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ruins

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They told of dripping stone walls in uninhabited castles and of ivy-clad monastery ruins by moonlight, of locked inner rooms and secret dungeons, dank charnel houses and overgrown graveyards, of footsteps creaking upon staircases and fingers tapping at casements, of howlings and shriekings, groanings and scuttlings and the clanking of chains, of hooded monks and headless horseman, swirling mists and sudden winds, insubstantial specters and sheeted creatures, vampires and bloodhounds, bats and rats and spiders, of men found at dawn and women turned white-haired and raving lunatic, and of vanished corpses and curses upon heirs.

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You can't stop a soldier from being frightened but you can give him motivation to help him overcome that fear. I have no such motivation. I can't have. I'm a witcher: an artificially created mutant. I kill monsters for money. I defend children when their parents pay me to. If Nilfgaardian parents pay me, I'll defend Nilfgaardian children. And even if the world lies in ruin - which does not seem likely to me - I'll carry on killing monsters in the ruins of this world until some monster kills me. That is my fate, my reason, my life and my attitude to the world. And it is not what I chose. It was chosen for me.

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The ascendancy over men's minds of the ruins of the stupendous past, the past of history, legend and myth, at once factual and fantastic, stretching back and back into ages that can but be surmised, is half-mystical in basis. The intoxication, at once so heady and so devout, is not the romantic melancholy engendered by broken towers and mouldered stones; it is the soaring of the imagination into the high empyrean where huge episodes are tangled with myths and dreams; it is the stunning impact of world history on its amazed heirs.