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Hadrian’s signet ring symbolizes his connection to the Marlowe family’s genetic lineage, but it is also connected to his shame and guilt over his palatine upbringing even as he uses the bauble as a safety when his life becomes increasingly difficult. The signet ring therefore carries a complex blend of contradictory meanings, simultaneously representing Hadrian’s ambivalent feelings about his family and his reliance upon his social status. Similarly, it reminds him of how deeply he despises the despotism of the Marlowe house even as he paradoxically retains the cultural pride of his palatine identity.
In practical terms, a signet ring contains a palatine’s “identity,” “genetic history,” “titles,” and “the deeds to his personal holdings” (66). Thus, even as Hadrian denounces his lineage and attempts to escape his family, he refuses to fully relinquish the identity that his ring represents. His insistence upon keeping the ring at all costs thus reflects his knowledge that he can invoke his lineage at any time to save his own life. He explicitly acknowledges his reliance on this safety net after he learns that his father has officially disavowed him. As Hadrian muses, “Before, when I was destitute in the streets of Borosevo, I’d had the private dignity of my hidden station and what holdings were tied, however tenuously, to my name and rank. But now I was truly destitute” (526). Thus, his father’s disavowal destroys the ring’s symbolic power, and only then does Hadrian finally throw it away.
The motif of names is first introduced when the narrator-Hadrian states, “Dangerous things, names. A kind of curse, defining us that we might live up to them, or giving us something to run away from” (2). This is especially true for Hadrian, whose name marks him as a palatine and a member of the Marlowe family, thereby connecting him to the despotism of his lineage. As with his signet ring, Hadrian feels ambivalence toward his name and remains caught between pride and shame. Just as he hides the ring from his plebeian friends, he also hides his true name, and this decision is proven to be justified when they eventually discover his true identity and express shock and anger over the deception. In Switch’s eyes, Hadrian is no longer “Had of Teukros” but “Hadrian Marlowe of Delos”: a different person entirely.
Hadrian’s name is not the only example of this motif, for Valka’s full name, “Valka Onderra Vhad Edda” (380), indicates who she is and also identifies her clan, her identity as a Tavrosi, and her planet of origin, Edda. This name therefore empowers her as a diplomatic representative of the Demarchy of Tavros. Likewise, even Switch’s name has a certain power. As he explains in Chapter 58, his given name is William, after the emperor, but Switch is the working name he used “before [he] bought [his] way out of the pleasure house” (500). His decision to keep using this name indicates his acceptance of that identity in defiance of the mockery that he often endures.
Stories are another significant motif in the novel, appearing first in the narrator-Hadrian’s retrospective thoughts on his past actions as he awaits his execution. This framing foreshadows the novel’s portentous ending and highlights the metafictional spirit of the novel itself, as the story remains aware of its status as a story that is being told from a particular point of view. This approach emphasizes the unreliability of the narrator-Hadrian, who clearly has self-serving motives for his portrayal of events.
Additionally, several characters tell each other stories about their own exploits, sometimes telling the truth and at other ties exaggerating or entirely fabricating the details. For example, the young Hadrian spins false stories about his past while he lives under the alias of Hadrian Gibson. Most significantly, however, stories on the societal level have the power to change people’s perceptions about the past and present, and both the palatines and the Chantry use this tactic to control access to information and hide the true nature of the universe. These stories also contain power: to hide or reveal, to educate or inspire, or to control hearts and minds outright. In the empire, stories are a method of control and a weapon against the masses in support of empire and religion.



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