2024-01-20 - Ivas, Two Sides of Temptation (log)

Seeker Traiva Verethundi of The Order of Eternal Light led an Ivas Temple Tour, visiting the temple in the Vipershroud and the Garden of Desire in Solhaven.

(For clarity, ambient messaging and some conversation has been removed.)

Event Log

(Traiva lightly clears her throat and moves to stand in front of the group.)

You see Lady Traiva Verethundi the Master Healer.
She appears to be an Aelotoi of the Mrae'ni Clan.
She is petite in stature and has a curvy-figured silhouette. She appears to be in the prime of life. She has smoldering, viridian-flecked dark hazel eyes and rose-tinted ivory skin. She has hip length, softly curled deep cordovan hair swept up into an intricately knotted bun, adorned with a spray of cream-hearted tuberose with deep jade leaves. She has a heart-shaped face and high cheekbones. Her sleekly ovate nails are brushed with glossy dark claret lacquer adorned with a fan of lustrous white scolecite chips. She has a pair of jade-veined elongated emerald wings.
She has some miniature faenor leaves joined by gilt branches in the ridges of both her ears, a knotwork and dragonfly tattoo on her neck, and a wispy dancer tattoo on her foot.
She is in good shape.
She is wearing an emerald talisman etched with a wispy smoke-wrapped woman, a blossom-inked sage grey silk kimono, a smooth raw silk saephua, an emerald-set lustrous faenor wedding ring, some loose jade watered silk serwals, and some ivory silk slippers tied with wide bands of soft ribbon.
A mist-shrouded carpet of ghostly white flora sprouts across Traiva's feet, the tendrils of hazy fog ascending across her rose-tinted ivory skin.

Traiva says, "Before we fully start, the Order's First Pilgrim and First Seeker will also say a few words."

Zeminar raspily says, "Perhaps the first Pilgrim shall speak first."

Bakarus unexpectedly says, "Eternal Light. For those who do not know me, I am Bakarus. I did not expect to be called on this evening as I am but a humble, simple pilgrim."

Bakarus reverently says, "Broadly speaking, The Order seeks enlightenment of the Arkati for all peoples through the study of the various religions, religious orders and rituals. Myself, Zeminar, Aenternoll or Meliyara can certainly discuss the structure, insignia and further details of The Order at a later time if any are interested."

Zeminar raspily says, "Greetings, I am Zeminar. As the First Seeker, I oversee the investigators of our Order. The Seekers, as we call ourselves, seek out rumors and reports of encounters with Arkati and the occult."

Zeminar raspily says, "If you are in need of assistance in matters involving the Arkati, please do reach out. We are here to serve."

Aenternoll says, "Eii."

Aenternoll says, "Eternal light all."

Aenternoll says, "I am First Keeper Aenternoll. As Keepers, we are responsible for the safekeeping and curation of the Order's archives. Preserving and sharing our learnings and discoveries is of the utmost importance to us."

Aenternoll says, "And to echo the First Seeker, we are here to serve. Do reach out if there are any questions."

Traiva says, "Thank you, all three."

Aenternoll says, "Thank you again for this tour this evening, Seeker Traiva. You do us all an honor."

Traiva says, "As we move through the Temple here and the Garden in Solhaven, I will pose some questions that are meant for your own personal consideration, some things that even those with extensive study of the Arkati may not have paused to think on."

Traiva continues, "These, and other parts of the tour, may bring questions to mind. So that we do not get too far off-track during the tours, please keep note of your questions until the end, when I will be more than happy to stay for continued discussion. Anyone not able to stay until the end, or with limited time at the end, is welcome to contact me for continued discussion."

Traiva says, "And please make sure you are following me, as we move about."

Traiva exclaims, "So then!"

Traiva says, "Many who do the basic, cursory study of the Arkati come to know the Lady Ivas as the Mistress of Seduction, delighting in the emotions of passion, lust, and desire. These all come from giving in to a temptation, and tonight I am presenting two sides of the Lady's temptation as shown through Her Temple here in the Vipershroud and Her Garden of Desire in Solhaven."

Traiva says, "As we start here at the Gateway Tower, you may notice the carvings of dancers and the vines that have grown about them. This overgrowth, left unchecked, will continue to be a theme here in the Vipershoud."

(Traiva motions for the group to follow her.)
[Causeway]
Laterite flagstones polished to the dull sheen of watered silk span the stretch of low ground from the southern tower's arch to the steps of an opulent temple north of here. The building's marble inlays and ornate bas-reliefs glimmer in the moonlight and graceful statues, males on one side of the bridge and females on the other, uphold a balustrade worn smooth by time and pilgrims' hands.

Traiva says, "As we make our way to the entrance, take note of the statues on either side of the bridge here."

The statues gaze boldly at one another across the span of the causeway, but the promise in their smiles will never be fulfilled as long as the broad bridge stands to keep them parted.

Traiva thoughtfully muses, "They seem to hold a promise, but... Will this promise ever be fulfilled?"

(Traiva pauses to arch an eyebrow questioningly before leading the group on.)
[Temple Steps]
The roots of cyclopean fel trees have forced some of the steps from their horizontal planes. The great trees have grown over the smaller outbuildings of the temple complex, their trunks assuming fantastic shapes stolen from the stones they have covered. Wide landings allow visitors to pause and admire the sight of the temple's conical towers reaching toward the stars.

Traiva says, "Continuing in, we can see the unchecked growth around the small outbuildings and up the steps. What once was controlled is now wild, even destructive."

(Traiva carefully leads the group up the steps.)
[Temple Entrance]
A closer examination of the temple's walls reveals nature's dual role of destroyer and consoler. Vines have torn apart some of the more delicate carvings, but moss has healed the breaches in the stonework. Friezes of stylized flames and lotus flowers that span the length of the facade are almost hidden in the shadows, but the sandstone figure of a kneeling woman on the lintel above the entrance is plainly visible even in the faint moonlight. You also see a flight of broad stone steps and a carved teak door.

The statue leans forward on her knees, her sinuous arms outstretched above you. She has no hands, and her curving arms could as easily be a gesture of denial as the welcoming embrace her faint smile would imply.

Traiva observes, "Once again, taking in how plant life has been allowed to grow uncontained and without control, we see the effects this can have. The carvings may now have moss holding them together, but they are still no longer what they once were, they are forever changed."

Traiva states, "We will pause here a moment longer so you all may consider the statue on the lintel."

Traiva asks, "Is she welcoming you, drawing you in? Or is it, perhaps, a warning, that once you enter, you will exit forever changed, no longer who you once were?"

Lady Traiva's group just went through a carved teak door.
[Temple Vestibule]
The reek of corruption is barely detectable beneath the sharper, cleaner scents of ginger and temple incense that pervade the air in this circular chamber. Walkways inlaid with chalcedony and malachite extend to your east and west. You also see a carved teak door.

Lady Traiva's group just went east.
[Hall of the Feast]
Moonlight streams through cutwork teak shutters to cast lacy shadows on the polished stone floor. A mural lit by flickering candles stretches the length of the hallway. The muted chime of temple bells is a reminder that despite the nature of the paintings, this place is holy to some.

Traiva says, "As we move into the Hall of the Feast, take a look at the mural here."

The painting depicts a feast, perhaps a celebration of a holy day. The fruit which is heaped with abandon on the table is clearly overripe, some of it to the point of rottenness. Nonetheless, the elegantly clad celebrants are stuffing their own and each other's mouths with it in an obscene display of gluttony. Their greasy-lipped smiles of ecstasy betray no displeasure with the spoiling food.

Traiva evenly explains, "Gluttony is an uncontrolled, unchecked desire for food, which may drive a person to over-consumption, or consumption of any and all food available, no matter what it is or its condition."

(Traiva leads the group further into the Hall.)
[Hall of the Feast]
The too-sweet smell of rot grows stronger to the east and mingles with the scents of cinnamon, cardamom, and clove. Beeswax candles set in bronze sconces cast a fitful illumination on the mural, the flickering light giving the painted figures the illusion of movement.

The feast portrayed to the west has devolved into outright debauchery along this span of the painting. The diners drizzle honey from their fingers into one another's gaping mouths and smear the juices of figs and pomegranates on one another's bare arms. Some of the revelers are missing limbs or are disfigured by the ravages of some unknown disease. A beautiful woman, her smile of amusement visible beneath her veils, reclines on a couch placed in the position of honor at the head of the table.

Traiva says, "Now, take note of the evolution of the mural as we continue deeper into the Hall."

Traiva says, "Gluttony has here risen to new levels as the feasters lose themselves in it, letting their temptations lead them ever deeper."

Traiva thoughtfully posits, "Some say this is a sign of devotion to Ivas, but is it truly?"

Traiva musingly asks, "In such a state, what matters more: indulgence in what you desire, or Service to the Lady? Are you able to separate yourself from this indulgence, or are you now spiraling within it? Are you leading others to Desire, or are you yourself a follower, being drawn in?"

Traiva softly says, "Consider this as we move on."

Lady Traiva's group just went east.
[Refectory]
Despite the spaciousness of this circular refectory, the air feels close and thick with the odor of past meals. Trestle tables bear wine stains and other flaws from less recognizable sources. Candles in etched red glass holders cast a ruddy, yet somehow unsavory light on the surrounding tapestries. You also see a corbelled arch.

[Hall of the Eternal Dance]
As a river smoothes the rocks of its bed, the haut-relief sandstone carvings of temple dancers that line the hall have been worn to a shine in spots by the passage of countless worshippers. The dancers' contorted limbs are braceleted here and there with vines that have taken advantage of cracks in the masonry. You also see a corbelled arch.

Lady Traiva's group just went northwest.
[Sleeping Quarters]
Whoever lives here seems not so much to scorn privacy as to be completely unfamiliar with the concept. Communal satin cushions and fur throws are strewn haphazardly on the floor in lieu of beds. Inspirational tapestries flank the arched rosewood door to the south, while a pair of mirrors on the east and west walls reflect soft moonlight into every part of the chamber, leaving nowhere to hide.

The tapestries are stained, but some of the images are still barely discernible. The figures on the hangings seem to be engaged in some sort of ritual dance.

Lady Traiva's group just went through an arched rosewood door.
[Temple Courtyard]
A low sandstone building crouches in the center of this expansive courtyard, its mass a dramatic contrast to the gracefully tapering towers that surround it. Carved benches wide enough for two are connected by walkways made slippery with moss that grows lushly in the interstices between the flagstones. You also see an arched rosewood door.

Lady Traiva's group just went southeast.
[Temple Courtyard]
Water from a recent rain trickles from the eaves of the colonnaded hall to your northeast and splashes against the greenery below. Carp in a nearby pond snap greedily at flying insects unfortunate enough to land on the rushes near the water's edge, their movements sending scatters of reflected moonlight dancing from the surface of the pond. You also see a small pond.

The fish are beautiful specimens, their smooth bodies reflecting the light like burnished precious metal as they glide through the dark water. However, when they open their mouths wide to swallow up a hapless water strider, they are not so lovely.

Traiva says, "If you watch the pond, in this space full of temptations, even insects fall prey to the shine of the carp and become an evening snack."

Traiva smiles faintly as one of the fish gobbles up a snack.

[Temple Courtyard]
A pair of curving stone pillars flank the candlelit archway to the inner reaches of the building that occupies the center of the courtyard. The walkway leading to the arch is almost completely overgrown by a variety of vines and mosses. Bells atop the squat building chime in the night breeze.

Lady Traiva's group just went through a carved stone arch.
[Temple of Ivas, Inner Sanctum]
The room is bare except for thick crimson rugs that cover the stone floor apart from a wide ring around a central dais. Candles set in niches carved into the walls of this sunless chamber cast their flickering light on vivid fresco, making the painted figures seem to writhe. The massive jade statue of Ivas crouched upon the dais is a commanding presence despite her lowered gaze. You also see a carved seared stone arch.

Whatever nightmares spawned these images in their creator's diseased fancy must have rendered the artist mad soon after completing the work. Mad or not, the painter has rendered every morsel of the unspeakable feast arrayed upon the jade goddess's lap in meticulous detail. The diners' slick red faces beam in hearty approval, and it seems that even this appalling meal has only whetted other appetites.

The statue of Ivas is of jade polished to a glassy shine, its lustrous curves as inviting to the hand as to the eye. The goddess's eyes are mostly closed, but her mouth is open wide to reveal the inlaid marble shark's teeth and the carnelian tongue that lolls obscenely from between them. In one tentacle she holds aloft a spherical ruby the size of a man's head; the stone is perfectly polished, but has a flaw at its heart in the form of a stylized flame.

Traiva softly says, "Here within the deepest heart of the Temple, take note of the statue and fresco."

Traiva says, "The statue of the Lady holds a ruby of deep red, the color of heated desire, that is further heated by the flame at its heart."

Traiva evenly says, "As we study the fresco, we see that the diners from before are now fully lost to their desires, and are lost within them. This pleases the Lady, not because they are the devoted but because they are the sacrifices to feed her power."

Traiva pointedly says, "One who is truly devoted to Ivas is able to control her desires, while creating desires within another."

Traiva explains, "Many of the devoted to Ivas are called Dancers: We dance, as in the art form, but also because we move as a dancer while in our service. We keep time, pace, and rhythm... controlling ourselves the same as a dancer controls her movements on the stage, leading another through the paces of temptation, of desire, of lust."

Traiva says, "The images you have seen throughout this Temple show what gives Ivas her power, and serve as a reminder to the devoted of the traps into which we must not fall, what could happen if we lose our rhythm, lose count of our steps."

Traiva says, "There may be pleasures all around us, things we may ourselves lust for and desire, but it is up to us to control our desires the way a dancer maintains control of her body - lest we fall from devoted servant to victim... from leading the dance to being the one who is led."

Traiva says, "From here, I will ask the Spirits to lead us back to Wehnimer's Landing, and from there we will make the quick run to Solhaven."

Snow blankets the nearby rooftops and accumulates in the corners of the street. Here and there, icicles can be seen hanging from windows and high peaks. This section of the avenue is paved with alternating red granite blocks and green-glazed bricks, and a low, red granite wall borders the street's south side. Rising to twice the wall's height, twin gate posts bear green enameled wisps of smoke, and a garden filled with pale blossoms and neatly-trimmed shrubs is visible beyond them.

Traiva lightly says, "Clearly, we have left the swampland of the Vipershroud, and are in Solhaven within the Barony of Vornavis, a city I know many of you are familiar with. One thing I appreciate most about Solhaven is that each major Arkati has been given a space of respect, including this one here."

Traiva reaches out and touches a pair of red granite gate posts.

(Traiva lightly traces her hands over the top of a boxwood lining the garden path before brushing her fingers over stalks of tuberose planted next to it.)

Traiva soothingly says, "Despite the low walls, we can feel the bustle of the city melt away as we relax into the fragrance and beauty of the flowers and plants surrounding us. Yet we, the Lady's devoted who come here to care for this space, cannot fully lose ourselves as we keep focus on that which we must maintain."

(Traiva's body sways slightly with each step as she moves slowly about the small garden.)

Traiva softly says, "Still, we find our temptations here, even among the order."

Bakarus says, "I have always appreciated bronze, lovely material."

(Traiva stops in front of a hydrangea bush and caresses a white ball of blossoms that have bloomed to perfection despite the chill in the air.)

Traiva melodically says, "The flowers, their heady scent, and the calm and quiet from the bustling city invite us to linger - it could be very easy to ask yourself for just a few moments more of the serenity offered."

(Traiva makes her way to stand before the bronze statue. She gracefully lowers herself to her knees and brushes her fingertips over her lips before placing them against the statue's base.)

Traiva reverently says, "Even the statue here has entranced many who have wandered in, brought them to gaze for longer than they planned while entranced with the beauty."

(Traiva sits back on her heels, looking completely at ease and relaxed.)

Traiva softly says, "This is not a wild hunger here. The Garden tempts us with delights for the senses. But it is not out to destroy us with a wild madness."

Peatwyn exclaims, "Oh, the arms!"

(Peatwyn looks embarrassed.)

(Traiva smoothly rises to her feet and takes a few measured steps back from the statue, seeming to glide along the pathway.)

Traiva softly says, "The order of the paths, the deliberate placement of the flower beds, and even the maintained trellises remind us that there are steps to take, a rhythm to follow. We, Her Dancers, are not being flung about wildly; rather, we lead the dance in maintaining this space of grace and beauty."

(Traiva turns to once more face those gathered.)

Traiva states, "I have spoken much on the sides of temptation to compare it to dancing. There are two reasons for this."

Traiva says, "First, because of the continual theme of Dancing among Ivas and Her devoted. The symbols associated with Ivas - wisp, smoke, flame, and, yes, tentacles - are often described with language also used to describe dancing or a dancer: Flowing. Sinuous. Writhing. Arching. We may even say that these things themselves dance."

(Peatwyn stifles a giggle.)

Traiva says, "Second, because the two sides of temptation can be seen as two opposing dancers."

Traiva continues, "The one shown in the Vipershroud has lost control of themselves, and is only able to be led where another takes them. In the faces of temptation, of lust, of desire, of envy and jealousy, that leader is the Lady Ivas, taking them as her victims, to feed Her power."

Traiva concludes, "The one shown here in the Garden of Desire is still in control, and is still leading the Dance. In the face of temptation here, the dancer decides on the steps to take, how fast to take them, and where to plant them. We are Her servants, her Dancers, sparking the flame of desire within others."

(Traiva loosely folds her hands in front of her as she gazes about the ordered garden and smiles faintly.)

Traiva warmly says, "If anyone has questions, I will be happy to take them now."

(Peatwyn speaks as if a font or dam has burst within him.)

Peatwyn exclaims, "This is incredible!"

Bakarus says, "Not a question, but I will admit the duality surprised me."

Tymed exclaims, "It is breathtaking here!"

Speaking to Traiva, Bakarus says, "Thank you for an education this evening."

Speaking raspily to Traiva, Zeminar asks, "You said that Ivas fuels herself from those who get lost in the desire. How does a true follower walk this line?"

Peatwyn says, "Is it more zealous to become completely lost? Or to 'hang on' and linger."

Traiva says, "The true Dancers will not lose themselves. But...."

Traiva says, "A dancer, on the stage, must learn to have control of her body, or she will stumble and fall."

(Peatwyn gapes stupidly.)

Traiva plainly says, "So it is with a Dancer of Ivas."

Peatwyn asks, "I have many questions, so beyond this one, should I consider which of them have more important and ask that one second?"

You say, "I do have a question, actually. The Dancer is also sometimes known as being the goddess of decay, or perhaps of overripeness and indulgence. I see this duality as well in the two temples, one allowed to flourish with wild growth, the other here lush but mannered."

Speaking to Traiva, you ask, "How do you see this connection, if any, with the 'dance' of rot and rebirth?"

Speaking to you, Traiva says, "With the dance, there is a measure of..."

Speaking quietly to herself, Traiva murmurs, "What is the word..."

Speaking to you, Traiva says, "Our bodies must go through transformations. Decay is one form of a transformation."

Speaking in Elven, Xylador thoughtfully says, "Macabre waltz.."

Traiva says, "And as we continue, we become stronger."

Speaking to you, Traiva says, "We have more endurance, to hold off on the "rot," as it were, for longer."

Speaking to you, Traiva says, "The Dancers of Ivas know this, and work to strengthen, that we may indefinitely hold out."

You say, "It has always fascinated me for it is seemingly at odds with that which is desirable and beautiful -- but it is like a perfume that carries within it the low reek of the animal beneath the flowers and the spice. It has a certain resonance to it."

You say, "Thank you."

Traiva asks, "Have any other questions come to mind, that may be spoken now?"

Peatwyn says, "Yes."

Peatwyn asks, "Or the others, or me?"

Peatwyn says, "I wish to be polite but I am perhaps struggling."

Speaking amusedly to Peatwyn, Traiva says, "You seem quite eager."

Teinie says, "Very eager, yes."

Zeminar raspily says, "He has a flame within him."

Peatwyn says, "Not unlike the ruby."

Peatwyn says, "But much less polished."

Peatwyn says, "And perhaps slightly less valuable."

Peatwyn says, "But no less rigid in my pursuit to learn."

Peatwyn says, "And to stretch a metaphor."

Traiva says, "Speaking of the Ruby, I do want to note sincere appreciation to Tolwynn for it, and the statue's restoration."

Peatwyn says, "But, yes."

Traiva says, "Without him, we may not have been able to speak within a Temple in the Vipershroud at all."

Peatwyn asks, "Tolwynn restored the temple's ruby? Of the grey?"

Speaking in Elven to Traiva, Xylador says, "If I may.. More a confirmation of musing than an actual question.."

Peatwyn says, "Oh, yes, it seems that Ivas is mentioned to dance only upon a stage. Is there another context she would spin and pirouette?"

Peatwyn asks, "A ritual?"

Peatwyn asks, "Alone?"

Speaking to Peatwyn, Traiva says, "I used the stage as it is something familiar to many. But yes, a Dance may be anywhere."

Speaking to Vaeldrys, Traiva asks, "Your question?"

Speaking to Traiva, Vaeldrys asks, "For those dancers who do fall prey to their own desires..do the rest of the priesthood attempt to bring them back from the depths? Or are they left as an example and offering to Ivas?"

Traiva says, "I know what I would do, were I in charge."

Traiva says, "But it is only conjecture, as that is an area I am not in charge of."

You say, "This may be a question I ask Kothos sometime."

Rivienne says, "I have a similar question, if I could join the line."

Traiva says, "If it were up to me..."

Speaking to Traiva, Xylador says, "Again, to clarify I realize the depth of this is less question than idle musing. My curiosity is piqued by the concept."

Speaking to Traiva, Xylador says, "We have seen much of the cycle of birth and decay. Is not the strength of life in the middling? I am assuming that is the purpose of this dance of yours. To strafe between the beauty and gore of this world and see the grey."

Traiva continues, "The one who has fallen prey.. There would be some consideration for how deep they have fallen. If it is too far, of course, we must let the Lady have what is rightfully Hers."

Speaking to Xylador, Traiva says, "To be frank, the concept of decay, in relation to Ivas, is something that took root some time after I devoted myself as a Dancer, and I have not found it within my calling to Her."

Traiva says, "There are middling grounds, but in the end, it is a dichotomy - To tempt, or to be tempted. To lead, or to follow."

Speaking to Traiva, Xylador says, "In all things, there is a flow."

Traiva says, "We must know of one to know the other, but it is very difficult - at times impossible - to be both."

Speaking simply to Xylador, Traiva says, "I may not be able to provide the answer you seek, as this is an area in which I see very little middle ground, very little of the grey between the black and white."

Traiva says, "It may also mean that, if you find yourself one who must stay within the Grey, the Lady's path is not one for you."

Speaking to Traiva, Xylador says, "I understand. I appreciate the answer you were able to give."

Rivienne asks, "You mentioned that the dancers lure others to the dance, in hopes they lose themselves in it. Is the goal a temporary fugue or night of overindulgence, or is the goal for a soul to be lost completely?"

Speaking to Rivienne, Traiva says, "Ivas feeds on those lost within their lusts and desires, whether it is a lust for pleasures of the flesh or desire for perfect beauty or more and more wealth. The longer one remains in such a state, the more the Lady is able to feed."

Rivienne asks, "Is her nature to also… overindulge?"

Traiva says, "No. But like all Arkati, Her power comes from her followers, and their acts of service."

Rivienne asks, "Perhaps many in one night would be a one lost completely?"

Rivienne says, "Would be as good as.. I mean."

Rivienne says, "It would be quite a party."

Speaking to Rivienne, Traiva says, "The murals in the Temple showed that while the Lady watched, oversaw things.. perhaps was the hostess.. She herself did not indulge in the pleasures offered."

You say, "Or perhaps she was partaking in her own way of their desires."

Peatwyn asks, "What is the relationship, for the dancer, and self-care, and ability to 'resist the rot' and martyrdom and sacrifice and feeding?"

Peatwyn exclaims, "Like the carp!"

Peatwyn excitedly asks, "Remember the carp?"

Peatwyn exclaims, "Just like the statue, the tongue lolling in shark's teeth!"

(Peatwyn steps back.)

Speaking to Peatwyn, Traiva says, "I want to make sure I understand correctly..."

Speaking to Peatwyn, Traiva clarifies, "Are you asking how the Dancer resists, how she takes care of herself?"

Peatwyn asks, "There is some balance between retaining the ability to dance and self-care, opposed with giving up of oneself and being fed upon and rot?"

Peatwyn says, "I am skipping a stone upon a pond of words I do not know the bottom of."

Speaking to Peatwyn, Traiva says, "It is something a Dancer must learn and train, as the artist learns and trains."

Traiva says, "There is an ever increasing strengthening of the body, of the soul."

Traiva says, "And it is not to say that a Dancer cannot take pleasure within the dance, for that is the joy. And the satisfaction of a task completed well."

Bakarus says, "If there are no more questions, I want to thank Traiva not only for this evening but for many things regarding our Order."

Alisaire says, "Well spoken."

Perigourd says, "Much obliged for the tour and discussion. It's been quite interesting."

You say, "You have given me so much upon which to reflect."

Bakarus says, "And I wish to thank Tolwynn as well, moving this many people is no easy task."