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jonsnowunemploymentera · 4 months ago

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I feel so dumb for never having realized this before but I was thinking about the bookend in AGoT between the Others, the dragons, and two heroes: Waymar Royce and Daenerys Targaryen.

While squaring off against the Others, Waymar Royce asks for a dance.

Ser Waymar met him bravely. “Dance with me then.” He lifted his sword high over his head, defiant. His hands trembled from the weight of it, or perhaps from the cold. Yet in that moment, Will thought, he was a boy no longer, but a man of the Night’s Watch.

It’s notable that this scene is eerily silent save for the bits of dialogue. And when Waymar’s dance finally begins, there’s a notable lack of music.

The pale sword came shivering through the air. Ser Waymar met it with steel. When the blades met, there was no ring of metal on metal; only a high, thin sound at the edge of hearing, like an animal screaming in pain. Royce checked a second blow, and a third, then fell back a step. Another flurry of blows, and he fell back again.

I’ve always asserted that Ser Waymar is a failed last hero if we judge his success based off Old Nan’s blueprint.

So as cold and death filled the earth, the last hero determined to seek out the children, in the hopes that their ancient magics could win back what the armies of men had lost. He set out into the dead lands with a sword, a horse, a dog, and a dozen companions. For years he searched, until he despaired of ever finding the children of the forest in their secret cities. One by one his friends died, and his horse, and finally even his dog, and his sword froze so hard the blade snapped when he tried to use it. And the Others smelled the hot blood in him, and came silent on his trail, stalking him with packs of pale white spiders big as hounds—”

Both Ser Waymar and the last hero lost their companions and both had their swords shatter to the cold. Yet Waymar failed to complete one important step: find the children of the forest. The children are also known as “the singers”. So it’s notable that Ser Waymar attempts to dance without any music(ians) to accompany him. And because he does so, his dance ends in failure.

But then we have Daenerys Targaryen in the Dothraki Sea.

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.

Dany performs a miracle in bringing dragons to life, the first person to do so in centuries. And these dragons sing a song that proclaims her, an exiled young princess and a widow, Azor Ahai reborn - the champion of fire, and warrior of light.

This bookend between the first and last chapters is so poignant. It’s not just that fire has returned to combat Ice. It’s that Dany brought back the music necessary to complete this dance. We start the book with a failed hero and end it with the rise of a true one; also interesting that Waymar’s end comes while he’s down on his knees whereas Dany rises to her feet reborn.

This makes Dany’s identity as the promised prince(ss) all the more impressive.

“He has a song,” the man replied. “He is the prince that was promised, and his is the song of ice and fire.” He looked up when he said it and his eyes met Dany’s, and it seemed as if he saw her standing there beyond the door.

Waymar failed because he didn’t have a song to accompany him. Yet Dany has a song to dance to. A song of fire.

I think this raises some interesting questions regarding the nature of this great conflict. There not only has to be a song to dance to, but it seems that there is a key distinction between the singer and the dancer. Rhaegar Targaryen failed to fulfill the prophecy because he was the singer and not the dancer. His role was to provide the hero’s musical accompaniment. In a way, it’s almost like he as the bard is the herald. And the herald is rarely, if ever, the main character. So notice how Rhaegar heralds the hero, the king, while looking at Dany.

But! - there’s different kinds of songs. Dany has one, made by her dragons. But it’s not be the only one. The children of the forest are heavily associated with the last hero and while Waymar Royce is dead, there lives another: Bran Stark.

Bran found the children, the singers, and is a step closer to completing the last hero’s journey.

Now Bran is an interesting case.

“Go,” Bran whispered to his own horse. He touched her neck lightly, and the small chestnut filly started forward. Bran had named her Dancer. She was two years old, and Joseth said she was smarter than any horse had a right to be.

He has a dancing horse but at some point has to leave her behind. So does that mean that he has to learn to do the dancing in his own way?

And I find it interesting that Bran has a female dancer horse because this creates a neat parallel with Dany, a dancer who may also be the stallion that mounts the world; if it’s not her, then it has to be her mount, Drogon. This is important if we consider that the last hero, Azor Ahai/the promised prince, the Stallion That Mounts the World, etc. are all different yet complimentary manifestations of one heroic legend.

But the issue of songs doesn’t end there because there still exists one Jon Snow, another version of the last hero and promised prince. Jon isn’t a bard but he has been positioned as being adjacent to dancers. I won’t harp on about Jon’s parallels with Waymar Royce because they’ve been done to death. But it seems that Jon, like Bran and Dany, will succeed where Ser Waymar failed.

Because not only does Jon have music to herald him:

That night he dreamt of wildlings howling from the woods, advancing to the moan of warhorns and the roll of drums. Boom DOOM boom DOOM boom DOOM came the sound, a thousand hearts with a single beat.

But he is also positioned as a last man standing among many dead heroes:

“Stand fast,” Jon Snow called. “Throw them back.” He stood atop the Wall, alone. “Flame,” he cried, “feed them flame,” but there was no one to pay heed. They are all gone. They have abandoned me.

And he has a sword that will not shatter against the cold:

“Snow,” an eagle cried, as foemen scuttled up the ice like spiders. Jon was armored in black ice, but his blade burned red in his fist.

It’s noteworthy that Jon is the son of a singer, Rhaegar Targaryen. The very singer who sang the song of ice and fire; and notice how Jon is clad in both. Plus he has been mentored by another, Mance Rayder, whom he eventually succeeds.

At a quick glance, it’s very interesting to me that Jon is constantly listening to songs beyond the Wall. There’s the song of the blue winter rose (which in a way heralds his own birth), the song of Joramun and the Horn of Winter, and many others.

It’s also noteworthy just how often giants are mentioned as the subject of songs in Jon’s POV chapters. I bring this up because of the Last of the Giants:

Ooooooh, I am the last of the giants, my people are gone from the earth. The last of the great mountain giants, who ruled all the world at my birth.

I think there is a parallel here between the dragons, the giants, and the children of the forest. These are all dying species, yet they linger on for the song of ice and fire still needs to be brought to completion.

And let’s consider where our heroes fit in all this. Dany commands the dragons, Bran learns from the children, while Jon begins to befriend the giants. All these creatures make musical accompaniments for our heroes to dance to.

Lastly, I’m inclined to think of the Stark girls though I’m not entirely sure where they would fit in all of this. Arya, at some point, trains to be a dancer:

On the way back to his chambers, he came upon his daughter Arya on the winding steps of the Tower of the Hand, windmilling her arms as she struggled to balance on one leg. The rough stone had scuffed her bare feet. Ned stopped and looked at her. “Arya, what are you doing?” “Syrio says a water dancer can stand on one toe for hours.” Her hands flailed at the air to steady herself. Ned had to smile. “Which toe?” he teased. “Any toe,” Arya said, exasperated with the question. She hopped from her right leg to her left, swaying dangerously before she regained her balance. “Must you do your standing here?” he asked. “It’s a long hard fall down these steps.” “Syrio says a water dancer never falls.” She lowered her leg to stand on two feet. “Father, will Bran come and live with us now?”

Now Arya is no singer, but her wolf is.

In another place, his little sister lifted her head to sing to the moon, and a hundred small grey cousins broke off their hunt to sing with her.

On the other hand, Sansa is no dancer but she is known for her ability to sing. And boy does she sing beautifully.

Her throat was dry and tight with fear, and every song she had ever known had fled from her mind. Please don't kill me, she wanted to scream, please don't. She could feel him twisting the point, pushing it into her throat, and she almost closed her eyes again, but then she remembered. It was not the song of Florian and Jonquil, but it was a song. Her voice sounded small and thin and tremulous in her ears. Gentle Mother, font of mercy, Save our sons from war, we pray,

In fact, a lot of Sansa’s songs are prayers for those who dance to the music of swords. Her songs are soothing, calming. And see this during Stannis’ assault on Kings Landing when she is able to calm Sandor and the noble women through the power of song. Hers is not a song to dance to, it’s a different kind though I’m not entirely sure what it entails. I do want to say, though, that Sansa is often paralleled with creates that take flight; various birds and bats. So she is a singer, much like the dragons.

I may have neglected other characters here, but I just thought it was intriguing that our main heroes (Jon, Bran, Dany, maybe Arya) are all positioned as dancers for the song of ice and fire.