 'dabble' in it. The simplest spell requires the spilling of blood, and immediately begins to corrupt the caster's soul. This is not conjecture, but simple fact. It is irresponsible of the Guild to teach and thereby encourage a sort of magickal study which has proven itself, time and time again, to bring nothing but terror and misery on the practitioner and world.

  Counter-Argument by Master gra-Kogg: All Schools of magicka are dangerous to the uninitiated. A simple fireball spell from the School of Destruction can cause great harm when cast by a novice, not only to others but to the mage himself. The School of Mysticism by its very nature forces the practitioner to divorce his mind from logic, to embrace a temporary sort of insanity, which one might argue is very like corrupting one's soul.

  Argument by Master gra-Kogg: The Guild already permits some forms of Necromancy. The 'Schools' of magicka are, as we know, artificial constructs, originally formulated by Vanus Galerion to divide and thereby simplify study. They have changed many times throughout the years, but at their heart, every Master knows, they are all linked together. When a student of Conjuration summons a guardian ghost, he is touching on the School of Necromancy. When a student of Enchantment uses a trapped soul, he too may be considered guilty of a Black Art. The School of Mysticism, as I have stated before, has some kinship with Necromancy as well. To state that students may not learn the ways of Necromancy is to stifle common skills in the other, more historically legitimate Schools of the Guild.

  Counter-Argument by Master Karlyss: Yes, the Schools are intertwined, but the standard spells of each School have passed the proof of time. We know that a student of Mysticism, properly instructed, will not be permanently harmed by his experience. In many ways, it is a question of extremes - how far we would permit our studies to take us. Necromancy by its nature relies on the practitioner going further into the darkness than is wise, virtually guaranteeing his destruction. It has no place in the Mages Guild.

  CONCLUSION

  The risks of studying Necromancy outweigh its usefulness. The Guild does not wish to censor the study of any of its members, but it will not tolerate studies in the Black Arts, except in limited form for the purpose of combating its evil adherents. This may only been done by rare individuals who have proven themselves both highly skilled and highly cautious, and then only with my express permission and supervision.

  AFTERWORD

  I regret to acknowledge the truth behind the rumor that Master Ulliceta gra-Kogg was more than an a
pologist for Necromancy, she was a Necromancer herself. Upon this revelation, the Knights of the Lamp attempted to arrest her at the Guildhouse in Orsinium, but she made good her escape. We have every confidence in the replacement Magister in Orsinium.

  Though I disagreed, I respected her logical reasoning enough to include her arguments in this book, and I see no reason to remove them. It is disappointing, however, to see that her interest in 'the truth' was nothing more than a euphemism for her slavery to the Black Arts.

  This unfortunate situation merely illustrates how essential it is for Guildmembers to be wary of the lure of Necromancy, and be vigilant to its practitioners' infiltration in our Mages Guild.

  The Black Star

  An Achievement of Magic over Daedra

  by

  Malyn Varen

  Master Enchanter

  Though some scoffed, some scorned, at the very notion of experimenting on a daedric artifact, I have succeeded where the ignorant and superstitious would not even dare to try. The Black Star. My achievement over the Daedric Lord Azura, a re-envisioning, a remastering of the ultimate soul gem. It shall become the vessel of my immortality. Final proof that mortals can live as indefinitely as the denizens of Oblivion.