28 pages • 56 minutes read
Anne McCaffreyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Character foil pairs are set in opposition to one another to highlight essential aspects of each other’s physical, emotional, or ethical qualities through contrast. They are often the protagonist and the antagonist. In this story, Beterli and Keevan are foils to one another, juxtaposing various qualities of themselves in a way that works to elevate their differences. This contrast adds complexity to not only their characters but also to the narrative itself. It includes physical characterization, which contrasts the bulky stature of the antagonist, Beterli, to the smaller, more childlike body of the protagonist, Keevan. However, this opposition extends beyond physical attributes to those of moral character. Beterli’s violence and his disregard for fairness accentuate Keevan’s poise and morality, while Keevan’s kindness and calm perseverance reveal Beterli’s cruelty and impatience. In the end, Beterli is permanently banned from future Impressions, while Keevan is encouraged to participate in the future. Likewise, the highly coveted bronze dragon chooses Keevan over all other candidates, despite Beterli’s having deemed it “his” and the awareness that “no other candidate dared, on pain of being beaten by Beterli at his first opportunity, to approach it” (8-9). The opposition of these two characters discredits the notion that size alone indicates worth, instead illuminating the moral and emotional qualities in Keevan that ultimately prove him worthy.
Anne McCaffrey makes extensive use of foreshadowing within the story to maximize suspense and emphasize the lesson that Keevan must learn. At the dinner table, among other dragonriders, Lessa asks whether there’s “ever been a case where a dragon didn’t choose” (16). This foreshadows the moment before Keevan enters the Hatching Ground at the end of the story, when Heth exits the Hatching Ground without choosing a candidate. This proves Lessa’s theory correct: A dragon may choose not to Impress if the right boy isn’t present. Another moment of foreshadowing occurs within Mende’s dialogue in Keevan’s recollections at the start of the story, when she expresses her belief that dragons look for qualities of strong character above anything else. Though Keevan is injured and encouraged to try again next year after he heals, instead of participating in his weakened condition, his internal strengths encourage him to push his limits and fight to reach the Hatching Grounds anyway, earning him the favor of Heth.
Hyperbole is a literary device that uses exaggeration to emphasize a particular plot point or character trait. The use of hyperbole to exaggerate the distance from the living caverns to the Hatching Ground heightens the tension and stakes of Keevan’s journey:
‘Never had the distance […] seemed so great,’ Keevan thinks. ‘Never had the Weyr been so breathlessly silent. It was as if the multitude of people and dragons watching the hatching held every breath in suspense. Not even the wind muttered down the steep sides of the bowl’ (25).
As Keevan makes his journey, even personified wind ceases to blow; the universe and everyone in it is motionless during his journey, singularly focused on his arduous trek to the Hatching Ground. The repetition of “never” also intensifies the perception that this hatching is unlike any other. This evokes one of Mende’s phrases, which Keevan made a point of bringing up earlier in the story: There is “always a first time” (17). This comment counters both cultural expectations and Keevan’s own presumptions about his own inadequacy; in this case, this first time is the only time in Keevan’s mind, as he is focused only on this specific Impression.
By Anne McCaffrey