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53 pages 1 hour read

The Enchantress Of Florence

Fiction | Novel | Adult | Published in 2008

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Part 2, Chapters 13-15Chapter Summaries & Analyses

Part 2, Chapter 13 Summary: “In the children’s prison camp at Uskub”

The “memory palace” (225) recounts the story of Argalia to Il Machia. After being captured by the Turkish fleet, he was taken to the children’s prison camp where captured and enslaved children from around the Ottoman Empire are converted to Islam and trained as soldiers and other professions. Il Machia visits the brothel between errands, but he is constantly “thinking about the palace of memories” (226) and the story of his childhood friend. He teases the stories out of her slowly while touching her body. The brothel owners watch on, hoping that he might return her to something resembling normality by unraveling the memories that have been placed inside her mind.

Argalia, the French woman says, became “the greatest Janissary fighter in the history of the Corps” (229). He surrounds himself with “a coterie of other young warriors” (230) from diverse backgrounds. As she progresses into the story, Il Machia assures the woman that “this is the last time [she] will ever tell this story” (232), and he feels proud of himself for helping her in what he believes to be a selfless fashion. As the story reaches a point where Argalia is almost the same age as Il Machia, she tells how he won the trust of the Sultan. He won praise for defeating “Vlad ‘Dracula,’ the ‘dragon-devil,’ the Impaler Prince” (233) on the Sultan’s behalf. Argalia witnessed the violence of Dracula first hand, when he saw how “twenty thousand men, women, and children had been impaled by the devil on a palisade of stakes around the town just to show the advancing army what awaited them” (234). When Argalia returned to Istanbul with Dracula’s severed head, he was given the highest honors in the Ottoman Empire and declared a free man.

This “happy ending“ (235) does not satisfy Il Machia, who blames his childhood friend for converting to Islam and for using this Frenchwoman as a repository for his memories, doing untold damage to her mental wellbeing in the process. Feeling pleased that he has helped relieve the woman’s burden, he hears her tell the final story of how she is named Angelique. She was born to a French merchant named Jacques Coeur who was “falsely accused of poisoning the King of France’s mistress“ (237) and driven into exile. He and his daughter were captured and sold into slavery, whereupon she eventually reached the Ottoman Empire and had Argalia’s memories implanted in her mind by a mystic. Il Machia sleeps beside Angelique that night but wakes up to a chaotic scene. Angelique, having been unburdened of Argalia’s memories, dies by suicide by throwing herself from a window into the Arno. Il Machia is banned from the brothel and he curses Argalia, who now “owes [him] a life” (239). 

Part 2, Chapter 14 Summary: “After Tansen sang the song of fire”

The musician Tansen sings “the song of fire” (245) for the first time and nearly burns himself to death by accident. He is sent away to heal and, after a miraculous recovery, Akbar invites the two sisters who treated him to the palace as a reward. They kill themselves instead; as “strictly observant Brahmins” (246), they do not want to serve a Muslim king, but they fear refusing him, so suicide seems to be their only option. Their deaths send the emperor into a depression and the whole city of Sikri follows suit. Mogor is credited with restoring the emperor’s mood. He becomes famous in Sikri, as does his story about the beautiful young Qara Koz and her cruel older half-sister, Khanzada Begum.

At night, the emperor dreams that he is the caliph of Baghdad. He dreams that he is struck by an incurable itch while wandering through his city in disguise. The itch is only cured when a woman comes before him with the same problem. They fall immediately in love and marry, ending the itching problem.

As the story of Qara Koz becomes increasingly popular in the city, more questions are asked about Mogor. He stays with Mohini, and, through association, her brothel becomes the most famous in Sikri. The emperor dismisses the “growing reservations and suspicions about Mogor dell’Amore’s presence and true purpose at court” (254). However, he is annoyed when the story of Qara Koz causes disruption among the city’s women. The only solution, Mohini tells the emperor, is for every woman in the city to spend a day “stark naked” (258) so that they can no longer have secrets from one another. Akbar accepts the proposal and orders the men of the city not to look at the women as they go about their day without clothes. The day is deemed a success, though the emperor’s son Salim boasts that he broke the law and watched the naked women. Abul Fazl orders him to be whipped in public, ensuring that “the drunken, opium-addled prince” (260) will one day plot against the emperor and Abul Fazl. Akbar summons Mogor and orders him to “tell the whole damn story as fast as you possibly can” (262).

Part 2, Chapter 15 Summary: “By the Caspian Sea the old potato witches”

Mogor tells the story of the wars and rivalries between Shaibani Khan, the Uzbeg warlord, Shah Ismail, the Safavid of Persia, and the Ottoman Sultan. Akbar interjects to warn Mogor not to overpraise Shaibani, who defeated Akbar’s grandfather. Shaibani is married to Qara Koz’s half-sister, Khanzada Begum. His army is defeated by the Persian army of Shah Ismail and Shaibani is killed. After the murder of her husband and son, Khanzada accepts Ismail’s offer for her to return to the court of Lord Babar. Qara Koz, however, insists that she “would like to stay” (270) with Ismail, who falls immediately in love with the 17-year-old princess. When Khanzada Begum returns to Babar’s court, he is delighted by her return but furious that her sister is not with her. He orders “the removal of Qara Koz from the historical record” (271) and—after some time—breaks his alliance with Ismail. The breaking of this alliance, Akbar points out, eventually led to the “beginning of our own empire” (272).

Qara Koz travels to Tabriz with Ismail and her servant, the Mirror. She and the Mirror are so close that “many courtiers [believe] them to be lovers” (273). Ismail is infatuated with Qara Koz. He accepts her advice, goading himself into a war with the Ottoman Empire. In the Ottoman Empire, Argalia is the most respected figure in the military. He serves under three Sultans and helps to violently put down a coup against a “would-be usurper” (276). Under Sultan Selim, he goes to war with Shah Ismail of Persia and wins. Qara Koz attends the battle and criticizes her husband for his belief in chivalry and rejection of modern technology such as guns. Argalia finds Qara Koz and the Mirror after the battle and falls in love. He returns to Istanbul, where Selim plots against him and eventually orders his execution.

In Istanbul, Argalia changes Qara Koz’s name to Angelica. She is so loved by the gardeners of the palace (who also function as the royal executioners), that she is aware of Selim’s intentions. Argalia knows that he can reduce his sentence to banishment if he outruns the head gardener in a footrace. Thanks to Angelica, he escapes when the man collapses in “a bout of the foulest farting anyone had ever smelled” (288). He sails back to Italy, where Andrea Doria is in control of the city state of Genoa. Angelica’s beauty shocks Doria’s men and Doria himself; Argalia asks only for Doria’s friendship and safe passage to return home “to rest” (292). 

Part 2, Chapters 13-15 Analysis

The story of Argalia’s life is another nested narrative. In a structural sense, the story of the three Florentine friends is being told by Mogor to Akbar. Then, the opening of the memory palace becomes a third narrative which is contained within the preexisting story within a story. The complicated structure of the novel reiterates the thematic power of stories in The Enchantress of Florence. Even as a story is being told, another story emerges. The world is replete with stories, and these cannot be contained; the stories want to tell themselves, even when they overlap or interrupt one another.

The memory palace also provides an insight into the intersection between stories and identities. The young French woman is used by Argalia as a repository of identity. Her memories are taken from her and replaced with the story of Argalia’s life. In this sense, Angelique’s identity is deliberately erased in an act of psychological torture. She is locked away within herself, forced to serve a prison sentence as the container for another person’s stories. The memory palace serves to preserve Argalia’s identity for posterity, but at the expense of Angelique’s own identity. Argalia deems the story of his life to be more important than the identity of one enslaved girl; this is an act of destruction which Il Machia can never forgive. By seeking to preserve his legacy, Argalia commits an act of violence and destruction which makes him a villain in another man’s story. The memory palace is simultaneously a creative and destructive act, one which reveals the subtle moral choices involved in the telling of stories.

More than any other character in the novel, Argalia’s history is a militarized history. He is not a ruler, only a soldier, so he only acts on the orders of whoever he happens to be working for at any given moment. Nonetheless, Argalia’s life is dependent on the proliferation of violence. He makes a living by ending the lives of others, whether waging wars or providing security for his home city. In the context of so many wars fought and won, Argalia’s decision to destroy Angelique’s identity as a means to preserve his own story can be explained. Argalia has already seen so much death and destruction that the loss of one enslaved girl’s memory means comparatively little to him. In contrast, Il Machia has spent most of his life in Florence. His life has been comparatively safe and secure. The diverging paths of the two friends’ lives contextualize their attitudes toward violence and identity. Il Machia, who has spent so long among the humanist philosophers of Renaissance Florence, cannot abide the erasure of one identity for the preservation of another. In contrast, Argalia’s life has been shaped by bloodshed and betrayal. He has changed identity so often that the erasure of one enslaved girl is just another loss in a long history of losses. Though the two men began in a similar place, their diverging lives have turned them into very different people.

The diverging lives of the young Florentines also hints at the similarities and differences between the East and West as portrayed in the novel. Argalia occupies an important role; while most characters are either products of the East or the West, Argalia is formed from both. He leaves Florence at an early age and is taken to the Ottoman Empire—a place considered to be Eastern and strange by the Europeans in the novel—where he is turned into a completely different person. Argalia is a product of cultural intersections, having spent formative periods flitting from one culture to another. Many years in the future, Mogor will make a similar journey from West to East. Unlike Mogor, however, Argalia experiences this cultural shift in the context of violence and warfare. He wishes to return home not necessarily to be in a familiar place, but as a way to put the violence of his past behind him.

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