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Content Warning: This section of the guide discusses animal cruelty and death.
In The Poisoned King, Anya’s trajectory centers on the conflict between innate moral decency and her growing desire for revenge. The novel shows how the urge for payback grows naturally out of trauma. However, Rundell also illustrates how Anya’s drive to exact revenge on her uncle, Claude, becomes all-consuming, threatening to corrode her integrity and to repeat the brutality she seeks to defeat.
The desire for vengeance is presented in the novel as a physical and spiritual sickness. After officials arrest her father and Claude’s soldiers try to kill her, Anya feels a burning in her throat that she recognizes as a “thirst for revenge” (106). This inner blaze echoes the lethal flames exhaled by the dragon Arach. Once he finds his clan slaughtered, he longs “to fly […] to Argen Castle and burn the towers to the ground” (222). Grief fuels each reaction, and each response imagines destruction as the only remedy for loss. Arach’s fury mirrors Anya’s rage. The book uses their parallel anger to reveal how the desire for revenge warps other, nobler emotions. While Anya’s growing determination to take Claude’s life is initially fueled by love for her falsely imprisoned father, she is increasingly driven by hate.
The moment Anya has the opportunity to kill Claude is presented as a critical juncture that will ultimately define her. Confronting Claude with a sword at his throat, she has both the authority and evidence she needs to carry out the vengeance she has dreamed of. However, the tears she sheds that unlock the loquillan’s powers convey a moral struggle. The loquillan’s vision renders this ethical crossroads tangible, depicting a future in which Anya carries out the killing. The vision of her as a “ferociously beautiful” queen who rarely smiles and inspires fear in her subjects clarifies that, in this future life, murdering Claude “had entered her blood. It had entered her heart” (252). Anya comprehends that killing him would not restore balance or give her peace. Instead, the act would distort her into another merciless ruler who governs through terror. The vision illustrates that, rather than breaking a cycle of violence, vengeance passes absolute power to a new ruler already damaged by the act that secured it.
Anya’s declaration, “I won’t give up my own heart just to see you dead” (254), underscores her reasons for sparing Claude’s life. She does not absolve him but recognizes the importance of preserving her own integrity. Her subsequent decision to refuse the throne, abolish the monarchy, and create a parliament of humans and creatures presents righteous justice as a healing alternative to vengeance.
The Poisoned King presents authority as a structure that must prove its validity through its actions. In her portrayal of the court at Argen Castle, Rundell presents a world in which corruption thrives amid superficiality and deceit. While Claude Argen is the primary corrupting influence, the novel demonstrates how obedience and passivity can amount to complicity when authority is misplaced. Meanwhile, critical thought and brave dissent are depicted as crucial weapons in the fight against tyranny.
From the beginning of the novel, Anya’s aversion to courtly life at Argen Castle underscores its artifice. Drilled in deportment, diplomacy, and the “twenty-one official smiles” (32), her role as a princess is to be an ornament, “seen, and admired, and coveted” (29). This emphasis on etiquette and appearances contrasts with the authentic nature of Anya’s former life with her father in the forest. The incident in which she spits at Claude is a visceral, defiant response to the rules of this world, which prioritize false outward facades over moral integrity. Claude’s seizing of the throne after murdering the king and framing Anya’s father further highlights the artifice and duplicity that underpins the court. Anya’s response—lying and using the castle’s secret passageways to steal evidence of Claude’s guilt—demonstrates her growing maturity as she uses the deceptive skills she has learned at the castle to fight her uncle’s corrupt influence.
The Argen court’s passivity stands as a foil to Anya’s defiant resolve. Chancellor Rillian Gerund demonstrates how officials preserve their own comfort instead of protecting justice. Gerund’s discomfort when telling Anya she is being sent to boarding school is conveyed as “his eyes would not meet hers” (80). The chancellor’s inability to look at Anya directly implies shame and an awareness that her life is in danger. Nevertheless, he insists, “It is the command of the regent. You will do as you’re told” (80). His loyalty to protocol, along with the silence of other courtiers, allows Claude to commit heinous acts without challenge. The novel also highlights greed as a factor in complicity as the court’s soldiers kill Koo’s mother and agree to assassinate Anya in return for financial rewards. The court members’ willingness to obey Claude without question turns them into collaborators in his crimes.
Christopher embodies the moral imperative to challenge corrupt authority when he publicly exposes Claude’s crimes during Anya’s “funeral.” This chapter illustrates how, if one person has the courage to stand up to corrupt authority, it can ignite a similar resolve in others. Rillian Gerund’s insistence that Christopher should be allowed to speak marks a shift in his own stance from compliance to resistance. Claude’s swift loss of control in this scene, as the commander of his army and the rest of his subjects turn against him, illustrates the power of collective rebellion.
Ultimately, the novel argues that authority must be challenged and dismantled whenever it harms the innocent. Anya’s dissolution of the monarchy highlights the undemocratic nature of a political system that offers absolute power as a birthright. Her creation of a parliament composed of humans and creatures in equal parts establishes a society grounded in equality and mutual cooperation rather than absolute control.
In the Glimouria Archipelago, the boundary between humans and nonhuman creatures is fluid, as evidenced by hybrid forms such as harpies that combine human and animal traits. Throughout The Poisoned King, Rundell links the characters’ moral worth to the quality of their relationships with other creatures and their stewardship of the natural world. Characters who honor the interconnectedness of all living beings show wisdom and integrity, while those who exploit other species display a profound moral vacuity.
Argus Argen embodies reverence and care for the natural world. Although he is a prince, he devotes himself to botany instead of politics. Living by the creed “All that lives is sacred” (26), he refuses to kill snails and devotes himself to nurturing magical plants. Anya inherits this ethic, and the gaganas become her closest companions. The birds educate her, guide her, and care for her in a relationship built on affection rather than ownership. Irian Guinne and Fidens Nighthand put Argus’s ideals into practice by transforming the Palace of Glimt from a monument to royal extravagance into a “refuge, where injured and orphaned creatures, elderly or outcast creatures, come to rest” (136). Their later decision to also welcome needy or like-minded humans into this sanctuary acknowledges the vital interdependence between species.
Claude Argen’s cruelty grows out of a view that directly opposes his brother’s. Poisoning dragon clans to seize their gold hoards, he advances his ambition by destroying the natural world around him. In doing so, he destabilizes the balance between humans and magical creatures, leaving chaos in his wake. Significantly, the poison he creates requires the body parts of numerous creatures, including the blood of a newborn Gagana, a kludde’s tongue, and “the eye of the chimaera” (177). Claude’s collection of each ingredient reflects his willingness to dismantle the natural world for profit. His actions turn him into an enemy of the family he betrays and the creatures that hold the Archipelago together.
Creating the cure for dragonsbane reveals the bond that Claude denies, depending on cooperation across species. Significantly, the recipe’s components are gathered by both humans and a ratatoska, rather than by a single individual. Furthermore, the antitode’s elements—a feather from a wise bird, scales from a dragon, fur from a kanko, and human blood—are willingly donated rather than taken.
Ultimately, Anya’s establishment of a new parliament comprising 50 humans and 50 creatures extends the novel’s cooperative ideal into a political structure. By restoring an equitable balance between humans and the natural world, Rundell ends the novel on a note of hope for the Archipelago’s future.



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