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Naomi NovikA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section includes discussion of death and graphic violence.
The tension between envy and self-acceptance is one of the major themes of the novel. That it is also a major element of Agnieszka’s coming-of-age narrative highlights the importance of self-acceptance to reaching one’s full potential.
Though Agnieszka is not initially aware of her dissatisfaction with herself or jealousy of others, her descriptions of Kasia hint at her feelings. She describes Kasia as beautiful, clever, brave, and kind, even acknowledging that her words make Kasia “sound like something out of a story [like] the spinning princess or the brave goose-girl or the river-maiden” (5). Meanwhile, Agnieszka describes herself as a “too-skinny colt of a girl with big feet and tangled dirt-brown hair” (6), who is clumsy, wild, and somehow always dirty. She constantly compares herself to Kasia and finds herself wanting, though her association of Kasia with various mythologized heroines implies that her view of her friend is not entirely accurate.
Agnieszka is not aware of her feelings of envy until Kasia’s mother, Wensa, accuses her of jealousy in Chapter 8. Even then, she does not truly believe it until she and Sarkan perform Luthe’s Summoning, which forces her to confront her feelings for the first time. Ironically, just as Agnieszka envies Kasia for her beauty, talent, and high standing in the village, she learns that Kasia envies her for the years Agnieszka lived believing herself safe from the Dragon’s choosing and, contradictorily, for the life she gained once she was chosen. Each of them possesses something the other can never have, revealing the subjective roots of their jealousy.
The novel does not explicitly portray Kasia’s journey to self-acceptance, offering only glimpses of her growing assertiveness. The final chapters affirm her character development, as she leaves the valley and becomes captain of the guard. By contrast, Agnieszka’s first-person narration provides an intimate look at her path toward acceptance. Over time, she comes to accept her magic. Her decision not to take a traditional wizardly name (like the Dragon or the Falcon) but to remain Agnieszka of Dvernik also reveals her acceptance of her identity as a poor villager from the valley. By the end of the novel, she has let go of any lingering envy she had of Kasia and fully accepts herself and her talents just as they are, which allows her to find a sense of belonging and build a happy and fulfilling life for herself.
Additionally, Agnieszka’s self-acceptance and her acceptance of the Wood-queen are intertwined, allowing her to free the Wood-queen from her centuries-long misery even as she frees herself and others from the corruption of the Wood. In this way, the novel argues that self-acceptance and acceptance of others function hand-in-hand. The more comfortable one is with oneself, including one’s talents and faults, the more capable one is of accepting the faults and talents of others.
Another major theme centers on the risks one will take for love, whether platonic, familial, or romantic. Through Agnieszka, Marek, and other characters, the novel explores love’s potential both to save and destroy.
Agnieszka’s love for Kasia is established throughout the early chapters of the novel and ultimately motivates her to brave the Wood. Despite her secret envy of her friend, and despite the deadly nature of the Wood, she ventures inside and successfully rescues Kasia. She then also successfully purges Kasia of her corruption, though such a thing has never happened before. Her love for Kasia spurs her on, as she feverishly tries spells until one works. The episode illustrates love’s ability to strengthen resolve and restore hope in situations that seem bleak, yet the story Sarkan shares about trying to save Countess Ludmilla’s husband from the Wood’s corruption sounds like a cautionary note; the implication is that Agnieszka might be so distracted by her emotions that she has failed to recognize that Kasia is beyond saving, much as Sarkan failed to recognize not only his own powerlessness but also Ludmilla’s lack of genuine affection for him.
Marek’s storyline elaborates on this idea. Marek is a complex character motivated by his love for his mother, as Agnieszka understands better than most. Even when he threatens Kasia to ensure her cooperation, Agnieszka states that she “[can’t] hate him entirely” because she empathizes with his loss of his mother and desire to save her (175). Nevertheless, much of the conflict in the novel, including the Wood’s near victory over Polnya, begins with Marek’s determination to save the queen. In Kralia, he is willing to use political manipulation and even threaten the king’s life in sight of a full audience to keep his mother safe, all the while unable or unwilling to see that his mother is already gone. Even when Luthe’s Summoning finally reveals the truth, he does not recoil but begs his mother to resist, looking like “a child, or maybe a saint, pure with want” even at the moment of his death (385). Marek’s love for his mother thus costs him his life while leading him to risk the lives of all those in his kingdom.
The backstory of the Wood-queen similarly illustrates love’s destructive potential, as her love and grief have transformed into hatred and the desire for revenge. Thus, the novel demonstrates that love can be the most powerful motivator, for both good and ill. Driven by love, people become capable of anything, from noble self-sacrifice to senseless rage and violence.
The third major theme is the corrupting influence of power. This corruption manifests in a variety of forms, including the wizards’ coldness, Marek’s power hunger and cruelty, and the evil of the Wood itself, but in each case, the corrupted person or entity has become detached from their own humanity, broadly understood.
Following a conversation with Alosha and Ballo, Agnieszka makes the connection between a wizard’s power, their immortality, and their frequent lack of empathy. Because Agnieszka is an outsider—both as a poor villager and as a new witch just coming into her power—she can see this more clearly than the other wizards can. The more power and longevity they have, the more divorced they become from their own humanity; they outlive anyone they ever cared about, and this, coupled with the immense influence their abilities give them, encourages them to dehumanize those around them. Sarkan is over 150 years old and has grown distant and cold. Alosha is much older even than Sarkan and is therefore colder still; though she was once married, she has since become detached from others and is willing to throw lives away as meaningless pawns.
Marek further illustrates how power can corrupt, though his power is political and military rather than magical. He is willing to throw hundreds of lives away in the name of his own desires, first to save his mother in the Wood and later during the siege of the tower. Further, while Marek’s actions are partly motivated by love for his mother, he lacks affection or empathy for anyone else, including his own family; his first thought on hearing of his brother’s death is how he can secure the throne for himself. The Wood itself also underscores the corrupting influence of power. Indeed, it is a literal embodiment of it, spreading its infection across the kingdom and controlling the actions of those it touches, its influence always expanding.
At the same time, counterexamples suggest that power is not always tied to corruption. The baron of the Yellow Marshes is a man with political and military power who wields his authority to assist Sarkan and Agnieszka in spite of the danger, merely because he knows it is the right thing to do. Sarkan also consciously chooses not to abuse his power. Despite his coldness, he is not heartless, and when accused of cruelty, he makes an effort to change. Moreover, though he is the most powerful wizard in the kingdom, he does not lord that power over others or wield it to enrich himself but rather uses it to protect the valley.
What separates those whom power corrupts from those it does not is, as Agnieszka sees, the very human connection and empathy the wizards have eschewed. Through her words and actions, she demonstrates that human encounters—whether within a community or family or even between strangers—counteract power’s tendency to result in cruelty and evil. For instance, she tells Alosha that people are the only thing worth holding on to, and she later tries to connect with the baron’s men before the battle at the tower. That she is ultimately able to help the Wood-queen and end their conflict once and for all illustrates how effective Agnieszka’s ability to connect and empathize with others is against corruption.
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