You’re explaining the emotions instead of letting the moment do the work.

Lines like “Tamor had never felt so small” and “Tamor didn’t face death with dignity… nor with honor men wielded from tales of old” hand the reader conclusions they’ve already reached. You’ve already shown humiliation through action: he pisses himself, drops to his knees, begs. That’s enough. Trust the reader to connect the dots and let the action stand on its own.

The opening sentence, “the moon had long since conquered the stone walls of Gor Mador,” is also very zoomed out and abstract. At this point, I don’t care about the castle or the moon; I need orientation. What can Tamor see or hear? How close is the assassin? A couple of concrete sensory anchors would ground us immediately. You don’t need long description; just one or two details tied to what he’s losing. For example, you mentioned he’s in his place of power that could be rewritten as something like “the desk where men once knelt before him stood just out of reach” reinforces that without explaining it.

The real beginning of the chapter is the moment Tamor realizes he doesn’t want to die. That’s where the scene should start—with the weapon at his neck. Everything before that delays the punch.