those Islands came to mean everything that wasn't war, everything that was peace and warmth and security There was no one there but you and me. And yet I never saw you, that's the funny part. I only felt you all around me. The breaking of the waves was your voice. The sky was the same color as your eyes. The warm sand was like your skin. The whole island was you.

Orin relates this fantasy of the Blessed Island to Christine in Act II of "The Hunted." A sanctuary from the war, the Island is a warm, peaceful, and secure paradise composed of the mother's body. Thus Orin can imagine himself with Christine without her being there. In terms of the trilogy's sexual drama, the Blessed Island is the realm of the pre-Oedipal, the time of plentitude and imperfect differentiation between mother and child. The war rips Orin from this maternal embrace at his father's behest. Orin goes to war to do his duty as a Mannon.

As with the motif of the mother's hair, the fantasy of the Blessed Island will recur amongst all the major players. Each yearns mournfully for the "lost island" removed from the Oedipal tragedy in which they are enmeshed.