101 pages • 3 hours read
Jennifer A. NielsenA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Imitations and fakes are found countless times throughout the story. The main thrust of the plot is that an orphan is going to pretend to be a prince, making him “an orphan in a costume […] Nothing more” (99). A sword that looks just like the real thing is only an imitation of Prince Jaron’s. What Sage believes to be gold is just a worthless stone. According to Conner, “‘We’re all imitators here. So if you’re right about the gold, then there’s no more appropriate thing for me to carry than that rock’” (128).
Playing a part is requires full embodiment of the subject is being copied. As Conner says, “‘The person I choose must have the lie so settled in his heart that he truly believes he is king, that he ceases to think of his own name and answers only to Jaron’s’” (237). Though Sage physically resembles Jaron and has the attitude of a prince, Conner almost does not select him because Sage is reluctant to commit to the lie for a lifetime.
There is also a connection between identity and outside perspective. For example, Mott encourages Sage to see himself as Conner sees him: “‘If Conner can look at you and see a prince, then it’s about time you did the same’” (68). Mott, in essence, is encouraging Sage to have higher self-worth because if Conner selected him as a candidate to be Prince Jaron, then he is worthy. Identities are “in the eye the beholder,” so to speak, which is demonstrated when Sage looks upon the sketch that his mother drew of him when he was just a baby:
I [become] fixed on the way she drew my eyes. Not with the arrogance or defiance the castle artists inevitably gave me, but with the subtle details only a mother would notice, as if she saw things about her son that everyone else missed. Looking at the pictures, I [see] myself the way she must have seen me, and as I gently [brush] my thumb over the drawing, I [feel] her love for me (302).
In this moment, Sage’s perspective on how he views himself is softened by his own mother’s love for him.
Survival, and not religion or law, informs the moral code by which Sage lives. As an impoverished orphan, Sage needs his cunning and wits in order to survive. Survival and nothing else orients the direction of Sage’s life—until, of course, he comes to Farthenwood: “‘Everything for me was just staying alive for another week.’ The irony [strikes] me as funny. ‘Now I just have to live out the next two weeks’” (76). Staying alive is still Sage’s goal, but instead of dealing with threats like hunger and poverty, he faces Tobias and Roden, who could harm him for a chance at the throne, and Conner, who might kill Sage for knowing his secrets.
Many of the characters are trapped by their circumstances. Often family plays a role in this. Both Imogen and Errol, two of Conner’s servants, are at Farthenwood indefinitely, serving sentences to pay off family debts (44). Sage, Tobias, and Roden are all orphans, a situation that limits the options available to them and their ability to truly choose what they do. As Tobias puts it: “‘I never made any choices […] After my parents died, I was told to live with my grandmother, so I did. When she died, I was told to go the orphanage, so I did. Then I was told to come here, so I did’” (117). Royalty are bound by their family situations, too. When Amarinda still thinks Sage is a servant, she says to him, “‘I’m a servant too, you know. Perhaps with finer clothes and servants of my own, but few choices about my life belong to me. We’re not so different, you and I’” (194). Amarinda does not have choice in who she marries and how her life progresses. In that way, she is no different from a servant or orphan.
As Conner states, “‘Is there anyone who bows to the throne and does not wish he was the one who sat on it?’” (34). The conniving prime regent Veldergrath is an obvious example of power’s ability to corrupt. Veldergrath is well-known among the regents for being power hungry. He has been plotting the king’s demise so that he may seize the throne.
However, even innocent orphan boys can fall prey to the temptation of absolute power, as we see with Tobias and Roden. Tobias and Roden have had a terrible lives; instead of becoming more compassionate because of all they have suffered, they become vicious and mean once power and opportunity are dangled before them. Over the course of the two weeks at Farthenwood, Tobias grows increasingly hostile and greedy; this culminates in him stabbing Sage. Roden, who in earlier chapters seemed innocuous and friendly, is blinded by his desire to become Prince Jaron, teaming up with the violent Cregan to attack Sage and take back the throne. The closer one comes to the throne, the angrier one is when that power is taken away.
Patriotism drives the narrative of The False Prince. In order to save Carthya from war, King Eckbert has to abandon his son Jaron, which is a painful but necessary choice. An intense love and sense of duty toward one’s country is the engine that animates many of the characters’ actions.
Compared to King Eckbert, Conner’s patriotism is more nefarious. Whereas Eckbert wished to avoid war, Conner is fine with going to war if that means that Carthya will be saved from other nations invading and taking advantage of them. His love of Carthya, his respect for the royal family, and his desire to protect the country from battle—unless he feels it is absolutely necessary—are the primary forces that inform his conscience, and he will do anything—no matter how morally bankrupt—to serve Carthya. As Mott explains to Sage: “‘Master Conner is not aspiring to be a priest and asks for no hero worship. But he is a patriot, Sage, doing what he believes is best for Carthya.” (70). Even Conner himself states, “‘I’m just a man trying to do what I think is best for my country. If I’ve made mistakes along the way, they were made out of a desire to do the right thing’” (246). Conner’s patriotism reaches the outer limits of what is acceptable, though, and he is warped in his single-mindedness when it comes to upholding Carthya. Conner is the one responsible for poisoning the royal family, which shows that his patriotism is problematic in many ways.
By Jennifer A. Nielsen