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British historian Lord Acton famously noted that “power corrupts, and absolute power corrupts absolutely” when discussing the British monarchy, and George R. R. Martin ratifies this idea throughout A Game of Thrones. Both characters who actively vie for the Iron Throne and characters who are less interested in holding power are destroyed by the corrupt machinations of politics, illustrating that the corruption of power extends beyond the individual. As Cersei Lannister tells Ned Stark, “When you play the game of thrones, you win or you die” (485). The underlying suggestion is that power never satiates, and once someone has obtained some level of power, they seek to increase and maintain that power. The more powerful one gets, the more corrupt the methods of attaining more power become.
Martin contrasts ambition with selflessness, albeit dangerously: Though Ned Stark had a clear opportunity to claim the throne for himself at the end of Robert’s Rebellion, he chose instead to secure the throne for his friend. Ned has no interest in gaining the power of the throne—this trait eventually leads to his death as it cannot overcome the corruption of others. Robert, the king Ned fought to install, becomes a symbol of the corruption in King’s Landing as he transforms from a young, strong, honorable knight into a spendthrift king who spends his time drinking, eating, and bedding women while his small council takes care of the business of the kingdom. Though Robert takes advantage of his power in personal pursuits, he never pushes to expand his kingdom or otherwise increase his power. This leaves him vulnerable to the notoriously power-hungry Lannisters, who easily dispose of him to put their heir on the throne. When Joffrey is introduced at his first court as king, the herald refers to him as “Joffrey of the Houses Baratheon and Lannister” (610), signaling the Lannisters’ intentions to replace the Baratheon claim. Though Ned tries to keep the corruption at bay, he arrives to find he has no real way to resist the deviousness of the Lannister family and those who see them as a way to gain their own power.
The novel’s title alludes to these ideas, framing the quest for power in the Seven Kingdoms as a game played by the high-ranking lords and ladies of the realm. Ned and Robert’s relation to power contrasts with those who actively seek power: Cersei, Tywin, Littlefinger, Renly, Varys, and others all hope to increase their influence at the expense of others. Ned and Robert die before the end of their novel. Their failure to comprehend the nature of power in the Seven Kingdoms marks them as unsuitable players of the game, thereby sealing their fate.
The corrupting nature of power is illustrated in that the novel’s most honorable character, Ned, is forced to play the dishonorable game of thrones, and is then punished for not completely abandoning his principles. Ned’s fate demonstrates the cynical amorality of Martin’s fictional world; ethical behavior is not necessarily rewarded, and the aptitude for cruelty serves ambition.
The theme of Duty and Honor contrasts the novel’s exploration of Power and Corruption. The Stark family in particular represent this theme: Ned and Catelyn Stark consistently express the importance of upholding the honor and duty of their station and their families. Though it appears that the corruption in King’s Landing is winning out over honor and duty, the corruption is simply more overt. Although the Starks, and many other characters, consider honor a virtue, Martin portrays honor in the novel as amoral, defined solely by the duties assigned. For instance, while Ned Stark upholds his duty in executing the Night’s Watch deserter and retains his honor by doing it himself, so too does Sandor Clegane uphold his duty by tracking down and killing Arya’s friend Mycah on the prince’s orders. The war between the Starks and the Lannisters also rests on the honor of the sworn bannermen to uphold their duties to their liege lord regardless of perceptions of moral right or wrong.
The underlying complication of this philosophy is that in honorably performing a duty one may be acting in an immoral manner. Almost every character has this experience at some point in the book. Jon must choose between keeping his oath as a member of the Night’s Watch and fighting in his family’s battles against the Lannisters; Ned faces numerous moral dilemmas as he upholds the duties as Lord of Winterfell and Hand of the King; Sansa must marry her father’s murderer; and Catelyn must choose between obeying her husband’s commands and seeking justice for her children. The crux of this dilemma comes when Robb Stark must choose to support either who he believes is the rightful heir to the throne and his father’s murderer, or a man he does not know but who has a weak claim to the throne. Through these inner conflicts of honor and duty, Martin communicates that duty is often ambiguous, leading to both tragedy and triumph.
Bran and Sansa are both raised on stories about historical figures who were brave, honest, and willing to do their duty. As they grow older and more experienced, they become disillusioned; Bran’s dreams of knighthood are denied to him, while Sansa confronts the violent reality of the royal court behind the pageantry she adored. Even Jon Snow is shown that the Night’s Watch is not the organization he believed it to be. The lessons about duty and honor learned by the Stark children make their father’s fate all the more tragic. Other characters create updated versions of these ideas to justify their own actions. Duty to family endures but the moral parameters are blurred. Jaime pushes Bran out of a window, attempting to kill a child because doing so will protect his family. The Night’s Watch swear vows to honorably defend the Wall but Jon knows that its ranks are filled with petty criminals and oath breakers. To other people, Ned’s ideas of honor and duty are hollow terms that can be used to justify actions when necessary and ignored when inconvenient.
Ancestry and family lineage is another critical theme that makes up the framework of the whole Song of Ice and Fire series, and it is informed by rigidly gendered expectations. Family ties motivate nearly every major move in A Game of Thrones: Cersei Lannister and Jamie Lannister use incestuous Targaryen traditions to justify their affair and solidify the Lannister claim to the Iron Throne. The Lannisters are a notoriously proud house, but their motivation to bring honor and power to their family line is not unique. Robb’s war with the Lannisters is motivated by family insult, and Jon nearly betrays his vows because of the importance of family to his personal sense of honor. Though she never knew her homeland, Daenerys’s bloodline defines her sense of identity and becomes her primary source of self-esteem. In times of conflict, Daenerys’s inner dialogue shows that she calls on the strength of her ancestors: “I am blood of the dragon, she told herself. I am Daenerys Stormborn, Princess of Dragonstone, of the blood and seed of Aegon the Conqueror” (111). Her sole objective is to return to Westeros to reclaim the Iron Throne despite never knowing anyone in her family besides her cruel older brother. Through Daenerys, Martin explores the relationship between power and entitlement that is inherent in primogeniture—the tradition of inheritance by the firstborn child—and feudal class systems that imply the wealthy nobility have inherent superiority over the people who live and work on their lands. The complex, and often compromised, morality of Martin’s “high-born” characters suggests that their privileges are culturally perpetuated by wealth and social expectations, and not due to objective superiority. This idea is emphasized in the Hound’s refusal to swear a knight’s oath; he recognizes the social performance of virtue does not match reality.
Arya and Sansa Stark are presented as competing models for gender expectations within noble families in the Seven Kingdoms. Arya does not enjoy activities traditionally associated with women in the Seven Kingdoms and wants to learn how to fight. Arya is able to defy patriarchal gender expectations through her family connections but she must do so away from public scrutiny. In contrast, Sansa Stark adheres to social expectations. She reveres Queen Cersei and works hard at all the activities that Arya resents. Whereas Arya learns to defy gender expectations, Sansa learns to weaponize them. Sansa learns to lie, flatter, and dissociate from her traumatic experiences, enduring her betrothal to the prince who killed her father. Both Stark girls are quite different in their relationship to gender expectations, but they are similar in the way that they wish to fight back against the people who have hurt their family. Similarly, Daenerys slowly recognizes that she is a more capable leader than her brother, whose claim to the Iron Throne over her is based only in his gender and birth order; she simultaneously subverts gender expectations while perpetuating the prominence of ancestry in Westeros.
Gender expectations within family lineages also apply to men. Robb Stark becomes the lord of Winterfell after Ned’s death of his father and, even before then, he is expected to defend the honor of his house. Though he is still a teenager, he leads the north to war because this is what is expected of men in the Seven Kingdoms. Catelyn teaches Robb how to navigate this difficult period, ironically defying gender expectations again by teaching her son how to be a man. Martin’s investigation of ancestral lineage in a patriarchal society interrogates the assumed power of men by subtly recognizing the equal intelligence and capabilities of women.
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