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WARRIORS IN THE MIST
The island of Gont, a single mountain that lifts its peak a mile above the storm-racked Northeast Sea, is a land famous for wizards. From the towns in its high valleys and the ports on its dark narrow bays many a Gontishman has gone forth to serve the Lords of the Archipelago in their cities as wizard or mage, or, looking for adventure, to wander working magic from isle to isle of all Earthsea. Of these some say the greatest, and surely the greatest voyager, was the man called Sparrowhawk, who in his day became both dragonlord and Archmage. His life is told of in the Deed of Ged and in many songs, but this is a tale of the time before his fame, before the songs were made.
He was born in a lonely village called Ten Alders, high on the mountain at the head of the Northward Vale. Below the village the pastures and plowlands of the Vale slope downward level below level towards the sea, and other towns lie on the bends of the River Ar; above the village only forest rises ridge behind ridge to the stone and snow of the heights.
The name he bore as a child, Duny, was given him by his mother, and that and his life were all she could give him, for she died before he was a year old. His father, the bronze-smith of the village, was a grim unspeaking man, and since Duny's six brothers were older than he by many years and went one by one from home to farm the land or sail the sea or work as smith in other towns of the Northward Vale, there was no one to bring the child up in tenderness. He grew wild, a thriving weed, a tall, quick boy, loud and proud and full of temper. With the few other children of the village he herded goats on the steep meadows above the river-springs; and when he was strong enough to push and pull the long bellows-sleeves, his father made him work as smith's boy, at a high cost in blows and whippings. There was not much work to be got out of Duny. He was always off and away; roaming deep in the forest, swimming in the pools of the River Ar that like all Gontish rivers runs very quick and cold, or climbing by cliff and scarp to the heights above the forest, from which he could see the sea, that broad northern ocean where, past Perregal, no islands are.
A sister of his dead mother lived in the village. She had done what was needful for him as a baby, but she had business of her own and once he could look after himself at all she paid no more heed to him. But one day when the boy was seven years old, untaught and knowing nothing of the arts and powers that are in the world, he heard his aunt crying out words to a goat which had jumped up onto the thatch of a hut and would not come down: but it came jumping when she cried a certain rhyme to it. Next day herding the longhaired goats on the meadows of High Fall, Duny shouted to them the words he had heard, not knowing their use or meaning or what kind of words they were:
Noth hierth malk man
hiolk han merth han!
He yelled the rhyme aloud, and the goats came to him. They came very quickly, all of them together, not making any sound. They looked at him out of the dark slot in their yellow eyes.
Duny laughed and shouted it out again, the rhyme that gave him power over the goats. They came closer, crowding and pushing round him. All at once he felt afraid of their thick, ridged horns and their strange eyes and their strange silence. He tried to get free of them and to run away. The goats ran with him keeping in a knot around him, and so they came charging down into the village at last, all the goats going huddled together as if a rope were pulled tight round them, and the boy in the midst of them weeping and bellowing. Villagers ran from their houses to swear at the goats and laugh at the boy. Among them came the boy's aunt, who did not laugh. She said a word to the goats, and the beasts began to bleat and browse and wander, freed from the spell.
"Come with me," she said to Duny.
She took him into her hut where she lived alone. She let no child enter there usually, and the children feared the place. It was low and dusky, windowless, fragrant with herbs that hung drying from the crosspole of the roof, mint and moly and thyme, yarrow and rushwash and paramal, kingsfoil, clovenfoot, tansy and bay. There his aunt sat crosslegged by the firepit, and looking sidelong at the boy through the tangles of her black hair she asked him what he had said to the goats, and if he knew what the rhyme was. When she found that he knew nothing, and yet had spellbound the goats to come to him and follow him, then she saw that he must have in him the makings of power.
As her sister's son he had been nothing to her, but now she looked at him with a new eye. She praised him, and told him she might teach him rhymes he would like better, such as the word that makes a snail look out of its shell, or the name that calls a falcon down from the sky.
"Aye, teach me that name!" he said, being clear over the fright the goats had given him, and puffed up with her praise of his cleverness.
The witch said to him, "You will not ever tell that word to the other children, if I teach it to you."
"I promise."
She smiled at his ready ignorance. "Well and good. But I will bind your promise. Your tongue will be stilled until I choose to unbind it, and even then, though you can speak, you will not be able to speak the word I teach you where another person can hear it. We must keep the secrets of our craft."
"Good," said the boy, for he had no wish to tell the secret to his playmates, liking to know and do what they knew not and could not.
He sat still while his aunt bound back her uncombed hair, and knotted the belt of her dress, and again sat cross-legged throwing handfuls of leaves into the firepit, so that a smoke spread and filled the darkness of the hut. She began to sing. Her voice changed sometimes to low or high as if another voice sang through her, and the singing went on and on until the boy did not know if he waked or slept, and all the while the witch's old black dog that never barked sat by him with eyes red from the smoke. Then the witch spoke to Duny in a tongue he did not understand, and made him say with her certain rhymes and words until the enchantment came on him and held him still.
"Speak!" she said to test the spell.
The boy could not speak, but he laughed.
Then his aunt was a little afraid of his strength, for this was as strong a spell as she knew how to weave: she had tried not only to gain control of his speech and silence, but to bind him at the same time to her service in the craft of sorcery. Yet even as the spell bound him, he had laughed. She said nothing. She threw clear water on the fire till the smoke cleared away, and gave the boy water to drink, and when the air was clear and he could speak again she taught him the true name of the falcon, to which the falcon must come.
This was Duny's first step on the way he was to follow all his life, the way of magery, the way that led him at last to hunt a shadow over land and sea to the lightless coasts of death's kingdom. But in those first steps along the way, it seemed a broad, bright road.
When he found that the wild falcons stooped down to him from the wind when he summoned them by name, lighting with a thunder of wings on his wrist like the hunting-birds of a prince, then he hungered to know more such names and came to his aunt begging to learn the name of the sparrowhawk and the osprey and the eagle. To earn the words of power he did all the witch asked of him and learned of her all she taught, though not all of it was pleasant to do or know. There is a saying on Gont, Weak as woman's magic, and there is another saying, Wicked as woman's magic. Now the witch of Ten Alders was no black sorceress, nor did she ever meddle with the high arts or traffic with Old Powers; but being an ignorant woman among ignorant folk, she often used her crafts to foolish and dubious ends. She knew nothing of the Balance and the Pattern which the true wizard knows and serves, and which keep him from using his spells unless real need demands. She had a spell for every circumstance, and was forever weaving charms. Much of her lore was mere rubbish and humbug, nor did she know the true spells from the false. She knew many curses, and was better at causing sickness, perhaps, than at curing it. Like any village witch she could brew up a love-potion, but there were other, uglier brews she made to serve men's jealousy and hate. Such practices, however, she kept from her young prentice, and as far as she was able she taught him honest craft.
At first all his pleasure in the art-magic was, childlike, the power it gave him over bird and beast, and the knowledge of these. And indeed that pleasure stayed with him all his life. Seeing him in the high pastures often with a bird of prey about him, the other children called him Sparrowhawk, and so he came by the name that he kept in later life as his use-name, when his true-name was not known.
As the witch kept talking of the glory and the riches and the great power over men that a sorcerer could gain, he set himself to learn more useful lore. He was very quick at it. The witch praised him and the children of the village began to fear him, and he himself was sure that very soon he would become great among men. So he went on from word to word and from spell to spell with the witch till he was twelve years old and had learned from her a great part of what she knew: not much, but enough for the witchwife of a small village, and more than enough for a boy of twelve. She had taught him all her lore in herbals and healing, and all she knew of the crafts of finding, binding, mending, unsealing and revealing. What she knew of chanters' tales and the great Deeds she had sung him, and all the words of the True Speech that she had learned from the sorcerer that taught her, she taught again to Duny. And from weatherworkers and wandering jugglers who went from town to town of the Northward Vale and the East Forest he had learned various tricks and pleasantries, sp...
著者について
Ursula Kroeber Le Guin was born in 1929; her parents were the anthropologist Alfred Kroeber and the writer Theodora Kroeber. She writes both poetry and prose, including realistic fiction, science fiction, fantasy, young children's books, books for young adults, screenplays, essays, verbal texts for musicians, and voicetexts for performance or recording. She has published five books of poetry, seventeen novels, over a hundred short stories (collected in eight volumes), two collections of essays, eleven books for children, and two volumes of translation. Several of Le Guin's major titles have remained continuously in print for over thirty years. Her best known fantasy works, the first four Books of Earthsea, have sold millions of copies in America and England, and have been translated into sixteen languages. Three of Le Guin's books have been finalists for the American Book Award and the Pulitzer Prize, and among the many honors her writing has received are the National Book Award, five Hugo Awards, five Nebula awards, the Kafka award, a Pushcart Prize, the Howard Vursell award of the American Academy of Arts and Letters, and the L.A. Times Robert Kirsch Award.
