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Leigh BardugoA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Valentina is nervous as they approach La Casilla, but Luzia looks even more nervous. As they enter the palace, Valentina is astonished at the luxury.
The first trial is to be held at once, and they enter a large room of the palace. Luzia notices the secretary’s seal or impresa, a centaur within a labyrinth. The first trial is a demonstration of proof, and the second, a proof of purity, will be administered by the Vicar of Madrid.
Luzia feels that eating the pomegranate has changed her and changed something between her and Santángel. Hualit gives her a rosary of garnet and ivory, but Luzia is aware that all the finery around her is like a trap. She tells Santángel she enjoyed a hot bath and describes what she would do with a fortune. He identifies the other competitors: Teoda Halcón, the Holy Child; Fortún Donadei, the olive farmer; and Gracia de Valera, the Beauty.
Pérez enters and makes a speech that Spain is the greatest empire in the world and has a duty to subdue heretics. He seats himself in the center of the room to watch Gracia, who has asked to go first. She raises the curtain on Luzia’s stack of goblets and smashes them. A mist descends, and then the goblets appear, all intact. Santángel says it is fakery, but she has performed Luzia’s trick.
For her performance Luzia smashes the goblets again, then makes the glass dust float in the air, forming the constellation of the Pleiades above Pérez’s head. Santángel realizes Luzia read his letter about the astrological sign Pérez was born under.
Luzia mends the broken glasses, and Pérez confronts her. She is introduced as Luzia Calderón Cotado, with her mother’s name, “Blanca Cana, daughter of scholars, pruned from Luzia’s family tree” (156). She knows Santángel will think she deceived him, but when she stood on the stage, “[s]he had felt the pull of the magic that had split her tongue, like a door begging to be opened, escape waiting on the other side” (157). The Holy Child relates a secret to Pérez, then predicts it will rain. The Prince of Olives plays a vihuela and makes birds appear. Luzia is moved by his music.
They are seated at a feast, and Luzia eats little but makes sure to taste all the pork dishes. She is shown to her own room, where she has a maid, Concha, to attend her. Hualit helps her undress, then Santángel comes to the door. He wants to know why she lied and Luzia says she didn’t; she just let him assume that she was stupid. She asks what he is and he says, “In another life, in another world, I would be called a familiar. My gifts are not my own. They exist only to serve others” (165). He asks, but she can’t explain the language of the refranes. A scorpion emerges from Luzia’s hairbrush, and Santángel picks it up and puts it in a jar. She says that is his impresa, El Alacrán, but he says someone else chose it for him.
The next morning, Luzia finds it strange to sit idle. She feels as if “her working self and her dreaming self were meeting in the quiet of this place, and they had absolutely nothing to talk about” (170). Don Marius, who visited the stables, is given a cup of chocolate, and he shares it with Valentina. Quiteria Escárcega sips her own chocolate and tries to write a play despite being bored by her lover. The king wakes in his palace and writes a letter.
Hualit visits Luzia to say that one of Gracia de Valera’s guards was found murdered, seemingly by a scorpion. Luzia meets Santángel and is annoyed to realize he looks even more handsome now that he is healthier. He tells Luzia to find out what she can about the other contestants. He explains that Pérez is out of favor because he was responsible for the murder of Escobedo, secretary to Don Juan, the hero of Lepanto. The king does not like Pérez’s ambition.
Luzia goes to the terrace where the contestants are having sketches made by an Italian artist. Luzia talks with Teoda and tries the chocolate drink. Fortún joins them. Teoda admits that she is troubled by the palace and Fortún says he does not like being kept by the marquesa. Luzia is glad to make friends.
Santángel found out who tried to harm Luzia and made sure the man was punished. He discusses what Luzia learned and warns her that Spain’s empire is weak because it builds nothing, and merely spends its riches on war and conquest. He warns her against trusting the other contestants. Luzia was told that, in the second trial, she will face the devil.
The stage is laid for a puppet show. Hualit has a drink of wine and lemonade that is called matar judíos. Víctor sits in the audience beside his wife. The playwright, Quiteria Escárcega, notices Valentina. Luzia is nervous; she realizes that if she wins this torneo, the king will make her his weapon. She is summoned before the Vicar of Madrid and fears he will detect her Jewishness.
Luzia reminds herself that Santángel told her to fear nothing. The assembled churchmen demand that any of the contestants confess if they have dabbled in witchcraft or heresy. Víctor introduces Luzia to his wife, Doña Maria, who is blonde and beautiful. She is pious and thinks Luzia is an instrument of God; she is also waiting to have a child. Santángel tells Luzia that she is the reason he is growing stronger.
The play will be about the life of Christ, and Luzia will be called upon to pray aloud, even while she recites the refranes in her head. She believes she can do it because “[t]his was a skill she’d learned at her mother’s knee and practiced her entire life. She had always been two people with two faiths, neither of them whole” (205).
The play begins with the birth of Christ. Fortún, when called upon to protect the Christ child, plays music and summons a lamb out of the trees. When a dragon threatens, Gracia produces an icy wind and snow, which Teoda said was done with ice and a bellows. Puppets appear of the English queen, Elizabeth, and her advisor, John Dee. When Luzia is called upon, she kneels and recites a Latin prayer, but her real prayer is, “Hear me. Save me. Grant me comfort. Let me be held in the arms of a mother once more” (208).
A rose barricade grows up with thorns facing the dragon, but then shadows grow from the puppets and leap off the stage. Luzia feels one on her back and throws it aside. She helps Gracia, who is weeping and confesses she only came to the torneo to find a husband. Luzia is attacked by another demon, then lifted by Santángel onto a horse. He says she must stop the demons and she finds the words.
Whereas early chapters hinted that the holy tournament would be dangerous, this section raises the stakes for The Price of Ambition as it becomes clear that Luzia’s life and future are at risk. Before, her ambition was to have fine things, a longing echoed by Fortún’s wish for an easy life. However, once she is in La Casilla, as grand as a palace, Luzia feels threats surrounding her. All this luxury comes at a cost, an observation Teoda underlines with her talk of plunder. Luzia changes the stakes with each performance: In the first, she reveals to Santángel that she has kept her literacy a secret, and the constellation of the Pleiades lures Pérez by playing on his ambition. In the second, she wonders if there is an aspect to her power that even she cannot control—her shadow side, the demon within, emerging.
The murder of Juan de Escobedo was a real-life historical scandal that plagued Pérez, and the reference here serves as a commentary on the novel’s theme of ambition and its costs. Escobedo was secretary to Don Juan of Austria, the half-brother of King Philip, who served as an admiral and was responsible for a naval victory over the Turkish fleet in the Battle of Lepanto. Don Juan had further military victories as the governor of the Low Countries, fighting against Dutch Protestants. Pérez angered the king by implicating him in Escobedo’s assassination, and this affords Bardugo the plot device of the torneo Pérez is holding to ostensibly find a new power to fight for his king. Pérez’s seal, the centaur in the labyrinth, represents a magical creature trying to break free of its prison, much like Luzia herself.
While the first trial poses its own challenges, Luzia finds her trick turned against herself in the second. This aggravates her deep fear that her Jewish ancestry will be exposed, unveiling a dangerous aspect of The Power of Magic and Talent. As much as it pains her to deny her mother’s name in her lineage, which is part of the test, the wine called matar judíos—“killing Jews”—reminds her of the violence that faces those of Jewish faith or ethnicity. Luzia’s Christian belief is another performance she puts on by eating pork—a food forbidden in both Jewish and Muslim observance—and saying Latin prayers. Luzia’s second deep fear is that her power really is connected with something evil, a possibility that seems furthered when the shadow demons grow after her prayer, and she alone proves able to destroy them.
Hualit and Valentina step back as Luzia’s foils while she has the other contestants to be her rivals and, in a moment of paradox, friends. Teoda’s visions and comments remind Luzia of the all-seeing power of the Christian God, while the fate of Lucretia de León, referenced again, shows what happens when their holy instrument is no longer useful to men of power. The connection between Santángel and Luzia deepens when they realize what they have in common as servants to the powerful. When he saves her from the scorpion, Luzia knows that El Alacrán will not hurt her. The growing desire between the two of them provides a complement and parallel to the deepening sense of dread and suspense, particularly after the dramatic episode of the shadow play, when Santángel rescues Luzia again and proves her ally.
By Leigh Bardugo
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