68 pages 2 hours read

Shadow of Night

Fiction | Novel | Adult | Published in 2012

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Symbols & Motifs

Diana’s Firedrake

The firedrake is Diana’s familiar and a symbol for her magical power.

When they learn that Diana is a weaver, Goody Alsop and her gathering host a ceremony to witness Diana’s unfiltered power, and thus get a sense of her abilities and free her “familiar.” Familiars are non-human, supernatural attendants to witches. In the All Souls Trilogy, only weavers have familiars. The ceremony sets loose Diana’s firedrake familiar. Goody Alsop tells Diana that she must “tame her” (331), which symbolizes Diana’s attempts to gain control over her own magical ability. Diana manages to tame the firedrake, containing her inside her chest, though she doesn’t yet fully accept or trust the firedrake when she materializes.

After discovering her familiar, Diana struggles with keeping the firedrake contained within her, especially when she becomes emotional. Sometimes it bursts out into her surroundings, much like Diana’s weaving power escapes her control when she is curious about a subject. It is Diana’s father, Stephen, who teaches her to not be afraid to let her firedrake out of her chest, and thus to not be afraid of her own power. When Diana finally lets the firedrake out willingly, she introduces herself as Corra. Corra says to Diana that she is “[y]ou, but not you” (529). The firedrake is Diana’s power embodied.

Arbor Dianæ

The arbor Dianæ, or Diana’s tree, is an alchemical product sometimes called the Philosopher’s Tree. Mary Sidney makes a special arbor Dianæ made from a mixture of mercury, silver nitrate, Diana’s blood, and Matthew’s blood. This unique version of Diana’s tree symbolizes the generation that results from Matthew and Diana’s union.

The regular arbor Dianæ is a crystalline structure contained in a glass vessel that is obtained through a chemical interaction between mercury and silver nitrate. This interaction causes a tree-like structure to grow in the glass. Diana witnesses Mary Sidney make an arbor Dianæ, and is astounded at “seeing a lump of metal go through what looked like a vegetative process” (322). Seeing this reminds Diana of an alchemical illustration she saw of a “chemical wedding” in the Ashmole manuscript. Since Diana thinks the chemical wedding—the chemical combination of two substances—symbolizes her union with Matthew, she has the idea to put her blood into the mixture.

The resulting arbor Dianæ is totally unique. It is not silver, but has a “stout, dark trunk and bare limbs” (353). Matthew and Diana see an alchemical illustration on Mary’s laboratory wall that shows a firedrake, which is Diana’s familiar, arranged like an ouroboros, which is Matthew’s family crest. This combination of symbols gives Matthew the idea to add his own blood to the vial. This makes the tree made from Diana’s blood sprout “golden leaves” and “[r]ed fruits” (354). Diana observes that “[her] blood made the structure of the tree, and [Matthew’s] blood made it bear fruit” (354). Only the combination of both of their genetic material can make the unique arbor Dianæ. Similarly, witches and vampires cannot usually reproduce, but there is something special about Matthew and Diana that makes them able to conceive a child. They think that identifying what makes them special in this regard will help solve the problem about why witches, daemons, and vampires are dying out in the 21st century. Thus, the arbor Dianæ made from their blood becomes an important symbol that alchemically verifies the uniqueness of their genetic combination. It foreshadows the possibility that they will be able to solve the crises that plagues creatures in the 21st century.

The Historical Anomalies

The historical anomalies are objects that are spontaneously discovered in the 21st century due to Matthew and Diana’s actions in the 16th century. The historical anomalies are a motif associated with The Complex Nature of Time.

When Diana and Matthew go back in time, they are determined to make their visit brief so they don’t affect the past in ways that will change the “future”—their contemporary 21st-century moment. However, due to the complex nature of time, Diana and Matthew become increasingly enmeshed with the past, and their actions cause an increasing number of “anomalous historical discoveries” (377). The anomalies appear in the order in which Diana and Matthew’s actions create them. The first is Diana’s diary; this ends up in a small, private archive in Seville. The second is a note Ysabeau finds from Philippe in their library, telling her about his encounters with Diana and Matthew in the 16th century and affirming his love for her; this gives her closure about his death. This discovery convinces Ysabeau and her allies to look for the anomalies: She knows that these changes could alert the Congregation to Matthew and Diana’s temporal whereabouts, thus endangering them.

The third anomaly is a pair of miniatures depicting Matthew and Diana. Marcus buys these from a woman named Phoebe. Marcus falls in love with Phoebe, realizing she is his mate. Since a vampire only has one mate in their lifetime, this is a significant plot development that would not have occurred without the recurring motif of the historical anomalies.

The fourth anomaly is the discovery of Mary Sidney’s alchemical notebook, detailing her work with an unnamed assistant. Historians assume this assistant is male, though in reality, it is Diana. This iteration of the motif thus also intersects with the theme of Gender Roles in Different Historical Periods. The fifth anomaly is a letter sent from Rabbi Loew to Matthew’s estranged son Benjamin, detailing the theft of Ashmole 782. The final anomaly is the discovery of a spyglass made by Thomas Harriot in 1591. Historically, Harriot had a series of inventions in the fields of mathematics, optics, and astronomy, which were only disseminated more widely after “credit had already gone elsewhere” (Chapman, Allan. “The Astronomical Work of Thomas Harriot (1560-1621).” Royal Astronomical Society, vol. 36, no. 2, 1995, pp. 97-107; 99). This discovery overturns previous historical assumption that the spyglass was invented in 1608, then greatly improved and popularized by Galileo Galilei a year later. Knowing that Harriot’s inventions were largely invisible in the historical record, Diana had his spyglass engraved with his name and the date. Though her actions thus result in a more true-to-life version of history, the historical anomaly this spyglass creates is large enough to rewrite history books.

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