Nicci had once been in servitude to the Fellowship of Order, the Sisters of the Light, and then the Sisters of the Dark, and finally to Jagang. She no longer was; she had instead embraced Richard's love of life. Her steadfast loyalty to him and what he believed in had freed her from the clutches of the dream walker, but far more than that, it had freed her from the yoke of servitude she had worn her whole life. Her life was now hers alone. He thought that maybe that might have something to do with the resolute nobility of her bearing.

"I didn't read the whole letter," Richard admitted. "Before I was able to finish it, we were attacked by men that Nicholas had sent to capture us. I told you about it before-that was when Sabar was killed. During that fight the letter fell into the fire."

Nicci slouched back. "Dear spirits," she murmured. "I thought you knew."

Richard was tired and at the end of his patience. "Knew what?"

Nicci let her arms slip to her sides. She looked up at him in the dim light and let out a frazzled sigh.

"Jagang found a way for the Sisters of the Dark he holds captive to use their ability to begin creating weapons out of people, as had been done during the great war. In many ways, he is a brilliant man. He makes it his business to learn. He collects books from the places he sacks. I've seen some of those books. Among all sorts of tomes, he has ancient handbooks of magic from around the time of the great war.

"The problem is, while he may be a dream walker and brilliant in certain areas, he does not have the gift and so his understanding of it, of exactly what Han is and how this force of life functions, is crude at best. It's not easy for one without magic to comprehend such things. You have the gift and yet even you don't really understand it or know very much about how it works. But because Jagang doesn't know how to work magic, he blunders around demanding that things be done simply because he has dreamed them up, because he is the great emperor and he wishes his visions to be brought to life."

Richard rubbed his fingers back and forth on his brow, rolling off the dirt. "Don't sell him short in that regard. It's possible that he knows more about what he's doing than you realize."

"What do you mean?"

"I may not know a lot about the subject of magic, but one of the things I have learned is that magic can also be thought of much like an art form. Through artistic expression-for lack of a better term-magic that has never been before can be created."

Nicci stared in astonished disbelief. "Richard, I don't know where you could have heard such a thing, but it just doesn't work that way."

"I know, I know. Kahlan thinks I'm out on a limb with this, too. Having been raised around wizards, she knows a lot about magic and in the past she has flatly insisted that I'm wrong. But I'm not. I've done it before. Using the gift in such a way, in new and original ways, got me out of what would otherwise have been unbreakable traps."

Nicci was peering at him in that analytical way of hers. He suddenly realized why. It wasn't only what he'd said about magic. He was talking about Kahlan again. The woman who did not exist, the woman he had dreamed. Cara's expression betrayed her mute concern.

"Anyway," Richard said, getting back to the crux of the matter, "just because Jagang doesn't have the gift, doesn't mean he can't still dream up things-dream up nightmares-like Nicholas. It is through such original conceptualization that the most deadly things, for which there may be no conventional counter, are created. I suspect that this may have been the method those wizards in ancient times used for creating weapons out of people in the first place."

Nicci was beside herself with bottled agitation.

"Richard, magic just doesn't work like that. You can't dream up whatever you'd like to have, wish for what you want. Magic functions by the laws of its nature, just like all other things in the world. Whim will not make boards out of trees; you must cut the tree to the desired form. If you want a house, you can't wish up bricks and boards to stack themselves into a dwelling; you must use your hands to craft the structure."

Richard leaned toward the sorceress. "Yes, but it's the human imagination that makes those concrete actions not just possible, but effective. Most builders think in terms of houses or barns; they do what's been done before simply because that was what was done before. Much of the time they don't want to think, so they never envision anything more. They limit themselves to repetition and as an excuse they insist that it must be done that way because it has always been done that way. Most magic is like that-the gifted simply repeating what has already been done before, believing that it must be done that way with no more justification than that it has always been done that way.

"Before a grand palace can be built, it first has to be imagined by someone bold enough to have a vision of what could be. A palace will not spontaneously spring forth to the surprise of all while men are attempting to build a barn. Only the conscious act of conceptualization can bring about the reality.

"For that act of creative imagination to bring about the existence of a palace, it cannot violate any of the laws of the nature of the things that are used. On the contrary, the person who imagines a grand palace with the goal of seeing it built must be intimately aware of the nature of all the things he will use in the construction. If he isn't, the palace will fall down. He must know the nature of the materials better than the man who uses them to build a simple barn. It's not a matter of wishing for something that transcends the laws of nature, but a matter of original thinking based on those laws of nature.

"I grew up in the woods around Hartland, never having seen a palace." Richard spread his arms, as if to show her the things he had seen since leaving his homeland. "Until I saw the castle at Tamarang, the Wizard's Keep and the Confessors' Palace in Aydindril, or the People's Palace in D'Hara, I never imagined that such places existed-or even that they could exist. They were beyond the scope of my thinking at the time.

"And yet, even though I never imagined that such places could be built, other men thought them up, and they were built. I think that one of the important functions of grand creations is that they inspire people."

Nicci appeared not only to be swept up in his explanation, but to be considering his words with serious interest. "Do you mean to say, then, that you think an art form can also shape such important things as the function of magic?"

Richard smiled. "Nicci, you could not grasp the importance of life until I carved the statue back in Altur'Rang. When you saw the concept in tangible form you were able at last to put together all the things you had learned throughout your life and finally grasp its meaning. An artistic creation touched your soul. That's what I mean about an important function of great works is that they inspire people.

"Because it inspired you with the beauty of life, with the nobility of man, you acted to become free-something you had never thought was possible. Because the people of Altur'Rang as well could see in that statue what could and should be, they were stirred to stand up to the tyranny crushing their lives. It was not accomplished by copying other statues, by doing what was the accepted norm for statues in the Old World of showing man as weak and ineffective, but by an idea of beauty, a vision of nobility, that shaped what I carved.

"I didn't violate the nature of the marble I used, but rather I used the nature of the stone to accomplish something different than what others routinely did with it. I studied the properties of stone, I learned how to work it, and I sought to understand what more I could do with it in order to bring about my objective. I had Victor make me the finest tools that would enable me to do the work in the way it needed to be done. In that way I brought to reality what I wanted to create, what had never been before.