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Powers Greater Than Hatred
There are two passages that are often quoted of Daenerys from A Game of Thrones. The first, and most popular, are the final sentences in the novel.
As Daenerys Targaryen rose to her feet, her black hissed, pale smoke venting from its mouth and nostrils. The other two pulled away from her breasts and added their voices to the call, translucent wings unfolding and stirring the air, and for the first time in hundreds of years, the night came alive with the music of dragons.
It’s easy to see why these final lines are so often quoted within the fandom. They are poetically powerful; this is an impactful arrangement of words that have an emotional punch. The final chapter stands as some of George’s most poetic writing he has ever done. It is filled with mythology that has been lacking in the novel up to this point; for most of A Game of Thrones, the supernatural is related to long dead legends or psychedelic visions that make it hard to grasp exactly what they were meant to entail. The final chapter, the return of the dragons, turns the supernatural from vision quest into a tangible, real thing. And most importantly, this passage uplifts the book; it showcases that there is a reason to hope, that the dark turn after Eddard Stark’s execution is not what the series is about. Instead of leaving on a melancholic note, the novel ends with hope and wonder for what the future will bring.
I am not going to talk about that passage today. I want to talk about the second passage, one that I feel speaks much more closely to the themes that George is trying to hit with the series. This is from one of the final paragraphs of Daenerys IX, in the moments that build up to when Daenerys must euthanize Khal Drogo. Even when Daenerys is so full of despair, George still give us reason to hold onto hope:
She told herself that there were powers stronger than hatred, and spells older and truer than any the maegi had learned in Asshai.
The second half of the passage is directly rooted in the emotional context of the scene. Mirri Mazz Dur had used shadow magic to both rob Khal Drogo of all sentience and intelligence, as well as killing Daenerys’ son Rhaego in the womb. Most of Khal Drogo’s khalatar, his army of warriors that was the mightiest and largest in all of Dothraki recent history, had splintered and broken apart under a dozen different warlords. Daenerys is lost and alone for allies save for the exiled Westerosi knight Jorah Mormont, who has his own selfish wants in staying close to her.
It is the first half that George establishes an important thread that he weaves throughout the series. Evil has its limits. Hatred, corruption, all of the sins of the world, there is a point where they are undone. This theme is manifested in the fourth book of the series, A Feast for Crows. Tywin Lannister has been murdered by the son he has abused for all of his life, and the Lannister regime that he betrayed and murdered to build is falling apart. The book is not just a reference to all those that have died over the course of The War of the Five Kings, but to the Lannisters. House Lannister itself is the feast for crows. It is a tower of dominos and it has started to crumble. All of the petty evils of that house is finally crashing down. Evil has limits. Evil is undone. There are powers greater than hatred.
Paint that contrast with the Starks and the Targaryens. The swords of the North are riding to rescue “Ned’s precious little girl”. They don’t know that the little girl is not Arya Stark but Jeyne Poole who has been forced to masquerade as her to preserve her life, but that doesn’t matter. The fact that the Northern lords, even after being decimated at the Red Wedding, even after being forced to submit, will ride and fight and die in memory of Eddard Stark, that matters. Even after Daenerys flies away from Meereen on Drogon, her people are fighting against the masters in her name. It matters that they believe in her cause. It matters that the freemen will fight and die to make sure their children will never know what it means to be a slave.
A Song of Ice and Fire is often painted as a cynical, bitter response to fantasy. It is the forefather of the grimdark subgenre. That is an erroneous attribution. The books remind us that there are powers stronger than hatred. Of course there are scenes that have grit to it, and it can be bitter at times, but the saga is never cynical. It doesn’t say that there is no meaning to the good fight.
If watching the fall of House Lannister should say anything, it would be that evil will always devour itself in time, and eventually, good and decent people will pick up the pieces.