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ink to those of their youngest whores who could put on a show of haughtiness. This appealed to those clients who wished to feel they were violating some blue-blooded Snilfard princess.
At the same time, the Snilfards took to adopting foundlings—the offspring of female slaves and their masters, for the most part—and using these to replace their legitimate daughters. It was cheating, but the noble families were powerful, so it went on with the eye of authority winking.
Then the noble families grew even lazier. They no longer wanted the bother of raising the girls in their own households, so they simply handed them over to the Temple of the Goddess, paying well for their upkeep. As the girl bore the family’s name, they’d get credit for the sacrifice. It was like owning a racehorse. This practice was a debased version of the high-minded original, but by that time, in Sakiel-Norn, everything was for sale.
The dedicated girls were shut up inside the temple compound, fed the best of everything to keep them sleek and healthy, and rigorously trained so they would be ready for the great day—able to fulfill their duties with decorum, and without quailing. The ideal sacrifice should be like a dance, was the theory: stately and lyrical, harmonious and graceful. They were not animals, to be crudely butchered; their lives were to be given by them freely. Many believed what they were told: that the welfare of the entire kingdom depended on their selflessness. They spent long hours in prayer, getting into the right frame of mind; they were taught to walk with downcast eyes, and to smile with gentle melancholy, and to sing the songs of the Goddess, which were about absence and silence, about unfulfilled love and unexpressed regret, and wordlessness—songs about the impossibility of singing.
More time went by. Now only a few people still took the gods seriously, and anyone overly pious or observant was considered a crackpot. The citizens continued to perform the ancient rituals because they had always done so, but such things were not the real business of the city.
Despite their isolation, some of the girls came to realize they were being murdered as lip service to an outworn concept. Some tried to run away when they saw the knife. Others took to shrieking when they were taken by the hair and bent backwards over the altar, and yet others cursed the King himself, who served as High Priest on these occasions. One had even bitten him. These intermittent displays of panic and fury were resented by the populace, because the most terrible bad luck would follow. Or it might follow, supposing the Goddess to exist. Anyway, such outbursts could spoil the festivities: everyone enjoyed the sacrifices, even the Ygnirods, even the slaves, because they were allowed to take the day off and get drunk.
Therefore it became the practice to cut out the tongues of the girls three months before they were due to be sacrificed. This was not a mutilation, said the priests, but an improvement—what could be more fitting for the servants of the Goddess of Silence?
Thus, tongueless, and swollen with words she could never again pronounce, each girl would be led in procession to the sound of solemn music, wrapped in veils and garlanded with flowers, up the winding steps to the city’s ninth door. Nowadays you might say she looked like a pampered society bride.
She sits up. That’s really uncalled for, she says. You want to get at me. You just love the idea of killing off those poor girls in their bridal veils. I bet they were blondes.
Not at you, he says. Not as such. Anyway I’m not inventing all of this, it has a firm foundation in history. The Hittites…
I’m sure, but you’re licking your lips over it all the same. You’re vengeful—no, you’re jealous, though God knows why. I don’t care about the Hittites, and history and all of that—it’s just an excuse.
Hold on a minute. You agreed to the sacrificial virgins, you put them on the