This Woven Kingdom

“The roar of Alizeh’s imagination was quieted, always, by an unfortunate need for self-preservation.”

The most prominent use of figurative language in this passage is the metaphor, which is embodied in the phrase “the roar of Alizeh’s imagination.” This metaphor portrays imagination to be a powerful, almost uncontrollable force akin to a lion’s roar. It serves to elevate the concept of imagination to something primal and overwhelming, capable of shaping one’s world in potent ways. However, the strength of this “roar” is “quieted” by another abstract concept, “an unfortunate need for self-preservation.” The word “quieted” acts as an antonym to “roar,” and emphasizes how the need for self-preservation suppresses or silences the imagination.

“She had learned long ago that when a home was not found, it was forged; indeed it could be fashioned even from nothing.”

This statement employs parallelism with the phrases “it was forged” and “it could be fashioned.” This balance in the sentence structure accentuates the dual paths that one can take to create a home—either by “finding” it or by “forging” it. The verbs “forged” and “fashioned” also carry philosophical weight in the sentence. “Forged” typically implies laborious, often intense, craftsmanship, commonly associated with metalwork. “Fashioned,” on the other hand, suggests creating something with care and design. Both verbs elevate the act of creating a home to an art form or craft, demanding skill, dedication, and intentionality.

“Fire was her soul, but water was her life; it was all she needed to survive. She drank it, bathed in it, required often to be near it.”

There is an obvious use of antithesis between “fire” and “water,” contrasting elements that are often seen as opposites. Fire is generally associated with passion, intensity, and transformation, while water is often linked to life, calm, and nourishment. This juxtaposition serves to capture the character’s internal complexities. Alizeh’s soul is fiery, passionate, and possibly volatile, but her life—her everyday existence—requires the calming, life-giving properties of water. It’s as if her internal and external worlds are governed by conflicting forces, and yet she needs both to be complete. The sentence, “She drank it, bathed in it, required often to be near it” employs a form of asyndeton by omitting conjunctions. This speeds up the rhythm of the sentence and highlights the different ways in which water is essential to Alizeh—she not only consumes it but immerses herself in it, and even in its absence feels a compelling need to be near it.

“Feel, her parents had once said to her. The shackles worn by your people are often unseen by the eye. Feel, they’d said, for even blind, you will know how to break them.”

The repetition of “Feel,” serves as an imperative, almost like an emotional and ethical command from the parents to the daughter. The repetition emphasizes the importance of the message, driving home the point that sensing and feeling are crucial tools for understanding and challenging the metaphorical “shackles” that bind Alizeh’s people. This use of repetition can be categorized as an example of epanalepsis, where a word or phrase is repeated at the beginning and the end of a sentence or clause for emphasis.

“Anger. It kept him alive better than his heart ever had.”

The sentence employs a paradox by contrasting “anger” with “heart,” two things that are usually considered opposites when it comes to sustaining life. The heart is typically thought of as the vital organ that literally keeps people alive, while anger is often considered to be a destructive or life-draining emotion. By stating that “anger” kept him alive “better than his heart,” the sentence challenges conventional wisdom and offers a portrait of the character’s emotional landscape.

“The soaring domed ceilings glimmered from high above, a mirage of infinity that seemed to reach the heavens. Two large windows were thrown open to grant entrée to the sun: sharp shafts of light penetrated the room, further illuminating constellation after constellation of shattered glow. Even the floors were covered in mirrored tiles, though the delicate work was protected by a series of rich, intricately woven rugs.”

The use of metaphor is evident in the description of the “soaring domed ceilings” as a “mirage of infinity that seemed to reach the heavens.” With the metaphor, the ceilings don’t just appear high; they suggest an almost infinite reach, giving the space a celestial quality. Secondly, the phrase “sharp shafts of light penetrated the room, further illuminating constellation after constellation of shattered glow” employs personification and vivid imagery. The word “illuminating” furthers the celestial motif, suggesting that the room is so radiant it resembles a sky full of constellations.

“‘Life is so unfair, is it not?’ she said, her eyes shining with feeling. ‘Our dreams so easily shattered?’”

The rhetorical questions presented here serve to prompt reflection, rather than seeking actual answers. These questions encapsulate the speaker’s emotional state and invite consideration of the fragility and unfairness of life and dreams. Secondly, the imagery of the character’s “eyes shining with feeling” serves as a physical manifestation of her emotional state. The word “shining” suggests a brightness or vividness in her emotions, perhaps a mix of tears and intensity, making the feeling tangible to the reader.

“In the milky eye of the moon the silhouettes of passersby merged into one gelatinous mass rumbling with sound; raucous cries rang out, laughter tearing through trees, lamplight flickering as people stumbled through the streets. The night was pure madness.”

The opening phrase employs personification by attributing an “eye” to the moon. The description portrays the moon as a sentient observer of the scenes below, adding an otherworldly atmosphere to the setting. The word “milky” is also descriptive, invoking a soft, diffuse light that contrasts with the chaotic human activities taking place under it. The description of the “silhouettes of passersby [merging] into one gelatinous mass rumbling with sound” uses vivid imagery to paint a picture of a crowd that seems almost formless, as if individual identities are lost in the collective experience. The word “gelatinous” gives the crowd a sticky, amorphous quality, suggesting a lack of structure or order.

“These people needed baths and surgeons, not an apothecarist. She could only imagine they were either too stupid or too drunk to know better than to seek aid here.”

The first sentence here employs contrast to sharply delineate what is needed versus what is available. The distinction between “baths and surgeons” and “an apothecarist” illustrates the inadequacy of the resources at hand, and by doing so, makes a subtle comment on the gravity of the people’s conditions and their unmet needs. Moreover, by juxtaposing “baths” and “surgeons,” the quote emphasizes the dire physical and unhygienic conditions of the people. This is an instance of hyperbole or exaggerated language, as it intensifies the perceived needs of these people.

“Impertinent, disrespectful, shameless boy. Kamran found he no longer cared that the child had nearly died; he seemed well enough now, with the audacity of an impudent street rat, speaking to a member of the royal household with so little deference. And yet—Kamran was now shackled to him in this strange way, compelled to be kind to the precocious imp.”

These lines incorporate irony. The word “shackled” usually implies a form of imprisonment or burden, which contrasts sharply with the idea of being “compelled to be kind.” Here, kindness is framed almost as a chore or obligation, not a voluntary, positive act. This irony highlights the complexity of Kamran’s feelings toward the boy. The prince is annoyed yet bound in a “strange way” to be kind, which raises questions about the nature of this obligatory kindness. Additionally, the phrase “precocious imp” serves as an oxymoron. The word “precocious” often has positive connotations, suggesting advanced skills or maturity, while “imp” implies mischief or negativity. This oxymoron captures the conflicting feelings Kamran has for the boy: Omid is annoying but also intriguing, a burden yet somehow compelling.

“She—a supposed poor, lowly servant—had acted this morning with a mercy he could not understand, with a compassion that enraged him all the more for its inconstancy. The young woman had entered his empire, ostensibly, to do harm. Why should she have been the more benevolent actor this morning? Why should she have inspired in him a feeling of unworthiness?”

Irony is manifest in the juxtaposition of the roles and expectations in the quote. Traditionally, one might expect the servant to be the object of compassion or mercy from those higher in social standing. Here, however, the servant’s compassion confounds and even “enrages” him. This reversal creates a sort of dramatic irony, highlighting the gap between what one might expect and what actually happens. The phrase “enraged him all the more for its inconstancy” adds another layer to the irony. Here, Kamran is not only upset that Alizeh showed compassion, but he is also angered because her compassion seems inconsistent with her initial purpose of “ostensibly, to do harm.”

“Kamran had let the cold brace him until his bones shook, until he felt nothing but a large emptiness yawn open inside him. He did not want to be king. He did not want his grandfather to die, did not want to marry a stranger, did not want to father a child, did not want to lead an empire. This was the secret he seldom shared even with himself—that he did not want this life.”

The imagery here captures a visceral sense of the protagonist’s despair and reluctance. Bones are typically a symbol of structure and stability, so the image of bones “shaking” suggests a foundational disturbance in Kamran’s emotional state. Then, the “large emptiness yawn[ing] open” metaphorically reveals an emotional void, underscoring Kamran’s inner conflict. Repetition is evident in the phrase, “He did not want,” which is repeated multiple times to list all the responsibilities and expectations that Kamran is struggling with.

“‘And does not misanthropy indicate a miserliness of spirit, of the human heart?’ she was saying. ‘Loyalty and duty and a general sense of—of awe, perhaps—might induce his royal subjects to overlook such shortcomings, but this generosity serves only to recommend the proletarian, not the prince. It remains rather cowardly then, does it not, to preside over us all as only a mythical figure, never a man?’”

Rhetorical questioning is featured prominently, as Alizeh seems less interested in receiving answers than in prompting Deen to ponder deeper, more critical questions about the nature of leadership and human traits. Antithesis, the juxtaposition of contrasting ideas, is also evident. The contrast between “proletarian” and “prince” highlights societal double standards. While generosity might make the common person admirable, the quote suggests that it does not extend the same courtesy to a prince, who is expected to be more than just a man but a “mythical figure.” The phrase “never a man” at the end of the quote encapsulates the idea that the prince is reduced to a symbolic, almost inhuman figure by societal expectations.

“The girl was going to be murdered. She was going to be murdered by his own grandfather, and it seemed to Kamran the worst kind of tragedy.”

Dramatic irony comes into play here given that Alizeh is unaware of her impending tragedy, and this situation therefore creates a sense of tension and dread. This irony is further amplified because the perpetrator is Kamran’s own grandfather, a fact that complicates the emotional and ethical dimensions involved.

“Worse, far worse: he thought her fascinating.”

Paradox is evident here because the word “worse” is usually associated with negative qualities or situations, but it is paired with the word “fascinating,” which is generally viewed as positive. This stylistic choice creates tension, for the narrative implies that finding Alizeh “fascinating” is somehow a negative or dangerous development for Kamran, adding complexity to his feelings. Emphasis comes into play with the phrase “far worse,” which serves to intensify the original “worse.” 

“Done nothing to threaten the empire? She is the sole surviving heir to an ancient kingdom—on our own land—and not a threat to our empire? She is the very definition.”

Irony is present in the assertion that the “sole surviving heir to an ancient kingdom” is “not a threat to our empire,” when, in fact, King Zaal insists that Alizeh is the very definition of a threat. The rhetorical questions also serve to heighten this irony. By phrasing the statements as questions, Zaal not only refutes the idea that she isn’t a threat but also calls into question the judgment or sincerity of anyone who could believe such a thing. These questions serve as a confrontational tactic, aimed at challenging the assumptions or naivety of Zaal’s audience (i.e., Kamran).

“Kamran tilted his head up at the blue mosaic work of the war room, not merely to admire the geometric ingenuity executed upon the domed ceiling, but to exercise his tortured neck away from the stiff collar of his tunic.”

Juxtaposition is evident in the contrasting reasons for Kamran’s tilting of his head. At first glance, it might seem like he’s admiring the “geometric ingenuity” of the ceiling, a high-minded and perhaps even leisurely pursuit. This is juxtaposed against the much more pragmatic and discomfort-driven reason, “to exercise his tortured neck away from the stiff collar of his tunic.” This contrast shows the duality of his situation, emphasizing the blend of aesthetic beauty and personal discomfort in that moment.

“‘Absurd?’ Kamran said, picking up his glass. ‘You think me absurd? A girl is going to die tonight, Hazan, and her death was provoked by my own arrogance.’ ‘Spoken like a vainglorious fool.’”

Irony plays a role, particularly in Hazan’s response. Kamran accuses himself of arrogance, only for Hazan to call him “vainglorious,” which is another form of extreme arrogance or pride. The irony lies in that Kamran is being self-critical, trying to grapple with his perceived failings, yet is accused of being overly proud for doing so.

“For to kill her—To kill her now, innocent as she was, seemed to him as senseless as shooting arrows at the moon.”

The simile “as senseless as shooting arrows at the moon” provides a vivid comparison that encapsulates Kamran’s view of the act’s futility. The moon, a celestial body far removed from human reach, serves as a symbol for something unattainable or impervious to human actions. Trying to shoot arrows at it would be not only ineffective but also meaningless. Similarly, the act of killing an innocent person is portrayed as equally senseless, emphasizing the lack of moral or logical grounds for such an action.

“Desire was the pastime of poorer men, men whose only weapons against the world’s cruelty were their imaginations. Kamran desired nothing.”

While imagination is often seen as a positive attribute, here it’s framed as a last-resort weapon for those who have nothing else. Meanwhile, Kamran, who is a man of means, “desired nothing.” The irony lies in the suggestion that Kamran, who presumably has the means to fulfill his desires, is emotionally poorer than the “poorer men” who at least have the capacity for desire and imagination. Through irony and contrast, the quote suggests that material or social wealth is not a guarantee of emotional richness, and it casts a melancholic shade on the character of Kamran, who appears to be impoverished in ways that cannot be remedied by material wealth.

“Her eyes traveled over the thick, satin waves of his black hair, the broad shoulders beneath his intricately knit ivory sweater. He was tall and steady, so beautifully in possession of himself. She saw the prince in him then, the elegance of nobility, of honor; he seemed in that moment every grace personified.”

In this passage, grace is not just a quality but something that can be personified, transformed into a living, breathing entity. This metaphor elevates the man to an almost divine status, making him the epitome of grace and elegance. Furthermore, there is a thematic undertone of transformation or realization in lines such as, “She saw the prince in him then,” which implies that Alizeh’s perception of Kamran has shifted, becoming elevated from mere physical attraction to a deeper, more reverent form of admiration.

“Beware the gold, the crown, the eye One is a king who is loath to die Ford the darkness, scale the wall Two have a friend who is foe to all.”

The quote employs both rhyme and rhythm to create a sense of foreboding and warning. The rhyming couplets lend the text a musicality and memorable quality often associated with traditional forms of verse, particularly those used in prophecies or riddles. The use of symbolism is also quite prominent in this excerpt. Elements like “gold,” “the crown,” and “the eye” are abstracted from literal interpretation, inviting contemplation. Additionally, the quote employs paradox in the line, “Two have a friend who is foe to all.” This oxymoronic phrase challenges conventional understanding of what a “friend” should be, introducing potential conflict. A friend who is a “foe to all” disrupts usual binaries, suggesting a character or situation that cannot be easily categorized as good or bad.

“Iblees wanted to use her. He wanted to bring her to power and control her; no doubt to ensure the mass chaos and destruction of the Clay who wronged him; the beings he blamed for his downfall.”

Firstly, the repetition of the phrase “He wanted” emphasizes the intent and determination of Iblees. This repetition serves to drive home the character’s motivation. Secondly, the quote employs semicolons to separate but closely link different aspects of Iblees’s plan. The semicolon allows the author to enumerate the various intentions of Iblees—bringing Alizeh to power, controlling her, and ensuring mass chaos—while still connecting them as part of a larger, singular ambition. This technique serves to suggest that Iblees’s plans are multi-faceted but interconnected, raising questions about his ultimate endgame.