Paris: 1548
All things considered, Sylvie felt herself extremely fortunate. Not many women who earned their livelihood in a Paris brothel could say this, but Madam Diane ran an uncommon establishment, and considering the alternatives, Sylvie was grateful to have secured a place with her. Many Paris brothels catered to unusual tastes, but Sylvie knew, from memorable conversations with other women in her line of work, that she was fortunate to have found a place at this one.
Madam Diane, like all Parisians, believed Paris to be the most cultured city in the world. She saw no incongruity in capitalizing on this in her pursuit of the oldest profession. There was never a shortage of women in desperate circumstances to populate Paris's many brothels, but Madam Diane chose to cater not to the common run of men seeking such diversions, nor to the men who craved more exotic or sordid pleasures. Her establishment specialized in women of culture and accomplishment, who were prepared to entertain men who could appreciate their refinements. A brothel is a brothel, and its chief stalk in trade was never in doubt, but Madam Diane found that offering more sophisticated preliminaries allowed her to charge much higher fees than other establishments.
Sylvie had joined them three years ago. Madam Diane judged Sylvie's singing and playing to be excellent, and was glad to add her to the menu of musicians, versifiers, scholars, dancers and visual artists she had painstakingly gathered around her. Men associated such accomplishments with upper-class women, women who were not generally available to them, and who were not often skilled in the erotic subtleties. Madam Diane's specialty was to straddle the line between whores and courtesans: to offer her customers sophistication without the obligations of keeping a mistress of their own. Here, men of a certain class could come to be entertained and stimulated, then satisfied by the kind of women to whom they didn't normally have sexual access.
Sylvie was accustomed to entertaining men who were visitors to Paris; foreigners were not especially noteworthy. Likewise, the dapper figure of Charles Severgny was familiar to her, but when he arrived in the company of two strange men, obviously not Frenchmen, she was intrigued. One sported the red hair and unusual dress that identified him as a Scotsman, possibly one of the men-at-arms attached to the household of Mary Stuart. The other, more commonly dressed man was shorter, black of hair, and bore a liveliness of expression that caught her eye particularly.
Madam Diane introduced them as the lord Colin McLean, and Owen ap Reese respectively. When Sylvie raised a delicate eyebrow at the latter's unusual name, Madam Diane elaborated by explaining that Owen was a Welshman. Sylvie had never met a Welshman before, but she had heard tell of the legendary musicianship of the Welsh. She smiled invitingly and gestured for the men to seat themselves with her in one of the parlors where men were welcomed.
Sylvie took the lute onto her lap and began to play a song she knew Charles Severny favoured. He smiled his appreciation. Sylvie was tall and graceful, with a healthy, vital complexion that needed little enhancement. Her gown was draped becomingly low across her breasts, and displayed her flawless carriage.
Sometimes Madam Diane had to carefully coach her women in the niceties in order to gloss over low birth or inadequate training, but not in Sylvie's case. As was true with many of Madam Diane's employees, Sylvie came from a cultured and affluent family. With the carelessness of youth, Sylvie had created scandal, and when the pregnancy had terminated early in a still birth, she had been dispatched to be hidden away in a convent. She had managed to get word to a lover who arranged to rescue her from a life to which she was eminently unsuited. His fickle tastes had, however, soon left her without alternatives to support herself, and she had found her way to Madam Diane.
After listening to a few of his favourites in Sylvie's repertoire, Charles made an unobtrusive departure with Madam Diane for more private accommodations. The two younger men were pleased to be left alone with Sylvie. As she strummed the lute, she drew them out about themselves.
Colin McLean was indeed in Paris as a man-at-arms with the Scottish Queen Mary Stuart. Owen had been Colin's foster-brother since childhood, and Colin defined their relationship with a Scots word Sylvie didn't know, but which entertained her. Curious, she asked Owen to speak to her in Welsh. She was delighted by its musical lilt, and presented him with increasingly provocative phrases to translate for her.
Finally she said to Owen, "I have heard it said that the Welsh are renowned musicians. Are you willing to take up the lute?" She smiled invitingly and held the instrument out to him. He took it willingly enough, but looked to Colin.
"We might grace the lady with your latest creation," Colin said judiciously, while his grey eyes glinted with mischief.
Owen struck up a lively tune, and nodded to Colin to take up the song, which he did, with Owen joining him in the last chorus.
"Come play for me now on lute and on lyre,
lie back and show me my heart's desire.
Open your throat till I hear the choir,
oh play for me now on lute and on lyre.
Caress and strum with rhythm soft,
my throbbing strings they long for you.
Offer up the sounds of love,
that I might sing the song with you.
Come play for me now on lute and on lyre,
lie back and show me my heart's desire.
Open your throat till I hear the choir,
oh play for me now on lute and on lyre.