Walking on a boat is even more difficult than walking on land, and Cymbeline is no great shakes at the latter to begin with. Unfortunately, neither he nor Kerem, the court magician and Cymbeline's confidante, have been able to figure out how to apply the principles of practicable magic to alleviating princely clumsiness. So Cymbeline is clinging to the railing of the boat, watching the waves, trying to avoid having to walk anywhere.
Ariel is a deep-water child, and it used to be that she couldn't even see up this high - too bright, the water too clear, the air stinging her eyes with its breathtaking lightness. But she likes it too much, coming up to watch the boats. She does it whenever she sees a shadow. And look, there's a cute human hanging over the side of this one, like a reward. She wonders if she could leap high enough to drag him into the water. No - they can't breathe it, that's right. That's why they need to go across on those enormous rotting hulks.
They run out of glass balls before the storm runs out of turbulence, and they're deeply in it, now.
Then a wave twice the height of the ship breaks their glass, which was boxed but not, apparently, padded well enough -
And Cymbeline cannot keep his footing in the ensuing chaos.
It's no good just leaving him here. She couldn't get him back up on his boat if she tried. But the edge of the water isn't that far away. She could get him there.
Ariel starts swimming.
It's hard, keeping him up by the surface - ten, twenty times, she forgets what she's carrying and ducks under a wave, has to pull him back up again and watch anxiously while he coughs and breathes. Even without that, the waves keep getting him. But after a few hours, she does get him to the shore.
This boy has feet.
Ariel inspects them, poking her fingers between his toes. They're cute! Like funny hands. (She looks up at his face. Is he awake yet? No.)
"C'mon," she murmurs, trying to stir the magic of her voice, even though she knows it doesn't really do that kind of thing. "I didn't drag you all this way to have you die on me." She kisses his forehead. "Wake up, pretty boy."
"Too bad, I guess," she says. "If I stay out any longer, Dad'll serve me for dinner." She gives him a last, thoughtful look, then kisses him on the mouth (because when is she going to get another chance?) and starts hauling herself down the beach towards the water. The sand itches between her scales.
He has the oddest, most vivid memories of being spoken to. Despite having been unconscious, he heard. Despite not knowing any of the words she used, he understood.
He hauls himself to a sitting position, coughing.
There are strange tracks in the sand. Handprints, too small to be his, and larger smoother depressions in the beach, like a seal or a dolphin with human forelimbs hauled itself up alongside him - with him? In tow?
He doesn't know what to make of that.
A quick assessment of his surroundings is in order. He starts along the shore, looking for a stream; fresh water will lead to people, and he's recognized over the whole of Loegria and its neighbors; he can get home as soon as he finds civilization of any kind.
The king under the sea doesn't serve her for dinner, but it's a near thing. She's a week recovering, and she'll have another scar right down the length of her tail.
She can't stop thinking about her little taste of the surface.
What must it be like up there? Whatever it is, it can't be as bad as it is down here. And her father won't be able to find her no matter how he looks. That's worth a lot.
By the time she can swim well enough to leave the palace again, her mind is made up.
She goes looking for the witch.
Here she is, deep inside the twists and turns of a stinging reef, with her garden of polyps, and her collection of sea-glass with small trapped moving things in each piece.
The witch is themed purple where Ariel is green. She's half-octopus, not half-fish, but still certainly a mercreature. Her hands skim over her sea-glass collection. "Now what would you like? I've got someone's charmed hands, nimble as you please... got whales' strength and sharks' ferocity and several sorts of poison and glitter for your scales - what's your fancy?"
"Now," says the witch, "you are absolutely welcome to keep the set of legs indefinitely. However, my personal skills run more towards the encapsulation and the transference, not so much to the sticking. They have ludicrous numbers of practical magicians on land, I'm sure you won't have any trouble getting someone to attach them permanently if you like them. If you can't, they'll come off and you'll have a tail again, but I can reattach them for another try, no extra charge." She plucks the glass containing the legs off its coral shelf. "Do we have a deal, my dear?"
The transfer takes about five minutes of humming concentration, and the moving shape in the glass changes, and Ariel's tail is sliced right through the middle and changed.
"I think you had better borrow my overskirt," says Zoyah. She unbuttons it - she's got three layers on under it; it's a chilly day. "Here. What happened to you? Did you almost drown like Cymbeline? He washed up here the other day, saw funny tracks in the sand, but I don't see anything weirder than you around. Speaking of which, where did you get those colors transferred from? Who did the magic on them? They're a good look on you."
Then she makes a face, and takes a deep breath, and water flushes out of long green streaks along her ribs. She bundles the skirt into one hand and uses the other to brush sand away from her gills.
She fiddles with the skirt a little, manages to get one foot into it, manages the other, pulls it up around her knees. It is upside-down and covered in damp sand. She is still sitting down.
With the buttons undone, it neglects to cover the crucial area. The stranger does not appear to notice this deficiency. She's wearing a halter top of some kind of grey leather, so she does know how clothes work, but lower-body coverings don't seem to be her area of expertise.
She draws:
- a recognizable silhouette of a ship, with a simple figure, just two arms and a blank head, peering over the side
- a big wobbly up-and-down scribble overtaking the ship
- a figure with arms and a head and a dolphin's tail
- an arms-and-legs human falling over the side of the boat...
She draws something that looks sort of like a jagged cave entrance, and a figure peeping out of it with arms and a head and eight wiggly tentacles.
She draws a dolphin-person approaching the cave. She draws the dolphin-person a mouth, with wavy lines straggling out of it. She draws an arms-and-legs person on the other side of the cave, and puts both her hands over her own mouth, and points at her legs.
The study has a few repositories of transferred things in it. He picks up one of them; it holds something not readily identifiable, moving around inside. "You gave your voice -" He touches the corner of her mouth, then the quartz chunk - "and got legs?" He touches the chunk again, then her knee.
"Okay..."
There's another test. He remembers the words very clearly. If he pays attention to what he's saying, he thinks he can reproduce the sound of them and not just the sense. "C'mon, I didn't drag you all this way to have you die on me," he begins, and he waits for a glimmer of recognition.
Eventually, she interrupts the lesson by pushing the paper away. She looks him in the eye, to get his attention. She touches her legs. She points to the quartz crystal he used in his earlier demonstration of magic. She touches her legs again and mimes with her hands something jumping off them and fluttering rapidly away.
He frowns, considering interpretations, then draws a little stylized Jade-with-legs, and a little stylized Jade-with tail, and an arrow from the one to the other. "Your legs are going to go away? How long - how many days -" He sketches the path of the sun; they've already done numbers. "One day, two days, three days -"
After labeling her various drawings of Cymbeline with "Cym" (apparently his full name is too long to bother with), she repeats the legs-flying-away mime and this time leans away after her fluttering hand and grabs it and hauls it back. But when she attempts to stick it back onto her hip, it just keeps stubbornly fluttering.
She looks at him expectantly.
"Is that better than learning to write, for you? I imagine drawings will still be useful, but there are advantages to this too, even though I'll have to learn it too..." He shrugs and starts doing his best to draw the concepts in the book for her, and studies the signs for himself.
She is particularly interested in verbs. As soon as she can string signs together to make a complete sensible thought, she does: I walk. (With a silent laugh.)
Cymbeline has a good head for vocabulary; he can go at whatever pace is comfortable for her. Eventually they've passed things like pronouns and "walk" and "sit", skipped over the sign alphabet which doesn't seem to interest her, and moved on to slightly more complicated words. Prepositions, nouns like "bird" and "fish" and various body parts, verbs that are a little trickier to draw or mime like "see" and "hear" and "want".
"Uhh..." He doesn't know how to ask 'forever', but - he can always take them off again, if she changes her mind, he supposes. "You want me to magic your legs on?" (They don't have a sign for magic covered, but it was mentioned earlier in the writing lessons.)
He blinks.
"These are -" They don't have "cursed". "These are - bad magic legs."
"You want these legs? They'll - they must have -" They don't have 'hurt', either; he pinches himself in the arm - "Ow, that hurt. These legs hurt. You want these?" He's not sure where you go to buy less cursed legs, but there's probably somebody selling, people make all kinds of bizarre economic choices, he could probably even pull her tail out from under the layering and swap it for someone who wants to be a merperson just like she wanted to walk.
Zoyah's lady-in-waiting appears from another room in the princess's suite, and is told: "This is Jade, I found her on the beach, she can't talk, help her into something presentable, not my favorite stuff but something she can wear to dinner, I don't think she knows how regular people clothes work."
"Yes, milady," says Hermione, chipper, and she sets about choosing an outfit while Zoyah sweeps off, and attempts to get Jade out of the leather top and borrowed overskirt and into something more surface-conventional.
Hermione tries to coax her into one until she realizes that the gills are the problem, and then she improvises as best she can in the absence of proper foundation garments, muttering to herself about strange beach women with gills. Eventually Jade has been attired in a layered dress and stockings and a spare pair of Zoyah's shoes, which are too big for her, and Minnie shows her down to the dinner table, apologizing in Zoyah's ear about being unable to talk Jade into a corset.
But when it comes time for dessert and he cautions her not to lick the bowl, she stares him down and then goes right back to it.
After he's picked up the necessary pieces, including a lengthy detour to explain "if", he says, "You will not eat with me and my family if you lick things."
He's slightly bemused at all the excess affection but presently unable to ask about it in any useful way, so he just shows her how to douse the candles - the servants prepared this room for her in advance - and then how to re-light them with the available matches.
He takes her hand again. "You could catch fire -" No, she doesn't know the words. Uuuum. He's been watching her walk apparently comfortably on cursed legs all day, but those don't spread, and he doesn't have the vocabulary for a proper fire safety lecture. "It could hurt other people," he tries. "If the fire goes anywhere but the candle," (he covered these words when he was showing her how to douse and light it) "it can - get big, grow - fire eats things."
He looks around for something to burn, then picks up the discarded match he used to light the candle in his demonstration. He shook it out before, but he relights it, then sets it on the candle tray before the flame can reach his fingers. It obligingly burns into a little line of black ash. "Not really eat. Burn. Fire burns things."
She wakes up early the next morning; even an hour before dawn, it's brighter in her room than it ever gets in the depths. For lack of anything better to do, she makes her way to the study (she's starting to get the hang of this walking thing) and sits down with the book of sign, refreshing her memory of everything she learned yesterday.
Fair enough; any more detailed report will probably have to wait until they have more vocabulary between them. He shrugs, moves on. They're going to run out of signs from this book soon, although review will of course be available, and then she can learn to fingerspell and read Loegrian to fill in other words. Or maybe Kerem will find another book of signs, though Cymbeline's not even sure why they had this one.
However, Cymbeline has other obligations today. First of all, breakfast is called for - he has this brought into the study, for both of them, but it distracts from lessons nonetheless. And then:
"I have lessons too," he says. "After lunch, I can teach you more. Do you want to read what you've learned so far again until then?"
"Okay," he says, because he's not sure what else she'd do, and off he goes to learn the finer points of Iberiola, and poke at magic with Kerem, and help Zoyah through her protocol lessons, which he finished a year ago but which she struggles with. "I'll be back later."
He has the afternoon free; in the evening he'll be doing some miscellaneous court tasks for his parents, but until then his time is his own, and he opts to spend it entirely on going through this book.
They are approaching the end of the book, and Kerem said he was pretty sure it was the only one in the library. Cymbeline supposes they can invent more signs.
She does not volunteer any information about her life under the sea.
Speaking of which.
"Why did you want legs?"
"If I can remember something, I remember it right..." He contemplates how to demonstrate "remember", grabs a sheet of paper, writes a sequence of digits on it, hands it to her so he can't see it, recites them aloud - "I remember those numbers. I don't have to look at them to say them. I won't say them backwards or miss one or put in one that isn't there. And," he continues, "if someone tries to do magic to my mind instead of to my body, it doesn't work well, and I can think faster than a lot of people."