It has been awhile since I’ve added to this story. The working title for this chapter is, Compiler’s Note.
Compiler’s Note (Rough Form)
Though this journal continues, the author’s entries become less cohesive, and whereas a well-read historian familiar with the period in question could—not without some difficulty and guesswork—parse a narrative from the subsequent passages, the directive of this publication is to present to the common reader an accurate account of the Nameless Hero, his membership in the Seven, and his death at the Sacking of Caltroon; with this in mind, the following chapters are added so as to present a fictionalized narrative based off of rigorous research.
But before the presentation of this narrative, the assumptions should be addressed, some unfortunately controversial, and some facts should be asserted—in our sad intellectual climate of cheap skepticism, these facts may be the more controversial of the two.
Let me assert the warrant of these assumptions: none were made by necessity, but are logical inference from fact. To put it another way, I as a writer—and my faithful associates who time and again provided the harshest criticism so nothing but truth and probable truth remained after their assaults—left nothing in the following of a personal bias. I myself, enthralled in the story I craft, did not direct the action towards the simplistic cohesion of fantasy, nor did I attempt to stoke the intensity of a situation, a vagabond showman’s want. Against such dishonest implications I cannot but assert my case, and challenge the one who thinks such is found in the writing to prove his point. He cannot.
But assumptions were made, and in the listing of them a clarity regarding their reasonableness should emerge without my explanation. Yet my pen will not be bridled; I’ve known unreasonableness, and would no want of a defense be found. The primary assumptions revolve around dialogue. We have some knowledge of how these characters spoke, and to present old verbiage, though a more accurate depiction of the language employed in their time, would do nothing to improve the work, and indeed be a barrier to the reader. The dialogue is fiction; what is said is not.
Check out more of this story by following the links below.
By The Sword
Part 1: How it Began
Part 2: Questions
Part 3: The Blackness of the Sea
Part 4: Locks
Part 5: Out of Time
Part 6: Ariesland
Part 7: Shadow of the Sisyphus
Part 8: Swords
Part 9: The Eagle and the Lamb
Part 10: Confession