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50 pages 1 hour read

Sailing to Sarantium

Fiction | Novel | Adult | Published in 1998

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Symbols & Motifs

The Zubir

The zubir is an avatar of the pagan gods. The bison’s presence and inherent power cannot be denied after the incident on the road and in the Aldwood. Its existence prompts a crisis of faith in Vargos due to his worship of Jad being seemingly at odds with the evidence of the pagan gods before his eyes. As such, the zubir also serves as a symbol of the greater powers at work in life which cannot be understood and may be at odds with one’s world view. 

The Sun

The sun is a symbol of the god, Jad, who lives behind the sun or in it (the matter is under debate by clerics). Out of love for his mortal children, he fights to return the sun each morning. According to some, he has a son, Heladikos, who died in his chariot while bringing fire back to earth from the sun for use by humans. Heladikos’ symbol is the sun disc.

Dolphins

In the pagan traditions, dolphins carried souls to the god of Death. After Jad and Heladikos became the hegemonic religious figures, dolphins were associated with Heladikos in that they were said to have carried his body to the setting sun (and therefore his father) after his death. Therefore, dolphins are a controversial, heretical image because the clerics have decreed that Heladikos does not exist, though he is still worshipped by some.

The Mechanical Birds

Mechanical birds appear in two scenarios: The first is the simple, mechanical toys which exist in the Emperor’s palaces as entertainment. The second are those created by the alchemist, Zoticus, which house human souls taken at the moment of sacrifice to the pagan gods. The contrasts of the objects show how the same concept can be divided by two versions: the simple and lighthearted and the one warped by power and enslavement.

Legacy

Multiple characters consider their own legacies at one point or another. The motif is of particular interest to the Emperor and Queen. Gisel is concerned with preserving her lands and avoiding the deaths of her people by war, commenting that “Empires live after us. So does a name. For good or ill” (72). Similarly, Emperor Valerius II is concerned with his own legacy in terms of his lack of heir and his desire to rebuild the Great Sanctuary and reclaim the full Rhodian Empire. These motivations underlie the main political maneuvering of the book. Similarly, Crispin’s own desire for immortality is repeatedly addressed, leading to the culmination of his life’s work in the project of the Great Sanctuary, which he hopes will live on long after him, establishing a sense of immortality. Even Pronobius Tilliticus is given his own unexpected legacy—that of a wise holy man despite his history of selfishness and crime.

Intelligent Women

Crispin is overwhelmed by the cleverness of the women in his life, which appears to be beyond his expectations. These individuals include: Gisel, Kasia, Empress Alixana, Styliane Daleina, and Shirin. All but Kasia are proven politically savvy schemers, though Kasia has a shrewd mind for navigating complex social interactions. These women also represent the vast majority of named female characters.

Bread and Circus

Much like historical empires in the real world, the continued success of the Sarantine Empire is partially dependent on the peaceful behavior of its citizens. As such, the Hippodrome and its chariot races, which are otherwise irrelevant or frivolous pastimes and expenditures, represent a key strategic tool in keeping the masses appeased. In the words of Senator Bonosus, “Men could forget hunger, taxes, age, ungrateful children, scorned love, in the drama of the chariots” (232). The power of the mob, when unchecked, leads to two politically significant events: the crowning of Valerius I, and the Victory Riot, which nearly ends the reign of Valerius II. 

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