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Introduction

Kelleher's second novel is about consequences, as the results of all the horrible yet necessary decisions made in the first novel are revealed. This makes for a much stronger middle book than I often see in trilogies, especially as one of the protagonists has no idea about some of what happened in the first novel. I am deliberately vague to avoid spoilers, because the intensity of the first novel could easily be ruined by seeing how it turns out here. Like the first novel, there is much emotion Kelleher's second novel is about consequences, as the results of all the horrible yet necessary decisions made in the first novel are revealed.

Like the first novel, there is much emotion and passion and terrible decisions and frightening moments and high stakes relationships, which I loved because I love that sort of thing.

In terms of gender, I found this book much more comfortable than Daughter of Prophecy. In retrospect, I think that's because the gender views in this one are actually much less radical. Annandale, the female lead, is in the tradition of 'emotional mystical power' heroines; she's not asexual, but her main shtick is being a sort of reservoir of Moral Goodness who wouldn't have been out of place in a sentimental Victorian book.

Maybe I'm exaggerating -- it's been a few weeks since I read it. Roderic, the male lead, is much more sympathetic than Abelard was before him; more compassionate and tolerant of difference, and more given to thinking of others. On first thought I saw this as a very positive trend, but now Jul 15, Ransom rated it really liked it Shelves: fantasy , science-fiction.

The sequel to Daughter of Prophecy makes good on the story of Nydia Farhallen's prophecy. Her daughter is an empath and Abelard Ridenau's heir becomes Regent of Meriga.


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The characters are still compelling, though the tortured pain of the parents and their fates from the first book make this slightly less riveting. Still a solid story, and a lot of outside conflict to keep the characters apart, including the heir Roderic's brother Amanander who sows all kinds of mischief throughout Meriga. The end of this book also brings about one last prophecy from Nydia Farhallen to haunt them for the third book in the series.

Anne Kelleher Bush definitely knows how to leave an audience hanging at the end of the book. I hope she wraps the series well with The Misbegotten King. Jan 04, Trip rated it liked it. Sequel to Daughter of Prophecy. Suzan rated it liked it Mar 08, Noella rated it it was amazing Aug 18, Meike rated it liked it May 15, Mia Kort rated it really liked it Jan 24, Derrie Paquette rated it it was amazing Aug 11, Tanrien rated it it was amazing Feb 07, Kate Maupin rated it it was amazing Aug 23, Anne Kelleher rated it it was amazing Aug 30, He bids them to shed no tears and promises to perform valiantly for his father's sake.

His father, in turn, bids him to "be swift like lightning" in the fight. Mowbray then has his turn to bid farewell to the king, claiming to be a "loyal, just, and upright gentleman" who will fight without boasting about it. Before the fight begins, however, King Richard throws his baton to the ground as a signal to halt the proceedings. Bolingbroke is not to return for ten years, while Mowbray is banished for life. The two men accept their sentences gracefully, though Mowbray, who is never to return, expresses a deep sadness that he will not be able to speak the English language again; he feels condemned to a "speechless death.

As the two turn to leave, Richard stops them and makes them lay their hands on his royal sword and promise never to come into contact with one another again nor to engage in any treasonous act; never are they "to plot, contrive, or complot any ill. Mowbray replies that he'd rather be "from heaven banished" than admit to such a thing. He exits then. Richard turns to Gaunt and immediately reduces old Gaunt's son's sentence from ten years to six years because Gaunt's old eyes betray a "grieved heart.

When the king cheerfully reminds him that he is in good health and will live many more years, Gaunt stops him short by saying that even the king "cannot buy my breath.

The Misbegotten King

Gaunt replies that he was urged to speak as a judge and not to argue "like a father. In the last minutes of Scene 3, Bolingbroke and his father take leave of each other. Gaunt tries to cheer up his son by saying that it won't be too long before he returns and that if he keeps his mind on other things, the time of exile will pass quickly. Bolingbroke, however, asks:. Or cloy the hungry edge of appetite By bare imagination of a feast? Or wallow naked in December snow By thinking on fantastic summer's heat? He departs, swearing that wherever he wanders, he can at least boast that "though banished, [he is] yet a trueborn Englishman.

Scene 4 opens shortly after the last. Richard is subtly trying to test the loyalty of Aumerle, the son of the Duke of York, and, at the same time, to find out from him what Bolingbroke said on his departure, for Aumerle escorted Bolingbroke away. Aumerle says that Bolingbroke said only "Farewell. Richard does not want to seem villainous, and so he reminds Aumerle that Bolingbroke is "our cousin. He ponders,. How he did seem to dive into their hearts With humble and familiar courtesy, What reverence he did throw away on slaves, Wooing poor craftsmen with the craft of smiles.

Green then speaks up and reminds Richard that, at least, Bolingbroke is out of the way; now they must turn their attention to the pressing problem of the Irish rebellion.

Summary Bibliography: Anne Kelleher

Richard decides to go into battle himself against the rebels, and he plans to do so with the greatest assurance of success. To that end, he decides that he must first fill his coffers with riches borrowed from and demanded from his country's nobles. At that point, Bushy rushes in with the news that Gaunt is extremely ill, probably dying. Richard wishes the old man "good speed" to death. In fact, his comment is quite mercenary:. The lining of his coffers shall make coats To deck our soldiers for these Irish wars.

As is the case with Shakespeare's other history plays, this play has as its central concern a civil strife that threatens a country with a weak government. Thus, Richard II opens with a scene that graphically illustrates the point: Two nobles are locked in bitter argument over who is most loyal to the crown, and the only logical outcome would seem to be a physical struggle, even to the death. The best that the king can do is agree to let them fight. The character of old Gaunt is important here because he is referred to several times as an "old" man and is therefore supposed to be a "sage" man.

Richard appeals to Gaunt to help settle the argument but with no success; neither the ruler nor he who possesses the wisdom of age can calm the troubled waters in Scene 1; only a decision based on formal violence will decide the issue. Note in particular the chivalric atmosphere of Scene 1.

When the challengers speak to the king and to each other, they use a very formal style of address. For example, Bolingbroke first speaks to his king:. In the devotion of a subject's love, Tend'ring the precious safety of my prince, And free from other misbegotten hate, Come I appellant to this princely presence. I take it up; and by that sword I swear Which gently laid my knighthood on my shoulder, I'll answer then in any fair degree Or chivalrous design of knightly trial. The formal speech patterns and the chivalric code of behavior in Scene 1 act as metaphors for order and control.

These men are preparing to kill each other, but they are going about it in a gentlemanly way. Such formal patterns exist, according to Shakespeare's orthodox belief, in the world of government too. There is always an attempt — even when it becomes a struggle — to keep the most violent passions regulated within a pattern.

Speaking of formal patterns, we must not ignore the real passion and invective in some of the remarks that the opponents hurl at each other.

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Take, for example, Bolingbroke's promise to tear out his own tongue and "spit it bleeding" in Mowbray's face rather than withdraw from the fight. This is naked, unbridled passion. But it is spoken within the formal context of a verbal tournament, preluding the tournament at Coventry. And, in reference to passion, there is an important, implicit clue as to the murderer of Gloucester. Mowbray has indeed had a hand in killing him and that's what Bolingbroke accuses him of , but Mowbray did it at Richard's request. One more matter that should not be neglected in any discussion of language in Scene 1 includes the fact that the language, besides being mostly chivalrous and formal, suggests a religious theme in several places: Such words as "miscreant," "innocent souls," "rites of knighthood," and "our sacred blood" occur frequently.

The Misbegotten King by Anne Kelleher Bush

This language will be of even more importance later in the play. Shakespeare's plays were written for performance without any breaks between the scenes or the acts. The flow of the scenes, their placement, and the effect that was created by contrasting elements in the scene constitutes his chief technical resource. In Scene 1, for example, Richard tries to arbitrate a dispute between two peers of his realm. The issue is one of state — loyalty to the king — and also a personal matter of honor between two men of arms. The tone of the opening scene tells us that something is wrong in the state of England.

Scene 2, appropriately, personalizes this wrongness , this grief, by showing us a woman lamenting aloud both the loss of her husband and the fact that she is likely not to see proper vengeance done. That she is suffering personally is certain, and her confusion is clear in her last speech, for she finds it difficult to say farewell to old Gaunt:. Commend me to thy brother, Edmund York. I shall remember more. Bid him. With all good speed at Plashy visit me. Get A Copy. Mass Market Paperback , pages.

More Details Original Title. Power and the Pattern 3. Other Editions 5. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about The Misbegotten King , please sign up. Lists with This Book. Community Reviews. Showing Rating details. More filters. Sort order. Jul 18, Ransom rated it really liked it Shelves: fantasy. Overall, good wrap up. Bush tied up the loose ends of the story and made the prophecies make sense in terms of the larger story. Annandale and Roderic are pawns moving to correct some problem with the pattern that they cannot understand until after it happens.

Amanander is making motions to grab the throne after waking from an unnatural sleep. Deirdre, the M'Callaster, is always at Roderic's side to encourage him and to aid him in ways he doesn't know he needs. I understood part of it became a blight upon the land, but from the rules of magic in the world should have manifested something else. It also felt like as soon as he wielded so much power over all those other people and lost what was left of his humanity, the throne would no longer have mattered to him. Perhaps it wouldn't have, but I just missed his motivation to keep going after it when he promised different pieces to factions and then took over all their minds anyway.

Dec 28, Cera rated it liked it.

Oof, I have waited too long to review this, and now I remember little about my reaction to it, except that I was saddened that so little time had passed, since one of the things I really enjoyed about the second book is that it was a generation later than the first. Jan 17, Trip rated it liked it.