The Cornflower Witch Book 2: Chapter 222: The Black Violin and Memories

Vol 2 Chapter 222 The Black Violin and mories

Inside the Griffin residence.

Sylutia sat on the stool in her bedroom, tilting her head as she adjusted the violin. The body of the instrunt was made of black oak, its hue elegant and refined.

This violin was a gift sent over by Madam Sarah a few days ago, because she felt that with Sylutia's temperant, playing the violin would surely look very beautiful.

In this lifeti, during her childhood, Sylutia had followed her mother and studied music for a period, but that was when she was very young. At the ti, her mother had mainly encouraged her interest and had not subjected her to very strict training.

Gripping the bow, Sylutia recalled the instruction she received as a child, slowly searching for that musical sense.

She cald her heart and mind, circulating the 'mory Maze' ditation thod she had previously learned, exploring the scenes from her early childhood forgotten in the corners.

In the iris-blue room, the floor was as clear and bright as a mirror. One wall was hung with various musical instrunts, while the other side featured large floor-to-ceiling glass windows. Gauze curtains half-concealed the sunlight. At that ti, her mother sat before the blue porcelain-colored piano, playing notes, letting her follow her rhythm and slowly draw the bow.

Sylutia back then must have been only eight years old, holding the small-sized violin custom-made for her, clumsily drawing the bow. The sound of the violin was intermittent and broken. In her mory, her mother wore a beautiful blue iris dress, her long silver hair tied up in the back, adorned with a ribbon hairband decorated with pearl silver leaves. Just looking at her back, she was a vision of beauty.

"Ya, when playing legato, you need to be a little slower."

"Mhm."

The young Sylutia of that ti answered softly, then pressed her fingers down with a hint of nervousness, with so obvious flaws still appearing midway.

After practicing a few tis, the young Sylutia grew sowhat discouraged and didn't want to continue.

"What's wrong, Ya, no more practice today?" Sherin asked sowhat dotingly, stroking the Sylutia in her arms.

"I feel like I can't learn it well, I always make mistakes."

"Is that so? But I think it's not bad. Even though I'm playing with my back to you, I can still imagine Ya's adorable appearance in my mind," her mother replied with a smile.

"That's because you're my mom, that's why you say that," Ya pouted. Sotis even she couldn't stand listening to the intermittent, unsteady sound of the strings.

"It's alright, it'll be fine after practicing a bit longer."

"To feel that sothing is good, one needs to get through a rather bitter and difficult stage first, Ya."

"But that feels too far away." The Ya of that ti was still very discouraged. Afterwards, she reluctantly practiced a few more tis before never touching the instrunt again.

The scene in her mory slowly beca clear. Sylutia could even recall how many types of instrunts were hung on the walls of that music room, and which piece she was practicing at the ti.

Compared to her childhood, her fingers were much more slender now, and her body coordination and control were vastly stronger. Things that seed difficult back then now seed to be easily accomplished.

The piece she had never managed to practice to completion in the past, today, after a few simple adjustnts and familiarizations in the room, she slowly played through completely.

After finishing, Sylutia opened her eyes, put down the bow, then gently ran her fingers over the violin, reminiscing about the past with many emotions.

A child's mories and the feelings of adulthood are vastly different. Steps that seed very high back then can be reached with a single step now; rooms that seed enormous back then might be crossed in just a few steps now.

When she was eight years old, her body hadn't developed yet. The control over her fingers and body was far inferior to now. However, even back then, her hearing was already very sharp. In other words, a piece that might sound fine to other children her age would, in her own ears, reveal many more flaws and shortcomings. This greatly discouraged her, because the gap between her and her family mbers' musical performance level was enormous.

There were many mbers of the izhalansi family who could play instrunts. Even many of the maids could skillfully master several instrunts. In such an environnt, Sylutia felt she couldn't compare to anyone, completely unable to build any confidence. She once believed she had inherited none of her mother's talent and was a very 'useless' child.

Back then, she seed especially prone to crying, often running to her mother Sherin for help, because her mother would always comfort her gently. This caused the young Sylutia to develop a dependency for a ti.

Because of this personality, she also rarely played with children her own age back then, until she later t Ilythia...

Speaking of which, when she first t Ilythia, she felt the other girl's personality was quite terrible, always bullying the other children around her, and she also played many pranks on her. It wasn't until one ti when Ilythia made her cry that Ilythia beca sowhat more restrained. Later, the relationship between the two strangely slowly improved.

After having Ilythia as a playmate, the number of tis she cried seed to gradually decrease. She also didn't run to find her mother the mont sothing happened, like she used to.

In a sense, Ilythia changed part of her personality.

Finishing her reminiscence, Sylutia erged from her imrsed ditative state, moved her body slightly, carefully put away the exquisitely crafted violin, and placed it back into its case.

After condensing her Aspect, Sylutia continued her studies with Nox. Her current task was to combine the 76 Basic Runes she had learned into the most basic Spell Models.

"Hedra, do you understand what 'runes' actually are?" One day, after Sylutia finished a segnt of her lessons, Nox asked her.

"Probably the transcendent patterns or 'imprints' summarized by people of the past."

"That is so, but that's only the surface appearance," Nox continued explaining.

"You should have heard that rituals are the 're-enactnt' of legends. And 'runes' are actually also a kind of re-enactnt, only their scope is broader and the conditions are simpler."

"A simple example: in ancient tis, no living being in this world could fly, because in the most ancient epochs, everyone was in water, moving by swimming."

"This instinct is still passed down in the bloodlines of many creatures to this day. Even humans living on land, their infants instinctively know basic paddling and swimming."

"In the era when no living being could fly, insects were the first to grow wings, becoming the earliest flying creatures. It was also at that ti that the 'Insect Moth' was born from the 'void,' becoming a brand new 'Aspect.'"

"Why could insects fly? What was the biggest difference between them and other life forms? The life forms of ancient tis also observed and imitated. They believed the key lay in 'wings.'"

"Thus, other creatures also began to imitate the 'wings' construction, shape, function, and so on."

"Wings' is one of the most basic runes. As long as its appearance and shape are re-enacted, it can grant living beings the ability to fly."

"The 76 Basic Runes you are learning now are all similar re-enactnts. They are also summaries by people of past eras regarding certain phenona and abilities."

"Combining the five runes 'Triangle · Sharp · Sturdy · Speed · Flight' forms the most basic attack spell 'Magic Missile.'"

"Your assignnt today is to construct the Spell Model for 'Magic Missile' and condense it into a primary Ability Card."

"Yes, Instructor Nox."