56 pages • 1-hour read
The Poisoned King
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Symbols & Motifs
Content Warning: This section of the guide includes discussion of death.
Poison
Poison is the novel’s central symbol, representing an insidious form of evil that corrupts from within. As the weapon used to murder King Halam and the dragons, it reflects the moral decay spreading through the kingdom of Dousha under Claude’s influence. Gallia explicitly defines the fundamentally dishonorable nature of poisoning as a modus operandi, stating, “It is a coward’s crime” (153). Her assessment frames Claude’s entire scheme as clandestine treachery rather than a bold seizure of power. Poison is the physical manifestation of his willingness to destroy sacred bonds—familial and ecological—for personal gain.
The novel’s depiction of poison extends beyond the physical substance to represent a metaphorical contamination. Arach, a surviving dragon, observes that for humans, limitless wealth is its own kind of toxin that destroys integrity, noting, “Mankind is not to be trusted with hoards of gold. It poisons him” (154). This conveys Claude’s greed as a form of spiritual poisoning. Similarly, Anya’s consuming desire for vengeance manifests as a physical burning in her throat, a poisoning influence she must overcome.
In this way, poison links the external conflict of a kingdom under threat to the internal thematic struggle between justice and revenge. It embodies the core theme of The Moral Imperative to Challenge Corrupt Authority, compelling the protagonists to find an antidote not only to the dragonsbane but also to the moral sickness it represents.
The Loquillan
Anya’s necklace, the loquillan, is initially represented as a keepsake from her mother, symbolizing familial love. As the novel progresses, the loquillan becomes a symbol of the corrupting nature of revenge and the profound difference between a desired future and a just one. Anya’s discovery of the necklace’s magical powers prompts her to perceive it as a tool to achieve the future she desires. Yet, in reality, the loquillan is a moral mirror, reflecting the user’s soul back at them.
Anya believes the loquillan’s powers may help her save her father and kill her uncle. However, the artefact becomes the ultimate test of her character, eventually forcing her to confront the moral cost of her own thirst for vengeance. When the opportunity to kill Claude arises, the necklace makes The Moral Crossroads Between Vengeance and Justice clearly tangible. The vision of the future it provides does not display the triumphal revenge Anya anticipates. Instead, she recognizes that “The act of killing her uncle had entered her blood. It had entered her heart […]. It was pitiless” (252). The disturbing insight into her future self reveals that achieving her goal through violence would irrevocably poison her own soul.
Ultimately, the loquillan illustrates that wisdom lies not in seizing a desired outcome but in understanding its moral weight. By showing Anya a future in which her victory comes at the cost of her humanity, the necklace empowers her to reject that path. Her decision to drop the sword and renounce the throne is a direct repudiation of the future the loquillan offers. Anya’s choice of systemic justice over personal retribution proves she has learned the symbol’s central lesson.
Hands
The motif of hands recurs throughout the novel, enhancing Rundell’s characterization and enriching the narrative’s themes. Anya is first introduced as a princess with “dirt under her fingernails” (17). This description juxtaposes the protagonist’s appearance with her royal status, suggesting her discomfort with the formality and artifice of court life. The scars on her hands and arms from frequent interactions with the gaganas reinforce this impression and convey Anya’s close connection to the natural world.
Rundell employs the imagery of hands to explore the qualities of openness and deceit. As part of her royal training, Anya is taught the etiquette of keeping her hands behind her back. Her character’s authenticity and initial lack of guile are emphasized by her struggle to adopt this gesture of concealment.
In contrast to Anya, Claude’s hands are routinely covered by white embroidered gloves. While the gloves’ embroidery emphasizes Claude’s attachment to the pomp and artifice of royal life, their color falsely suggests innocence. Claude’s habitual covering of his hands symbolizes his deceitful nature and hidden crimes, as his pristine appearance belies his tainted actions. The gloves metaphorically represent his reluctance to get his hands dirty, serving as self-protection against the poison as he murders his brother and concealing his role in the crime.
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