As they make their way through Bhrathairain, Linden hears the conversation between Honninscrave and the Caitiffin, and notes that the Kemper, not the ghaddi, had invited them to the Sandhold. Honninscrave seems surprised to find the Kemper is Kasreyn of the Gyre.
They travel without incident to the gate of the fortifications of the Sandhold. There they are stopped by the hustin, who, not being a city in Texas, instead are squat, powerful, vaguely manlike creatures reminiscent of Jabba the Hut’s Orc guards in Return of the Jedi (Thanks, George Lucas, for that malevolent yet idiotic visual). The hustin insist on the names of each member of the group before they can enter the Sandhold. The hustin assail Lindens senses with their aura of ‘not right’, and she is more certain than ever they are being led into a trap, but she can think of no other way out, so she follows through in her turn as do all except Findail and Vain, naturally. Before it can come to blows, however, a ‘silent whisper of power’ rustles through the passage, and the hustin back off and let the two troublemakers through.”Then Kasreyn of the Gyre yet lives among you, after so many centuries of service. In good sooth, that is a thing of wonder. Was it not this same Kasreyn who bound the Sandgorgons to their Doom?”
“As you say,” Rire Grist responded. “The Kemper of the ghaddi Rant Absolain is that same man.”
“Why is he so named?” pursued Honninscrave. “He is far-famed throughout the Earth-yet I have heard no account of his name.”
“That is easily answered." The Caitiffin seemed proof against any probing. “’Kasreyn’ is the name he has borne since first he came to Bhrathairealm. And his epithet has been accorded him for the nature of his arts. He is a great thaumaturge, and his magicks for the most part manifest themselves in circles, tending upward as they enclose. Thus Sandgorgon’s Doom is a circle of winds holding the beasts within its heart. And also is the Sandhold itself of circular formation, ascending as it rounds. Other arts the Kemper has, but his chief works are ever cast in the mold of the whirlwind and the gyre.”
Here the party dismounts and enters the Sandhold. As they make their way to the Majesty of the ghaddi, they travel through several levels of the Sandhold, while Rire Grist explains the areas they pass through. On the third level, the Tier of Riches, the party comes into contact with the Kemper. Linden feels him before he comes into view, radiating an unmistakable aura of power, and of hunger. As the Kemper introduces himself to the Giants (and Covenant blurts out a well-timed “don’t touch me”), Linden can’t help but stare at the infant slung on Kasreyn’s back. The Kemper notices the stare, and explains the baby to her, but Linden can’t stop the feeling of terrible wrongness about the child. Linden’s discomfort just keeps rising, along with the apparent danger to the company. The company has to be very careful not to offend, because they are completely depending on the hospitality of the Kemper and the ghaddi to repair and restock their ship. If anything goes wrong, they could find the ship cut off from supplies, and themselves cut off from their ship, with no means of escape for either. And, the Kemper is clearly a man of immense power. Covenant, the only one who could prove equal to this power, is incapable of even wiping the drool off is own chin.
Once done with the introductions, the Kemper leaves, to the acute relief of Linden. Honninscrave asks Rire Grist about the baby, but the Caitiffin stiffly replies “there is no man or woman, Chatelaine or Guard, in all Bhrathairealm who will speak to you concerning the Kemper’s son.” At that, Grist turns and leads the company to the ghaddi Rant Absolain. Wearily, with the knowledge they are only going from one danger to another, the company follows.
As they enter the Majesty, Linden is fairly awe-struck at the immenseness of the room. The Auspice itself is quite impressive, though the truth is that it is enhanced by the lighting and surrounding architecture to make it appear larger than it actually is. In fact, the purpose behind the design of the Majesty seems to be to make everybody who comes there feel vulnerable, inadequate and subservient. Linden notices that the entire Chatelaine seems to share fears of their own; whether they fear the ghaddi, the Kemper, or both, she does not know.
Finally, the ghaddi Rant Absolain appears with his two Favored, the Lady Alif and the Lady Benj; the rest of his harem; and, of course, the Kemper. The ghaddi doesn’t look like a sovereign at all to Linden; in fact, he looks more like a spoiled old man. Absolain proves her theories correct with his first words, which are in effect much whining about why these strangers aren’t bowing to him. Once about half the company does bow (you didn’t really expect Findail, Vain, or the Haruchai to bow, did you?) though, Linden realizes that the ghaddi’s petulance is directed at the Kemper, who holds the real power in Bhrathairealm, while Absolain only holds a title. The ghaddi takes out his petty frustrations on the Kemper by whining about why he was called to this meeting, and refusing the First’s request for a sword to replace the one she lost. Now the Kemper shows his power.
Clearly showing relief that the ocular was not used against him, Absolain grants Linden’s forced request. But when the Kemper tries to take Covenant, Brinn refuses to leave his side. The Giants do not understand what the Kemper has done to Linden, and tensions raise while Brinn and Kasreyn debate the care of Covenant.With a nameless pang, Linden saw Kasreyn take hold of his golden ocular, raise it to his left eye. A stiffening like a ghost of fear ran through the Chatelaine. Rant Absolain squeezed farther back in his throne. But the Kemper’s gesture appeared so natural and inevitable that she could not take her eyes away from it, could not defend herself. Then he met her gaze through his ocular; and without warning all her turmoil became calm. She realized at once that she had no cause for anxiety, no reason to distrust him. His left eye held the answer to everything. Her last, most visceral protests faded into relief as the geas of his will came over her, lifted the words he wanted out of her. “O ghaddi, I ask it there is aught your Kemper can do to heal my comrade, Thomas Covenant.”
Kasreyn: “I thank you, Brinn of the Haruchai. You may leave him safely in my hands.”
Brinn: “No”
Covenant: “Don’t touch me.”
Kasreyn: “, Brinn of the Haruchai, my arts admit of no spectation. If I am to aid this man, I must have him alone.”
Brinn: “Nevertheless he is in my care. I will not part from him.”
Kasreyn: (with the aid of his ocular) “Linden Avery, command this Haruchai to give Thomas Covenant to my care.”
Linden Avery: “Brinn, I command you to give Thomas Covenant to his care.”
Brinn: “I will not.”
The Chatelaine recoils in fear. Kasreyn threatens to command the guards to kill all of the company. The Giants, Hergrom and Ceer move toward Covenant.
All of the Chatelaine flee the Majesty. The Kemper fumes, then calms down and leaves, insisting that he means no harm, and that Brinn should be ashamed for his distrust. The ghaddi, realizing that he has been left alone with a group of people who just outfaced the Kemper, makes a quick exit with his ladies. Rire Grist regains his composure, and offers to take the company to their quarters, where food and rest await.But Brinn did not need their aid. Too swiftly for Kasreyn to counter, he put himself between Covenant and the Kemper. His reply cut through Kasreyn’s ire. “Should you give such a command, you will die ere the first spear is raised.”
Thus ends Chapter 14.At that moment, Linden came out of her imposed passivity with a wrench of realization which nearly made her scream.
). 
* 
The symbolism Donaldson is creating here between the two is apparent, but then something struck me that I never really considered before. Actually I did but took it for granted in my past two reads of the series. It's, really, so simple it should have jumped out and bitten me. I spent about an hour at the school today trying to find the exact term to describe it. Alas I was unsuccessful and the Drama instructor was in a staff meeting.
or the Ying/Yang of the theater--but you know what I mean. It's the two masks that symbolize the theater; one smiling and one sad. AHA! That's Vain and Findail in a nutshell! Again representing opposite ends the the spectrum. The heights and depths of human emotion, joy and suffering, etc...Clearly reflecting this Passion Play we call life. Interestingly enough they DO represent masks as, compared to humans (or Giants and Haruchai 
) they are not what we'd nessesarily consider "real". 
