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slightlyrebelliouswriter23 · 1 year

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Theory: Eldred is not Cardan's father

Listen. I don’t know if anyone has said this before, but I’ve been mulling this over for a while now, so I’m going to throw it to the void before The Stolen Heir comes out, for posterity.

Buckle up, folks and Folk. I’m monologuing.

(PLEASE DO NOT INCLUDE TSH SPOILERS IN THE COMMENTS/REBLOGS/TAGS AS I HAVE NOT READ IT, AND WILL NOT BE ABLE TO READ IT UNTIL 8th JAN 2023!)

A big caveat of this theory is that I have basically no solid evidence for this apart from a few faint dots vaguely connected through a strange fog. But I am nothing if not someone who will scrounge around in the dirt for answers. So let’s get some filth under our fingernails.

(I promise it will maybe make sense. Eventually)

I. EPISTOLARY SEMANTICS

Much of this theory centres around the note Jude steals for Dain from Hollow Hall in The Cruel Prince. It reads:

“I know the provenance of the blusher mushroom that you ask after, but what you do with it must not be tied to me. After this, I consider my debt paid. Let my name be stricken from your lips.” (TCP, p.115)

There are so many layers to this note, but I’ll start on the surface level before digging deeper.

When Jude gives the note to Dain, he reads it, then says, “So he’s blackmailing Queen Orlagh” (TCP, p.123). During a first read, one would think Dain is implying that Balekin is blackmailing Orlagh, since Jude stole the note from Balekin’s study, and that Orlagh is the one who wrote the letter to the eldest Greenbriar child.

And no one questions it, because Jude even makes this supposition herself.

But my question is this: Why would Balekin be blackmailing Orlagh? We learn in The Wicked King that they are very much allies, and as far as I’m aware, blackmailing isn’t something you typically do to your allies.

My other question is: Why do we assume that Orlagh is the one that wrote the letter? Because Dain said so? We know him to be unreliable at best, manipulator at worst.

During a second read, one might realise that Dain is in fact being tricky here. He knows exactly who and what this note is referring to. But he’s deliberately trying to lead the Court of Shadows to the wrong conclusion, because the right one would reveal his guilt, as shown in the latter part of The Cruel Prince when Jude figures out Dain poisoned Liriope with blusher mushroom.

The way Dain is able to lead us off track without lying is through implication alone. This is why he’s not specific about who is blackmailing Orlagh. He just says someone is (a likely statement, considering Orlagh’s title) and that someone might be a man (plausible enough).

Thus, the sentence “He’s blackmailing Orlagh” can still be a perceived truth, and we are only ascribing it to the note because it is the closest context.

But we find out later that Dain’s statement has nothing to do with the note, since the note is about Liriope’s poisoning.

After having read TCP [redacted] times, one might begin to think: Is Orlagh even the sender of this correspondence? And if not, who is? And what does the note mean if we’re giving it a different context/sender?

For this, we have to peruse the parts of the sentences written in the note.

A. “Provenance”

For me, this phrase has always seemed a bit strange when referring to blusher mushrooms.

The word “provenance”, as most people recognise it, is used to describe the place from which a particular thing or subset of things comes from (i.e. the provenance of “Champagne” is Champagne, France, and the provenance of “Iranian rugs” is Iran, etc.).

So when we put it in the context of blusher mushrooms, as the note does, it seems to be saying there is a particular place where one can find blusher mushrooms, and the recipient is trying to acquire them for one reason or another.

But Jude, when first dabbling in mithridatism, describes picking blusher mushroom in the palace gardens (p.148-150, TCP). So if Balekin was planning on acquiring the poison, he needn’t look farther than the palace itself.

Which says, to me, that acquiring blusher mushroom for his own purposes wasn’t the subject of Balekin’s original inquiry, since it is common enough for a seventeen-year-old girl to find on her walk to school.

Additionally, the sender says “the provenance of the blusher mushroom”, when “the provenance of blusher mushroom” would be more grammatically correct if the sender was indeed informing Balekin about where he could get the poison.

Implying that they are referring to a single specific blusher mushroom. Perhaps, the very one which poisoned Liriope.

Which means, “provenance”, as it is used in the note, could be referring to the less common definition: “record of ownership”.

My guess is, Balekin asked the sender of the note if they knew who killed Liriope with blusher mushroom. The sender, wanting to remain cryptic in case the message was intercepted, phrased their confirmation so only the person who knew the full context of the message would be able to understand it.

Leading me to believe the sender may be saying, “I know who owned/used the blusher mushroom that you’re asking about”.

B. “It”

Here’s another tricky thing about English grammar: sometimes the subject that “it” refers to can be a group of things.

We might assume right off the bat that “What you do with it” means “What you do with the blusher mushroom”. But, given the previous specification, our sender might actually just mean “What you do with this information must not be tied back to me.”

Essentially, “Don’t tell anyone I told you this but I know who Liriope’s murderer is.”

C. “Let my name be stricken from your lips.”

To me, this last sentence of the note wreaks of faerie bargain.

The sender mentioned they had a debt to pay Balekin, and after divulging who poisoned Liriope, they would consider that debt paid.

But why not just leave the message at that? They already basically said, “Don’t tell anyone I told you this”, so this sentence seems redundant if not included for an ulterior purpose.

It could be a dramatic sign off. More likely, though, it’s a final clause of some bargain made previous to this message. Such as, “You owe me. Tell me who poisoned Liriope and I’ll never speak your name again.”

Either way, it sounds like the sender does not want to be tied to Balekin in any way (understandable tbh).

***This line is important for later, so remember this.***

~~~

So, after these specifications have been made, the note reads:

“I know who owned/used the blusher mushroom to poison Liriope, but what you do with this information must not be traced back to me. After this, I consider my debt paid. As per our bargain, you’re not to speak of me again.”

II. THE SENDER OF THE LETTER

There are many people who could’ve sent this letter. So let’s narrow it down.

Since the letter is in Balekin’s study, we could surmise that it is something Balekin has written and plans on sending. But Jude describes it as being written in “an elegant, feminine hand” (TCP, p.115).

Which doesn’t necessarily rule Balekin out as the sender, but I’m thinking it is much more likely he is the recipient, and that the sender is a woman.

The sender also knows who killed Liriope, so they probably know why Liriope was poisoned, as well. Meaning, they would have had to have ties to her—whether in proximity or in intimacy.

Oriana mentions in TCP that she and Liriope were close friends. She also tells Jude that she knew about Liriope and Dain’s affair.

However, in this same conversation, Jude asks Oriana if she knew Dain was the one who poisoned Liriope, and this is her response:

“Oriana shakes her head. ‘Not for a long time. It could have been another of Eldred’s lovers. Or Balekin—there were rumours he was the one responsible. I even wondered if it could have been Eldred, if he had poisoned her for dallying with his son. But then Madoc discovered Dain had obtained the blusher mushroom. He insisted I never let Oak be anywhere near the prince.’ ”(TCP, pp. 294-295)

Since faeries cannot lie, the truth must be that Oriana is not the one that knew who poisoned Liriope.

And since the letter is left unsigned, Dain attributes its origins to the Queen of the Undersea.

Here’s why I don’t think Orlagh sent this message:

Orlagh is seen in cahoots with Balekin plenty throughout the series. Yet, the sender of this message implies they want nothing to do with the eldest prince, and furthermore explicitly tells Balekin to never speak their name again. If Orlagh were the sender of this note, we would not have much of the scenes which take place in the Undersea during Jude’s kidnapping in The Wicked King.

Orlagh is the Queen of the Undersea. Why would she know or care about the details of a murder of one of the High King of Elfhame’s lovers?

Orlagh also has no ties to Liriope, or Dain for that matter, so why would Balekin go to Orlagh for information regarding Liriope’s murder?

But do you know who does have ties to Liriope, who might also have reason not to want Balekin to speak their name ever again?

Lady Asha.

So how exactly does Lady Asha have ties to Liriope?

It is common knowledge that they were both lovers of the High King. Asha could’ve known of Liriope’s affair with Dain because of their proximity at court. She was also known for being a lover of gossip and secrets. It’s not too surprising that she might know of Liriope’s secret.

But how does Lady Asha know that Dain specifically poisoned Liriope? And why might she want to sever her ties with Balekin?

Let me back track for a moment.

III. EMERALDS FOR HEIRS?

In the prologue of The Queen of Nothing, Lady Asha receives a heavy necklace of emeralds for her “contribution to the Greenbriar line”.

In The Cruel Prince, when Jude is dressing in Liriope’s clothes for the party at Locke’s estate, Locke offers her his mother’s jewels, specifically a heavy necklace made of emeralds (TCP, p. 168).

At first, when I noticed this connection, I thought emeralds must be Eldred’s standard gift given to any mother who births a Greenbriar heir.

But if you recall, Locke wasn’t born to Eldred, and Liriope would have had to receive the necklace while she was still alive, meaning Oak had not yet been born.

It is significant that both of these women have necklaces of emeralds, for the meaning of emeralds—amongst loyalty, love, and strength—is truth.

“A revealer of truths, emerald reputedly could cut through all illusions and spells, including the truth or falsity of a lover’s oath.” (International Gem Society)

Indeed, it’s curious that the only other person known to possess a string of emeralds similar to the one Lady Asha receives in QON, is Liriope.

Liriope, who, to common knowledge, never had a royal child with the High King. Liriope, who, through the events of TCP, we know to have been having an affair with Dain while still in the High King’s favour.

Liriope, who, like Lady Asha, met an unfortunate fate.

If emeralds represent the falsity of a lover’s oath, and Liriope possessed such a necklace before her passing, it could be that the emeralds Asha received were less a gift as much as they were a warning.

One that Asha was either too arrogant or too oblivious to figure out when she first received them, but that she might've pieces together after Liriope's death.

IV. PUNISHMENT BY PROXY

In the prologue of Queen of Nothing, the narrator informs us that Cardan’s punishment for “killing” a mortal man was that his mother was locked in the Tower of Forgetting.

It’s unsurprising that a mother should shoulder the blame for the crimes of her royal son, but this seems like a steep price to pay for the death of someone only tangentially related to the High King’s concerns.

It wasn’t even a lover of Eldred’s own who was killed. It was the lover of his lover/seneschal.

Incarcerating Asha because her son allegedly killed the lover of the High King’s lover feels like an overreaction. Why not simply cast Asha from the court? Or send her to the mortal lands?

Unless…

The High King suspected (or knew) that Lady Asha had committed some other serious offense against him, but had no sufficient evidence to lock her away. Or perhaps he did not want to risk the humiliation that would ensue if everyone at court found out that Lady Asha had been dallying with his son at the same time as she was his own lover.

And, to give her what he thought she deserved without inciting speculation from the court, used the excuse of Cardan killing the mortal to finally serve justice.

Furthermore, we know Cardan and his mother were not close. We know Asha did not raise Cardan as normal mothers do. Why is sending Cardan’s mother to prison a punishment to him?

Other than a small blot on his reputation (upon which, there are many, much larger blots), Asha’s punishment by proxy largely shouldn’t effect Cardan.

It seems as if Cardan’s true punishment was being virtually disowned by his father, and banished from living in the Palace of Elfhame.

Meaning, Asha’s punishment wasn’t really Cardan’s, but her own.

V. THE DEBT

In the letter Jude stole from Balekin’s desk, a “debt”, which has been paid through the information provided, is mentioned. If Asha sent this letter, what debt could she possibly owe Balekin?

Well, for starters, he did raise her son when no one else would.

Though, it’s unclear to me when in the timeline Asha wrote the letter and when she was imprisoned, if this is the aforementioned debt, Asha would’ve had to have written the letter after she’d been sent to the Tower of Forgetting. Because her being sent to the Tower was the catalyst for Balekin raising Cardan.

This debt also begs the question: Why would Balekin offer to raise Cardan?

Surely having Lady Asha, an incarcerated ex-lover of the High King, in his debt isn’t so valuable as the immense responsibility of raising a child he has no obligation to.

Which points to a motive that indicates perhaps Balekin does have an obligation to this child.

When Madoc kills Eva and Justin in the prologue of TCP, he takes Jude and Taryn in, claiming it as his “duty” after he rendered them parentless. We know the fae value their honour, and so even someone as opprobrius as Balekin might be subject to upholding duty in the face of a faerie child’s mother being sent to prison.

But as we know, he did not cause Lady Asha’s detainment (Dain did). So where is this sudden sense of duty coming from? None of the other Greenbriar siblings seemed to have the same moral inclination.

Balekin taking Cardan in could be purely out of selfish motives. Such as, being able to shape Cardan to his will, which he might then use in a potential coup.

But it could be that, through everything, Balekin has an inkling of an idea that Cardan might not be his brother, but his son.

There is another debt which is possible in relation to the letter if it was sent prior to Lady Asha’s imprisonment. But for this, we must consider why Lady Asha would want her name to be stricken from Balekin’s lips in the first place.

The most obvious answer to this which I could think of is that Lady Asha knows she has committed treason by sleeping with Balekin, the High King’s son, and claiming their child as one of the High King’s own, staking her place at court as higher than is deserved, while also playing the High King for a fool.

So the debt could simply be that Lady Asha, seeing what happened to Liriope and knowing what happens to lovers of the High King after being found adulterous, wanted Balekin to never be able to speak of their affair ever again.

Balekin, not being of the sort to do things for other people without a price, might have said that he’d agree to this if she offered him information that he wanted. After she gave it to him, their bargain would be complete, and Balekin would henceforth never be able to speak Lady Asha’s name.

Regardless of which debt is the truth, indeed, I do believe we do not hear Balekin utter Asha’s name once throughout the course of the series. Despite the fact that it is almost certain they knew each other before.

VI. PRIOR ENTANGLEMENT

How do we know that Asha and Balekin knew each other well enough to be sending letters like this back and forth to each other, if we are not yet certain that they had an affair?

In the prologue of TCP, Madoc states that he didn’t believe it when Balekin told him his wife and child were not dead, but living in the mortal world. This indicates that Balekin had knowledge of how Eva faked her death.

Now, we could owe this to the presence of spies at court. It’s likely that Balekin has his own hoard of spies, as do most of the prominent figures in Eflhame.

Or we could consider that perhaps Lady Asha, who is the other person confirmed to have known that Eva faked her death (TWK, p.129), was Balekin’s informant on this matter.

After receiving this information, he was then able to pass it on to Madoc in order to gain his trust (with the ulterior motive that Madoc might trust him enough to help him with his coup).

But then, we must also consider why Lady Asha would tell the eldest prince of her friend’s plan in the first place.

One thought I had was that perhaps Balekin, having a slew of mortal servants under his roof, was the person who offered Eva the unidentifiable mortals left in Madoc’s house as “proof” of their death.

He’d have to have motive to do this, however. Which indicates he either had some sort of attachment to Asha, who was trying to help her friend escape Faerie, or Balekin valued the knowledge of their plan enough to help them carry it out.

Another less complicated motive for Lady Asha telling Balekin of Eva’s escape would be that Asha and Balekin had a history of being in cahoots with one another, which would point to a connection deeper than a passing acquaintanceship due to proximity at court.

VII. AN UNCANNY LIKENESS

It is a truth in The Folk of the Air series that children look very much like their biological parents.

Oak, biological son of Dain, looks an awful lot like Dain:

Oak is described as having deer legs, little horns on his head, and brown hair with streaks of gold.

Dain, in turn, is described as having deer legs, little horns, and golden curls.

This striking resemblance is what initially got me thinking on Cardan’s parentage. And it is further backed by the many other child-parent resemblances in the series:

Vivi is described as having inherited her father’s golden cat eyes and fur-tipped ears.

Locke has obviously inherited his mother’s “sunrise hair”.

And it could be argued that Oak inherited Liriope’s “starlit eyes”, as his are an amber-gold colour that might resemble an old star.

Lady Asha even states that Jude resembles both Eva and Justin greatly (TCP, p.129).

And in kind, Jude thinks that Lady Asha and Cardan look very alike, though she does not admit to this out loud.

These likenesses do not necessarily indicate anything other than a pattern, which could be total coincidence. But it does mean that we could reasonably conclude that faeries, as with humans, often take on characteristics of their parents.

Balekin is described as having black hair, pale skin, and silver eyes.

Cardan’s description in the series is quite similar:

He is said to have black curls, pale skin, and metallic-rimmed black irises.

When we compare that to Eldred’s description—golden hair and bronze owl-like eyes—it doesn’t seem like Cardan inherited many traits from the High King at all.

Now, this could be because Lady Asha’s characteristics were more dominant in Cardan’s inherited genes.

She is described as being pale, with raven hair, and black eyes. She also clearly passed her tail on to her son.

But the similarities between Cardan and Balekin go beyond the obvious. When Jude is hiding under a chair in Balekin’s study, she notices the following:

“In two strides, Balekin is in front of his brother. They look so alike standing close. Same inky hair, matching sneers, devouring eyes.” (TCP, p.119)

Indeed, this resemblance is echoed across the series. In The Wicked King, when Jude goes to visit Balekin in the Tower of Forgetting, she states:

“As I ascend, I glance back at Balekin’s face, severe in the green torchlight. He resembles Cardan too much for my comfort.” (TWK, p. 26)

And again, in the Undersea, when Balekin comes to interrogate her, Jude thinks:

“They have the same black hair. The same cheekbones.” (TWK, p. 240)

There is also the matter of Cardan’s name, which bears resemblance to Balekin’s physicality.

Balekin is described as having thorns on his forearms. Cardan is a name which is derived from Cardon, which means thistle. Thistles are a prickly flower that grow from stems of thorns.

We know Holly Black is very intentional with her descriptions and words. My question is, why would she go out of her way to draw these physical comparisons, to echo the sentiment that the two are strikingly similar, if Cardan and Balekin were merely brothers?

She could have said that Cardan, being raised in Balekin's household for much of his formative years, was moulded to adopt his brother's mannerisms and propensity for cruelty. She could have said the way that they talk, walk, carry themselves, etc. were extremely reminiscent of one another, and we as readers would've gotten the point: that Jude thinks Cardan and Balekin are alike in many ways.

But this isn't what Holly Black does. Which leads me to believe there is something else to the constant parallels she chooses to include.

VIII. IN CONCLUSION

I’m aware this entire post reads like a conspiracy theory. So to those of you who stuck it out this far, congratulations and welcome to the circus.

I’ll be the first to admit that it is a big reach to say that this is fact rather than the speculation that it is. There are a lot of holes, which I can only hope might be filled in the coming duology.

That being said, this theory brings many questions to light.

How would Balekin know of Eva’s escape without having a more intimate relationship with her friend than previously thought?

Why would Lady Asha want her name stricken from Balekin’s lips so desperately as to make a bargain with him?

How could Lady Asha possibly be indebted to Balekin?

Why would Liriope and Asha be the only two characters with heavy necklaces of emeralds on their person if it didn’t mean they shared a similar history with the High King?

Why would Holly Black continuously compare Balekin and Cardan, indirectly pointing out that neither look much like their father or other siblings, but look undeniably like each other, if not to draw a deeper connection between the two?

And finally, and perhaps most importantly, if Lady Asha’s dalliance with Eldred was so brief—as is confirmed by Oriana in chapter 12 of QON— how did she come to be pregnant by him? We know faerie menstrual cycles don’t happen as often as mortals’.

Is this as simple as good luck, or does it speak to an affair no one knew was happening?

–Em 🖤🗡

more theories & analysis

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clockworkbee · 1 year

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To think Madoc told Jude not to put on the green sash or to declare herself ready for knighthood only because he didn't want her to swear an oath of loyalty and stuff to the one man he was planning for to be killed, because he didn't want his own daughter coming in his way, thinking she's just doing her honourable job. Honour he taught her all about. And to think how he told her to ask him again after the coronation because if his plan did indeed work, what's the harm in allowing his very capable daughter something so little as knighthood?

#I've thought this before too but I can't remember if I shared this here or not.#madoc redcap #jude and madoc #madoc #the cruel prince #jude duarte #the folk of the air #tfota #holly black #tfota analysis

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beware-of-the-light · 5 months

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Taryn is Madoc's daughter

I think she's meant to be his narrative mirror.

They both killed their spouses after they turned out to be something that they didn't anticipated. Both do so by blade. They are left to deal with a child that their spouse left behind.

Madoc doesn't go to trial for his crime. But we don't forgive him, not really.

Taryn is meant to be trialed. We forgive her, sort of, Locke was horrible anyways.

She is clever, Madoc trusted her for his coup of the throne. Just like him, she hides her intentions until she strikes. Jude didn't believe that any of them would do such a thing, yet they both do so anyways.

Thinking about how when Madoc killed the girls' mother, he dripped his cap in his blood until it was coated red and hardened. About how when Taryn killed her husband, she ran to her sister for help and in the way found forgiveness.

Thinking about how they are the same, but Taryn chose life and Madoc chose death.

#this is a taryn defender household btw #tfota analysis #tfota #jude duarte #the cruel prince #the queen of nothing #the wicked king #holly black #tcp #tqon #twk #taryn duarte #pro taryn duarte #duarte twins #madoc

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maingh0st · 27 days

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is this too niche

#(this is made in light spirits btw. ive actually had very pleasant experiences here on tumblr)#((made more pleasant by the fact that i honestly just avoid people whose media analysis ends at 'what a bitch. die'))#tfota #taryn duarte #the folk of the air #tcp #tarynposting

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wh0reforfantasy · 6 days

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Why is Jude Duarte the perfect morally grey character…

- Her parents were brutally slaughtered at a young age, and while hating Madoc, she also had a soft spot for her “father.” Since she was small, this man raised her and taught her everything she knew. Of course she had memories from her own parents, and could never forgive Madoc for what he did, but she also saw the fatherly side of him and appreciated it. Jude Duarte was created in a morally grey environment.

- Jude Duarte will do anything for her power/pride, even if it means risking everything and everyone she has. She could have easily brushed off petty insults and kept temper during her brutal bullying/harassment she was going through, like Taryn and the rest of her family insisted, but Jude never let it slide. Even if it was simple revenge that might earn her a dip into a creek, Jude always stood her ground. Later into the series, we see her completely and utterly invested with the little power she gains and how she uses it. There are considerable more risks with every power move she makes, especially everything concerned with the crown. Her family is usually an afterthought, and rarely an emotional case. Even with Oak, Jude is more concerned about the use of power and where she stands, then she is for his safe-being. Not to mention the time Jude almost killed Taryn in a squabble over Locke, which in its entirely mocked Jude and what control she had over someone close to Cardan. Jude loves her family, and will protect them, but not unless it suits her in some way.

- Everyone/anyone is her enemy… no matter how much she “trusts’ them. We see it with her relationship with Taryn, where Jude cares for her sister, but never really trusts her. Even with Cardan, while Jude was infatuated with him, she never once trusted him. All of her friends and family becomes pawns in her power game, and she will always back up herself first. This was taught to her by Madoc, who put battle/power first above his own important people and morals. Cardan was a known enemy to Jude, but he showed her a vulnerability/empathy that she showed no one else. Instead of being emotional and falling for him harder, Jude convinced herself it was an act and to use it to her advantage. Most people wouldn’t shackle a boy that was being beat by his own brother, trick him into having a crown he did NOT want to have, AND witnessed his whole family being slaughter in front of him… Jude didn’t care, she wanted the crown and her revenge.

Nonetheless, Jude has a side of her that is very protective and loves harder than the average person. Her strength and determination could be used for something more than her own gain, and she shows she is capable of that later into the series. We understand why Jude acts the way she does because we witness the pain of her character first hand. Who wouldn’t want revenge against the very people that hate her for her existence? Being human means your weak, can be controlled… a creature owned by the fae. Love was wired to be thought of as a weakness, something to make you lose the battle. In this series, we see her struggle with the choices of to love, or gain more power.

I think Holly Black made an AMAZING female lead that wasn’t written for love, but for feminine rage and power. Love didn’t stop her from gaining what she needed, what her goals were, and instead make her stronger. Jude fought most of her battles alone and failed, but got up regardless. Cardan wasn’t her knight in shining armor, it was quite the opposite. And let’s just say, the best series I’ve read so far.

#jude duarte #cardan greenbriar #the cruel prince #tcp #holly black #books and reading #morally grey characters #feminine rage #fantasy #tfota #the folk of the air #the stolen heir #the queen of nothing #the wicked king #character analysis #jude x cardan

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shadowqueenjude · 9 days

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One thing I love about Jude’s arc in The Wicked King is how she’s still utterly powerless in many ways despite working her ASS off to become competent because the council looks down upon this human woman who somehow chanced upon this seneschal position, and yet, and YET…she has spent SO MUCH of her life being powerless that this power she has in being able to command the High King? She has to try insanely hard not to get drunk on that power, addicted to chasing that power. I think it’s a really good reflection on how the acquisition of power affects people and that none of us is immune to it.

#jude duarte #tfota #the wicked king #i’m only a few chapters in but it’s so good #book analysis

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beloved-daydreams · 5 months

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You know, I've wanted to talk about Taryn for a while because I genuinely think she's such an interesting character (and is SEVERELY underrated my god), so here are a couple of things I sometimes think about in no particular order: (and if I'm mistaken about any of those feel free to tell me!!!)

1) In The Cruel Prince, when Vivi brought Jude and Taryn to a shopping mall in order to cheer them up, Jude noted how Taryn is like a chameleon. That if they had to return to live in the human world, she wouldn't be able to adjust as well while Taryn probably could.

2) Despite people often portraying Taryn as a jealous/envious person (which I believe is partly true of course) that part of her has never seemed that big to me and I'm actually more inclined to say she was often on a fine line between being very driven and very desperate. Just like how Jude wanted to find her place in Elfhame, Taryn wanted to find her own through marriage. (Which, I'd like to add, is a totally valid wish in her situation even if it's not considered to be the more "girlboss" choice to make, out of all the things she has done/chosen to do, I don't think this is one if the things she should be shamed for.)

3) Although she accepted Locke's unfair conditions in order for him to take her as his wife knowing that Jude would inevitably get hurt, I believe she has always felt guilty about it deep down which is ALSO why she was so SO persistent with Jude in TCP. She wanted Jude to stop defying the fae because she didn't want her to get even more hurt than how much she already had (+ knowing that the reason Jude's being targeted in the first place is her fault, which is why she felt so responsible in making her stop her defiance.)

4) I'd also like to acknowledge how humiliating this deal with Locke must've been. People always think about how embarrassing it was for Jude but can you imagine how desperate you must be to let your "boyfriend" date your sister? Taryn saw him as a lifeline, as a way to survive and get some sort of power in Elfhame, and while she definitely didn't do it the right way, let's not pretend that she enjoyed it. Who would enjoy having a man play with you and your sister? This is pure disrespect NOT only towards Jude but also towards Taryn, which I find sad. This "relationship" was abusive and unequal from the very start.

5) Additionally, I think deep down Taryn always knew/understood that Locke doesn't especially care about her. It has been hinted at multiple times in the story that Locke didn't actually care which sister he would find that night he came to look for one of the twins and I don't even believe he properly knew how to differentiate them. Near the beginning of TCP there's a scene where Jude's and Locke's eyes meet (at that point Locke and Taryn are already "together") and he smiles at her, possibly because he might believe she's Taryn, and Taryn seeing that their eyes met, tries to get Jude to forget about it. So she HAS in fact noticed that Locke can't differentiate them at that point yet she keeps "dating" him. Why? Well...

6) The sacrifice line in The Wicked King, when it says Taryn looks more like a sacrifice than a bride. I think this was the "goal" all along. Taryn's whole thing is that she keeps making herself small and pleasant and "fitting into the picture". She is also shown to be more like Oriana than Madoc, Oriana who is known for being very careful and making the most "safe" decisions for her well-being and Oak's (+ always warning Jude and Taryn to not go anywhere during the revels and to not interact with the fae because they're humans and weak, and it would be dangerous for them). Taryn is doing the same with Locke, she wants security and some amount of power like Oriana who chose to be with Madoc for her and Oak's safety. Plus, again, Taryn obviously wants a place where she can belong. So ultimately she is "sacrificing" herself to Locke for that freedom.

7) In the lost sisters, Locke tried to make Taryn take pleasure in cruelty by making her dance with that fae boy then stealing her away and making her see how heartbroken that made the boy feel. And it did work somewhat but I believe the reason why Locke and Taryn didn't work out well together in the end is because Taryn is capable of feeling guilt. Locke and Taryn are shown to be similar in the aspect of "being good at telling stories" except Locke likes to make stories happen around him for his entertainment (Drama, basically). I don't think Taryn has that in her just because of that night in the lost sisters, in fact, that might've not even been the cruelty in itself that gave her pleasure but the power she had and was capable of having over a fae for once, instead of them having power over her.

8) Another reason why Locke and Taryn didn't work well together is because Taryn was unequally putting way more effort in this relationship than Locke was. In TCP when Jude and Locke are "dating", he gives her a tour of his estate and it's all mostly empty because no one gives enough of a shit to renovate any of it. Yet in TQN, when Jude is pretending to be Taryn, we see how his estate has changed for the better. Almost each empty room has been filled with furniture and the wardrobes have beautiful clothes in them. Showing how all of this has obviously been done by Taryn. Plus, why did the servant give "Taryn" (Jude pretending to be Taryn) a fairie fruit for dinner? Is it because Locke has made her eat some in front of his guests and Taryn complied to be seen as the "fun/pleasant" wife who does everything her husband tells her to? So maybe, just like how Jude was poisoning herself to build an immunity against poison, is it possible that Taryn was doing the same with faerie fruit? To build an immunity so she can still be somewhat aware of herself during Locke's maze/garden parties?

9) I think in the end, Taryn is more similar to the Ghost which is why they ended up hitting it off. Both of their thing is "being in the shadows/fitting in". Moreover, the Ghost does feel guilt for killing Oak's mother seeing how uncomfortable he got when Jude uncovered that. Plus he's half-human, so that will be easier to bear for Taryn instead of that bullshit Locke was telling her about "fae loving in a different way" to make her comply with his real-life sized drama club.

Overall, I like how layered all of this is if you look for it BUT I wouldn't say any of those conclusions/assomptions are especially difficult to reach if you're careful. I'm just kind of tired of female characters being seen as one-dimensional compared to their male counterparts who will get "understood" much more easily. My very hot take about TFOTA has always been that the truly gray character/problematic female character of the story is in fact Taryn and not Jude. Since Jude is the protagonist and we're always seeing her pov it's not hard for us to understand or be compassionate with her. Despite her actions being "morally gray" in-story, from the readers' pov, I believe the truly problematic female character here is Taryn since we can't actually see the inside of her head. All we get is pieces of information we have to put together.

#taryn duarte #tfota #the folk of the air #the cruel prince #the wicked king #the queen of nothing #analysis #sort of?#the lost sisters

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annamatix · 3 months

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episode 1 of the jenny-anna taylor jurdan collab series YIPPEE (that's a mouthful we'll need to find a better name)

@viivdle did cardan's pov in two parts (linked at the bottom of this post) and i did jude's here

today’s topic: dancing with our hands tied (jurdan’s version)

“i, i loved you in secret” = jude didn’t tell a single soul that she had feelings for cardan

“first sight, yeah we love without reason” = after their first kiss she was super confused and didn’t understand why she was growing feeling for him, hence the ‘without reason’

“oh, 25 years old” = they weren’t 25, but they were very young so this could mean how literally the fate of the land fae was thrust into the hands of ‘kids’ (18?? 19??)

“oh, how were you to know, my love had been frozen. deep blue but you painted me golden” = in tcp jude clearly states that she is not interested in marrying or has feelings for anyone, but cardan kickstarted those feelings, clearly

“oh, and you held me close” = she was around cardan a lot, he kept her close to stead as seneschal and whatnot

“i could’ve spent forever with your hands in my pockets” = this could refer to the way cardan was slowly becoming more spy-like, learning from the roach (‘hands in my pockets’ = him stealing stuff, like her heart)

“picture of your face in an invisible locket” = 1) this is elfhame, so invisible lockets are totally normal, and 2) this could also mean how cardan was always on jude’s mind, like when he turned into a serpent she still imagined him sitting there, giving her pointers in his own sarcastic way

“you said there was nothing in the world that could stop it, i had a bad feeling” = the way when jude was seneschal, cardan would always say things like ‘what a shame not one of them knows who their real ruler is’ and jude always feeling like this power could slip out of her grasp soon

“and darling, you had turned my bed into a sacred oasis” = smirk (sorry) basically this could be about when jude and cardan did something together and agreed on it, it was a rare moment, making it 'sacred'

“people starting talking putting us through our paces” = there’s lots of whispering in courts like elfhame’s and jurdan was definitely affected by them

“i knew there was no one in the world who could take it, i had a bad feeling” = jude crowned cardan against his will, and she had to bear so many responsibilities, so again she felt like the power could fall from her anytime soon

“but we were dancing, dancing with our hands tied, hands tied” = even though she was seneschal, jude felt powerless in many ways, frustrated that she couldn’t control cardan, hence the ‘hands tied’

“yeah we were dancing, like it was the first time, first time” = jude and cardan kept repressing their feelings for each other, and then whenever they felt something/did something, they were always surprised (‘like it was the first time’ = signaling even though they did it before, they were still shocked, like the first time they did it)

(skipping the rest of the chorus, it’s basically a repeat)

“i, i loved you in spite of, deep fears that the world would divide us” = painfully obvious, a mortal and a faerie?? jude duarte and the beloved high king of elfhame?? not even in your wildest dreams, right?

“so baby can we dance, through an avalanche” = jurdan has been through a LOT together, this somewhat symbolizes that

“and say, say that we got it, i’m a mess but i'm the mess that you wanted” = do i even have to say it? jude i-poison-myself-every-day-and-made-a-deal-with-prince-dain-who-made-me-stab-clean-through-my-hand-plus-i-did-a-shit-ton-of-other-insane-things duarte, and cardan is head over heels for this woman

“oh, cause it’s gravity, keeping you with me” = its so hard to keep cardan under her thumb, and also unbelievable he would do it on his own accord. this could also work romantically, its crazy to her that cardan actually loves her

(skipping the chorus cuz i already did it above)

“i’d kiss you as the lights went out, swaying as the room burned down. i’d hold you as the water rushes in, if i could dance with you again” = symbolizes the time when cardan was a serpent, jude didn’t care which type of cardan he would be, what would happen, or anything else, she just wanted him next to her again. girlie was highkey desperate

(the rest of the song is basically the chorus)

wow thank you for reading until here *bows*

sorry if its shallow jenny is the better analyzer between us two 🙏

cardan's pov part 1

cardan's pov part 2

#phew thats a wrap #cardan greenbriar #jude duarte #jude x cardan #the cruel prince #the wicked king #the queen of nothing #tfota #the folk of the air #jurdan #holly black #taylor swift #taylor swift songs #song analysis #analysis #how the king of elfhame learned to hate stories #idk what else to put that should be it yayy

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