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3.2.9.4. The Prodigal Prince Part Two

After a long walk from Basilica Vadisium to the dormitories, Robert and Cristophe arrive in front of the room where Carol is resting. Chris knocks the door and Iris opens it for them. The elf acts a bit cold towards Chris, her boyfriend whose real identity she never knew until now.
Chris signals Iris to come to him so they can talk in private outside, and Robert comes in. He sees Carolyn, sleeping in her bed, with Father Andreas Marvellini beside her, treating her. Her face looks peaceful and normal, means that Zal’fira’s poison in her body is neutralized, just as Algaban, Andreas and Chris said. Now Robert verifies it with his own eyes, and his heart is now at peace.
I bet she’ll be very eager to see me. I better stay here until she awakes, and let her feel the joy of our reunion.
Robert takes a seat near the wall and prays. Suddenly he hears Carolyn’s voice.
‘Robert... Robert...’
Robert finishes his praying immediately and comes near Carol at once. But Andreas halts him, putting his index finger in front of his lips and says,
‘Ssh...’
He points at Carol. She’s still sleeping. She keeps murmuring Robert’s name. Robert is startled to hear that.
Ah, Chris is right! She keeps thinking about me, even in her sleep! But... but I can’t accept her love. I just... can’t.
Robert quickly turns away and walks towards the door.
‘Wait, Robert,’ says Andreas.
Robert stops, but doesn’t look back.
‘Yes, father?’
‘Please stay and listen to me for a moment.’
Andreas comes near Robert, and as he establishes eye-contact with Robert he talks on.
‘You know, I know, Chris and Iris know that Carol cares greatly about you. What makes you feel so hard to embrace her love? I mean, she’s not bad-looking, right?’
‘It has nothing to do with her looks. I must admit that she’s intelligent, resourceful, active, careful, and caring. She will make a perfect wife, but not for me.’
‘Are you married? Or are you in love with somebody else?’
Robert pauses. It looks like he is gathering his courage to expose his innermost secret to another person. So far only Rael’charon, the Royal Advisor of Lore knows. After a long while, with a sigh Robert begins explaining.
‘Yes, father, I do.’
‘Well, want to share it with me?’
Robert wants to talk about it outside, but as he hears faint voices from Iris and Chris’ discussion there he decides to talk in the room in low voice instead.
‘You see,’ Robert begins. ‘I knew this girl since childhood, and when we grew up we grew fond of each other. Her parents are nobles, and so was my master. Although we were neighbors, my status as my master’s bodyguard and apprentice prevented us to see each other freely. Then, I went to battle as a scout under my master. My master fell, and then I was relieved from service.
My hope of being a noble was lost, and I parted with her, saying that we cannot be together. I chose a life as a bounty hunter to forget about her, but no matter how hard I tried, I’m in love with her still. My obsession to obliterate every orc in this world to avenge my family wasn’t strong enough to erase my love for her. At the end, I resolved that all is not lost. As long as we’re still alive, I can see her again. And, if Vadis is willing, I can be a noble or she gave up her title so I can marry her as equals. I’m working hard for that day.’
‘That’s why there’s no room for Carol in your heart right now. Such a great love you have.’
‘Ah, what is love, really? Love is about the merging of two different people with different paths of life. It takes sacrifice, selflessness and commitment from both parties so a relationship can grow. If one is forced or willingly chooses a separate path, the other has to sacrifice to follow that path. If not, well, that’s why couples break apart.’
‘So, in other words,’ says Andreas. ‘A true love means sacrificing our current paths of life and go together along the same path until death do us part.’
‘Exactly. I live for you, and you for me, even if we lose our lives along the way. No regrets.’
‘No regrets, you say? You could lead a much happier life with another. What if she has already married with someone else?’
‘I love her and she loves me in return, that’s all that matters. If she stopped loving me, that’s a different case. The real case is she still swore her love to me at the eve of our parting, so I know she is still waiting for me. Although we can’t be together, I’ll always cherish our memory and live on. I do what I do best, and by Vadis’ will, as my friend once said, maybe, just maybe, our paths will meet again in this world or another. No regrets at all.’
‘Someday I want to meet this friend of yours. I bet we can talk for days and never get tired.’
‘Yeah, I’m glad he enlightened me. Tell you what, when Carol is healthy enough to travel again, after our tasks here are done, we’ll go to Lore and meet him.’
‘... And meet your girlfriend too.’
‘Yeah, that too.’
‘Ah, how I miss my family in Grad.’
‘Let’s pray that your paths will meet again.’
‘Amen to that. Well, that thing also applies to our fellowship, right? I’m glad our paths meet again.’
‘And our bonds become stronger than ever now we show our true selves, not hiding in our masks anymore.’
‘Oh? You mean, you don’t mind having a prince around to travel with us?’
‘Well, as long as Chris keeps using his name “Christopher” and doesn’t go demanding me to bow before him every time I go near him, I really don’t mind at all.’
‘You do have a grudge with his brother, as I may recall. Doesn’t that bother you?’
‘A bit. But he killed my master in a battle, mind you. As the saying goes, “Everything is fair in love and war”. I won’t go punishing and hating all Arcadians to avenge my master. But one thing, if they dare set one foot in Lore to annihilate our countrymen, they must pay with their own lives!’
Andreas falls silent, now understanding the whole thing. Understanding Robert and appreciates him more.
‘Robert... Robert, it’s you!’
Robert and Andreas turn to look at the bed. Carol is now awake, and Robert embraces her like a brother to his sister. Carolyn cries on Robert’s shoulder and hugs him so tightly as though she will never let him go. As she does so, Carol’s face looks very sad and bitter. Robert just lets her pour all her longing and joy on him, and as usual, he rarely shows his smile.
So close, yet so far away.
Meanwhile, outside the room, the elf enchantress and the prodigal prince are hugging and kissing each other lovingly. After reaching a new understanding for each other and renewing their commitments, Chris and Iris pour all their love and affection into one sweet embrace. It strengthens their bonds and rejoins their paths of life.

From attraction to affection
We join in a mutual union
At first we
wear our masks
For many yet untold reasons
Why lie? Why hide?
‘Cause
kisses are so painful to lose
When rock steady is our way
We put our masks
away
And voila! Our roots of affection
Will mend our friction
Or wither
away, tearing apart
Ripped in two ways, trunks depart
Truly, love is
complicated still
When we wear our masks of soul

3.2.9.4. The Prodigal Prince Part One

Half an hour later, Robert is walking with his partners Andreas, Iris and Christopher. Speaking of the latter, it was just revealed to Robert that Christopher’s real identity is Prince Cristophe Jean de Galantine Deveraux, second son to Emperor Sage IV Marcus de Noure Deveraux, current ruler of Arcadia.
This knowledge makes the two of them behave very awkwardly towards each other. Seeing the prospect that this partnership and friendship they’ve built for three years is going to fall apart, Andreas speaks up to melt the ice.
‘Well, Your Highness, shall we return to Carolyn’s quarters to talk this over?’
‘No, father,’ says Cristophe. ‘You two go ahead. I need to talk to Rob. Alone.’
‘As you wish, Your Highness.’
‘Please, father, don’t call me Your Highness.’
Andreas nods, and along with Iris walk on quietly. Iris looks back and stares at Chris in disbelief, demanding an explanation. But Chris ignores her. He just waits until they are out of sight, and then turns to Robert who stands there, staring at him.
‘I believe I owe you an explanation,’ says Chris.
‘Yes, the whole truth. I don’t blame you. It’s not a wrong thing. You must have your own reasons to disguise yourself.’
‘You’re right, Rob. Everybody knows that it’s impossible for a prince to travel freely, so I decided to use a different name similar to my own. I and Carol left Valanis secretly, with permission from our tutors. Actually, it was Carol who wanted to seek adventure, to forget about all her boyfriends Iris wooed. We went to Lore because it’s the best place to start a career as a monster hunter. Then, by Vadis’ will, we met you.’
‘Why didn’t Carolyn change her name?’
‘Because she’s a half-elf, and she’s no royalty. Her father was my uncle, Archduke Thierry Deveraux, cousin to my father, and her mother was the Elf Queen Carolyn’s daughter, Lilliabeth. Thierry and Lilliabeth were drowned when they sailed from Arcadia to Thyrine, so Queen Carolyn adopted and took care of the child named after her as her own. But Carol is never a princess. The Thyrinian High Council decreed that no half-elf may inherit the throne or be regarded as royalty, because half-elves are as short-lived as humans do. So, for little Carol’s safety, the Queen sent her to Valanis to study Vadism and magic.
I never knew who her mentor was, as we were taught in separate dormitories and seldom speak to each other. Carol never told me much about her mentor, only described him as “short”, “kind” and “chubby”. As Carol has no burden due to her status, she can travel freely without having to change her name.’
‘Well, that’s a lot more than what I need to know, but thanks anyway. I’ll keep it a secret. So, tell me more about yourself.’
‘My mother died when I was four when we rode a horse together. I pulled the horse’s mane too hard and it threw us to the ground. She died protecting me. Because of that, my brother Alexis harbored much hatred towards me. It was my fault, really. He has the right to hate me so. Then father sent me to Valanis so Alexis would forget his hatred by and by, knowing that I’ve been “banished” from the palace. No one in Arcadia has ever heard my name again, as though I never existed.
In spite of that, I began to enjoy my new “freedom”. Study hard and play hard, they say. Without any burden of being a crown prince and the plentiful yet never ending funds from my homeland, you probably will want to live like I did, happy and carefree. I rounded up a gang of fellow nobles studying there, and we feasted and enjoyed ourselves like there was no tomorrow. I excelled in my theoretic studies, but flunked in practices. I didn’t hang out with Carol and had many girlfriends, but then Carol came and asked me to go adventuring with her. I thought that was a great idea, as I began to get bored being in Valanis all the time. Father Bernides gave me permission as it was part of my “training program” and to expand my knowledge, practice and experience.
Well, that’s all about me that you need to know. Since you and Iris already knew my true identity, er... you know... You don’t want a prince around, do you? We’ll go separate ways from now on, won’t we?’
‘If you mean things will never be the same again between us, you’re right, Chris, or... Your Highness,’ says Robert, his tone suddenly changes to formal. Chris is crestfallen on hearing this. But Robert is still talking.
‘But the only difference is your name is no longer Christopher, but Prince Cristophe Deveraux. If Your Highness doesn’t mind adventuring with a bunch of rabbles, hunting monsters for bounty, if you still regard me as your friend and partner, I’ll gladly do the same.’
‘Please, Rob, don’t call me “Prince” or “Your Highness”. I still want to go monster-hunting with you. For me, you’re always my friend and my good teacher,’ says Chris. ‘Just call me “Chris”, as always. I kinda like it, though. Sounds nice.’
‘Thank you, Chris. Oh, yes, one thing is still bugging me. About you in Enia’s Sanctum, you didn’t go back because you’re chickened out, right?’
‘Yes. The real reason was I met Father Bernides there, and he advised me to return and stay out from the Sanctum because Alexis was also there. I didn’t want him to take revenge on me along the way. A backstab by our own kin is more dangerous than a legion of chimeras.’
‘I got your point,’ says Robert. ‘Now, let’s go to Carolyn. Seeing her safe and sound makes my heart at peace.’
They behave more warmly towards each other now, as they settled the problem of Chris and Carolyn’s real identities. But one thing for sure: it’ll never be the same again between them. Never again.

Longsword or Bastard Sword

Longsword
From Wikipedia, the free encyclopedia
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For other uses, see Longsword (disambiguation).

Longsword
Swiss longsword, 15th or early 16th century (Morges museum)
Type
Sword
Service history
In service
ca. 1250 - 1550
Specifications
Weight
avg. 3 lbs. (1.45 kg)
Length
avg. 48" (120 cm)
Blade length
avg. 37" (92.5 cm)
Blade type
Double-edged, straight bladed
Hilt type
Two-handed cruciform, with pommel
The Longsword is a type of European sword used during the late medieval and Renaissance periods, approximately 1250 to 1550. Longswords have lengthy cruciform hilts with grips over six inches (15 cm) in length, straight double-edged blades often over thirty-five inches (89 cm) in length, and weigh between 2 (0.9 kg) and 4.5 pounds (2 kg).[1]
The longsword is commonly held in combat with both hands, though it may be used single-handed. Longswords are used for striking, cutting, and thrusting. The specific offensive purpose of an individual longsword is derived from its physical shape. All parts of the sword are used for offensive purposes, including the pommel and crossguard.
Contemporary terminology includes the Dutch grootzwaard, German Langschwert, Italian spadone or spada longa (lunga) and Portuguese montante. The French espée bastarde references the bastard sword, a type of longsword. The terms "hand-and-a-half sword", "greatsword", and "bastard sword" are used colloquially to refer to longswords in general.
Contents[hide]
1 History
1.1 Bastard swords
2 Form
3 Combat
3.1 Bloßfechten
3.2 Harnischfechten
4 References
5 See also
6 Further reading
7 External links
//

[edit] History
The evolution of the sword before and after the development of the longsword was not entirely linear. Swords of an older type may have coexisted with newer variants for quite some time, making it difficult to trace a single path of sword evolution. Instead, the course of sword development is layered with some swords evolving from a previous type of sword, acting as its able contemporary, and eventually being abandoned while the original design continued in use for some time afterward. Similarly, variants of a particular type of sword may have come about not to replace it, but to simply coexist with it until a new evolution brought a close to both older types of weapons. Such situations present both the path of sword development as a whole and the encompassed rise and fall of the longsword as chronologically nebulous and confused by broad definitions, both modern and contemporary.
The relatively comprehensive Oakeshott typology was created by historian and illustrator Ewart Oakeshott as a way to define and catalogue swords based on physical form, though a rough sense of chronology is apparent. This typology does not set forth a prototypical definition for the longsword, however. Instead, it separates the broad field of weaponry into many exclusive types based on their predominant physical characteristics including blade shape and hilt configuration. The typology also focuses on the smaller, and in some cases contemporary[2], single-handed swords like the arming sword.
The longsword, with its longer grip and blade, appears to have become popular during the 14th century and remained in common use, as shown through period art and tale, from 1250 to 1550.[3] The longsword was a powerful and versatile weapon, but was not considered the only weapon needed for learning the arts of war. Sigmund Ringeck, an influential Fechtbuch (combat manual) author, writes that young knights should learn to "wrestle well, (and) skilfully wield spear, sword, and dagger in a manly way."[4] It is apparent that even to a master swordsman, other weapons and techniques are of great importance for battle. For close personal infantry combat, however, the longsword was prized for its versatility and killing capability.[5]
It is in the Types XIIa and XIIIa that the first early variants of the longsword arise as simply longer versions of the single-handed sword. There are rare archeological findings of swords of this type from as early as the late 12th century.[6] Boasting both increased grip length and increased blade lengths, these weapons would have been powerful hewing swords, perhaps developed to further combat the prevalence of mail[7] and plate armour. These weapons also firmly fit the modern colloquial term "hand-and-a-half sword", as Oakeshott notes, because they do not provide a full two-hand grip as do some early extant specimens and the 16th century bidenhänder.

[edit] Bastard swords
The bastard sword, or contemporary espée bastarde, is a type of sword dating from roughly the early 15th century. It received its name for fitting into neither the one-handed sword family, nor the "two handed sword family", thus being labelled a "bastard."[citation needed] These weapons featured longer grips similar to those found on the longswords. The extra space was not enough to allow both hands entirely, however, but was enough to provide for the use of a couple of fingers or a part of the palm, providing some extra leverage.[8] The grips of bastard swords often feature a "waisted" appearance, as in the Oakeshott Type XVIa.[9] The bastard sword, more so than the great sword, plays into the "hand-and-a-half sword" classification, as some great swords provided considerably more than an extra "half" hand for gripping. Similarly, the shorter length of the weapon at roughly 45 to 55 inches (115-140cm) put the sword halfway between the shorter single-handed sword and the larger (and occasionally fully two-handed) great sword.[10]
Like all other types of swords, the bastard sword existed in a number of configurations, generally tending towards a strongly tapered and thicker blade as time went on. This manifestation, along with a relatively small blade length in relation to hilt length, gave the sword a very precise and reactive nature that served well for cutting or thrusting, much like a side-sword.[9] The form of the bastard sword began very much like that of the greatsword, based in the beginning of the 15th century off transition swords evolving from the spatha. Like the transition swords, the first bastard swords featured a plain or cruciform cross and a round or wheel pommel.[8] Later development of the weapon, however, saw the inclusion of curved quillions, ring guards, and compound hilts similar to those on baskethilts (swords like the schiavona that nearly enclosed the entire hand in a protective guard).[10] These served to provide increased protection for the wielders hands and may have also positively affected the balance of the weapon.
Such swords with compound hilts include the German Reitschwert, a form of cavalry sword, and the "Degen" or "Knight's Sword". It is possible, however, that these swords are in fact a single-handed manifestation of the estoc.[9]

[edit] Form

A basic anatomy of the Renaissance longsword.
While nearly every longsword is in some way different from another, most contain a few essential parts. The blade of the sword forms the cutting portion of the weapon and is usually double-edged. Blades came in a variety of shapes and sizes. Broad and thin blades are more effective for cutting-oriented longswords while thick tapering blades are found on varieties more effective at thrusting. However, all longswords were effective at cutting, slicing and thrusting and variations in form made only minor alterations in use. The hilt comprises the portion of the sword that is not the blade - essentially everything else. Like the blade, hilts evolved and changed over time in response to fashion and as the swords were designed for different specific purposes.

Different blade cross-sections. At the top, variants of the diamond shape. At the bottom, variants of the lenticular shape.
The blade of the medieval longsword is straight and predominantly double edged. The construction of the blade is relatively thin, with strength provided by careful blade geometry. Over time, as is evidenced in the Oakeshott typology and other similar systems, the blades of longswords become slightly longer, thicker in cross-section, less wide, and considerably more pointed. This design change is largely attributed to the use of plate armour as an effective defense, more or less nullifying the ability of a sword cut to break through the armour system. Instead of cutting, long swords were then used more to thrust against opponents in plate armour, requiring a more acute point and a more rigid blade. However, the cutting capability of the longsword was never entirely removed, as in some later rapiers, but was supplanted in importance by thrusting capability.
Blades differ considerably in cross-section, as well as in length and width. The two most basic forms of blade cross-section are the lenticular and diamond. Lenticular blades are shaped like thin doubly convex lenses, providing adequate thickness for strength in the center of the weapon while maintaining a thin enough edge geometry to allow a proper cutting edge to be ground. The diamond shaped blade slopes directly up from the edges, without the curved elements of the lenticular blade. The central ridge produced by this angular geometry is known as a riser, the thickest portion of the blade that provides ample rigidity. These basic designs are supplemented by additional forging techniques that incorporated slightly different variations of these cross-sections.
The most common among these variations is the use of fullers and hollow-ground blades. While both of these elements concern themselves with the removal of material from the blade, they differ primarily in location and final result. Fullers are grooves or channels that are removed from the blade, in longswords, usually running along the center of the blade and originating at or slightly before the hilt. The removal of this material allows the smith to significantly lighten the weapon without compromising the strength to the same extent, much as in the engineering of steel I-beams. Though colloquially called "blood-grooves", fullers were not designed, nor do they function, to allow blood to flow out of a wound more easily, nor to run off the sword. Fullers differ in number and thickness on swords, with some incredibly broad fullers spanning nearly the entire width of the weapon while smaller more numerous fullers are usually thinner. The length of fullers also displays variation - on some cutting blades the fuller may run nearly the entire length of the weapon, while the fuller stops one-third or half-way down other blades. Hollow-ground blades have concave portions of steel removed from each side of the riser, thinning the edge geometry while keeping a thickened area at the center to provide strength for the blade.
A variety of hilt styles exist for longswords, with the style of pommel and crossguard changing over time to accommodate different blade properties and to fit emerging stylistic trends.

[edit] Combat

1440s illustration of one- and two-handed use of the longsword. Note the sword being used one-handed is drawn shorter and may also be intended as a large knightly sword (CPG 339 fol. 135r).

Example of two handed use vs. half-sword, dating to ca. 1418 (CPG 359, fol. 46v).

Half-swording in plate armour. On the right, a mordhau. (Codex Wallerstein, plate 214.)
For more details on this topic, see Historical fencing.
Combat with the longsword was not so barbaric and crude as is often portrayed. Codified systems of fighting existed, with a variety of styles and teachers each providing a slightly different take on the art. The longsword was a quick, effective, and versatile weapon capable of deadly thrusts, slices, and cuts.[11] The blade was generally used with both hands on the hilt, one resting close to or on the pommel. However, in some circumstances, the weapon may be used only with one hand. In a depiction of a duel, individuals may be seen wielding sharply pointed longswords in one hand, leaving the other hand open to manipulate the large dueling shield.[12] Another variation of use comes from the use of armour. Half-swording was a manner of using both hands, one on the hilt and one on the blade, to better control the weapon in thrusts and jabs. This versatility was unique, as multiple works hold that the longsword provided the foundations for learning a variety of other weapons including spears, staves, and polearms.[11] [13] Use of the longsword in attack was not limited only to use of the blade, however, as several fechtbücher explain and depict use of the pommel and cross as offensive weapons.[14] The cross has been shown to be used as a hook for tripping or knocking an opponent off balance.[11]
What is known of combat with the longsword comes from artistic depictions of battle from manuscripts and the fechtbuch of Medieval and Renaissance Masters. Therein the basics of combat were described and, in some cases, depicted. The German school of swordsmanship includes the earliest known longsword fechtbuch, a manual from approximately 1389 accredited to Johannes Liechtenauer.[15] This manual, unfortunately for modern scholars, was written in obscure verse. It was through students of Liechtenauer, like Sigmund Ringeck, who transcribed the work into more understandable prose[16] that the system became notably more codified and understandable.[17] Others provided similar work, some with a wide array of images to accompany the text.[18]
The Italian school of swordsmanship was the other primary school of longsword use. The 1410 manuscript by Fiore dei Liberi presents a variety of uses for the longsword. Like the German manuals, the weapon is most commonly depicted and taught with both hands on the hilt. However, a section on one-handed use is among the volume and demonstrates the techniques and advantages, such as sudden additional reach, of single-handed longsword play.[19] The manual also presents half-sword techniques as an integral part of armoured combat.
Both schools declined in the late 16th century, with the later Italian masters forgoing the longsword and focusing primarily on rapier fencing. The last known German manual to include longsword teaching was that of Jakob Sutor, published in 1612. In Italy, spadone, or longsword, instruction lingered on in spite of the popularity of the rapier, at least into the mid-17th century (Alfieri's Lo Spadone of 1653), with a late treatise of the "two handed sword" by one Giuseppe Colombani, a dentist in Venice dating to 1711. A tradition of teaching based on this may have survived into 19th and 20th century Italy stick fighting, e.g. with Giuseppe Cerri's Trattato teorico e pratico della scherma di bastone of 1854. However, there can be no doubt that the heyday of the longsword on the battlefield was over by 1500.

[edit] Bloßfechten
Bloßfechten or "bare fighting" is the technique of fighting without significant protective armour such as plate armour, mail or brigandine.[20] Vulnerable targets like the head and upper torso are totally unprotected except for normal clothing during Bloßfechten. The lack of significant torso and limb protection leads to the use of a large amount of cutting and slicing techniques in addition to thrusts. These techniques could be nearly instantly fatal or incapacitating, as a thrust to the skull, heart, or major blood vessel would cause massive trauma. Similarly, strong strikes could cut through skin and bone, effectively amputating limbs. The hands and forearms are a frequent target of some cuts and slices in a defensive or offensive maneuver, serving both to disable an opponent and align the swordsman and his weapon for the next attack.

[edit] Harnischfechten
Harnischfechten, or "armoured fighting", depicts fighting in protective gear, most specifically plate armour.[20] The increased defensive capability of a man clad in "full harnisse" (a full suit of plate armour) caused the use of the sword to be drastically changed. While slashing attacks were still moderately effective against infantry wearing half-plate armor, cutting and slicing attacks against an opponent wearing plate armour were almost entirely ineffective in providing any sort of slashing wound as the sword simply could not cut through the steel.[21] Instead, the energy of the cut becomes essentially pure concussive energy. The later hardened plate armours, complete with ridges and roping, actually posed quite a threat against the careless attacker. It is considered possible for strong blows of the sword against plate armour to actually damage the blade of the sword, potentially rendering it much less effective at cutting and producing only concussive effect against the armoured opponent.
To overcome this problem, swords began to be used primarily for thrusting. The weapon was used in the half-sword, with one or both hands on the blade. This increased the accuracy and strength of thrusts and provided more leverage for Ringen am schwert or "Wrestling at/with the sword". This technique combines the use of the sword with wrestling, providing opportunities to trip, disarm, break, or throw an opponent and place them in a less offensively and defensively capable position. During half-swording, the entirety of the sword works as a weapon, including the pommel and crossguard which function as a mace as shown in the mordhau.[21]

[edit] References
^ Clements, John. What did historical swords weigh?
^ Oakeshott, Ewart. The Sword in the Age of Chivalry. Boydell Press 1994. Page 18-19.
^ Oakeshott, Ewart. The Sword in the Age of Chivalry. Boydell Press 1994. Page 56.
^ Lindholm, D. & Svard, P. Sigmund Ringneck's Knightly Art of the Longsword Paladin Press, 2003. Page 17.
^ Clements, John. Myths of Renaissance Martial Arts
^ Sotheby's: Antique Arms, Armour, and Militaria 26 June 2003. Item 31. "A fine Medieval 'Great' sword second half of the 12th/first half of the 13th century."
^ Oakeshott, Ewart. The Sword in the Age of Chivalry. Boydell Press 1994. Page 40.
^ a b Stone, G. C. A Glossary of the Construction, Decoration, and Use of Arms and Armour. Jack Brussel, 1961. Page 280.
^ a b c Clements, John. Sword Forms
^ a b Tarassuk, Leonid & Blair, Claude. The Complete Encyclopedia of Arms & Weapons. Simon and Schuster, 1982. Page 80.
^ a b c Rector, Mark. Medieval Combat: A Fifteenth-Century Illustrated Manual of Swordfighting and Close-Quarter Combat. Green Hill Books, 2000. Page 15-16.
^ Rector, Mark. Medieval Combat: A Fifteenth-Century Illustrated Manual of Swordfighting and Close-Quarter Combat. Green Hill Books, 2000. Plate 128-150.
^ Lindholm, David. Fighting with the Quarterstaff: A Modern Study of Renaissance Technique. Chivalry Bookshelf, 2006. Page 32.
^ Rector, Mark. Medieval Combat: A Fifteenth-Century Illustrated Manual of Swordfighting and Close-Quarter Combat. Green Hill Books, 2000. Plate 67, 73 - 74.
^ Liechtenauer, Johannes. MS 3227a
^ Ringeck, Sigmund. MS Dresd. C 487
^ Lindholm, D. & Svard, P. Sigmund Ringneck's Knightly Art of the Longsword Paladin Press, 2003. Page 11.
^ Talhoffer, Hans. Thott 290 2
^ dei Liberi, Fiore. Flos Duellatorum.
^ a b Clements, John. Medieval and Renaissance Fencing Terminology
^ a b Lindholm, David & Svärd, Peter. Signmund Ringeck's Knightly Arts of Combat. Paladin Press, 2006. Page 219.

[edit] See also
Historical European Martial Arts
Oakeshott typology
Ricasso
Side-sword
Claymore
Waster
Jian

[edit] Further reading
David Lindholm & Peter Svärd, Sigmund Ringeck's Knightly Art of the Longsword, Paladin Press (2003), ISBN 1-58160-410-6
Christian Henry Tobler, Secrets of German Medieval Swordsmanship (2001), ISBN 1-891448-07-2
Christian Henry Tobler, Fighting with the German Longsword (2004), ISBN 1-891448-24-2
Guy Windsor, The Swordsman's Companion: A Modern Training Manual for Medieval Longsword (2004), ISBN 1-891448-41-2
John Clements, Medieval Swordsmanship: Illustrated Methods and Techniques. Paladin Press, 1998. ISBN 1-58160-004-6
Grzegorz Zabinski & Bartlomiej Walczak. The Codex Wallerstein : A Medieval Fighting Book from the Fifteenth Century on the Longsword, Falchion, Dagger, and Wrestling. Paladin Press, 2002. ISBN 1-58160-339-8

[edit] External links
AEMMA - Academy of European Medieval Martial Arts
ARMA - The Association for Renaissance Martial Arts
British Federation for Historical Swordplay
Chicago Swordplay Guild
HEMAC - Historical European Martial Arts Coalition
Les Maîtres D'Armes - School of Armizare
Mid-Atlantic Society for Historic Swordsmanship
Medieval European Martial Arts Guild
MyArmoury - Call to Arms: The German Longsword
Schola Gladiatoria
Schola Saint George
Tattershall School of Defence
Retrieved from "http://en.wikipedia.org/wiki/Longsword#Bastard_swords"

Morning Star

Morning star (weapon)
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Morning star at the torture museum in Freiburg im Breisgau.
The terms morning star, goedendag and holy water sprinkler are used to describe medieval club-like weapons which included one or more spikes. Each used, to varying degrees, a combination of blunt-force and puncture attack to kill or wound the enemy.
Contents[hide]
1 Morning Star
2 Goedendag
3 Holy Water Sprinkler
4 References
//

[edit] Morning Star
The morning star was a medieval weapon in the form of a spiked club resembling a mace, usually with a long spike extending straight from the top in addition to a number of smaller spikes around the circumference of the head. It was used by both infantry and cavalry, and the horseman's weapon typically had a shorter shaft. The mace, a traditional knightly weapon, developed somewhat independently, becoming all metal with heads of various forms, while the morning star retained its characteristic spikes, with a shaft generally made of wood and often found in longer two-handed forms measuring up to six feet or more, popular among footmen. The morning star first came into widespread use around the beginning of the fourteenth century, and the term is often mistakenly applied to the military flail ("fléau d'armes" in French and "kriegsflegel" in German) which consists of a wooden haft joined by a length of chain to one or more iron balls or an iron shod wooden bar, in either case with or without spikes (heavy sword pommels have also been used as weights).
Although it is often assumed that the morning star was a crude peasant weapon, that is not entirely correct. There were three types in existence, all differing in quality of workmanship. The first was the well crafted military type used by professional soldiers, made in series by expert weaponsmiths for stocking in town arsenals. The second and much simpler type would have been hand cut by peasant militiamen, rather than turned on a lathe, from wood they had gathered themselves (for which reason forests were often known as "arsenals of God") and fitted with nails and spikes by the local blacksmith. The shaft and head were usually of one piece but sometimes reinforced at the top with an iron band. The third type was decorative in nature, usually short hafted and made of metal (one sixteenth century example being of steel and damascened with inlaid gold and silver, in the Wallace Collection of London).
Two impressive examples of the military type are housed in the museums of Vienna, both from the sixteenth century. The first measures 2.35 m (7' 9") in length including the top spike which is 54 cm (21"). The head is a separate wooden cylinder slipped over the top of the shaft and reinforced with steel bands, with five metal spikes in symmetrical arrangement. The second example has an all steel head of complex craftsmanship with four V-shaped spikes mounted on a long shaft that measures slightly less than two meters in length. A twisted and braided steel bar joins the socket to the base of the top spike. There are also 183 surviving specimens in Graz, made in series and delivered to the arsenal in 1685. They are comparable in length to the previous examples and have three rows of spikes around the head. The wooden shafts of most morning stars of the military type are reinforced with metal langets extending down from the head. Still others can be found in the Swiss arsenals of Lucerne and Zurich.
These types of morning stars are also depicted in medieval art. For instance, one is shown being carried by an armored knight or soldier in the Caesar Tapestries in the Historical Museum of Bern, depicting Julius Caesar's battle against the Germanic leader Ariovistus. These tapestries were woven in Tournai between 1465 and 1470, and taken as plunder from Charles the Bold after one of his defeats during the Burgundian Wars against the Swiss. In the poem Le Chevalier Délibéré written by Olivier de la Marche and first published in 1486, there is an anonymous woodcut depicting a knight carrying a rather simple morning star with spikes mounted in an asymmetrical pattern as well as a flail equipped with a single spiked ball, known in German as a "kettenmorgenstern" which, despite its name, is a type of military flail.

[edit] Goedendag
Image:Goedendag.jpg
Most probable reconstruction drawing of a goedendag. Total length about 1 meter 35.
The Goedendag or Plancon was a Flemish weapon which is often described in modern sources as similar to the morning star, it was a pole arm that combined a spear with a mace. The name itself is thought to be sarcastic, as Goedendag is Dutch for "Good Day". It was used to great effect by the guildsmen of Flanders against the French during the Battle of the Golden Spurs in 1302. It was an infantry weapon in the form of a thick wooden shaft between 4 and 6 feet in length, slightly fluted toward the top, from which emerged a stout iron spike. It is depicted in the carvings on the Courtrai Chest (located within New College, Oxford, England) being used along with the long spear of the Flemish, the geldon, against the French knights. As Kelly DeVries states in Medieval Military Technology, the spear part was used to pull the French knights from their horses and then the mace part was used to crush skulls and bones. It saw limited service, with the Flemish themselves abandoning the weapon at the beginning of the fifteenth century.

Flemish troops at the Battle of the Golden Spurs. In the center are men wielding the goedendag, also known as the plancon. Detail from the Courtrai Chest.

[edit] Holy Water Sprinkler
The holy water sprinkler (from its resemblance to the aspergillum used in the Catholic Mass), or goupillon in French, was a morning star popular with the English army from the sixteenth century and made in series by professional smiths. One such weapon can be found in the Royal Armouries and has an all steel head with six flanges forming three spikes each, reminiscent of a mace but with a short thick spike of square cross section extending from the top. The wooden shaft is reinforced with four langets and the overall length of the weapon is 6' 2".
The term can also be used to describe a type of military flail. Rather than a steel ball on the end of a chain, however, it features a short iron bar covered in sharp spines. It was (according to popular legend) the favored weapon of King John of Bohemia, who was blind, and used to simply lay about himself on all sides, as one does not need to see one's opponent. It is easy enough to just "flail" until hitting something.

[edit] References
Dictionary of Medieval Knighthood and Chivalry by Bradford Broughton (NY, Greenwood Press, 1986, ISBN 0-313-24552-5)
Hafted Weapons in Medieval and Renaissance Europe: The Evolution of European Staff Weapons Between 1200 and 1650 by John Waldman ( Brill, 2005, ISBN 90-04-14409-9)
Medieval Military Technology by Kelly DeVries (Broadview Press, 1998, 0-921149-74-3)

Retrieved from "http://en.wikipedia.org/wiki/Morning_star_(weapon)"
Categories: Clubs Medieval weapons

Medieval Weapons - Directory

Medieval weapons - Directory
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For Wikipedian collaboration on this topic, see the Military history WikiProject.
Subcategories
There are 3 subcategories to this category shown below (more may be shown on subsequent pages).
F
[+] Flail weapons
P
[+] Pole weapons
S
[+] Siege engines
Pages in category "Medieval weapons"
There are 75 pages in this section of this category.
A
Ahlspiess
Arbalest
Arming sword
Assegai
Aunurgith
Axe
B
Bardiche
Baselard
Battering ram
Battle axe
Bec de Corbin
Bill (weapon)
Boar spear
Boiling oil
Bombard (weapon)
Bow (weapon)
Bow string
Bricole
C
Caltrop
Cannon in the Middle Ages
Chain weapon
Claymore
Composite bow
Crossbow
Culverin
D
Danish axe
Dirk
Doloire
E
English longbow
F
Falchion
Flail (weapon)
Francisca
G
Glaive
Greatsword
Greek fire
H
Halberd
Hun bow
Hungarian bow
Hurlbat
K
Katana
Katanas in fiction
Kindjal
Korean bow
L
Lance
List of medieval weapons
Lithobolos
Longbow
M
Mace
Macuahuitl
Mangonel
Meng Huo You
M cont.
Mercygiver
Military fork
Mons Meg
Morning star (weapon)
O
Oakeshott typology
P
Pen Huo Qi
Petrary
Pike (weapon)
Pollaxe
Poniard
Q
Quarterstaff
R
Ranged weapon
Rondel (dagger)
S
Sabre
Saif
Scimitar
Siege engine
Sling (weapon)
Spear
Splitting maul
T
Throwing axe
Turkish bow
V
Viking Age arms and armour
W
War hammer

Halberd

Halberd
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Swedish halberds from the 16th century

Halberdiers from a modern day reenactor troupe.

This article is about the weapon. For the fictional airship, see Meta Knight#The Halberd
A halberd (or Swiss voulge) is a two-handed pole weapon that came to prominent use during the 14th and 15th centuries. Possibly the word halberd comes from the German words Halm (staff), and Barte (axe). The halberd consists of an axe blade topped with a spike mounted on a long shaft. It always has a hook or thorn on the back side of the axe blade for grappling mounted combatants. It is very similar in many ways to certain forms of voulge.
The halberd was cheap to produce and very versatile in battle. As the halberd was eventually refined, its point was more fully developed to allow it to better deal with spears and pikes (also able to push back approaching horsemen), as was the hook opposite the axe head, which could be used to pull horsemen to the ground.
Additionally, halberds were reinforced with metal rims over the shaft, thus making effective weapons for blocking other weapons like swords. This capability increased its effectiveness in battle, and expert halberdiers were as deadly as any other weapon masters were. It was a halberd, in the hands of a Swiss peasant, which killed the Duke of Burgundy, Charles the Bold, decisively ending the Burgundian Wars -- literally with one stroke.
The Halberd was the primary weapon of the early Swiss armies in the 14th and early 15th centuries. Later on, the Swiss added the pike to better repel knightly attacks and roll over enemy infantry formations, with the halberd, hand-and-a-half sword, or the dagger known as the Schweizerdolch being used for closer combat. The German Landsknechts, who imitated Swiss warfare methods, also used the halberd, supplemented by the pike, but their side arm of choice was the short sword known as the Katzbalger.
As long as pikemen fought other pikemen, the halberd remained a useful supplemental weapon for "push of pike," but when their position became more defensive, to protect the slow-loading arquebusiers and matchlock musketeers from sudden attacks by cavalry, the percentage of halberdiers in the pike units steadily decreased, until the halberd all but disappeared from these formations as a rank-and-file weapon by the middle of the sixteenth century.
The halberd has been used as a court bodyguard weapon for centuries, and is still the ceremonial weapon of the Swiss Guard in the Vatican. The halberd was one of the polearms sometimes carried by lower-ranking officers in European infantry units in the 16th through 18th centuries.
Some of the different types of halberds include:
Hippe
Scorpion
Ji (戟)

Other weapons that are sometimes listed as halberds:
Guan Dao
Bisento
Lochaber axe (Jeddart axe)
Naginata
Poleaxe
Bill hook
Dagger-axe

Different sorts of halberds and halberd-like pole weapons in Switzerland

Citizens of Zurich on 1 May 1351 are read the Federal Charter as they swear allegiance to representatives of Uri, Schwyz, Unterwalden and Lucerne. The person on the right side is a scribe reading the text. One of the representatives carries a typical Swiss Halberd of the period depicted (as opposed to the time the image was made, 1515).

Retrieved from "http://en.wikipedia.org/wiki/Halberd"

Categories: Blade weapons Medieval weapons Pole weapons

3.2.9.3. Basilica Vadisium Part Two

Xylen Felicitia, the High Priestess of Valanis

Image Source: http://elric2012.deviantart.com/art/The-High-Priestess-REVISED-176374735

About ten minutes’ walk from the main entrance, Robert finds himself in a huge, oddly-shaped room. Actually it’s Ankh*)-shaped. The main, round part is the Pope’s throne room, and there are also three-way, T-shaped hallways in front of the room. Robert comes from the hallway straight in front of the throne room.
(* Ankh: The Mark of Vadis and the Holy Force. In our world, it’s the mark of Osiris, an Egyptian god. The round part is called the ‘head’, the horizontal line below is the ‘hand’, and the vertical line is the ‘foot’. The mark portrays Vadis himself in the beginning of most of his teachings.
The throne room – not like in palaces – looks like a cathedral with the floor with tiers that also function as seats for the church officials. The seats are circling a grandstand at the lowest tier on the farthest corner of the room. Five chairs stand on that grandstand behind a long, large table.
Observing these arrangements, we can readily assume that a Pope is a servant for all Vadisians, not the other way around, and the function of the room is more for conferences and lawmaking than audiences in a ‘worldly’ monarchy.
There seem to be no big conference going on at the moment, but the Pope is there with her aides, discussing something with the five seats now circling the table.
‘Stay here for a while, you three. I’ll inform the Pope that you’re coming,’ says Andreas. He walks towards the Pope very carefully. He salutes when he is quite close by the Pope, and then whispers something in her ear. The Pope stands up at once, and looking at the guests, she says,
‘Come closer, Vadis’ Champions!’
As Robert walks towards the grandstand, he is astounded to see the Pope, although it’s shown in his eyes only. Pope Xylen Felicitia is indeed a divinely beautiful lady. Her aquamarine eyes and hair match perfectly with her pinkish skin, while the white-gold Divine Papal Robe she’s wearing expresses her absolute, unquestionable authority as Vadis’ ambassador, representative and prophet in this world.
Pope Xylen turns to her aide and commands with a moderate, calm voice.
‘Sister Solnii, summon the rest of the champions in this room now, so we can proceed. This meeting is adjourned.’
Solnii the priestess salutes Xylen and immediately darts away to do as she was told. The other high priests in the meeting immediately stand up, salute and leave the room orderly and quietly.
Andreas, Bernides and the guests take their seats on the floor, second tier from the bottom and wait. Pope Xylen’s face turns very serious, as this affair concerns all Aurelia and all Eternia.
A minute later, they hear footsteps coming from the throne room entrance. A monk comes in, followed by a man and a she-elf. The she-elf notices Robert and shouts,
‘Robert! Oh, Robert! Praise Enia you’re here!’
Chris also greets Robert enthusiastically, ‘Robert, my man! You finally finished your training! Well done!’
‘Thanks, guys,’ says Robert. ‘How’s Carol?’
Chris says, ‘She’s just fine, thanks to Algaban’s directions. She’s resting in the dormitories now. You know, Rob,’ he pauses a while, a bit taken aback. ‘She kept murmuring your name in her sleep.’
Robert is surprised on hearing this, but he doesn’t say a word. Just then some more people come into the hall. The priestess Solnii is accompanied by five people: Viscount Adler von Bachmann, wielder of the cursed sword Kraal’shazar; Kyflynn the night elf assassin and his partners Desmond Edmundsen the barbarian berserker and Agustina Vyrakova the ice mage; and last but not least, Prince Alexis Deveraux of Arcadia.
Without saying a word, the champions exchange glances. Adler looks at Robert with disdain, and as soon as all champions take their seats, Pope Xylen begins her speech with the reason of Adler’s sourness upon Robert.
‘Please forgive us, Lord Adler, for the delays and for borrowing the Aurora to pick Robert up. We have to wait until Robert’s training is finished because he, like the rest of you who fought in Enia’s Sanctum has the right to hear about what I’m going to tell you.

As you might’ve heard by now, there were odd things happened recently. Strikes and raids were attempted upon Adair’s Arsenal and some prominent, important people, including Robert Chandler here. Master Eidos, tell us what you saw.’
Eidos briefly explains about Robert who was attacked by harpies, and when he’s finished, everybody stares at Robert with concern.

The Pope continues, ‘And that’s just one of many. Zal’fira’s raid. A Cardinal stabbed to death in his sleep. A palace attendant in Myrcalia was found dead with her throat slit, and many more. Now you might say that the murders were ordinary crimes, but as the raids and attacks from the dark forces and the murders have come into an alarming number, we can be sure that the dark forces are active now.
Let me tell you one fact: Our mission in Enia’s Sanctum failed.’

That bit of news struck the champions like lightning. Even Adler gets up and yells in protest,
‘That’s nonsense! We stopped Vordac and Paliades there! Vordac is gone! This sword is the proof that his spirit has left it!’ Adler nudges to his sword Deathblade.

‘Indeed, Lord Adler, Vordac’s spirit has departed from the sword, but not from Eternia. You may assume that he perished with Paliades, but I tell you, he’s still here.
The knowledge that moved me to gather the champions to Enia’s Sanctum came from no other but Vordac himself, who invaded and tortured my mind just to let his words through. It was an ultimatum, a threat!
Then, when word came to me that Paliades was the heir and was destroyed, I thought Vordac’s threat was over and we can breathe freely again. But once again, Vordac invaded my mind, telling me that he still exists. Paliades was not the heir, he was just a decoy. Vordac gave most of his energy to Paliades as reward, but never went inside him. The real heir, Vordac’s new host is actually around all this time, and he has made his moves just recently.’

‘And so, it’s clear at last,’ Kyflynn cuts in. ‘We’re just pawns, baits tossed into Vordac’s trap.’
Father Bernides gets up at once and replies calmly, ‘Nak, nak, I wouldn’t say such thing if I were you, Master Kyflynn. You can say that to our fallen friends and my late brothers, but Sister Xylen, believe it or not, insisted on going there at first. Our brothers and sisters persuaded her not to go, I volunteered to go in her stead, and she confided in me.

Me and my brothers must disguise ourselves because our magicks and powers are lacking, compared to you, the champions. We must spare our mana to do telepathic communications with the Pope. I hope that answered your question, Robert.’ Robert responds with a quick nod.

‘Brother Bernides, you don’t have to tell them that much to save my face,’ says Xylen with authority. ‘I was the one to blame. I was ignorant about Vordac’s cunning that truthfully exceeds my mind. For that, I, who led you all into deathly traps, beg your forgiveness.’
Saying that, Xylen who is standing in front of the champs on that moment, goes down to her knees. This puts a surprise on almost all champions, except, naturally, Robert and Agustina.
Adler, however, remains indifferent and talks, ‘Hundreds came, hundreds died, but only one claimed the prize!’ He rubs the Deathblade Kraal’shazar hanging on his back. Xylen’s action meant absolutely nothing to him.
‘Forgiveness given.’
Now everybody stares back to see the one who said that. It was Robert. Bernides is a bit confused and amazed to hear that, because it was Robert who talked bitterly of the Pope a while ago. But his expression changes when Robert continues.

‘I, representing all hunters who died and suffered in Enia’s Sanctum, swear before this sword,’ He draws his saber Grimlock and lifts it up in the air. ‘That we understood the Pope’s position over this matter, and thereby pardon her. However, if there’s any single proof that Pope Xylen is untrustworthy, and if anyone should raise any more doubt about Enia’s Sanctum again, they all must answer to this sword, Grimlock.’
‘Fair enough,’ says Kyflynn.

‘Make that Grimlock and Colathaloc. I’m with Robert,’ says Alexis.
However, Adler of Borgia objects.
‘Humph! How dare this... peasant made such oath and expected us to honor it? No way, not in a million years!’
‘Then perhaps our swords will tell whether I’m worthy of such oath,’ says Robert, pointing his Grimlock towards Adler.
‘Let’s do, now.’

Adler also points his Kraal’shazar straight to Robert’s neck. The two champions are at a brink of a fight, but before Adler unleashes his first move, Fingers of the Blade, Pope Xylen shouts,
‘STOP IT, you two! Please, don’t spill blood in this holy place!’
Robert and Adler stop at once. Adler just realized that he has embarrassed himself with such a childish act, and Robert sheathes his sword with thoughts of his own.
There was too much blood spilled in Enia’s Holy Place. Know you what of holy? Know you what of blood? Who tricked whom? Who blasphemed against whom? I took that oath so we don’t dabble in the past anymore and focus on making plans to stop the heir. I better stick to it and not ruining it now. I’ll settle this with Adler when we are out from the Holy City.
While Robert is deep in his thoughts, Christopher speaks up, ‘My friends, what Robert meant was we better not quarrel over spilled milk anymore, and focus on the dangers ahead. As the Holy Mother has most of the information we need, we better ask her to share it with us so we can stop the heir before more blood is spilled.’
‘Well said, brother,’ says Alexis. ‘I couldn’t agree more.’
It takes a moment for Robert to realize something.
Alexis... he called Chris ‘brother’!? No wonder they look almost alike! So, my apprentice is a prince after all. Well, he’s got a lot to explain after this meeting’s over.
And it took Chris a bit longer to realize that his brother has just revealed his real identity to Robert, Iris and all people in that room. Whether it was accidental or deliberate, Chris is very upset because that one word, ‘brother’ was spoken by the right person in the wrong time. Chris doesn’t speak another word until the end of the meeting.

‘Thank you, Prince Cristophe,’ says Xylen.
Oh, that’s his real name all right, Robert thinks.
Xylen talks on, ‘What we must do now is to think and prepare against the heir’s next attacks. Most likely, he will strike in Valanis, as this is the center of the Holy Forces. And I will be his main target. So, I’m going to ask you a favor: Please stay here and guard me until we can identify and apprehend the heir. If he chose to strike somewhere else, feel free to go there to investigate, but at least two or three of you please stay.’
Robert says, ‘I’ll stay. My friend is still under treatment here, so I practically have nowhere else to go to. I’ll stay until Carolyn is fully healed.’
‘Of course we’ll stay here too, as members of Robert’s hunting party,’ says Iris.
‘I and my party will go,’ says Adler. ‘There’s no point staying guard here when we might be better off hitting the road.’ Hernan and Eidos may have different thoughts, but their silence signifies that they decided to follow their party leader (and keep their eyes on him).
‘I, Desmond and Tina have talked, and we agree to stay for a while,’ says Kyflynn. ‘Three weeks max. Then we’ll go about our business and help if called.’
Alexis says, ‘I’m needed in Arcadia, so I’ll go after settling some diplomatic affairs here in Valanis. I’m very sorry, Holy Mother.’

Xylen is thoughtful for a moment, and then says, ‘I see. Maybe my request is too troublesome for you and your businesses. So, let’s make this three days. Stay here in Ascension for three days, no lest, no more.
I have a strong feeling that everything we’re discussing here will go to the heir sooner or later, and he might want to take immediate action. Three days. It’s not for me. Do that for Vadis and everything you believe in. The heir drew first blood, and we’ll make sure he won’t bleed this world dry.’

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