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SGE Characters as Literary Things

(Not all of these are actual literary or rhetorical devices; some are just writing techniques, forms, genres, mediums, etc.)

This is a bit abstract, so I’m curious about how subjective these might be. Does anyone agree or disagree? And feel free to make additions if you think I left anything out, or request another character that isn’t here.

Hopefully this makes (intuitive?) sense. As always, I'm willing to explain my thought process behind any of the things I've listed.

Also, anyone can treat this like a “Tag Yourself” meme, if you want. Whose list do you most relate to, use, or encounter?

⸻

LANCELOT (I know—how odd that I’m starting with a minor character and not Rafal, but wait. There’s a method to my madness. Also, watch out for overlap!):

Metonymy, synecdoche (no, literally, to me, these are him.)

Zeugma

Analogy

Figures of speech

Slang, argot

Colloquialisms

Idioms

TEDROS:

Simile

Metaphor

Rhyming couplets

Rhyme schemes

Sonnets

Commercial fiction

Coming-of-age genre

Line enjambment

Overuse of commas

Cadence, prose speech

Waxing poetic, verse (not prose)

Alliteration

Kinesthetic imagery

Phallic imagery/sword sexual innuendos (sorry)

The chivalric romance genre

AGATHA:

Anaphora, repetition

Semicolon, periods

Line breaks

Terse, dry prose

Semantics (not syntax)

Elegy

Resonance

Consonance, alliteration

Pseudonym

Narrative parallels

Realism

Satire

SOPHIE:

Sophistry (yes, there is a word for it!)

Imagery

Italics, emphasis

Em dash

Aphrodisiac imagery

Unreliable narrator, bias

Rashomon effect

Syntax (not semantics)

Diction

Chiasmus (think: “Fair is foul and foul is fair.”)

Rhetorical purpose

Provocation, calls to action

Voice, writing style

Rhetorical modes: pathos, logos, ethos

Metaphor

Hyperbole, exaggeration

Sensationalism, journalism

Surrealism

Verisimilitude

Egocentrism

Callbacks (but not foreshadowing or call-forwards)

Narrative parallels

Paralepsis, occultatio, apophasis, denial

Hypothetical dialogue

Monologue

JAPETH:

Sibilance

Lacuna

Villanelle (an obsessive, repetitive form of poetry)

Soliloquy

ARIC:

Sentence fragments

RHIAN (TCY):

Unreliable narrator

Setup, payoff

Chekhov’s gun

Epistolary novel

RHIAN (prequels):

Multiple povs

Perspective

Dramatic irony

Situational irony

Chiaroscuro (in imagery)

Endpapers

Frontispiece

Deckled edges

Narrative parallels

Foreshadowing

Call-forwards

Foil

Death of the author

RAFAL:

Omniscient narrator

Perspective

Surrealism

Etymology

Word families or 'linguistic ecosystems'

Latin

Verbal irony

Gallows humor

Narrative parallels

Call-forwards

Circular endings

Parallel sentences or balanced sentence structure

Narrative parallels

Foil

Juxtaposition

Authorial intent (“return of the author”)

HESTER:

Protagonist

Allusions

Gothic imagery

ANADIL:

Defamiliarization

Deuteragonist (second most important character in relation to the protagonist)

Psychic distance

Sterile prose

Forewords, prologues

Works cited pages

DOT:

Tone

Gustatory imagery

Tritagonist (third most important character in relation to the protagonist)

KIKO:

Sidekick

Falling action

Dedications, author's notes, epigraph, acknowledgements

Epitaph (Tristan)

BEATRIX:

Pacing

Rising Action

Climax

HORT:

Unrequited love

Falling resolution

Anticlimax

Malapropism

Innuendo

Asides

Brackets, parentheses

Cliché

EVELYN SADER:

Synesthetic imagery

Villanelle

Foreshadowing

AUGUST SADER:

Stream of consciousness style

Imagery

Foreshadowing

Coming-of-age genre

Elegy

Omniscience

Rhetorical questions

Time skips, non-linear narratives

Epilogues

MARIALENA:

Diabolus ex machina

Malapropism

Malaphors, mixed metaphors

Slant rhyme

Caveat

Parentheses

Footnotes

MERLIN:

Deus ex machina

Iambic pentameter

Filler words

BETTINA:

Screenwriting

Shock value

hi, do you have any takes/opinions or analysis of japeth? sorry if you've already posted something and i've missed it, i'm just eagerly hunting for japeth content 🫡🫡

I haven’t really done any substantial #japethposting, or anything exactly full-scale, but he has been a part of certain sections of some of the analyses I've done. You can find some of them by typing "#japeth" into the search bar of my blog. Or, if anyone wants me to, I could look for the links and send them to you. And, this overall precedent doesn’t mean I won’t possibly post about him in the future, potentially if/when I start my reread of The Camelot Years.

Generally speaking, I don't think I've paid enough attention to him to be able to analyze him in great depth. That said, I will redirect you to @discjude as she/they is/(are?) the Japeth expert, and her/their analyses are phenomenal! (Please tell me if I've gotten your pronouns wrong and sorry in advance if anything is wrong, Jude.)

Though, I will leave you with one meager headcanon: it seems unlikely, but if Japeth were musically-inclined, I think he’d play atypical instruments, like the serpent and the ophicleide because of course he would. Music could be his opportunity to rebel, defy what's expected of him, while also referencing his snake symbolism.

Here, you can listen to some orchestral performances involving these instruments. If you start the first of the videos around the timestamp 3:38 and listen to the end, you can hear the deeper, foreboding, lower-pitched parts and some tense, stringent parts that sound higher, like his Scims whirling, to my mind. There's a very obviously sinister "march" of sorts, with ghastly, winding, serpentine "movements," twists, and turns.

What is your favorite thing about SGE series and why?

I have multiple favorite things, so you can expect me to elaborate for a while.

One of my favorite things from the series is Soman’s novel concept of "psyche travel," and for christening it with an actual name.

I’ve only seen this concept in a few other, more science-fiction or speculative type of stories, like the Divergent series, The Giver quartet, "The Veldt," a fascinating short story by Ray Bradbury (which TOTSMOV41 is very much inspired by) and the Artemis Fowl series, which involves time manipulation that wasn't strictly time travel (which is far more commonly seen in fiction). And I love Soman's more fantastical spin on psyche travel! To me, the concept was previously called "mental landscapes" or simply "simulations" of reality. "Psyche travel" as a term is just far broader and more versatile, and I feel like you could do more with it, experimentally.

In fact, I would've loved it if Soman could've left more room in his tight plots to explore human consciousness and "the cauldron of the unconscious" more in TCY, so I will be doing exactly that with the themes in my longfic TOTSMOV41. If anyone wants to know more about TOTSMOV41, I'll redirect you to this table of contents/introductory post.

My fic's entire premise reflects how much I loved that one scene in ACOT. It was absolutely brilliant, especially with the edited views of what reality once was, how subjective memory could be. Plus, in that moment, ACOT managed to combine a few of my major interests: psychology and how generally error-prone the human mind and memory are, surreal imagery in literature, and delving further into SGE’s soft, irrational/nebulous, thematically-relevant magic system. (The way I see it, problems are more often unintentionally created than intentionally solved with magic, and we understand little of it, what goes on magically, really, and can't logically extrapolate what the characters could possibly do said magic. So, the magic is framed as unstable and flexible, even while it does reflect the state of the world and the important relationships in the tales. Thus, that's how I might classify the SGE system. You're welcome to disagree on which type of magic system it is though!)

The following points are probably more obvious:

First, Soman’s prose and images overall are enthralling, and his use of VERBS, especially, rivals few authors that write for a younger demographic, at least in my opinion. It’s often just so well done. It's the little things, like using "scalded" or "pinked" instead of "blushed" that I love. Soman's use of language is so inventive at times, and I love trying to imitate it. Verbs can make or break a piece of writing in my mind.

Also, I love the extravagance and length and readability of this particular book one sentence that I think is underrated for the sheer exasperation embedded in it:

“After chastising her for slipping in the Ever ranks, explaining every assignment thrice, and berating her to cover her mouth when she coughed, Pollux finally left in a circus of hops and falls.”

It’s fabulously sweeping and exhaustive.

In addition, the third person omniscient pov is less common nowadays, I think. So much of middle grade and YA is in first person these days, so it may be a trend, for its immediacy. Though, I tend to prefer third person, even if my preference also generally depends on how well the work was executed.

I love SGE for its basis in fairy tales since I loved reading the classic Grimms' fairy tales before I discovered SGE—they were probably my favorites for a while (and still sort of are, alongside SGE). And they inhabited my storytelling before I ever discovered more subversive things existed. Thus, it's the overall darkness and the dramatics I find compelling about Soman's work.

The cleverness in the writing, when it’s well-executed, is phenomenal. And this applies to two aspects: first, Rafal, obviously, and second, the plot structure itself.

When I say Rafal, I mean specifically during the moments in which he shows off his conniving craftiness, his prowess at outfoxing others. And I love any instances of scenes in which he tricks or outwits people and systems.

Someday, I’ll have to remember to discuss the Fala-shoe-fairy-kiss scene from Fall, one of my favorites ever, in a future post. Those particular thoughts must be somewhere in my scads of drafts... I’ll have to look for them. For now, I will give you any thoughts I have now:

I'm referring to the scene in which Fala lures a fairy with a golden kiss and traps it in his shoe without a single word of verbal explanation, and he expects everyone to intuitively follow his genius thought process, the solution to their dilemma. Then, everyone, except Aladdin, manages to catch on, when they watch his demonstration.

Here's an (exaggerated?) approximation of how I'd imagine his internal monologue could've gone:

Watch and learn, youths. I’m better than you. In innumerable ways, and this is one. But fear not! I will lead you to success. No one else is capable of doing it. Yes, I will take on this burden myself. Give me all the credit. But don’t even bask in my cleverness, even if it deserves your attention. My actions speak for themselves. Just get the task done. Now. We don’t have all day to dilly-dally like inane cowards.

I will redirect you to this post, if you would like to read more about how I happen to interpret Rafal's "trickery," or rather, absence of trickery, perhaps.

And for my second spiel on the series' cleverness, elaborating on its predictable unpredictability, on a structural level, even if I only saw it in hindsight:

I love any kind of legerdemain or sleights of hand, or twisting of plots, except the devastating Fall one, I suppose. And there is something very characteristic of SGE I've observed: there are often, very, exceedingly late third act turning-points. These points are likely hallmarks of the series, to the extent that I've come to expect them by now, especially after Rise, and sometimes, I'm probably actively on the lookout for them when I read other books. Besides, Soman likes to lull readers into a false sense of security, that much we can probably confirm.

Furthermore, these turning-points seem to take two forms and you can literally only expect one of two things to happen.

It's either: 1) the characters reach a point of what should be a settled peaceable resolution, that is then rapidly negated, or 2) the characters reach a darkest-night-of-the-soul moment, the prospect of temptation in the story, often for an individual, and wishes are granted (often in subversive, unfulfilling ways to almost everyone's dismay).

Examples:

1) In Rise and TLEA: you think you are safe, that you're out of the dark Woods (which often represent the darkness of the soul or the human psyche as a symbol) but you're not. There is no built-in "warmth" to the narration, as Soman puts it in one of his interviews. This all is literally the narrative's "liar's tell" or "slip" in the third act, a revisiting of conflict, the reopening of the tale. You know there is more disaster to come. The ride is not over yet, however much you may think or desire it to be so.

In AWWP, characters say and believe the wrong things, are misled, and narrowly miss a possible "happy" ending because Sophie felt alienated enough to choose Rafal, who chose her.

In TLEA, we think everything is resolved, but all of a sudden, we get one more little impact, a jolt, that not all is well or completely restored, the moment Aric kills Lady Lesso.

In Rise, when Rafal is revived and reclaims the Schools from Vulcan, setting everything back into their original, proper forms, back to order, we think we've averted all crises, and have reverted back to the status quo. But, that resolution, again, is only momentary. Supposedly, Rhian's Evil, his rot, was awakened, and the moment Rafal considers leaving again and does, to seek out a new replacement student, is when the plot begins to race downhill again. When Rafal leaves, he leaves a gap for Rhian's poor judgement to bleed through, and Rhian hires Hook, effectively setting off the second wave of awful plot events in Fall. Rhian sort of resurrected old conflicts, and breathed new life into them.

2) Before the Great War in TLEA and the climax, we get tonal signposting that nearly "all is lost," that we're approaching, marching towards our imminent demise. There's an ever-present fog of "Abandon all hope, ye who enter" because if there's anything Rafal's good at, it's cultivating an air of stifling oppression. Hence, we have the narrow aversion of the darkest moment:

Agatha (unlike prequel Rafal with Evil Rhian) doesn't use the wrong emotional appeal. She gets through to Sophie, she and Tedros aren't executed, and Sophie destroys the ring, killing Rafal. Despite everything that said otherwise, that said Good would lose.

Lastly, a few other bits I appreciate are the roles the Seers play in the series, the meta aspects of the Storian (or Lionsmane) and the tales in general, and the names of a lot of the proper nouns such as the kingdoms—I don't know why I love some of them. The alliteration is oftentimes fun, and the names feel right and plausible.

I don't exactly remember how I reacted, but I remember feeling euphoric about the Rafal prequel, even though I don't think I screamed, or did I? I've forgotten by now. But anyway, it was surreal because I literally never in a million years would've imagined he would be a protagonist! Like, how could a book about him be profitable? (At the time, a decent amount of the fandom seemed to hate him for all of his crimes in the main series.) I must've gasped really loudly (I do that sometimes)—loudly enough that my mother thought something was wrong from another room.

(And then, I had suddenly acquired a new fear, heretofore unknown: what if the new book "mischaracterized" Rafal? I pre-ordered the book, but I put off reading it for months, which probably sounds ridiculous, but no, Rise was overall spectacular in the end. It was only the quasi-Goodness in Fall that irked me a bit because Rafal's actions were inconsistent and often not truly Good, especially when we look at the motives backing them. I was absolutely relieved that he was still greatly flawed and acting like his old self, what some people might call "problematic"/controversial, by the end of Fall. A squeaky-clean record was the last thing I wanted from him. He doesn't deserve a clean slate! For instance, it was a bad move on his part, but I actually liked what went down with the demimagus, Midas, and Rufius.)

Yes! I thought Hook would have a larger role in Fall, for all he did for the plot before. So, I was actually surprised by how he was sidelined.

Is that Theory the "Hook is Aric's father" one?

Poor Japeth... and Kei, now that I think about it. What's the evidence? Something in F+B?

I feel like the Kei/"traitor" thing happened in ACOT, but I'm not sure. Maybe it happened sometime after the "The Garden of Truth and Lies" chapter, iirc, in which Sophie and Rhian stroll the Camelot grounds. (I'm still sort of planning on doing a TCY re-read, but I'm thinking of starting my fic first, and then doing a re-read as a refresher/fact-check, so I can fix things, if I notice anything, about, say, the Bank of Putsi, maybe Kei, the Tournament of Kings, the crystal ball, and the Japethery I've probably forgotten about. Although I've read QFG multiple times and ACOT twice, I've only read OTK once, so it's the one I'm the most foggy on.)

I am really curious to see your take on Aric and Japeth's relationship. I mean, the beloved author and creator of the series have addressed this issue with 'in their own sick wicked way they had loved' so yeah it's cannon cool. But I feel like the further implications of this? We saw evil 'unable to love'/ 'only ever have true love'. From what I remember Japeth mentioned Aric more than once, how they would write letters to each other how Aric 'begged' for Japeth to come to him but Japeth never did so and then bro spent the last of his life trying to bring Aric back to life. There are so many implications, the dynamics, the context, everything, but I love how you theorise and explore all sorts of ideas so I can't help but wonder how you view all of this :D.

Thanks for taking the time to read this and have a great day/afternoon/evening/night!

Sorry to disappoint, but I should probably start off with the fact that I don't ship Japeth and Aric. While I like Japeth, partly in thanks to @discjude winning me over, and further recognizing the tragedy surrounding him, his relationship to Aric never canonically does him any favors. And, with Aric, I think I'm apathetic enough towards him that I don't actively hate him; I just don't care about him. In truth, if not for Aladdin's pitiful existence actively hammering on my nerves, Aric would probably be my least favorite character.

The first thing I want to address is that Evil being "unable to love" or "only Evers have True Love" is actually false, despite the many times the series puts forth this claim. Yes, we are explicitly told this "fact" in book 1, but the book's point was to subvert/deconstruct the myth.

First, by the end, with her self-sacrifice, Sophie proved Evil's capacity to love, meaning: Evil being unable to love is just a commonly-held belief in the Woods, not the absolute, be-all, end-all truth.

(And the belief could've been perpetuated by "Rafal's"/Rafal's way of running his institution that literally shapes the Wood's perceptions and the future. Alongside this claim about love, consider the existence of the Doom Room, created to punish a singular mutinous class of first-years, based on a now-revised philosophy about Nevers' learning from harsh treatment and (probably) disproportionate retribution that an excessively stubborn dead man already too entrenched in his old ways never had the chance to change because he died—and this is all aside from the fact proven by the display at the very first Circus of Talents, that Rafal's students did indeed learn better when he finally listened to them and mentored them as an equal in their position (as Fala). In addition, the statement: "Nevers learn from deprivation" similarly reveals how the Woods really do generalize about Nevers—until Sophie, the "exception" and iconoclast, comes along.)

Second, Sophie's non-romantic True Love at some point was said to be Agatha, and I think this established fact is consistently maintained throughout the series, even if other elements overshadow it, so not only Evers can have True Love.

My take on Japeth and Aric is that Japeth's love for Aric, however twisted or sincere it was, drove him to become the Snake, follow along with Rhian's Camelot ambitions and initial staging-terrorism-and-hostage-scenarios plot, and commit all his other, duplicitous, villainous acts throughout TCY, later by his own will, which is a motive I find fascinating (and contradictory about the nature of the Woods' Good and Evil souls, whenever Japeth is set next to the rather grey Rhian).

So, while Japeth's devotion to Aric could be viewed as romantic, it's just not appealing to me, personally, due to the relationship's ambiguous one-sidedness in particular. And, I think I once may've read something about Japeth as a Never fighting for True Love (or his perception of "True Love") and Rhian as an Ever fighting for power (the Nevers' ideal fairy-tale ending) being ironic or inverted in some way. That's also some world-building fodder to consider, or even just another point that could overturn the Rules as we know them, yet again. I'm not surprised by that subversion honestly. Japeth is very much like his parents. Nearly every SGE villain Soman has ever written has been motivated by the pursuit of love, or by the overwhelming force of their own (often obsessive) infatuations (with the exception of somewhat flatter, less-developed, secondary villains, like Aric, Vulcan, Marialena, and Peter Pan).

Also, thanks for the compliment!

To the tune of “My Favorite Things:”

Saders and Mistrals and prophecies settled, Intrigue and pirates and tests of one’s mettle, Black swan gold rings and dark stirrings within— Butterflies all dead with their torn, bro-ken wings!

Swords in the stone and illicit night spansels, Masked Lions, Eagles, and runaway damsels, Treasonous Snakes with dark, oily scims— These omens bring the worst Endings for twins!

How do you think the twins (like all of them in SGE) would act in real life?

I'm not sure if I'm interpreting your question correctly, so you can correct me if I'm wrong! I will take the ask to mean that you'd like to know how I think they would they adjust to our modern world, not necessarily them in a Modern AU. (Also, would you like me to include Castor and Pollux? I'm not sure if I'd have an immediate response for them, but I'll try to think of something, if you'd like me to.)

Sophie and Rise Rhian would probably embrace modern conveniences, and Rhian would likely exhibit more fear than Sophie would, in response to them, or he'd conceptualize things like electricity, for instance, as a just another form of sorcery. They would both appreciate modern cosmetics and technology, and Sophie would probably never want to return to old, backward ways when the future is so pristine and sanitary. Rhian, however, would mourn the great architectural feats of our past and our obsession with pragmatism and designs purely focused on utility. Unfortunately, I could see them being prone to believing absurd, medical/political conspiracy theories, and their germophobia becoming worse.

Agatha, Rafal, TCY Rhian, and Japeth would be more skeptical about modernity, at first, I think. Agatha would probably grow used to it, but continue to live by her old ways and values, in many cases. She might get into environmentalism, humanitarian causes, or antiwar efforts, etc. If either Rafal, Rhian, or Japeth saw a use or benefit to modern technology and ways of life, they would likely adapt, especially if it could get them something they desperately wanted. Rhian would probably use some form of broadcasting or social media frequently—and eventually get cancelled. I could also see Rafal or Japeth trying to radically change or impact the modern world if it provoked them. Japeth could go down the activism route (if it's in regards to his being gay), but I can't see him being that selfless about others' rights, others who have nothing to do with him, and I can't come up with any modern objects or activities that might appeal to him. Maybe, he'd even disavow modern technology, if it proved it weren't a means to getting Aric back. In addition, I could also see Rafal being incredibly rude in commanding voice-operated devices, and refusing to entertain the trivial, human-like gestures machines are programmed to recite, like greetings, and he would rarely use "please" and "thank you" in his commands. He'd have no patience for small talk or manufactured, repetitive, pleasantness because it's just a machine, and he'd be damned if a machine expected more respect from him than any human subordinate ever would! And, he'd get irrationally offended by certain output before he realized why things did what they were preprogrammed to do, such as give simple-minded answers that could appear to be an insult to his intelligence and common sense, as, a machine couldn't know his identity. After all, machines aren't capable of being hostile like Adela Sader was. So, eventually, he'd learn. Also, getting automated or human directions from the bodiless voices of intercom systems, at self-checkout lines, or on public transportation would probably infuriate him because he's so used to being the greatest authority at all times. Why abide the law when you can keep above it?

Whoah. Fantastic. No notes. But I will say: I've never appreciated Aric as a character more. WHAT HAVE YOU DONE, JUDE /pos.

He really is a complex character. And now I, too, wonder if leaving all that unanswered matter around him was intentional on Soman's part.

And yes, I completely agree—overanalyzing is what makes it fun.

One other fun thing. At last I've found another song that reminds me of Japeth! (I'd not known its name before and wasn't able to search for it specifically.) It's "Anitra's Dance" by Edvard Grieg. Very sinuous in my opinion.

I am going to cry now