A Dance of Lies

Brittney Arena

A Dance of Lies

Brittney Arena
56 pages1-hour read
Fiction
Novel
Adult
Published in 2025

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Part 2, Chapters 22-27Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of illness, emotional abuse, and child abuse.

Part 2: “King of Glass”

Part 2, Chapter 22 Summary

Using a secret passage, Vasalie travels to the eastern wing, intending to reach Anton’s chambers. She pauses to spy on Illian and observes him forging a letter using a seal that isn’t his own. Soon, two women enter: an older attendant and a young woman dressed in an exact copy of the costume Vasalie wore for her recent performance. Vasalie watches in horror as Illian becomes intimate with the look-alike, whispering Vasalie’s name. This confirms his disturbing obsession with her. 


Shaken, Vasalie continues through the tunnel but is suddenly captured by Anton. He accuses her of being Illian’s spy and lover, confronting her about her role in Gustav’s poisoning and her betrayal of Laurent. To prove that she isn’t with Illian, Vasalie dares Anton to look into his brother’s chambers through the glass mosaic panel in the tunnel wall. Anton does so and is stunned to see Illian with the look-alike. His suspicion of Vasalie lessens, and after releasing her from her iron shackles, he tells her to follow him.

Part 2, Chapter 23 Summary

In his antechamber, Anton demands to know why Vasalie was in his tunnels. She explains that she came to plead for the innocence of Laurent and Marian. Taking a great risk, she confesses that she was the one who poisoned Gustav, acting on Illian’s orders. Vasalie offers to testify before the Crowns to clear her friends’ names, fully aware it would likely cost her life. Anton, however, reveals that he has already arranged for mercenaries to free Laurent and Marian, who will now work for him in secret in East Miridran. He forbids Vasalie from testifying, stating that Illian would have her killed before she could speak. 


Instead, he asks her to inform him whenever Illian gives her a task, promising to help her in return. He then shares a recently acquired prophecy foretelling the rise of a destructive figure who tricks the Fate of Morta, the mysterious goddess known as the Reaper of Souls (in Miridran mythology, the Fate offers every recently departed soul the chance to return to the living world, but none can escape the lure of her beauty, choosing to remain in the underworld). The prophecy speaks of a figure who will appear through “one of three sons” (239). Vasalie immediately identifies Illian as the prophecy’s subject, connecting it to the line, “A jewel in His palm” (239), since Illian refers to her as his “Jewel.” Anton asks for her help to mitigate the damage that Illian will cause and promises to help her in return.

Part 2, Chapter 24 Summary

After two days of avoiding him, Vasalie meets Copelan in the palace’s Sky Garden to find inspiration for their next dance. He comforts her with a warm embrace, but they’re interrupted by Princess Aesir. She’s accompanied by Esmée Fontaine, an elegant dancer whom Vasalie recognizes. Aesir announces that she has arranged for Esmée to be an honored guest at the Gathering, a decision approved by the other courts. Vasalie realizes that Esmée is Copelan’s long-lost former partner, the one he had told her was taken by a Crown nine years prior. Vasalie infers that it was Illian who took Esmée, and not Anton, as she had first suspected. Vasalie also realizes that Illian orchestrated Esmée’s return through Aesir to drive a wedge between her and Copelan.

Part 2, Chapter 25 Summary

Vasalie excitedly shares a new performance idea with Copelan, but he informs her that she will not be dancing in the upcoming tribute to the kingdom of Serai. He reveals that, at Aesir’s request, he will be performing with Esmée instead. Upset and feeling replaced, Vasalie confronts him, accusing him of wanting to dance with his former partner and questioning Aesir’s motives. Their heated argument is cut short by the arrival of Anton, who dismisses a tense Copelan. Alone with Vasalie, Anton flirts with her, implying that he’s a better match for her than the “broody” Master of Revels. He then instructs her to meet him later via the secret tunnels to discuss an important matter concerning Illian.

Part 2, Chapter 26 Summary

A commotion erupts in the Dome Hall as guards drag in a thrashing Annais. Before the assembled courts, she desperately claims that King Estienne is her son from an affair she had with the former king. As proof, Annais pulls back her tunic and turns to reveal a unique, star-shaped birthmark at the base of her spine, a hereditary mark passed down in her clan. 


When Estienne is forced to turn around and drag his jacket and collar down, he has an identical mark. With his illegitimacy exposed, Illian seizes Estienne’s crown, officially dethroning him for violating the Miridranian law that requires a monarch to be of full royal blood. Queen Sadira of Razam accuses Illian of engineering a power grab, but he deflects by promising to govern Estienne’s former territory jointly with Anton. Vasalie understands that this was a long-planned coup and realizes that Illian’s next target will be his remaining brother, Anton.

Part 2, Chapter 27 Summary

Vasalie meets Anton as instructed. He takes her by rowboat to a brothel in the nearby city of Philam, where his spies have tracked Illian. Peering through a spy hole in a wall, Vasalie is shocked to see Illian meeting with her father. She reveals her identity to Anton: Her birth name is Vastianna Stova, and the general is her abusive father, whom she fled years ago. They overhear General Stova and Illian finalizing a treasonous plot. Stova has groomed Princess Aesir to seize power by arranging King Rurik’s demise; Aesir will then marry Stova, making him a king. 


Meanwhile, Anton makes an involuntary noise that alerts the men in the next room. To avoid being discovered, Anton and Vasalie quickly strip their outer garments and stage a sexual encounter on the bed, with Anton kissing Vasalie. The ruse works; Illian and Stova investigate, but upon seeing the couple, they assume that the noise was innocuous and leave. During the boat ride back, Anton reveals that Illian pushed him off Mount Carapet at age 16 and that he survived by landing on a jut of rocks and then faked his death to evade Illian’s men. He formally asks Vasalie to inform him of Illian’s tasks to help gather concrete evidence of the plot, promising to “arm” her for the fight to come.

Part 2, Chapters 22-27 Analysis

The public dethroning of Estienne, orchestrated by his brother Illian, demonstrates that political power in Miridran is a meticulously staged performance. Illian exposes Estienne’s illegitimacy not through a quiet legal process but in a dramatic scene before the assembled courts, transforming a dynastic secret into a spectacle. Using Annais as an unwitting pawn, he manufactures a moment of high drama around the revelation of a hereditary birthmark, irrefutable, visual proof of his brother’s “unworthiness.” Illian seizes Estienne’s crown with theatrical gravity, casting himself as the upholder of sacred law while simultaneously executing a long-planned coup. This act embodies the theme of The Illusions of Political Power, revealing that authority is maintained through controlling the narrative. This reliance on illusion is further reinforced by Illian’s private actions, such as his use of a look-alike to enact his obsession with Vasalie and his forging of a letter. 


Vasalie’s confession to Anton that she was Gustav’s poisoner marks a key shift in her character, as she transitions from a passive instrument of Illian’s will to an active agent seeking to mitigate the harm she has caused. By admitting her crime, she’s willing to accept death to save Laurent and Marian, a choice that reclaims a measure of her moral autonomy. This decision highlights The Cost of Survival; to stay alive under Illian’s control, she has been forced into acts that violate her conscience, and she now understands that true survival requires more than mere existence—it demands accountability. Her declaration that she wants to be the one to “strike the match” against Illian and her father signifies her embrace of her new role as a resistor of injustice (292). 


The return of Esmée Fontaine creates a contrast between Vasalie’s post-disability body and the prowess of her rival, exploring how chronic pain shapes identity. As Vasalie watches Esmée and Copelan perform an aerial dance, her jealousy isn’t for Copelan’s affection but for Esmée’s physical strength and supposed wholeness. The performance is a painful reminder of the dancer she used to be and the physical limitations that now define her existence, a narrative choice reflecting the author’s own experience with chronic illness. This moment of spectatorship emphasizes how Physical Disability as a Source of Strength isn’t about overcoming limitations but about adapting to them. Vasalie’s strength lies in her resilience and cunning, not her muscles. Her subsequent staged romantic encounter with Anton presents another kind of physical performance—one of raw survival and ingenuity, using her body as an act to save both their lives. 


These chapters establish the novel’s position within the 2020s romantasy boom by intertwining a high-stakes political plot with the development of a central romantic dynamic. The narrative decisively shifts the romantic focus from the “broody” Copelan to Anton. Copelan’s reunion with Esmée dissolves his burgeoning connection with Vasalie, positioning him as a figure tied to a past to which she has no connection. In Copelan’s place, Anton emerges as a compelling and dangerous new partner. Their charged interactions, from flirtatious banter to the forced intimacy of their ruse in the brothel, exemplify the “enemies-to-allies” trope popular in the romance genre. Anton’s promise to arm rather than protect Vasalie subverts traditional romance dynamics, establishing their connection as a partnership of equals against a common foe. The motif of glass in this section also functions to illustrate Vasalie and Anton’s connection. At the Glass Market in Philam, craftsmen temper recycled glass to make it stronger, a metaphor for both Vasalie and Anton, who have survived attempts on their lives and emerged more resilient.

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