![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png){kind=small}
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
kareilaFor the first time since book #2, Terence is once again the main character, tasked with discovering and thwarting a plot against King Arthur. That threat turns out to be Mordred, making his first appearance at court after being briefly introduced in the previous story. We are also treated to the return of Dinadan (from book #5), Sarah (from book #6), and Beaufils (from book #8).
The theme of this book is falsehoods, both political and personal. In addition to Mordred's heritage and traitorousness, we are introduced to courtly love that is discarded for the real thing (the story of Alexander, Emperor of Constantinople, who nonetheless meets a tragic end at the hands of Mordred), courtly love gone horribly wrong when taken to extremes (Cligés and Fenice), and rival European warlords who battle senselessly to maintain the pretense of honor. We discover that even Terence has a secret of his own: his relationship with Eileen was sanctified sixteen years ago by his late foster father, the hermit Trevisant, but the wedding was never made public due to his lowly status.
The Arthurian legends Morris draws upon for inspiration are growing increasingly obscure, and as much as I hate to see a good thing come to an end, I can't help but sense that the next story is probably going to be the final one, especially now that Mordred is revealed.
The theme of this book is falsehoods, both political and personal. In addition to Mordred's heritage and traitorousness, we are introduced to courtly love that is discarded for the real thing (the story of Alexander, Emperor of Constantinople, who nonetheless meets a tragic end at the hands of Mordred), courtly love gone horribly wrong when taken to extremes (Cligés and Fenice), and rival European warlords who battle senselessly to maintain the pretense of honor. We discover that even Terence has a secret of his own: his relationship with Eileen was sanctified sixteen years ago by his late foster father, the hermit Trevisant, but the wedding was never made public due to his lowly status.
The Arthurian legends Morris draws upon for inspiration are growing increasingly obscure, and as much as I hate to see a good thing come to an end, I can't help but sense that the next story is probably going to be the final one, especially now that Mordred is revealed.
