50 pages • 1 hour read
Robin McKinleyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
At Aerin’s 18th birthday party, Tor compliments her beauty directly, and another sola, the son of Thorped, cannot stop staring at her, but she is so distracted by her success at making kenet that she inadvertently ignores them both. However, Aerin manages to dance well despite her distraction, and the court’s resulting attention infuriates both Perlith and Galanna. During a dance, Perlith offers Aerin magical flowers, knowing that because her surka poisoning has made her sensitive to manifestations of the Gift, touching the flowers will make her sick. His sly cruelty creates an awkward moment that embarrasses her and forces her out of the dance. Perlith apologizes, but she stands up to him for the first time in her life and responds, “I know perfectly well what you were about this evening. I accept your apology for precisely what it is worth” (69).
That night, Aerin restlessly climbs to the top of a tower and looks out over the land of Damar, thinking about the kenet. She finds Tor, and they banter for a bit before talking about the Hero’s Crown, a fabled object said to have once brought strength to Damar before being mysteriously lost. Tor reflects that because Arlbeth believes that the demonic Northerners have the Crown, Tor has to agree with him. Aerin decides to go to bed; Tor kisses her, but she is so distracted by her plans for the kenet that she barely acknowledges the gesture.
Aerin makes a bucketful of kenet and protects her hands effectively against fire, but she realizes that to truly test the ointment and keep her activities a secret from everyone, she will have to leave the city and make a bonfire in the wild. However, Teka refuses to authorize a solo camping trip and tells her to get permission from Arlbeth, since Talat is still his horse.
Aerin discovers with some surprise that her father approves of her bond with Talat and of her decision to journey outside the city. He agrees to let her go on her trip as long as he can see her ride Talat first. Arlbeth compliments the way she rides, even though he admits that her bridle-free approach has some tactical disadvantages. Aerin and Talat journey far from the city. Talat dislikes the kenet but reluctantly lets her slather it over his face and chest. When they camp for the night, Aerin builds a large fire and slathers her armor and face in kenet. When they ride into the fire, she discovers that it is pleasantly warm and does not harm her or Talat.
Aerin is delighted when she returns home, even though she now smells of herbs and woodsmoke. She begins to eat breakfast with her father and Tor more often, which pleases them both. One morning, a messenger from a nearby village reports that a dragon is killing crops and chickens and harming children. While Arlbeth and Tor debate who to send, Aerin slips away to hunt it herself.
The village is perplexed by her appearance but tells her where the dragon’s lair is. She fights the dragon and spears it, and its flames do not harm her. She cuts off the head just as another dragon appears and attacks Talat. This dragon manages to get the upper hand and tears Aerin’s armor. Talat bites the dragon until it releases Aerin; the horse then drags it away by the nostrils. Aerin cuts the dragon open, ending the battle. When she realizes how close the dragon came to killing her, she has a panic attack. She finds a stream and washes herself and Talat, then takes the dragons’ heads and returns to the village, encountering Arlbeth’s three soldiers, who have been sent to slay the dragon. They disapprove of Aerin’s actions and stiffly request to escort her home.
The knights escort her back in silence, and everyone is shocked at her return, including her father. She gives him her report of her fight against the dragons and shows him the heads. Arlbeth, amused by the knights’ indignance, asks to speak to her alone. She tells him about the kenet and demonstrates its efficacy. He contemplates how and if he should punish her, and then asks if she will show him how to make the kenet. Arlbeth says he is proud of her but asks her not to risk her life without talking to him first.
Aerin hides away in her rooms for a week and then finally joins Arlbeth for breakfast one morning; he gives her an official sword and spear from the king. He lightly slaps her cheeks with the sword flat in an official reprimand for acting without permission and warns her to not do so again, as she is now officially in his service. He also warns her, “Royalty isn’t allowed to hide—at least not once it has declared itself” (100). In the following days, Aerin slays many more dragons, improving in skill and speed. The small villages grow to adore her despite the rumors surrounding her birth, but people at court begin to distrust and disapprove of her even more. The narrative then catches up with the book’s opening, describing trouble from the North and Aerin’s realization that dragon-slaying has done little to improve her standing at court, for she is unable to ride north with her father whether she is good at slaying dragons or not.
After her father’s refusal, Aerin hides in her room until she receives a note from Tor asking her to see them off at dawn. She decides that they should bid their farewells “with love,” so she reluctantly joins them in the courtyard. Hornmar gives her the reins to Arlbeth’s horse, Kethtaz—a controversial move, given that the bearer of the king’s reins confers luck on the army. Arlbeth kisses her forehead, and just as he goes to mount, an exhausted man appears in the courtyard and announces, “The Black Dragon has come” (111). The messenger tells Arlbeth that the ancient dragon, Maur, is destroying villages. Arlbeth is forced to continue with his plans to face the rebellion because he judges that such an insurrection could have much deeper consequences, but he tells the man to get the villagers to the city for safety. After Arlbeth and his men ride out, Aerin promises to ride back with the man and confront the dragon.
After three days of riding, they see a gigantic smoke cloud looming in the distance. Aerin dismisses the man and makes camp, filtering ash out of the stream to replenish her water supply. The next day, Aerin covers herself and Talat in kenet and rides toward Maur, who is waiting for her just beyond an outcropping of rock. Maur is gigantic—his teeth are as long as Talat’s legs—but they ride on toward him. Aerin’s first spear does nothing, and he shoots terrible fire and begins to lash out. Aerin’s helmet falls off, and as she inhales the outer edge of the fire, she loses her ability to scream. She becomes trapped under Talat. She grabs Maur’s nostrils as he lowers his head to finish her off. Running the length of his head as he tries to bat her away, she stabs him in the eye, sinking the knife into his brain until her arm is shoulder-deep in his skull. She immediately faints.
Aerin eventually awakens in enormous pain. She manages to crawl to the stream and submerge her gory hands in water. She stays there all night, debating whether she can survive, but when morning comes, she sees Talat nearby and decides that if he has survived, then she must survive as well. She manages to get Talat’s saddle off, and Talat finds her saddlebags. She eats moistened bread, builds a fire, and falls asleep, using kenet to manage the pain of her burns.
Aerin has a dream in which her body is whole, but to her surprise, her long, curly hair is short, straight, and a much darker shade of red than it should be. A tall blond man approaches and says that if she finds him, he will help her so that she can continue to help her country. However, he doesn’t tell her how to find him.
When she wakes, Aerin makes a cane for herself and discovers that half her hair has burnt away. She decides to return home but can barely stand. Examining Maur’s body, she finds a tiny red stone and takes it for herself. After some time, she manages to get onto Talat’s back and begins the journey home.
With Aerin now firmly established in the role of the archetypal hero, this section of the novel focuses on her first major “quests,” for just as fighting the smaller dragons allows her to hone her skills, the battle against Maur serves as a significant crucible and catapults her onto the broader political stage of Damar in many ways. Yet despite these hints of the traditional Hero’s Journey, The Hero and the Crown does not follow a typical structure; instead, it features two heroic climaxes for different portions of Aerin’s development. Thus, the fight with Maur ultimately serves as a primer for her later fight with Agsded. In the meantime, however, this section focuses primarily on Aerin’s growing reputation as “Aerin Dragon-Killer,” and although all her fights against dragons ultimately succeed, the experiences also leave her with increasingly devastating effects on her body, further complicating the theme of Building Strength and Courage Through Disability.
On the political front, the events leading up to Aerin’s fight with Maur emphasize her isolation within the royal household and her kingdom, highlighting the importance of Asserting Identity Within Complex Family Dynamics. By starting the novel with Arlbeth and Tor riding off to war, McKinley establishes the fact that Aerin’s fight against Maur—as with most of the challenges in her life—is something that she will ultimately face alone. Aerin is not necessarily the only person who can take up arms against dragons, but she is the only person who does so readily and willingly, and she pays an intense price for her courage and loyalty to her kingdom. By structuring the novel to emphasize Aerin’s isolation in each successive battle against the dragons, McKinley establishes a new facet of Aerin’s exceptionality—namely, that she suffers from her heroism just as much as she benefits from it, and the kingdom does nothing to alleviate her struggles.
The motif of physical appearance as a mark of life-changing experiences becomes particularly prominent in this section; additionally, the devastating physical and psychological injuries that Aerin sustains in her fight with Maur exemplify the equally devastating effect of her isolation from her people. Ironically, this section begins with Tor complimenting Aerin’s beauty, which she brushes off, and ends with her contemplating the perceived ugliness of her injuries, shrinking from the idea that “her wounds now should make her grotesque as well” (125). Even in her youth, Aerin’s striking physical appearance identified her as having Northern blood and separated her from the common appearance of the Damarians. In light of this existing tension, the fight with Maur only worsens her perception of herself, thwarting her struggles around Asserting Identity Within Complex Family Dynamics. Aerin’s internal conflict betrays the invisible psychological wounds that linger on even after her physical wounds heal, and this unprocessed distress opens the door for her intense dialogues with Maur’s skull in the next section. At this point in the novel, Aerin’s injuries severely disable her body and force her into a long recovery, but the effect on her mind is much stronger, as the change in her appearance forces her to acknowledge all that truly separates her from others. However, despite her overwhelming sense of isolation, McKinley implies that Aerin’s self-consciousness skews her perspective and prevents her from realizing that although the court may still distrust her as an outsider and a threat, the common people see her as the hero she is, regardless of her physical appearance. This binary between actions and appearances characterizes Aerin’s struggle for the rest of the novel, since both Maur’s voice and Agsded will taunt her for what she looks like and what she has done.
In this regard, the literary device of foreshadowing is used heavily in this section of the novel, which also parallels Aerin’s complex understanding of time and her own body. After defeating Maur, Aerin experiences prophetic dreams, perceiving her body as it will be and seeing things that she should not be able to see. Within the context of the novel, foreshadowing is not just a narrative device; it is also an integral part of Aerin’s experience. For example, she foresees that her body will heal and that Luthe will be an important figure in the future, but she does not understand how. In this way, the foreshadowing in this section is almost metatextual, for while many vital plot points and thematic points are introduced (Luthe, the dragonstone, Aerin’s swords, and Maur himself), Aerin’s lack of full knowledge about her future mirrors the position of the reader. As these various images recur and develop different symbolic elements, Aerin is almost as aware of them as the reader is meant to be. For example, she does not know why the dragonstone is important, but she takes it anyway. There are also examples of ordinary foreshadowing, such as when Maur’s smoke cloud looms and creates an ominous tone for the battle ahead, in turn setting a similar tone for the rest of the novel. As Aerin and the plot march onward, McKinley’s frequent and varied use of foreshadowing creates a sense of inevitability, even if later portions of the novel work to undermine the negative connotations of fate.
By Robin McKinley
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