“Jack knew he looked forward to the tales as much as Lucy did. The boy understood—how had he changed so much in a few weeks?—that these, too, were a comfort to his father. Giles Crookleg might grumble like a crow, but he lost himself like a bird in the clouds of his own imaginings. He no longer had to set foot on the earth or know that he was doomed to creep upon it.”

The similes describing how Jack’s father “grumble[s] like a crow” and becomes “lost […] like a bird in the clouds of his own imaginings” demonstrate the main character’s growing understanding of humanity and underline that this growth arises from his observations of the natural world. The author’s use of dashes to interrupt the second sentence calls attention to the protagonist’s rapidly developing compassion, one of his most significant character traits. Additionally, this passage develops the theme of The Power of Belief by showing how Giles’s imagination frees him. This foreshadows the refuge that the man’s stories offer his daughter in times of crisis.

“You’ve merely spread your wings. […] You see, lad, most people live like birds inside a cage. It makes them feel safe. The world’s a frightening place, full of glory and wonder and danger. It’s better—so most people think—to pretend it isn’t there.”

Farmer explores the concept of freedom and how individuals limit their own liberty and potential out of a desire for safety through a simile comparing “most people” to “birds inside a cage.” The passage contrasts Jack with this majority and highlights the similarities between the protagonist and his mentor, especially their courage and longing for adventure. In literature, polysyndeton refers to the stylistic addition of coordinating conjunctions where none are grammatically necessary, exemplified in the fourth sentence, in which the repetition of the coordinating conjunction ‘and’ in the phrase “glory and wonder and danger” gives the sentence an expansive flow to show that the world is wide and full of possibility.

“He felt like he was alone on a dark sea with devouring waves all around. He was a mere insect crawling on a fragment of driftwood. How could he have imagined hurting the one person who had tried to help him? How could he have been so stupid?”

The author depicts Jack’s misery through a simile likening the danger of being overwhelmed by magic to being “alone on a dark sea with devouring waves all around” and through a metaphor that compares him to “a mere insect crawling on a fragment of driftwood.” Anaphora is the repetition of a word or phrase at the beginning of consecutive phrases or sentences. By beginning the last two sentences with the words, “How could,” Farmer underscores Jack’s guilt and self-recrimination. This excerpt portrays Jack’s youth and inexperience with magic, reinforcing the importance of the Bard as a mentor figure to the hero.

“She turned into a giant troll with arms and legs like tree trunks. Beowulf sprang back with a shout. He grabbed his sword, and the battle began. I won’t bore you with the details. It went on as such battles do, with slashes and curses and bones crunching and blood everywhere. Beowulf eventually landed the fatal blow, but I was too busy wriggling back to the water before my host died.”

The Sea of Trolls contains many allusions to works of poetry and mythology. In this passage, Farmer retells a key battle from the epic poem Beowulf. The simile comparing the troll’s limbs to “tree trunks” raises the suspense, but overall, the Bard’s tone toward the legendary battle is one of wry irreverence. His dismissive attitude toward “the details” of combat reflects his understanding that compassion, not violence, is the true measure of heroism, a belief that he instills in the novel’s protagonist.

“Most of the time they’re men, but when they make a drink of this plant, they become as frenzied as mad dogs. They bite holes in their shields. They run barefooted over jagged rocks without feeling it. Neither fire nor steel can stop them. They believe themselves to be wolves or bears then. My observation is that they’re merely nasty, dim-witted thugs. They’re just as dangerous, though.”

Throughout the novel, Farmer compares the berserkers to canines to emphasize their uncontrollable ferocity, as seen in the simile “as frenzied as mad dogs.” This figure of speech and the following descriptions of the warriors’ strength and invulnerability increase the suspense as the raiding party nears Jack’s village. The ominous, formal tone of the short, structurally simple sentences in the middle of this passage shifts to a conversational and derisive tone with the Bard’s observation that the berserkers are “merely nasty, dim-witted thugs.” This tone shift aligns with the Bard’s unflappable characterization and the novel’s inclusion of humor even amidst dire events.

“Jack felt sore inside. Every time he thought of the Holy Isle, tears came to his eyes. It had been an enchanted place where they ate roast lamb flavored with rosemary and rowanberry pudding and flummery—the best kind, with nutmeg and cream. Gentle monks prayed over the sick beneath a stained-glass window that shone with the colors of the rainbow when the sun was behind it.”

The author provides visual imagery, such as the “stained-glass window that shone with the colors of the rainbow,” and gustatory imagery, such as “flummery—the best kind, with nutmeg and cream,” to depict the beauty and prosperity of the Holy Isle. These inviting descriptions and diction like “enchanted” and “[g]entle” emphasize the tragedy of the sanctuary’s destruction, a key event for the novel’s treatment of The Relentless Struggle for Survival.

“The first thing Jack heard was the wind. It drove out of the sea and howled past the house, making the roof shake. It burrowed under the door. Cold air spread along the floor, and the fire sprang to life. Behind this was a rattling like pebbles rolling on a beach, except that it grew louder and louder until it burst upon Jack’s sleep like thunder.”

Farmer fosters an ominous tone in this passage about the Nightmare’s approach by focusing on sound. For example, she uses onomatopoeia like “rattling” to describe the fierce wind. The repetition of “louder and louder” and the simile comparing the wind to “thunder” show the noise’s escalation and hint at its supernatural nature. In addition, Farmer adds to the scene’s frantic mood by depicting the wind as a wild animal through precise verbs like “howled” and “burrowed.”

“Suddenly, out of the deep sky came a figure so large and so terrifying that Jack shouted and the birds shrieked in fear. It was a horse draped in shrouds of icicles that broke off and clattered into the room. […] On the horse’s back was a rider even darker than the sky, so black that it sucked the light out of the stars.”

Vivid visual imagery, such as “so black that it sucked the light out of the stars,” creates suspense through its portrayal of the unknowability of the rider. Onomatopoeia like “clattered” and diction like “shrieked” and “shouted” also contribute to the scene’s fearful atmosphere. These literary devices underline the importance of this key scene, in which Jack first encounters the novel’s antagonist and his mentor is attacked, forcing his growth and independence to accelerate.

“He mustn’t cry. He mustn’t cry. He was all Lucy had, and he mustn’t fail her. Jack felt at his neck. The rune of protection spread warmth over his hand and up his arm. Taking care of Lucy wasn’t a bad thing, really. It was much better than having no one at all. How odd, Jack thought. He had no more control over his life than a dog on a chain, but caring for Lucy made him feel…well…strong.”

The simile comparing Jack to “a dog on a chain” underlines his predicament during his captivity as Olaf’s thrall, and the repetition of, “He mustn’t cry,” emphasizes the protagonist’s resolve amidst these dire circumstances. The author’s usage of punctuation supports the passage’s meaning, with the ellipses in the last sentence highlighting the moment Jack reaches a surprising realization about the importance of the siblings’ bond. The strength that the boy feels in looking after his sister, despite his feelings of powerlessness over their situation, develops the theme of Compassion as the True Measure of Heroism.

“He breathed in the sharp odor of the wind. He heard—yes, heard!—the moans of the whales as they followed their paths over the deeps. He cast his mind down to where the light failed and found, far below, a current of fire. Come forth, he called. Come forth to me. Cloak the air with your gray presences. Bring sea and sky together.”

Olfactory imagery, such as “the sharp odor of the wind,” and auditory imagery, such as “the moans of the whales,” illustrate the protagonist’s deep connection to nature, a bond that is essential to his work as a bard. The repetition of, “Come forth,” in Jack’s italicized thoughts lends a sense of mythic power to his magical invocation of the life force.

“Cattle die and kin die.

Houses burn to the ground.

But one thing never perishes:

The fame of a brave warrior.”

This excerpt from the rowing song Olaf’s crew sings gives insight into the Northmen’s cultural values and develops the novel’s themes. The first two lines depict some of the misfortunes that make life a relentless struggle for survival; livestock and “kin die,” and worldly possessions “burn.” The song exalts the “fame of a brave warrior” as the “one thing [that] never perishes” despite life’s hardships, which helps to explain the raiders’ valorization of violence.

“He had a wonderful poem, courtesy of Rune, but it had so many complicated words, Jack was sure he was going to mess up. Which would be a very grave mistake, Rune told him, with the emphasis on grave.”

Farmer uses the meanings of the word “grave” as both an adjective and a noun to imply that Jack is doomed unless his performance meets Olaf’s expectations. The author’s precise diction reflects the lesson that Rune teaches Jack about the importance of his choosing words carefully.

“Fine wheat bread, rounds of cheese, salmon baked in fennel, geese oozing delicious fat, stews wafting the seductive odors of cumin and garlic—all these and more were carted in by the servants. Buttermilk, cider, beer, and mead were there for the asking. Bowls of apples sat on every table. Jack had never seen so much food.”

Vivid olfactory and gustatory imagery depict the sumptuous welcome-home feast prepared by Olaf’s household. These sensory descriptions are enhanced by precise adjectives like “[f]ine,” “delicious,” and “seductive.” The abundance in this passage contrasts sharply with the subsistence diet of Jack’s family. Additionally, there’s an undercurrent of tension in this scene—Olaf’s family has this bounty because of the thefts and murders he and his raiders carry out.

“Listen well, old friend. Those who spend sheltered lives are ever afraid of danger. But you know danger is what we warriors were born for. Our spirits drive us seaward to sail the salt wave. Our happiness lies in risking all in some adventure, and if we survive, so much sweeter is our homecoming. But to all men, eventually, comes doom. Our only choice is to meet it boldly. It will come to us whatever we do.”

Farmer gives Olaf’s speech a sense of grandeur by utilizing alliteration, a literary device that played a fundamental role in Old Norse poetry. This is seen in phrases like “seaward to sail the salt wave” and “will come to us whatever we do.” His statement also uses anaphora, beginning successive sentences with “Our” to highlight their collective challenges.

“The pillars and walls were covered in carvings, but not the playful animals that decorated Olaf’s house. Long, headless, twisted bodies writhed and grasped one another with claws. When a head did appear, it was bulbous and pale with gaping eyes and a woeful mouth. Along the walls were tapestries. They were done with great skill, and yet they gave no delight. More weird creatures stared menacingly over the hall.”

The vivid visual details in this passage establish the setting of King Ivar and Queen Frith’s hall and foster a tense, ominous mood with diction like “woeful” and “menacingly.” The attention the author gives to describing the hall reflects the location’s climactic prominence in Jack’s heroic journey, and its eerie adornments help to establish the antagonist’s warped nature.

“Listen, ring-bearers, while I speak 

Of the glories of battle, of Olaf, most brave. 

Generous is he, that striker of terror. 

Lucky are they who sit in Olaf’s hall, 

Gifted with glory, treasure, and fame. 

The wolf-headed men call him leader. 

Odin’s skull-pickers name him friend.”

Farmer portrays Rune’s skills as a bard through the song that he composes in Olaf’s honor. His verse makes use of kennings, a poetic device that replaces a word with a more figurative compound term. For example, Rune’s poem calls Olaf’s warriors “wolf-headed men” instead of simply ‘berserkers,’ and “Odin’s skull-pickers” refers to crows. The kennings add a layer of artistry to Rune’s praise song and reflect the novel’s historical setting because this poetic device figures prominently in Old Norse and Old English poetry.

“Flames spread rapidly, hissing and crackling in the dry pine needles. The twigs caught, the branches flared, and then the tree trunks exploded in a sheet of flame that rose and twisted up into a massive pillar. Jack was so alarmed, he ran for the shelter of the rocks. He and Thorgil clung to each other, enmity forgotten, as the pillar rose higher. It put out flaming branches like a tree, spangling the night with whirling sparks.”

The author creates a sense of frenzied action in this scene by using present participles like “spangling” and whirling.” Onomatopoeia, such as “hissing” and “crackling,” also makes the passage more vivid by capturing the sounds of Olaf’s enormous funeral pyre. The simile comparing the blaze’s “flaming branches” to “a tree” calls to mind Yggdrassil, which is the aim of Jack’s quest and the source of the life force he uses to set the fire.

“To his very great surprise, they came out into a little valley full of trees. A stream chuckled down the middle, and on either side were bushes full of raspberries and blueberries. The ground was covered with tiny mountain strawberries. The air was warm and sweet.”

Personification is a type of figurative language that ascribes human characteristics to non-human subjects. In this passage, Farmer personifies the stream by saying that it “chuckled.” This literary device fosters an atmosphere of peace and joy in the valley that contrasts with the perils Jack and Thorgil face elsewhere in Jotunheim. The inviting descriptions of the setting’s “warm and sweet” air and abundant plant life foreshadow the revelation that the valley contains Yggdrassil.

“Jack looked up to see a creature from his very deepest and worst nightmares. It was eight feet tall with a shock of bristly orange hair sprouting from its head and shoulders. Eyes the color of rotten walnuts brooded under a browridge that resembled a fungus growing out of tree bark. It had long, greenish fingernails crusted with dirt, and its teeth—for the creature’s mouth was hanging open—were like jumbled blocks of wood. Two fangs the size of a billy goat’s horns lifted the sides of the creature’s upper lip in a permanent snarl. It belched, and the sulfurous smell drifted over Jack again.”

Visual imagery like the troll’s “bristly orange hair,” olfactory details like the “sulfurous smell” of its breath, and similes comparing the creature’s features to aspects of flora and fauna paint a vivid picture of Jack’s first encounter with a troll. The author’s diction, with words like “nightmares,” “brooded,” and “snarl,” contributes to the passage’s fearful, ominous mood. The suspenseful scene also contains a measure of irony because, although the troll’s appearance frightens the children, it comes to their aid. This resonates with the story’s message about the importance of compassion.

“It was a world of loss far more terrible than the songs of vanished Utgard. It was more devastating than the destruction of Gizur Thumb-Crusher’s village. It was Everything Gone. The voices of the Norns whispered about the passing of all that was bright and brave and beautiful. You could only watch it die. You could only go down to defeat and darkness.”

The repetition of “It was” at the start of the first three sentences is an instance of anaphora that gives the passage a sense of rhythm and urgency. The capitalization of “Everything Gone” accentuates the fear the protagonist experiences in the Norns’ presence, and the phrase, “down to defeat and darkness,” uses alliteration to reinforce the passage’s sense of doom.

“At the top rose an enormous ash tree—the Ash Tree, Yggdrassil itself rising up and up and up until you could hardly believe human eyes could see that far. Branches swept everywhere, teeming with life. All the birds in the world roosted on its arms, and all the insects, too. […] Jack saw deer with their fawns, wolves with their cubs, and men and women—for the branches reached into Middle Earth as well—sitting with their children in the leaves.”

Farmer conveys Yggdrassil’s magnificence and all-encompassing scope through repetition like “up and up and up” and diction like “all” and “everywhere.” The last sentence uses similarly structured phrases to compare humans and animals, reflecting the novel’s message about the interconnectedness of all life.

“He heard the bucket splash far below and pulled it dripping from the depths. A marvelous smell rose from it, of flowers and green fields and pine forests and honey. […] Every green smell and warm flavor came back to him. Every bright cloud floating over a mountaintop, every fish rising to snap at a fly, every swallow turning in the air appeared before him. It was all wonderful. It was all full of life.”

Farmer utilizes imagery (“green smell and warm flavor”), polysyndeton (“flowers and green fields and pine forests and honey”), and anaphora (“It was,” “Every”) to depict the life-giving, mind-expanding, and spirit-enriching properties of the water Jack draws from Mimir’s Well. These literary elements emphasize the importance of the moment in which the protagonist achieves the object of his quest.

“Jack and Jill went up the hill 

To fetch a pail of water. 

Jack fell down and broke his crown, 

And Jill came tumbling after.”

Throughout the novel, Farmer weaves in allusions to other works of literature, especially poetry and mythology. Her decision to make Thorgil the creator of the famous English nursery rhyme provides a humorously understated summary of her and Jack’s quest. It also alludes to the theory that the rhyme’s origins trace back to a Norse legend about Mimir’s Well.