SB on Episodes 3.4, 3.5, & 3.6 (for 3/15/16)

SB on Game of Thrones: Blog Entry Number Eight

Game of Thrones as Modern Mythology

Near the end of episode 3.6, Littlefinger discussed the “lies that we tell ourselves over and over again” and stated that when we stop telling these lies, chaos emerges.  During the recitation of this eloquently-phrased line, (what I would consider to be) “epic” music grew in the background and images of Joffrey (in a bedroom with a woman that he just gruesomely murdered) and Sansa (looking at the ship and crying) were shown.  

I believe that this dramatic scene was self-reflexive and communicated a major concept about the series.  Many scholars (like W. B. Yeats and Peter Berresford Ellis) understood the function of mythology in the same way that Littlefinger described the “lies” in this scene: we tell each other stories that are not literally true, not to serve as definitive declarations of our world, but to provide examples for ethical behavior, maintain order, and avoid chaos. The fact that images of important characters (at particularly dramatic moments) were shown while Littlefinger’s speech was heard communicated that Littlefinger’s statement about lies (and this fact about mythology) applies to the show, itself. 

This can be dangerous terminology.  It must be clarified that I do not want to “mythologize” or over-praise Game of Thrones.  However, it is important to recognize (as was hinted at in episode 3.6) that this show can be considered as contemporary mythology that provides examples of ethical behavior, reflects our values, and reveals psychological truths.

Autonomy in Game of Thrones

Autonomous Episodes. To change gears for a moment, it is asserted that this episode (3.6) might be an autonomous, single-standing episode that could be viewed and understood by people who are new to the series.  Even though many events took place in this episode and knowledge of prior episodes was required, in order to understand the complete significance of these events, this episode is watchable by new viewers and this episode provided insight into almost every major character, issue, and theme of Game of Thrones.  Further, even though some problems were left unsolved, this episode ended with a sense of finality:  this even seemed like the conclusion of a Hollywood film when the camera pulled away from the romantic kiss to reveal the breathtaking view of this mythological world. 

Autonomous Sequences and Collections of Scenes. I assert that even single scenes and sequences of scenes from Game of Thrones can serve as autonomous, complete stories that provide insight into the major themes and issues of the show for people who are unfamiliar with the series.  For example, recall the final scene of episode 3.4 when Danaerys completed the trade, obtained her soldiers, and had her dragon attack the ruthless leader.  The scenes that covered the trade (which began in episode 3.3 and concluded in episode 3.4) were a comprehensive, autonomous, and small collection of scenes that told a complete story and provided insight into how the Game of Thrones can be played.

Autonomy and Mythology: Autonomous Collections of Scenes that Tell Folk Legends

Further, (to connect this idea of autonomy to the discussion of mythology) the complete story of the dragon/army trade that was told in this collection of scenes reminded me of a particular folk legend structure.  Many folk legends are about trades where one trader is outsmarted by the other trader and these folk legends communicate the value of intelligence, wisdom, wit, and patience over greed and selfishness. 

For example, many tales from Bairbe McCarthy’s Irish Leprechaun Stories were about a trade (usually involving gold) between a greedy human and an honest magical character.  Even though the magical character would always be true to the terms of the trade, the human, blinded by greed (and unaware of the obvious problematic conditions of the trade), would always be outsmarted by the magical character and would not get his or her desired prize. 

Similarly, Danaerys (the Mother of Dragons) was a magical character who, technically, stayed true to the terms of the trade.  The other trader, who was blinded by greed and desire for the magical prize of the dragon, did not see the obvious conditions and outcomes of the trade and did not get his desired prize. 

This handful of scenes that covered the trade interaction (which concluded in episode 3.4) is one example of a collection of scenes from Game of Thrones that (a) can be understood without any knowledge of previous episodes, (b) provided insight into the major issues of the show, and (c) seemed directly inspired by a specific folk legend structure (namely, folk legends about trades with the theme of ‘knowledge is power’).  This blog provided further exploration into the idea that Game of Thrones can be understood as the mythology of our time.

Works Cited

Ellis, Peter Berresford. Celtic Myths and Legends. Philadelphia, PA:  Running Press Book         Publishers, 2002. Print.

McCarthy, Bairbe. Irish Leprechaun Stories. Cork, Ireland, EU:  Mercier Press, 1998. Print

Yeats, W. B. Irish Fairy and Folk Tales. New York, NY: Barnes & Noble, Inc., 1993. Print.