Eventually the bard finds better reprieve in pacing about the house, examining the touches that are undoubtedly Sanson: tomes on song and folklore, and countless journals cram every ilm of bookshelf available. He’s gone through them several times over by now, with and without Sanson, and Guydelot smiles as his hand brushes along the spine of a particularly familiar journal. He knows without looking where the words “Ballad of Oblivion” are scribbled on the spine; he’s held the tome in his own two hands so often that he could never forget it now.
He sees the bits of himself that he’s left here, too, intermingled amongst Sanson’s things like wild seeds sown in a garden. A spare lyre string on the table, next to the faint beginnings of a song on a sheet of manuscript paper. The coat he’d worn at Gyr Abania, draped over an otherwise plain couch that Sanson has more than once chided him to hang in the closet. Guydelot settles into the couch, and it’s old but it’s clean and soft. All of Sanson’s furniture is like that, simple but well kept, enough to service a life after work. As though the hyur had spared just enough attention in fitting the house that he might devote the rest to the objects of his passion.
16. From On first and fierce affirming sight (pining guydelot....):
#kaescribbles | #guydesan