Feyre confronts Tamlin in the stables because she wants to go to the nearby village and help with rebuilding and hunting, partly to do something useful and partly to escape the constant wedding preparations. Tamlin refuses, insisting the area is still unsafe because Amarantha's creatures remain in the territory and he does not have sentries to spare for an escort. When Tamlin reveals that Lucien killed five naga the day before, Feyre is shaken both by the danger and by the fact that Lucien hid it from her, and she finally lets Tamlin leave.

On her way back to the manor, Feyre reflects on how trapped she feels by her new life. She keeps wearing the bright gowns Tamlin buys because dressing and behaving like a peaceful bride helps reassure the court, but the role feels false, and she still carries a dagger everywhere. Feyre also avoids her old painting studio because art, which once helped define her, now fills her with revulsion instead of purpose.

Feyre spends the day with Ianthe, the High Priestess helping plan the wedding. As Ianthe works through seating charts and ceremonial details, she reminds Feyre that every choice surrounding the marriage sends a political message and that Feyre's words will be judged by the Fae around her. Their conversation reveals how dependent Feyre has become on Ianthe's guidance, how out of place Feyre still feels in this court, and how much Ianthe herself hopes to gain by becoming closely tied to Tamlin's household. Ianthe also raises Lucien, suggests hiding Feyre's tattoo with gloves, and reinforces the idea that Feyre's appearance and behavior are tools in a larger display of power.

That night, Feyre cannot sleep, and Tamlin comes to her room after working in his study. They reconnect physically, using intimacy to escape their fear and strain for a while. Afterward, Tamlin apologizes for refusing her earlier and explains that he needs Feyre safe because he cannot bear the idea of anyone hurting her again; Feyre understands his fear, but the conversation shows how his protectiveness is also limiting her freedom.

When Feyre asks what title she will hold after the wedding, Tamlin explains that there is no such thing as a High Lady. He tells her that she will be Lady of the Spring Court, a High Lord's wife or consort rather than an equal ruler. The answer quietly exposes the structure of the world Feyre is entering and deepens the chapter's central tension: marriage is approaching, but Feyre's place in it offers comfort without true agency.