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The number three is a recurring motif throughout the Hierarchy series. The number three appears in the images of three pillars, the triskeles, and in the common icon of the Caten Republic, the three converging lines that form a triangle. Ostius remarks on the importance and meaning of these three pillars when he confronts the Military senators, explaining that it has three meanings. First, it represents the three factions of the Republic: Military, Governance, and Religion. Second, it represents the three parallel worlds of Res, Obiteum, and Luceum. Third, it also represents the three Princeps—the leaders of the three factions—each of whom cedes his Will to the “man who is planning to kill us all” (481), by which he means Ka, or the Concurrence.
The number three thus functions on all these registers, referring to the worlds, the organization of the Republic, the hierarchical system of ceding, and Ka himself all at the same time. The number three also appears in the three versions of Vis on each of the worlds, as well as the core group of friends: Vis, Eidhin, and Aequa, who have all earned each other’s trust and work together throughout the novel.
In both The Will of the Many and The Strength of the Few, characters frequently refer to a moral line that they refuse to cross, though they often find themselves crossing this line when circumstances demand it. The moral line becomes a motif representing the struggle to maintain agency in the face of systemic power. Eidhin introduces the idea, arguing that each person must know their line, their moral limit, which they will not compromise or cross no matter the reward, pressure, or threat that is offered to do so. The metaphor of this line appears throughout The Strength of the Few with increasing importance. Vis returns to it repeatedly, as when he discusses his decision to cede his Will, his refusal to use Adoption to control Ahmose, and his discomfort with his mission to kill Ka.
Other characters also highlight, and ultimately complicate, this line, such as Eidhin’s father Blaine. He argues that knowing one’s line is a good lesson to learn but adds that this line becomes meaningless as a parent, who will cross any line for the sake of their children. The implication here is not so necessarily that the line disappears, but rather that it moves: Baine’s new line is that he will not allow his child to suffer or die. On the other hand, Relucia implies that crossing one’s moral line is sometimes a necessary sacrifice for the sake of survival or fighting a worse evil. Throughout the novel, this line symbolizes each character’s choices to resist, compromise, or become complicit in the structures of violence around them. The decision to step over that line or not, similar to the symbol of doorways, marks a vital and irrevocable shift or change in a character’s development or plot arc.
Doorways and thresholds represent choices and the boundaries one must cross. At times, they represent the separation between worlds (literally in the case of Res, Obiteum, and Luceum), or between identities (such as who one wishes to be versus who one actually is). Doorways appear throughout the novel, such as the gate Vis passes through to become Synchronous, and many other more explicit doorways such as the gold mutalis door in Qabr, the archway at Fornax, the entrance of Ka’s pyramid, to name just a few.
Every doorway represents either a shift in the plot or a change in Vis’s character development. They are all decisions he must make, to remain stagnant or to change, to choose violence or not, to accept compromise or to reject complicity. Doorways thus contribute to The Tension Between Choice and Circumstance, while simultaneously contributing to the theme of The Moral Ambiguity of Sacrifice, as many of his choices require a sacrifice, either physical (like his arm) or emotional (like his moral conviction).



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