The Long Night is the single most important event in the history of the world of A Song of Ice and Fire, and yet, we have basically no idea what caused it, and only the foggiest of notions as to how it was ended. However, I believe that George R. R. Martin has cleverly hidden the cause of the Long Night and the important events of the War for the Dawn inside of the folklore and local legends of the books. It is my hypothesis that when we compare the stories of Azor Ahai, the Grey King, Durran Godsgrief, and a few Others, we begin to see a coherent story emerge. It’s a story about comets, falling meteors, earthquakes, floods, and a nuclear winter, and about the humans that were alive at the time and what they did to survive and overcome the darkness. These legends represent a kind of “bard’s truth,” and I believe they can be understood if we consider them as metaphorical references to real events.
George seems to have taken this one step further. I submit that the main action of the text is often written in the form of symbolic metaphor, just like the ancient myths of the story. These metaphorical scenes in the main text in turn refer back to a corresponding legendary event in the Dawn Age. To say it plainly, when someone like Stannis or Beric or Jon Snow wields a flaming sword, they are probably playing the “archetypal role” of Azor Ahai and telling us something about what he did and who he was. When we are reading a Theon chapter, we’re likely to get metaphors which refer to past events involving the Iron Islands and the Grey King.
George has apparently used this technique throughout the entire series; I have come to the opinion that most of the main characters of the story are actually reprising archetypal roles set out in the Dawn Age, or replaying some part of an important event from that time. This means that we can compare the metaphors in the main action to the older legends in order to decipher their ultimate meaning. By learning about these reoccurring archetypes and events, we can gain insight as to what the heroes and anti-heroes of our story might need to do to restore harmony and balance to the song of ice and fire.
Arianne Martel gives us the mechanism in A Feast For Crows, describing the arms of House Toland, a dragon eating its own tail:
“The dragon is time. It has no beginning and no ending, so all things come round again.”
The Bloodstone Compendium is my collection of essays attempting to uncover this astronomical backstory. As you will soon see, the scope of these events is nothing short of earth-shattering and world-shaping. The true complexity of the mind of George R. R. Martin is revealed in the tapestry of past and future events which he is simultaneously weaving at both ends.
“For men, time is a river. We are trapped in its flow, hurtling from past to present, always in the same direction. The lives of trees are different. They root and grow and die in one place, and that river does not move them. The oak is the acorn, the acorn is the oak. And the weirwood … a thousand human years are a moment to a weirwood, and through such gates you and I may gaze into the past.” (ADWD, Bran)
The world that George R. R. Martin has created, the Planetos, if you will, is a most definitely a magical one. Therefore, all of these disasters should be thought of as magically enhanced versions of natural disasters, just as the Doom of Valyria was a magically “enhanced” version of a massive volcanic eruption. The magic of A Song of Ice and Fire is rooted in natural forces, such as ice and fire; water and air; earth, stone, and tree; light, shadow, and blood; suns, moons, stars, and comets. Thus it is only natural that disasters like earthquakes, meteor strikes, and floods have magical origins and come with magical consequences.
What we will not be doing it trying to explain the mysteries of A Song of Ice and Fire with science or astrophysics. “Mythical astronomy” means mythology based on observation of nature and the heavens. The most basic definition of astronomy is just that – observation of the heavens. Man has always used mythology and religion to try to understand the forces of the universe, and George has recreated this phenomena with the ancient legends of A Song of Ice and Fire.
King Bran
✧ Greenseer Kings of Ancient Westeros
✧ Return of the Summer King
✧ The God-on-Earth
End of Ice and Fire
✧ Burn Them All
✧ The Sword in the Tree
✧ The Cold God’s Eye
✧ The Battle of Winterfell
Bloodstone Compendium
✧ Astronomy Explains the Legends of I&F
✧ The Bloodstone Emperor Azor Ahai
✧ Waves of Night & Moon Blood
✧ The Mountain vs. the Viper & the Hammer of the Waters
✧ Tyrion Targaryen
✧ Lucifer means Lightbringer
Sacred Order of Green Zombies A
✧ The Last Hero & the King of Corn
✧ King of Winter, Lord of Death
✧ The Long Night’s Watch
Great Empire of the Dawn
✧ History and Lore of House Dayne
✧ Asshai-by-the-Shadow
✧ The Great Empire of the Dawn
✧ Flight of the Bones
Moons of Ice and Fire
✧ Shadow Heart Mother
✧ Dawn of the Others
✧ Visenya Draconis
✧ The Long Night Was His to Rule
✧ R+L=J, A Recipe for Ice Dragons
The Blood of the Other
✧ Prelude to a Chill
✧ A Baelful Bard & a Promised Prince
✧ The Stark that Brings the Dawn
✧ Eldric Shadowchaser
✧ Prose Eddard
✧ Ice Moon Apocalypse
Weirwood Compendium A
✧ The Grey King & the Sea Dragon
✧ A Burning Brandon
✧ Garth of the Gallows
✧ In a Grove of Ash
Weirwood Goddess
✧ Venus of the Woods
✧ It’s an Arya Thing
✧ The Cat Woman Nissa Nissa
Weirwood Compendium B
✧ To Ride the Green Dragon
✧ The Devil and the Deep Green Sea
✧ Daenerys the Sea Dreamer
✧ A Silver Seahorse
Signs and Portals
✧ Veil of Frozen Tears
✧ Sansa Locked in Ice
Sacred Order of Green Zombies B
✧ The Zodiac Children of Garth the Green
✧ The Great Old Ones
✧ The Horned Lords
✧ Cold Gods and Old Bones
We Should Start Back
✧ AGOT Prologue
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~ Comets, Dragons, Flaming Swords ~
LEFT: 2013 Russian meteor, by Сергей Устюжанин (@ustyuzhanin) | RIGHT: 2009 Gemenid Meteor, by Wally Pacholka
The one on the left looks like a dragon; the right, a sword; but they are both meteors.
From A Clash of Kings, here is the legend of the forging of Lightbringer, the Red Sword of Heroes:
A hundred days and a hundred nights he labored on the third blade, and as it glowed white-hot in the sacred fires, he summoned his wife. ‘Nissa Nissa,’ he said to her, for that was her name, ‘bare your breast, and know that I love you best of all that is in this world.’ She did this thing, why I cannot say, and Azor Ahai thrust the smoking sword through her living heart. It is said that her cry of anguish and ecstasy left a crack across the face of the moon, but her blood and her soul and her strength and her courage all went into the steel. Such is the tale of the forging of Lightbringer, the Red Sword of Heroes. (ACOK, Davos)
With that in mind, the story of the second moon, from TWOIAF:
…while in Quarth, the tales state that there was once a second moon in the sky. One day this moon was scalded by the sun and cracked like an egg, and one million dragons poured forth.
Now, the original version of the Qarthine legend, as told to Daenerys by a Dothraki handmaiden in A Game of Thrones:
“A trader from Qarth once told me that dragons came from the moon,” blond Doreah said as she warmed a towel over the fire ….
Silvery-wet hair tumbled across her eyes as Dany turned her head, curious. “The moon?”
“He told me the moon was an egg, Khaleesi,” the Lysene girl said. “Once there were two moons in the sky, but one wandered too close to the sun and cracked from the heat. A thousand thousand dragons poured forth, and drank the fire of the sun. That is why dragons breathe flame. One day the other moon will kiss the sun too, and then it will crack and the dragons will return.”
The two Dothraki girls giggled and laughed. “You are foolish strawhead slave,” Irri said. “Moon is no egg. Moon is god, woman wife of sun. It is known.”
“It is known,” Jhiqui agreed. (AGOT, Daenerys)
Here we have an association between the forging of Lightbringer and the origins of dragons via the common link of the cracking of the moon. In one story, the moon cracked at Nissa Nissa’s death cry, while in the other it was the sun’s heat that cracked the moon like an egg. In one story, Lightbringer is born; in the other, dragons are born. Now a quote from Xaro Xoan Daxos, speaking to Dany in A Dance with Dragons:
“When your dragons were small, they were a wonder. Grown, they are death and devastation, a flaming sword above the world.”
So, dragons can be a symbol for a flaming sword, specifically one hanging above the world in menacing fashion. Has anything else been compared to a flaming sword above the world? Gendry, speaking to Arya in A Clash of Kings:
It was splendid and scary all at once. “The red sword,” the bull named it. He claimed it looked like a sword, the blade still red-hot from the forge. When Arya squinted the right way, she could see the sword too, only it wasn’t a new sword, it was Ice, her father’s great sword, all ripply Valyrian steel and the red was Lord Eddard’s blood on the blade after Ser Ilyn the King’s Justice had cut off his head.
The comet can either be seen as a flaming sword or a bloody sword, which is interesting because Azor Ahai created his flaming sword Lightbringer by covering it in blood. Blood and fire, blood and fire… the words of House Targaryen, the “blood of the dragon.” Marwyn the mage tells us that all Valyrian magic was rooted in blood and fire, in fact. The “dragonbinder” horn that Euron Crow’s Eye gave to Victarion is inscribed with Valyrian glyphs which say “blood for fire, fire for blood.” That’s basically the recipe we are given for Lightbringer the flaming sword – blood for fire. Dragons and flaming swords share much of the same symbolism, so I don’t think it’s a coincidence that George compares the comet to a flaming sword and a bloody sword in the same passage.
The very first sentence of A Clash of Kings compares the comet’s tail to a sword wound, with dragonstone in the background:
The comet’s tail spread across the dawn, a red slash that bled above the crags of Dragonstone like a wound in the pink and purple sky.
The first sentence of a chapter, book, play, or other type of story is generally seen as significant, as setting the tone for the book to come. And here we see the comet, “bleeding” in the sky above Dragonstone. A paragraph later, we read:
The maester did not believe in omens. And yet … old as he was, Cressen had never seen a comet half so bright, nor yet that color, that terrible color, the color of blood and flame and sunsets. (ACOK, Prologue)
Blood and flame and sunsets – all the same red, and that’s the red of the comet, which is described as either “burning” or “bleeding” in various scenes. The inclusion of “sunset” in this list of ominously red things seems like it might be a reference to the Long Night, when the sun set for a good long time. This suggests an association between the comet and the Long Night. Lightbringer was forged during the Long Night, and it is associated with the comet, so this appears to match up so far.
Of course Melissandre sees the comet and Lightbringer as being connected:
“Stannis Baratheon is Azor Ahai come again, the warrior of fire. In him the prophecies are fulfilled. The red comet blazed across the sky to herald his coming and he bears Lightbringer, the red sword of heroes.” (ACOK, Davos)
Mellissandre again, from a Jon chapter in A Dance with Dragons:
“I have seen it in the flames, read of it in ancient prophecy. When the red star bleeds and the darkness gathers, Azor Ahai shall be born again amidst smoke and salt to wake dragons out of stone. Dragonstone is the place of smoke and salt.”
Between these two quotes we can see that Azor Ahai, warrior of fire, and Lightbringer, the flaming sword, are associated with “bleeding stars” and waking dragons from stone. Comets, dragons, and flaming swords – that’s the song we are singing here.
Naturally, we have to hear from the most reliable source in Westeros, Old Nan. Of course Old Nan knows what’s up with that red comet:
“Dragons,” she said, lifting her head and sniffing. She was near blind and could not see the comet, yet she claimed she could smell it. “It be dragons, boy,” she insisted. (ACOK, Bran)
Don’t even ask how she knows, she just knows.
Now lest we find ourselves short on comets-as-dragons metaphors, we get this interpretation of the comet from Osha the wildling. She’s just heard the master’s suggestion that the wolves think the comet is the moon, and suddenly finds the words of House Targaryen on her lips:
“Your wolves have more sense than your maester,” the wildling woman said. “They know truths the grey man has forgotten.” The way she said it made him shiver, and when he asked what the comet meant, she answered, “Blood and fire, boy, and nothing sweet.” (ACOK, Bran)
The person for whom the comet holds the most significance is undoubtedly Daenerys Targaryen:
Jhogo spied it first. “There,” he said in a hushed voice. Dany looked and saw it, low in the east. The first star was a comet, burning red. Bloodred; fire red; the dragon’s tail. She could not have asked for a stronger sign. (AGOT, Daenerys)
Again we see that the comet is symbolically equivalent to a dragon. We also find yet another confirmation that blood red and fire red are the same color – dragon red – and thus bear a symbolic relationship. “Fire and blood” are exactly the right words for House Targaryen, the blood of the dragon. And indeed, the dragons hatch immediately after the bleeding star appears. Indeed, we could not have asked for a stronger sign. 😉
So – comets, dragons, flaming swords – they all seem related to each other, and to Lightbringer, the sword of blood and fire. The comet is compared to dragons and flaming swords both, and signals Azor Ahai’s return. Dragons and flaming swords are the product of the two moon cracking stories – the Qarthine origin-of-dragons legend and the Lightbringer legend. So what’s up with the comet? What does it have to do with anything? To answer this, lets return to the idea of the the second moon cracking like an egg after a scalding from the sun, and the subsequent pouring forth of “a thousand thousand dragons.”
Dragons are associated with comets and meteors the world round (that’s here on planet earth we’re talking about). Chinese mythology is full of this. They usually depict their dragons as being rather fish-like and partially immersed in the ocean, because they had to worry about comet and meteor impacts in the Pacific Ocean triggering tsunamis along their sizable coastline. A “dragon” that falls into the sea – a “sea-dragon,” if you will. The founding hero of the Ironborn was the Grey King, who supposedly slew a “sea dragon” in the Dawn Age. That sea dragon, Nagga, was said to have drowned whole islands in her wroth. An island-drowning sea dragon – that sure sounds an awful lot like a meteor impact, in the same way that giants waking in the earth sounds very much like an earthquake. These are two great examples of what I mean by the phrase “mythical astronomy” – myth and legend based on observation of the heavens and of nature.
The famous “plumed serpent” himself, Quetzalcoatl of various Mesoamerican legends, is associated with both a comet and with Venus, the Morningstar. The ‘plume’ refers to the head of the comet, like a lion’s mane, and the serpent’s tail is the comet’s tail, just as Dany sees it as the dragon’s tail and Edmure as the tail of a fish. Quetzalcoatl is sometimes depicted as the “smoky-eyed star,” further suggesting his association with comets (and star-eyes, for what it’s worth). The Morningstar connection is important because the latin word “lucifer” translates to both “light-bringer” and “morningstar,” and was used to refer to the planet Venus. These connections are actually so important that I have a short essay dedicated to them, titled “Lucifer Means Lightbringer.”
It’s easy to understand why comets are seen as dragons, particularly falling meteors, as they ignite in the atmosphere on their descent to the planet, and sometimes crash to the earth with a mighty roar and concussive impact. It’s also easy to see why they are associated with the divine or supernatural, because they are literally ‘stars’ (meteorites) descending from the heavens to the earth. It calls to mind the Greek myth of Prometheus stealing fire from the Gods on top of Mount Olympus, and it’s A Song of Ice and Fire counterpart of the Grey King stealing fire from the Storm God and his mighty thunderbolt. The Grey King is also the guy associated with slaying the sea dragon and possessing its fire, so we may have two versions of the same story here. This guy is pulling down fiery things from heaven, and this “fire of the gods” which he possessed may well have taken the form of a comet or meteorite.
With all this in mind, let’s consider again the Qarthine story of a moon cracking like an egg after being burned buy the sun’s fire. A thousand thousand dragons pouring forth, all at once, is a perfect mythological interpretation of a meteor shower. A shower of moon meteors.
There’s evidence for the idea of a meteor shower being symbolically equivalent to flying dragons right before Daenerys hears this Qarthine legend from her handmaiden, Doreah. It’s from the very same chapter:
But it was not the plains Dany saw then. It was King’s Landing and the great Red Keep that Aegon the Conqueror had built. It was Dragonstone where she had been born. In her mind’s eye they burned with a thousand lights, a fire blazing in every window. In her mind’s eye, all the doors were red.
If these dragons of the Qarthine myth were really flaming meteorites, pieces of the moon itself which drank the sun’s fire, then they easily be described as “dragon stones.” The moon cracked like an egg to hatch dragons, just as Dany’s dragons wake from stone eggs. Indeed, I think George is using the fortress of Dragonstone to symbolize the destroyed second moon, in this scene and many others. Here we see that Dragonstone has a thousand lights inside which are blazing fires. The dragon-stone moon also had a thousand fires inside, waiting to hatch. We’ll return to this idea in a moment.
The fires blazing in the windows are also symbolically linked to the red door. In Daenerys’s dream of finally waking the dragon, she “wakes the dragon” when she crosses the threshold of the red door. In the Prologue of A Clash of Kings, this idea is really hammered home, so we will return to the final hours of poor, valiant old Maetser Cressen:
A night wind whispered through the great windows, sharp with the smell of the sea. Torches flickered along the walls of Dragonstone, and in the camp beyond, he could see hundreds of cookfires burning, as if a field of stars had fallen to the earth. Above, the comet blazed red and malevolent.
A pair of guardsmen opened the heavy red doors before him, unleashing a sudden blast of noise and light. Cressen stepped down into the dragon’s maw. (ACOK, Prologue)
This paragraph has it all – a red comet, torches, a field of small fires like stars fallen to earth, red doors and dragon’s maws and a sudden blast of light and sound. Sounds like a bright, loud, fiery dragon explosion. Just like the thousand blazing fires and red doors of Dragonstone represent the thousand dragons that poured forth from the second moon, we see that the red door is symbolic of a dragon’s mouth, open and roaring.
I’d like to highlight a specific technique that George is using here, as it’s one he goes to often to show us symbolic associations. Multiple things which are meant to represent the same concept are presented in rapid succession, one after another. Flickering torches, dragonstone, and hundreds of fires, then a field of stars fallen to the earth – and above, the comet, red and malevolent. The field of stars fallen to earth is one of the most transparent clues about the moon-meteor shower – that’s exactly what it was, shooting stars (meteorites) falling to earth. The falling stars were dragon stones, and they are directly tied to that red comet.
Let’s return to the Daenerys chapter where she hears the origin of dragons story:
Dany gave the silver over to the slaves for grooming and entered her tent. It was cool and dim beneath the silk. As she let the door flap close behind her, Dany saw a finger of dusty red light reach out to touch her dragon’s eggs across the tent. For an instant a thousand droplets of scarlet flame swam before her eyes. She blinked, and they were gone. Stone, she told herself. They are only stone, even Illyrio said so, the dragons are all dead. She put her palm against the black egg, fingers spread gently across the curve of the shell. The stone was warm. Almost hot. “The sun,” Dany whispered. “The sun warmed them as they rode.”
In this second paragraph, a finger of red light (there’s our red comet) touched the dragon eggs, and a thousand droplets of scarlet flame swam before her eyes. This is another clue that a swarm of a thousand fiery dragons can come from a dragon-stone-egg. Shortly after this, we get the payoff quote:
“Once there were two moons in the sky, but one wandered too close to the sun and cracked from the heat. A thousand thousand dragons poured forth, and drank the fire of the sun. That is why dragons breathe flame. One day the other moon will kiss the sun too, and then it will crack and the dragons will return.”
Later in A Game of Thrones, just after seeing the red comet for the first time and just before lighting Khal Drogo’s pyre, we get the motif again:
She told herself that there were powers stronger than hatred, and spells older and truer than any the maegi had learned in Asshai. The night was black and moonless, but overhead a million stars burned bright. She took that for an omen.
The takeaway here is that a million stars burned bright when the moon disappeared. That’s because the million stars symbolize the million dragon meteor shower, and they appeared when the moon was destroyed during the Long Night – a moonless night, indeed.
It must have been a hell of a meteor shower! But then, we are told we used to have a second moon, which exploded. That makes sense – if you can come up with a way to explode a moon, much of the debris would reign down on the planet it orbits. Most pieces would burn up in the atmosphere, like flaming dragons… and a few big chunks would likely make it all the way down, causing huge detonations – ones capable of “drowning whole islands,” like the Sea Dragon which the Grey King slew in the Dawn Age, or like the “Hammer of the Waters” that the children of the forest supposedly used to break the Arm of Dorne (I’m not sure the children did this, necessarily). In fact, it only takes a decent sized meteor impact to cause quite a bit of damage, and if it’s a larger impact, well, the lights go out – so much debris is thrown back into the atmosphere that the skies can go black for years. This is known as a nuclear winter, and it matches the description of the the Long Night to a “t.” This explanation fits, but only if one or more fairly large chunks of exploded moon made it all the way to the surface of Planetos. There’s definitely evidence to support this, which we will show.
So, our theory so far is that the story of dragons pouring forth from an exploded moon is actually a clever mythological description for the destruction of a small moon exploding in the sky and reigning down objects onto the planet, some of which burn up in the atmosphere as a gigantic firestorm and meteor shower, and some of which impact the surface of Planetos. The resulting debris from the explosion and impacts darken out the sky for several years, causing the global mega-disaster remembered as the Long Night.
This event seems to be connected to the forging of Lightbringer, per Nissa Nissa’s cry of anguish and ecstasy which cracked the moon, as well as the general symbolic interchangeability of dragons, comets, and Lightbringer. We’ll attempt to corroborate these connections further as we go, but it must be said: it seems as though Bennero, High Priets of the Red Temple of R’hllor in Volantis, knows something about this ancient moon destruction:
The knight nodded. “The red temple buys them as children and makes them priests or temple prostitutes or warriors. Look there.” He pointed at the steps, where a line of men in ornate armor and orange cloaks stood before the temple’s doors, clasping spears with points like writhing flames. “The Fiery Hand. The Lord of Light’s sacred soldiers, defenders of the temple.”
Fire knights. “And how many fingers does this hand have, pray?”
“One thousand. Never more, and never less. A new flame is kindled for every one that gutters out.”
Benerro jabbed a finger at the moon, made a fist, spread his hands wide. When his voice rose in a crescendo, flames leapt from his fingers with a sudden whoosh and made the crowd gasp. The priest could trace fiery letters in the air as well. Valyrian glyphs. Tyrion recognized perhaps two in ten; one was Doom, the other Darkness. (ADWD, Tyrion)
If you were trying to explain this theory in a game of Charades, you couldn’t do any better. It’s unclear whether Benerro is teaching the people about the ancient moon’s destruction, or prophesying the destruction of the remaining moon, but either one supports our theory. The destruction of the moon by fire led to doom and darkness, that’s easy enough to understand, even with our limited knowledge of High Valyrian. Ostensibly the point of bringing up the past destruction of the moon would be to warn against the possibility of it happening again, so it seems that must be the purpose. Indeed, Benerro’s speech causes quite a reaction in the crowd, as shouts erupt, women weep, and men shake their fist. Tyrion thinks to himself “I have a bad feeling about this.” Quite right, Tyrion; nobody likes doom and darkness. Well, most people don’t like doom and darkness, but there are some others who do…
Also take note of a couple new symbols here for the meteor shower – a fiery hand with a thousand fingers. The fingers of the fiery hand are the soldiers of the red temple, who wield fiery spears. A thousand fiery spears, a thousand flaming dragons, a thousand fiery fingers – it’s all the same symbolism. Any time we see a thousand (or a million) fiery things, we should think of the meteor shower and start looking around for other Lightbringer symbolism. Benerro points at the moon and makes a fist, to show us that the closed fist represents the moon before impact. When his hand opens, flames leaping from his fingers, we should imagine the thousand fiery fingers pouring forth from the moon explosion like fiery spears, or like flaming dragons.
~ The Helpful Elf Moon, (Grand)Mother of Dragons ~
Let’s talk about Nissa Nissa for a minute. I think Nissa Nissa is playing the role of the moon in the Lightbringer legend, for several reasons. The moon was the mother of the thousand thousand dragons, dying in childbirth. Nissa Nissa was, in a way, the “mother” of Lightbringer, and she too died giving birth to it. Lightbringer and dragons are symbolically equivalent, as we’ve seen, so placing Nissa Nissa in the role of the moon would makes a certain amount of sense.
If you’ll indulge me a small detour from the A Song of Ice and Fire universe, I’d like to take a look at some of the real-world translations of the word Nissa, because they seem relevant to the matter at hand. Nissa is a Norwegian word, which means “helpful elf” or “michevious elf.” It’s a well known word in Scandinavian countries, a part of their Christmas lore, so when we consider the large influence of Norse mythology on the books, it seems likely George is aware of this meaning, and may first heard of it in this context. Nisha is a not-uncommon Vedic Sanskrit female surname which means “night,” while in Arabic it just means “woman.” In addition to Norse myth (and many others), George has also pulled some ideas from the Hindu legends of the Vedas, so it’s likely he is aware of these translations of Nisha as well. That’s pretty good so far – the moon is certainly a “night woman,” and you could see a moon as a kind of “elf planet,” a smaller version of a planet. Nissa Nissa helped to forge Lightbringer, but I wonder, was this a helpful act, or an act of mischief? We’ll have to see if we can figure that out.
Another idea we can only file away in our back pocket for now is the implication that Nissa Nissa may have been a helpful elf in the sense that she was actually an elf – one of the children of the forest, perhaps. I can’t help but think of the story of the Last Hero and his broken sword – we are told he received some kind of critical help from the children of the forest to defeat the Others, and in the annals of the Night’s Watch it talks of the Last Hero wielding “dragonsteel” against the Others, and that they could not stand against it. Bran the Builder also received help from these “helpful elves,” so maybe it’s a thing.
I have also found something floating around in several places on the internet (1, 2, 3, 4, 5) called the “Seneca Moon Song,” which claims to translate Nissa as “grandmother moon” in the language of the Seneca Nation Native Americans, who are from the area which is now New York and Ontario. This is a really juicy translation – grandmother moon – so I had to mention it, but I must add the disclaimer that I have not been able to verify the authenticity of this translation, so please take it with several grains of salt. Whether or not the translation is accurate, the song itself appears to have been around for quite a while, so perhaps George is aware of it. Regardless, the translations of “helpful elf,” “night,” and “woman” are certainly suggestive.
Nissan is also the name of one of the months of the Hebrew calendar (a lunar based calendar, it should be noted). What’s significant about that in regards to our inquiry here is that passover falls during the month of Nissan. Passover celebrates the story of God’s judgment being meted out to he Egyptians though a variety of horrific plagues, which culminate in the death of every firstborn Egyptian male child. God’s angel of death “passes over” the homes of the Hebrews, sparing them. The take away here is the association between “Nissa” or “Nissan” and divinely-wrought plagues and disasters.
Nissa Nissa was already tied to the cracking of the moon, so these translations really just seem to confirm what we already suspected: Nissa Nissa is a moon-maiden, a maiden who symbolizes the moon. Just like this second moon which was burned by fire and blown to smithereens – into a million pieces, to be accurate – Nissa Nissa was absolutely destroyed by Lightbringer. Not just killed; “her blood and her soul and her strength and her courage all went into the steel.” Lightbringer drank her blood and soul, and if that sounds ominous to you, we’re in the same boat, my friend. She was fried, cooked, incinerated – just as the second moon was scalded and cracked like an egg. If this cracking of the second moon had something to do with the origin of actual dragons or the magic needed to tame them, then it was the original “mother of dragons.” This is a good fit with the idea of the moon being an “egg” from which things hatch, as well as being a “grandmother moon.”
Since comets and meteors can be seen as dragons OR flaming swords, perhaps those meteorites had something to do with the forging of Azor Ahai’s lightbringer sword, the prototype for dragon-steel. In this case, the second moon is the mother of dragon-swords as well, which would agree with my notion that the Qarthine origin of dragons story and the Lightbringer story are really referring to the same series of events. Nissa Nissa died to create Lightbringer, so if Nissa Nissa is the moon, making Lightbringer with moon meteors would make sense. We already have a conspicuous story about a magic sword made from a falling star, so this idea isn’t exactly out in left field. Lightbringer and these moon meteors are going to be the subject matter for the next several essays in one form or another, so we will be returning to this idea periodically.
To wrap up the Nissa Nissa stuff, I think the fact that George has repeated the word Nissa twice in her name might be meant to imply the idea that there are two moons, or at least there were two moons. I also think the elf connotation may imply that this exploded moon was smaller than the remaining one, an idea which makes the logistics of the overall scenario I am proposing a tiny bit more plausible. A smaller moon is easier to “explode,” and a larger moon might have created meteors big enough to wipe out all life on earth. I’m not overly worried about scientific logistics here, and I don’t think George is either – as I said in the outset, it’s a fantasy story, not hard science-fiction, and George has said that these issues of the seasons cannot be solved with rational science. Still, a smaller moon makes sense, and seems to be implied, so for what it’s worth, I am theorizing a smaller moon, and further away than the surviving one.
So, Nissa Nissa is analogous to the the elf Moon that exploded. Lightbringer the sword killed Nissa Nissa, so what killed the elf moon? Lightbringer the comet, of course! But wait, the legend says the moon cracked because it got too close to the sun. That doesn’t make sense though – moons don’t just wander out of orbit. So how was the sun perceived as being responsible for cracking the moon? Well, Lightbringer the sword didn’t just kill Nissa Nissa by itself – it was forged and wielded by Azor Ahai, ‘Warrior of Fire.’ If we place this warrior of fire, Azor Ahai, in the position of the sun, I believe that we can extrapolate a celestial alignment which creates both images – that of the moon wandering too close to the sun, and that of the sun stabbing the moon with a comet.
At the moment of impact, the comet would indeed look like a sword about to stab the moon. If the elf moon was in eclipse position – superimposed over the sun – it would really look like the moon got too close to the sun and cracked. It would also appear as though the comet, sticking out like a sword from the sun-moon conjunction, was being wielded by the sun. There’s actually good evidence for just such an alignment to be found all over the place – in the legend of Serwyn of the Mirror Shield, in the story of the greenseers calling down the Hammer of the Waters from the God’s Eye, and in many metaphorical scenes throughout the series. I don’t want to give too much away of a future essay devoted to those topics, so I’ll leave it at that for now. But that’s what I am proposing – the legend of Lightbringer depicts a solar king stabbing his moon-wife with a comet sword, which translates in the sky as a comet striking the second moon while it was in eclipse position, resulting in a fiery explosion of dragon meteors. As the Dothraki say: “moon is god, woman-wife of sun.”
~ The Treacherous Sun, Comet-Splitter ~
Can a comet impact cause a moon to explode? Well, in real life, it’s a stretch, although a smaller moon is definitely a good place to start. The comet would have to be really massive, maybe as big as one-quarter or even one-half the size of the moon to be destroyed. Perhaps this comet was that freakishly large – the size and brightness of the red comet is certainly remarked upon many times in the book. Now add some magic to the equation, and we might be cooking with gas and a grill. That’s really the key here – even though George is using astronomical ideas and natural catastrophes as a starting point for this Long Night disaster, we cannot hold the mechanics of it to scientific standards. I’ll use the Doom of Valyria again as an example – it’s not important how big the volcanoes actually were, and how much damage fourteen massive volcanoes all erupting at once should actually cause in real life (hint: everyone living would probably die). it’s a magic volcano, and it does what George wants it to do. It’s the same idea here.
In other words (scientists cover your ears for a minute), a magic comet can absolutely destroy a moon. But here’s the problem with that – if Lightbringer was a comet that struck the moon, how is it back? How has it returned? Presumably, it’s the same comet, or else, why would it trigger the rebirth of Azor Ahai? Clearly, if it struck and killed a moon last time, there wouldn’t be anything left to return in the main story.
I think the answer lies hidden in the ice. Even though a comet appears to be a blazing fireball on the outside, it is basically a big ball of ice and dirt and rock (usually iron), often containing a few useful trace elements and minerals, such as nickel and phosphorus. Far out in space, the comet is cold and dark, but when it enters the inner solar system it gains a tail (two tails, to be exact: the dust tail which appears white, and the ion tail, which appears blue). Sometimes, when comets pass close by a large celestial body, like a planet or a sun, they fragment due to the gravitational pull of the celestial body. Comets orbit the sun like planets, but have very elliptical orbits which take them far outside the solar system at their furthest point, and sometimes very close to the sun on their way back around (the point at which the orbit of a celestial body passes closest to the sun is called perihelion – and yes, that’s me trying to win the scientists back over).
What if our Lightbringer comet split in two while orbiting around the sun, and on the way back, only one half of it was involved in the moon collision? Again, if the second moon was in solar eclipse position, the comet would have been seen to have come from the sun, seemingly blazing with the sun’s fire. It plunges into the heart of the moon, igniting everything in a blazing fireball, and pouring forth the thousand dragon meteor shower, along with a few large chunks of exploded moon. That makes sense logistically, but we need textual corroboration.
And again, we find it in the Ice: Ned’s sword Ice, that is. Ned’s Ice is directly compared to the red comet by Arya, who sees the comet as Ned’s sword, red with blood. Ice was split in two by… Tywin, the “head lion” of House Lannister – and of course lions are by far the most common symbol of the sun in world mythology. The two new swords made from Ice are Widow’s Wail, referring to Nissa Nissa’s “cry of anguish and ecstasy,” and Oathkeeper, which I think portends a fulfilled promise – the return of the half of the comet that survived. The Qarthine legend prophesies that one day our remaining moon will crack and return dragons to the world. That’s one hell of an oath to keep!
I can’t help but notice that Joffrey, owner of Widow’s Wail, is dead, like the half of the comet that obliterated the elf moon, and like Nissa Nissa herself. When Melisandre reports Joffrey’s death to Stannis in A Storm of Swords, she says that she heard “his mother’s wail” in the nightfires. Cersei was a widow at this point, so that was a widow’s wail, in a nightfire. This scene has several Lightbringer forging symbols, concluding with Stannis drawing Lightbringer, so I don’t think it’s coincidence that that Cersei the widow’s anguished cry is referred to as a “wail” in a nightfire. Nissa Nissa wasn’t a widow, but the theme of a dead spouse is there in her story. Really, the sun and moon kill each other, since the destroyed moon has the effect of blotting out the sun for years and leaving the earth cold and dark. There are many other occurrences of a “widow’s wail” in the story which seem to be referring to Lightbringer, and we will be taking a look at some of these down the line.
Brienne, on the other hand, bearer of Oathkeeper and keeper of oaths, is still alive, based on her very apropos last word: “sword,” as GRRM confirmed in an interview. She’s alive, just like the “Oathkeeper” half of the returning comet and the moon which survived. Interestingly, she’s also offering blood to weirwood trees with Oathkeeper, just as Ned did with Ice at the black pond in the Winterfell godswood. When Brienne kills a couple of the leftover bloody mummers with Oathkeeper at the whispers, she does her killing in front of a weirwood tree, and even buries poor old Nimble Dick Crabb right beneath the tree. The last place we saw her was headed down into Stoneheart’s lair, with Jaime in tow. It’s highly likely more killing will happen there with Oathkeeper, and the weirwood roots in the cave will again drink the blood. We will return to this idea in a future essay, but the point here is that not only can Ice symbolize the red comet, and therefore Lightbringer; Widow’s Wail and Oathkeeper are also associated with Lightbringer and it’s family of symbolism.
There’s another link between Ned’s sword here and the meteors of the thousand thousand dragon meteor shower to be found when Oathkeeper and Widow’s Wail are unveiled. This is from a Tyrion chapter of A Storm of Swords. Keep in mind that the sun is what (hypothetically) split the comet, so watch out for the sunlight acting on the sword.
“The colors are strange,” he commented as he turned the blade in the sunlight. Most Valyrian steel was a grey so dark it looked almost black, as was true here as well. But blended into the folds was a red as deep as the grey. The two colors lapped over one another without ever touching, each ripple distinct, like waves of night and blood upon some steely shore. “How did you get this patterning? I’ve never seen anything like it.”
“Nor I, my lord,” said the armorer. “I confess, these colors were not what I intended, and I do not know that I could duplicate them. Your lord father had asked for the crimson of your House, and it was that color I set out to infuse into the metal. But Valyrian steel is stubborn. These old swords remember, it is said, and they do not change easily. I worked half a hundred spells and brightened the red time and time again, but always the color would darken, as if the blade was drinking the sun from it. And some folds would not take the red at all, as you can see.
Noting that Oathkeeper now bears the colors of House Targaryen, the blood of the dragon, compare that language about drinking the sun to this quote from the tale of the dragon meteor shower:
A thousand thousand dragons poured forth, and drank the fire of the sun.
Remember the the “finger of dusty red light” which touched the dragon eggs and caused the thousand droplets of scarlet flame to appear? We see it again when Brienne sees Oathkeeper for the first time:
She picked the treasure up gingerly, curled her fingers around the leather grip, and slowly slid the sword free of its scabbard. Blood and black the ripples shone. A finger of reflected light ran red along the edge.
Earlier in the scene where Tyrion sees Widow’s Wail and Oathkeeper for the first time, we get this description:
“A wedding gift for Joffrey,” he told Tyrion. The light streaming through the diamond- shaped panes of glass made the blade shimmer black and red as Lord Tywin turned it to inspect the edge, while the pommel and crossguard flamed gold. “With this fool’s jabber of Stannis and his magic sword, it seemed to me that we had best give Joffrey something extraordinary as well. A king should bear a kingly weapon.”
The light streaming down comes through a diamond-shaped pane of glass: the diamonds evoke the concepts of twinkling starlight, cutting and sharp edges, and the stars themselves. The glass also evokes cutting and sharp edges, and further calls to mind dragonglass and the windows with blazing lights on Dragonstone which symbolized the meteor shower. We’ve even got a direct comparison to Stannis’s “Lightbringer” here. Take note of the “crossguard flamed gold” language and have a look at these quotes, one with Stannis’s flaming sword and the other with Beric Dondarrion’s, both of which are clearly symbolizing Lightbringer:
The Maiden lay athwart the Warrior, her arms widespread as if to embrace him. The Mother seemed almost to shudder as the flames came licking up her face. A longsword had been thrust through her heart, and its leather grip was alive with flame.
Lord Beric himself waited silent, calm as still water, his shield on his left arm and his sword burning in his right hand. Kill him, Arya thought, please, you have to kill him. Lit from below, his face was a death mask, his missing eye a red and angry wound. The sword was aflame from point to crossguard, but Dondarrion seemed not to feel the heat. He stood so still he might have been carved of stone.
The descriptions of the three swords is remarkably similar. As we can see, there really seems to be a lot of common language and symbolism between Lightbringer and Ned’s Ice, Oathkeeper, and Widow’s Wail, all of which strengthen the idea that the splitting of Ice is meant to be associated with the Lightbringer comet.
Honestly, I’ve kind of buried the lead here. In the story of Azor Ahai and the forging of Lightbringer, there are three attempts to temper the sword: once in water, a second time in the heart of a lion, and the third and fateful tempering in Nissa Nissa’s heartblood. The language of the second forging attempt, in the lion’s heart, is interesting: “the steel shattered and split.” The first attempt fails also but the word “split” is only used for the lion tempering. Taken together with Tywin the Lion Lord’s splitting of Ice, I think we might be on to something here. The idea of the comet splitting makes sense from a purely rational point of view, since we need a way for the comet to both destroy a moon eighth thousand years ago and still be returning to the story, and we find that it is has support in the text as well. I’ve also found some other scenes which appear to be Lightbringer forging metaphors that seem to depict the comet-splitting. We’ll delve deeper into this topic in an future essay dedicated to finding examples of the “three attempts to forge and temper Lightbringer” pattern. The splitting of the comet by the sun seems a good match for the second attempt to temper Lightbringer in the heart of a lion, and of course the collision with the moon would constitute the third and successful tempering of Lightbringer, when it lit up with red fire.
Now consider the color transformation. When Azor Ahai thrust the sword into Nissa Nissa, it was described as “white-hot” and “smoking,” only turning red after he withdrew it from her heart, stained with her blood. Ned’s sword starts out the standard color for Valyrian steel, very dark and smoky grey, but when Ice is melted down and reforged, not to mention defiled with Lord Eddard’s blood, the two new swords come out black and red, like “waves of night and blood.” When undead Lord Beric sets his sword afire before the duel with the Hound, he does so by smearing the blade with his own blood. Fire and blood, as they say. The inscription on Euron’s “dragonbinder” horn, which supposedly comes from Valyria, is even more specific. It reads “Blood for fire, fire for blood.” That seems to be what Lightbringer wants – to be covered in blood, so it can do it’s thing. It’s blood magic, just as original story suggests. If the original Lightbringer comet followed this pattern, it should not have turned red until after the moon exploded.
Regular, non-magical comets do not have red tails, but rather blue and white tails (with occasional localized exceptions due to atmospheric conditions). This must be stated clearly: for scientific reasons, red comets do not, and cannot, exist. The red color of the comet probably indicates that it is a supernatural comet, and has undergone transformation. In alchemy, red is the color of transformation, and so the transformed comet appears red. In fact, that’s likely the point of George making it red: to tell us that this is not an ordinary comet, that something special has happened to it. Transformation is a very important concept – it’s basically the beating red heart of the Lightbringer story. As we examine the waking of dragons scene at the end of A Game of Thrones, which we’ll do next, we’ll figure out who is transforming into what and try not to make any bad Decepticon jokes.
The last thing I will say about comet tails is this: the tail of the comet is what makes it look like a sword. Therefore, I think the logical way to look at the three attempts to forge and temper Lightbringer in terms of the comet is to consider the tail. If the first tail was white and blue, like a normal comet, this may represent the first tempering in cold water. When a comet’s orbit brings it into the inner solar system, it begins to break up, shedding rock and ice and leaving behind a trail of debris. When the earth passes through these debris fields, we experience a meteor shower. I can’t but wonder if the pale stone meteorite that the white sword Dawn was supposedly made from might have come from a piece of the original comet which broke off before it impacted with the moon. Dawn, the white sword that is pale as milkglass and alive with light, seems like a good symbolic match for the water forging, the white and blue comet tail, and the white hot and smoky description of Lightbringer pre-Nissa Nissa stabbing. Dawn is also the first part of the day, and so associating it with the first forging attempt makes a certain amount of sense. We’re about to see that the fiery dragon meteors of the moon’s destruction are likely to have been black, and associated with darkness and shadow, with drinking the light instead of giving it off. The idea of the Dawn meteorite coming from the comet before the moon impact provides an potential explanation for it being white, and alive with light. We’re about to take a close look at the scene in which Daenerys wakes her dragons from the stone eggs in Khal Drogo’s funeral pyre, and in that the scene the first egg to crack open sends a bit of its shell bouncing and rolling out of the pyre, and it is described as “a chunk of curved rock, pale and veined with gold, broken and smoking.” I’m not sure if the three dragon hatchings are meant to parallel the three attempts to forge Lightbringer, but it certainly seems possible, and if so, it’s interesting that the first egg to crack was the one made of pale stone, just as Dawn was made from a pale stone meteorite.
Comet Halley. Credit: ESA/Max Planck Institute for Solar System Research, CC BY
You can turn a comet red with either magic or photoshop. I’m not telling which I used here.
~ Wake the Dragon: Sex and Swordplay ~
As we come down the home stretch, let’s turn our attention to the crux of this entire Lightbringer myth – the destruction of the moon and the waking of dragons from stone. As we listen to this next passage, look for all the different ways Azor Ahai is equated with the sun. The two are paralleled in this quote: the sun will be reborn, and Azor Ahai will be reborn. That’s because Azor Ahai is a living avatar of the sun, the “warrior of fire.”
“It is night in your Seven Kingdoms now,” the red woman went on, “but soon the sun will rise again. The war continues, Davos Seaworth, and some will soon learn that even an ember in the ashes can still ignite a great blaze. The old maester looked at Stannis and saw only a man. You see a king. You are both wrong. He is the Lord’s chosen, the warrior of fire. I have seen him leading the fight against the dark, I have seen it in the flames. The flames do not lie, else you would not be here. It is written in prophecy as well. When the red star bleeds and the darkness gathers, Azor Ahai shall be born again amidst smoke and salt to wake dragons out of stone. The bleeding star has come and gone, and Dragonstone is the place of smoke and salt. Stannis Baratheon is Azor Ahai reborn!” Her red eyes blazed like twin fires, and seemed to stare deep into his soul. (ACOK, Davos)
Although Melisandre’s interpretations of prophecies and flame-induced visions are highly suspect, her knowledge of prophecy is certainly accurate where it concerns Azor Ahai. Azor Ahai is associated with waking dragons from stone, and with being reborn. The ‘waking dragons from stone’ part makes a bit more sense when we think of Azor Ahai as the sun, waking the flaming dragon meteors from stone by destroying the second moon with a giant red comet sword. Nice guy, huh? This is the dude who stabbed his wife with a sword, after all. We’ll discuss the morality of the “warrior of fire” in just a moment, but at least we can say we think we understand the celestial meaning of Azor Ahai “waking dragons from stone.” But what does it mean for Azor Ahai to be reborn? Celestially speaking or terrestrially speaking, for that matter?
To answer this question, I’ll need to introduce the other side of the coin of the Azor Ahai & Nissa Nissa legend. Appropriately, Lightbringer is a dual-edged metaphor. On one hand, the forging of Lightbringer tells the story of a man who stabs his wife in the heart, sacrificing her life and soul to create a terrible, burning sword of magical power. Now, the first time I heard the story of Azor Ahai, I had the same reaction as Davos – this is an evil thing. Davos thinks to himself that he must not be made of the stuff of heroes, because he cannot fathom stabbing his own sweet wife with a sword, no matter how great the need for a magical talisman. Frankly, I agree – such an act can only produce an evil sword, and blood magic is not the stuff of heroes. Anti-heroes perhaps, and maybe there’s a machiavellian need for such dark magic or a way to cleanse and purify such an evil weapon… but I know who I would trust to make the right decision with the world’s fate in the balance – characters like Davos, Jon Snow, Brienne, Sansa, Samwell Tarly, Septon Meribald, etc.
To be clear, I am suggesting that the story of Lightbringer is a lie, in a certain sense. I could be wrong, but I do not think the darkness was repelled by the use of blood magic to create a burning sword. The celestial mechanics seem to confirm this, because it was the murder of the moon by the sun which caused the Long Night. The forging of Lightbringer created the darkness. Furthermore, I suspect that Nissa Nissa was not a willing sacrifice, but a victim of foul, red murder, just as the second moon appears to have been.
But this is only one side of the metaphor.
The other side, hidden beneath the surface, is the story of procreation. It’s the story of a mother, every mother, who risks her life in order to bring a new life into the world. Before the advent of modern science, the risk of dying in childbirth was very, very real, and so each time a mother choose to become pregnant and attempt to bring a new human being into the world, she was in fact risking her life, laying it down as a potential sacrifice. You’ll note that Martin has included this reality in his depiction of quasi-medieval life, and has even made it a central focus. The mothers of dragon people frequently die in childbirth, from the historical mothers of Targaryens to the mothers of Jon Snow, Daenerys, and Tyrion. I’m of the opinion that all three are in fact the blood of the dragon, but even if you aren’t sure about Jon or Tyrion, the pattern remains – the mothers of dragon people, and also non-dragon people, frequently die in childbirth.
The very first connection that led to the unravelling of this entire ‘comet striking the moon’ scenario was the link between the cracking of the moon in the Lightbringer story and the Qarthine ‘origin of dragons’ story. Connecting these two stories also gives us the two sides of the metaphor. From a certain perspective, the sun murdered the moon with a fiery comet sword, destroying it utterly and causing further devastation to the Planetos with those moon meteors. But it’s also a procreative act, because from a different perspective, we could say that the second moon died in the process of giving birth to dragon meteors. She was “impregnated” with dragon seed by the Lightbringer comet, and then cracked like an egg. This means that, symbolically, the comet is the sun’s fiery “shiva linga.” That means penis, by the way. That’s right: not only is the comet the suns sword, it’s also the sun’s penis. Or if you prefer, the sperm, the seed of life. Laugh it up, if you want – by all means, make your best floppy fish jokes. Where’s Tom o’ Seven Strings when you need him? Seriously though, there’s a great little quote from A Dance with Dragons which makes this symbolism abundantly clear. A sword can be a sword… or it can a “sword.” This conversation takes place between Lady Barbrey Dustin and Theon Greyjoy in the crypts of Winterfell. Note that Lady Barbrey’s eyes take fire when she speaks of receiving the bloody sword, a reference to the moon taking fire when it was impregnated by the Lightbringer comet:
She pulled off her glove and touched his knee, pale flesh against dark stone. “Brandon loved his sword. He loved to hone it. ‘I want it sharp enough to shave the hair from a woman’s cunt,’ he used to say. And how he loved to use it. ‘A bloody sword is a beautiful thing,’ he told me once.”
“You knew him,” Theon said.
The lantern light in her eyes made them seem as if they were afire. “Brandon was fostered at Barrowton with old Lord Dustin, the father of the one I’d later wed, but he spent most of his time riding the Rills. He loved to ride. His little sister took after him in that. A pair of centaurs, those two. And my lord father was always pleased to play host to the heir to Winterfell. My father had great ambitions for House Ryswell. He would have served up my maidenhead to any Stark who happened by, but there was no need. Brandon was never shy about taking what he wanted. I am old now, a dried-up thing, too long a widow, but I still remember the look of my maiden’s blood on his cock the night he claimed me. I think Brandon liked the sight as well. A bloody sword is a beautiful thing, yes. It hurt, but it was a sweet pain. (ADWD, The Turncloak)
As you can see, the bloody sword has two meanings. When it’s literally a sword, the blood comes from killing. From murder and from battle. Unwilling death. But when we are speaking of a “bloody sword” euphemistically as a reference to sex, it carries a different meaning, one of procreation and maiden’s blood, or, perhaps we should say, “moon blood.” Again, laugh it up if you want, but George is using this moon blood double entendre for a good reason – the second moon was the first maiden to be impregnated by Lightbringer, and there was definitely a lot of blood involved.
This sex and swordplay dual metaphor actually runs all through A Song of Ice and Fire. By way of example, here is the beginning of Jaime’s dream on the weirwood stump, the dream in which he and Brienne wield flaming swords in the bowels of Casterly Rock:
He closed his eyes, and hoped to dream of Cersei. The fever dreams were all so vivid …
Naked and alone he stood, surrounded by enemies, with stone walls all around him pressing close. The Rock, he knew. He could feel the immense weight of it above his head. He was home. He was home and whole. He held his right hand up and flexed his fingers to feel the strength in them. It felt as good as sex. As good as swordplay. Four fingers and a thumb. He had dreamed that he was maimed, but it wasn’t so. Relief made him dizzy. My hand, my good hand. Nothing could hurt him so long as he was whole. (ASOS, Jaime)
Sex and swordplay, or as TV show Bronn says, “fucking and fighting.” The bloody sword. There are plenty more quotes along these lines, but let’s keep it moving. Someone could probably write a good essay on this topic alone, if it doesn’t exist already.
So that covers the act of impregnation as implied by the bloody sword, so now let’s bring the concept of childbirth into this same dichotomy. This scene takes place as Robb’s army camps for the night in A Clash of Kings. Take note of the mentions of a “hungry” sword amidst a wash of red blood, bright red banners, and the red light-bath of the setting sun. These seem like clever allusions to Lightbringer, the glowing red sword associated with blood and flame and sunset, the one that drank Nissa Nissa’s blood:
Outside, she found song of a very different sort. Rymund the Rhymer sat by the brewhouse amidst a circle of listeners, his deep voice ringing as he sang of Lord Deremond at the Bloody Meadow.
And there he stood with sword in hand,
the last of Darry’s ten …
Brienne paused to listen for a moment, broad shoulders hunched and thick arms crossed against her chest. A mob of ragged boys raced by, screeching and flailing at each other with sticks. Why do boys so love to play at war? Catelyn wondered if Rymund was the answer. The singer’s voice swelled as he neared the end of his song.
And red the grass beneath his feet,
and red his banners bright,
and red the glow of setting sun that bathed him in its light.
“Come on, come on,” the great lord called,
“my sword is hungry still.”
And with a cry of savage rage,
They swarmed across the rill …
“Fighting is better than this waiting,” Brienne said. “You don’t feel so helpless when you fight. You have a sword and a horse, sometimes an axe. When you’re armored it’s hard for anyone to hurt you.”
“Knights die in battle,” Catelyn reminded her.
Brienne looked at her with those blue and beautiful eyes. “As ladies die in childbed. No one sings songs about them.”
“Children are a battle of a different sort.” Catelyn started across the yard. “A battle without banners or warhorns, but no less fierce. Carrying a child, bringing it into the world … your mother will have told you of the pain …”
“I never knew my mother,” Brienne said. (ACOK, Catelyn)
We have seen that swordplay is like sex, and now we see that childbirth is like a battle. This is the dual nature of the Lightbringer myth: on one hand, bloody battle and murder, the snuffing out of the life of another human being, weapons of destruction that leave only death and sorrow in their wake; and on the other hand, the battle of childbirth, the bloody bed, the pain and sacrifice of bringing another life into the world, the passing of the torch from one generation to the next. Sacrifice, creation, and procreation.
In this way, we can see that Lightbringer not only represents a sword, but also a child. The mothers of our dragon people die in childbirth, but these children are their parents, reborn. Each child is both his mother and father “reborn,” a merging of the two life essences to create a third. This is one meaning of the phrase “Azor Ahai reborn:” the carrying on of a bloodline, the passing of the torch of life. And in turn, we see that a heroic person is both a sword and a torch:
“I am the sword in the darkness. I am the watcher on the walls. I am the fire that burns against the cold, the light that brings the dawn…”
At this point, I must confess: I am standing on the shoulders of giants here with this analysis. Specifically, the giant known on the Westeros.org forums as Schmendrick, author of the magnificent essay “R + L = Lightbringer.” In my humble opinion, this essay is required reading for anyone who wishes to understand what George is doing with the story of Azor Ahai and Lightbringer. This was one of the essays which inspired me as I was beginning this process, and it is universally regarded as some of the best A Song of Ice and Fire analysis to be found anywhere. The procreative aspects of Lightbringer’s forging which I’ve introduced here are developed much further, and it doubles as an exploration of the heavy, heavy influence of Roman Mithraism on the Azor Ahai / Lightbringer legend.
So now that we have a basic understand of the dual edged nature of this story, let’s apply this back to the celestial events of Lightbringer’s forging. The sun stabs and impregnates the moon-egg with his dragon-seed comet-sword, and the moon explodes, giving birth to dragon meteors. It would seem that moons have much shorter pregnancies than humans, as this is essentially the impregnation and the childbirth in quick succession. The children here are the dragon meteors, which are quite literally pieces of the moon, pieces of the mother. The Qarthine legend says these dragon meteors “drank the fire of the sun” – that’s a reference to the moon’s exploding pieces having been bathed in fire of the solar comet. The meteors are the rebirth of the dying moon, and the dying sun. I say “dying sun” in the sense that the sun was hidden during the Long Night, having turned its face from the world. Thus, the meteors are Azor Ahai (the sun) reborn, and also Nissa Nissa (the moon) reborn, just as a child represents the rebirth of both of his parents.
Appropriately, Lightbringer is compared to both the sun and the moon, in symbolic fashion. First, here’s the lightbringer comet being compared to the moon:
Jon clapped him on the shoulder with his burned hand. They walked back through the camp together. Cookfires were being lit all around them. Overhead, the stars were coming out. The long red tail of Mormont’s Torch burned as bright as the moon. (ACOK. Jon)
Colloquo Votar’s Jade Compendium also tells us that Azor Ahai’s Lightbringer sword was always warm, as Nissa Nissa had been warm, because it drank her blood and soul, further illustrating the idea that Lightbringer contains the essence of the moon.
Lightbringer also contains the essence of the sun: we’ve seen that Ned’s sword, which symbolizes Lightbringer, drinks the sun’s light, darkening the steel, and the dragon meteors which also symbolize Lightbringer are said to have drank the sun’s fire. This is a very thirsty sword, folks. It drank Nissa’s blood and it drank the sun’s fire. It’s hungry, too, of course: recall the line in the tale of Lord Deremond and the bloody meadow, “my sword is hungry still.” Leaf, one of the children of the forest that Bran meets, builds on this idea by telling us that “fire is always hungry,” and when Melisandre’s “Queen’s Men” are all hot and bothered to set someone on fire during the snowstorm in A Dance with Dragons, a captive Asha Greyjoy observes that “at night, the Red God must be fed.” Ice preserves, but fire consumes, we are told by Maester Aemon. All of these ideas basically reflect the same concept, and it should clue us in to the idea that Azor Ahai’s sword was not a light-bringer, but a light-drinker. A dark-bringer. Now, perhaps it’s drinking in all this light only to release it again at the crucial moment – we’ll have to keep an open mind on that one, because George loves to surprise us. But at least at first, it seems to be a consumer, rather than a producer, of light.
Stannis Baratheon’s fake Lightbringer is shiny enough, but of course it is, after all, a fake. However, George is still creating the symbolic association of Lightbringer as a “sun sword” in these passages:
Stannis Baratheon drew Lightbringer. The sword glowed red and yellow and orange, alive with light. Jon had seen the show before … but not like this, never before like this. Lightbringer was the sun made steel. When Stannis raised the blade above his head, men had to turn their heads or cover their eyes. Horses shied, and one threw his rider. The blaze in the fire pit seemed to shrink before this storm of light, like a small dog cowering before a larger one. (ADWD, Jon)
“Lightbringer was brighter than I’d ever seen it. As bright as the sun.” Jon raised his cup. “To Stannis Baratheon and his magic sword.” The wine was bitter in his mouth. (ADWD, Jon)
To sum up: both Azor Ahai and Nissa Nissa are reborn in the warrior of fire, and the essence of both sun and moon went into the resulting dragon meteors. They drank the moon’s blood and the sun’s fire. Now we can see why Azor Ahai’s “rebirth” involves waking dragons from stone, celestially speaking. The dragons woken from stone are Azor Ahai reborn, child of moon and sun.
There’s just one more wrinkle to add here, but it’s an important one. According the proposed scenario of the comet splitting in half, only one half would have slammed into the moon and been consumed in the conflagration – the second half of the comet, on a slightly different orbital trajectory, would have seemed to emerge from the other side of the conflagration, burning red. The legend of Lightbringer says that the sword was “white hot” and “smoking” when it entered Nissa Nissa’s heart, and burned red afterward, so I would guess that the surviving half of the comet was transformed to its current burning and bleeding red color as it passed by and through the firestorm. In this sense, the surviving half of the comet also represents Lightbringer, or Azor Ahai reborn. If we wanted to be more specific, we might regard this comet as reborn Azor Ahai, and the dragon meteors as the dragons woken from stone, but all of them are the children of sun and moon and all of them are really the same thing, symbolically. The dragon meteors burned red in the atmosphere, smaller versions of the red comet which burns across the sky like a flaming sword. They are all manifestations of Lightbringer, child of sun and moon. Both comets and meteors can be dragons and flaming swords.
“God’s Eye” by Lucifer means Lightbringer
The second moon, superimposed over the sun at the moment of its destruction by the Lightbringer comet, with the surviving moon looking on as the watcher.
~ The Alchemical Wedding of Daenerys Targaryen ~
The most important manifestation of the forging of Lightbringer takes place at the climax of A Game of Thrones, as Daenerys wakes dragons from stone eggs in the funeral pyre of Khal Drogo. This event, which I like to refer to as the Alchemical Wedding of Daenerys Targaryen, gives us a detailed model of the moon’s destruction in the fire of the sun. The relationship between Daenerys and Khal Drogo is made clear early on: Khal Drogo is Dany’s “sun and stars,” and he refers to Dany as the “moon of his life.” These seem like nothing more than affectionate nicknames when we first hear them, perhaps reflections of the Dothraki belief that the moon is a goddess, the wife of the sun, who is himself a god. Of course, in light of the astronomical pattern presented by the Lightbringer myth, we can see that these pet names are no accident. Daenerys is the “Bride of Fire,” the moon maiden who marries the sun in all his blazing glory.
The Qarthine myth says that the moon wandered too close to the sun, and was scalded by its fire, causing it to crack like an egg and pour forth the dragons. That’s exactly what happens in the waking of dragons scene – moon maiden Daenerys “wanderers” into the fire of her solar king, Khal Drogo, symbolically immolating herself. Her dragons eggs are scorched in this solar pyre and cracked open, and dragons do indeed pour forth. As I mentioned previously, I think this myth is best explained by an eclipse alignment, which would create the image of a moon bathing itself in the fire of the sun, just as Daenerys does in this scene. This would immediately followed by the birth of dragons.
Here, then, is the Alchemical Wedding of Daenerys Targaryen. We’re going to pause for a bit of analysis between each paragraph or two to illustrate the important aspects of the Lightbringer forging metaphor. This scene is essentially a template for all Lightbringer forging metaphors throughout the books.
When a horselord dies, his horse is slain with him, so he might ride proud into the night lands. The bodies are burned beneath the open sky, and the khal rises on his fiery steed to take his place among the stars. The more fiercely the man burned in life, the brighter his star will shine in the darkness.
Jhogo spied it first. “There,” he said in a hushed voice. Dany looked and saw it, low in the east. The first star was a comet, burning red. Bloodred; fire red; the dragon’s tail. She could not have asked for a stronger sign.
Here we see several associations created right off the bat: Khal Drogo, Dany’s sun and stars, is identified with a star shining in the darkness, just as Lightbringer supposedly shines in the darkness, and just as the men of the Night’s Watch are a sword in the darkness. The Khal’s personal star is the red comet, symbol of Lightbringer and Azor Ahai, and of course dragons. Khal Drogo is quite clearly playing the role of Azor Ahai, warrior of fire and solar king. Dany immediately associates the comet with blood, fire, and dragons.
The comet is an extension of the solar king, and represents his impregnation of the moon with his fiery dragon seed. Dany first received her dragon’s eggs at her wedding to Khal Drogo, tying the dragon’s eggs to the copulation of sun and moon. Dany’s first wedding and this second, alchemical wedding are symbolically linked, and work together to tell the same story, as we shall see.
Dany took the torch from Aggo’s hand and thrust it between the logs. The oil took the fire at once, the brush and dried grass a heartbeat later. Tiny flames went darting up the wood like swift red mice, skating over the oil and leaping from bark to branch to leaf. A rising heat puffed at her face, soft and sudden as a lover’s breath, but in seconds it had grown too hot to bear. Dany stepped backward. The wood crackled, louder and louder. Mirri Maz Duur began to sing in a shrill, ululating voice. The flames whirled and writhed, racing each other up the platform. The dusk shimmered as the air itself seemed to liquefy from the heat. Dany heard logs spit and crack. The fires swept over Mirri Maz Duur. Her song grew louder, shriller … then she gasped, again and again, and her song became a shuddering wail, thin and high and full of agony.
The heat of the solar pyre puffs on Dany’s face like a lover’s breath, beginning the stream of procreative language which runs through this scene. Actually, it may have begun with the torch-thrusting, as the torch is a comet symbol (such as when the comet is called Mormont’s Torch), and thrusting is, well, thrusting, and of course Lightbringer was “thrust” into Nissa Nissa’s heart. Mirri’s shuddering wail of agony evokes Nissa’s cry of anguish and ecstasy, as well as the sword Widow’s Wail, which is one half of the sword that symbolizes Lightbringer, just as the comet which hit the second moon was one half of a split comet.
The idea of the air liquefying from the heat is noteworthy, because there is an important connection between fire and liquid – specifically, blood. The red comet is frequently said to either be bleeding or burning, and of course the moon blood flows when flaming dragons are born. The idea here is one of fiery, burning blood. All throughout this Alchemical Wedding scene we see watery language used to describe the fire: shimmering, swirling, whirling, sweeping over MIrri Maz Duur like a wave, etc. It’s no coincidence that we also get a ton of watery imagery in the scene where Tyrion first sees Oathkeeper and Widow’s Wail, describing it thusly: “The two colors lapped over one another without ever touching, each ripple distinct, like waves of night and blood upon some steely shore.” The sunlight also “streams” through the diamond shaped panes of glass and makes the blade “shimmer” black and red, while the cross guard flames gold. This same set of phrases and motifs will appear most any time Lightbringer is being symbolically forged.
Burning blood in particular is an important component of the moon’s fire transformation from an egg to a storm of flaming dragons. When Daenerys lies in the tent of dancing shadows and has her fever dream of waking her own dragon, sprouting wings and flying through the red door, her blood burns.
She raced, her feet melting the stone wherever they touched. “Faster!” the ghosts cried as one, and she screamed and threw herself forward. A great knife of pain ripped down her back, and she felt her skin tear open and smelled the stench of burning blood and saw the shadow of wings.
And Daenerys Targaryen flew.
“… wake the dragon …”
The door loomed before her, the red door, so close, so close, the hall was a blur around her, the cold receding behind. And now the stone was gone and she flew across the Dothraki sea, high and higher, the green rippling beneath, and all that lived and breathed fled in terror from the shadow of her wings. She could smell home, she could see it, there, just beyond that door, green fields and great stone houses and arms to keep her warm, there. She threw open the door.
“… the dragon …”
And saw her brother Rhaegar, mounted on a stallion as black as his armor. Fire glimmered red through the narrow eye slit of his helm. “The last dragon,” Ser Jorah’s voice whispered faintly. “The last, the last.” Dany lifted his polished black visor. The face within was her own.
After that, for a long time, there was only the pain, the fire within her, and the whisperings of stars. (AGOT, Daenerys)
As we can see here, having the fire inside of you equates to undergoing fire transformation, and this involves both burning blood and waking the dragon. Dany lifts Rhaegar’s visor to see herself, because she has become the Last Dragon. Also note the association with shadow and terror that comes along with waking the dragon.
Drogon, the black dragon, breathes black flame, and even has burning black blood as well:
Black blood was flowing from the wound where the spear had pierced him, smoking where it dripped onto the scorched sands. He is fire made flesh, she thought, and so am I. (ADWD, Daenerys)
To continue this idea of burning blood, recall that Jon Snow reads in the Jade Compendium that when Azor Ahai thrusts Lightbringer into a monster, its blood boils. Now, listen to the description of Melisandre’s transformative fire vision from her one POV chapter in A Dance with Dragons:
The red priestess shuddered. Blood trickled down her thigh, black and smoking. The fire was inside her, an agony, an ecstasy, filling her, searing her, transforming her. Shimmers of heat traced patterns on her skin, insistent as a lover’s hand. (ADWD, Melisandre)
The phrase “agony and ecstasy” is a nearly identical match to Nissa Nissa’s cry of anguish and ecstasy. We see the burning, black blood, tricking down her thigh to imply childbirth and moon blood. “Shuddering” is used again, just as it was with Mirri Maz Duur, and we also have the important phrase “the fire inside her.” Dany has the fire inside her in her wake the dragon dream, Melisandre has it in this scene, and in a minute we will see that Dany again has the fire inside her during the alchemical wedding. Finally, note that Melisandre’s experience is also described as sexual, as the fire’s heat is like a lover’s hand.
When Melisandre gives birth to the shadow-baby under Storm’s End, the scene is much the same, and we see the same motifs and phrases:
Davos raised a hand to shield his eyes, and his breath caught in his throat. Melisandre had thrown back her cowl and shrugged out of the smothering robe. Beneath, she was naked, and huge with child. Swollen breasts hung heavy against her chest, and her belly bulged as if near to bursting. “Gods preserve us,” he whispered, and heard her answering laugh, deep and throaty. Her eyes were hot coals, and the sweat that dappled her skin seemed to glow with a light of its own. Melisandre shone.
Panting, she squatted and spread her legs. Blood ran down her thighs, black as ink. Her cry might have been agony or ecstasy or both. (ACOK, Davos)
This scene is great because she’s actually giving birth – well, it’s actually horrible because she’s giving birth, because she’s birthing a horror, but for our more metaphorical purposes, it fits quite nicely. The “agony and ecstasy” phrase puts in another appearance, as does the black blood. Melisandre is a shining, glowing moon mother, a red priestess or a “Red Queen,” as she is sometimes called. The fact that the Lightbringer child in this scene is a black shadow builds on what I have been saying about Azor Ahai’s dread sword – it was a light-drinker and a night-bringer. It’s mother may have glowed bright in the sky when she gave birth, but Lightbringer’s fire was the shadowy kind. I believe the burning black blood also refers to the offspring of the moon destruction, the bleeding or burning dragon meteors, which further suggests these meteors have been burned black and transformed. It seems consistent – the subjects of fire transformation come out black and shadowy.
Now, we return to the alchemical wedding, and be on the lookout for sexual or procreative language:
And now the flames reached her Drogo, and now they were all around him. His clothing took fire, and for an instant the khal was clad in wisps of floating orange silk and tendrils of curling smoke, grey and greasy. Dany’s lips parted and she found herself holding her breath. Part of her wanted to go to him as Ser Jorah had feared, to rush into the flames to beg for his forgiveness and take him inside her one last time, the fire melting the flesh from their bones until they were as one, forever.
The idea of the sun and moon melting into one is exactly the formula for Lightbringer’s forging, and a great example of the idea that the offspring of sun and moon contains the essence of both. The Lightbringer meteors and the actual sword itself contain both aspects, sun and moon, fused into one. The fire melting the flesh from their bones is another reoccurring motif, and a match for one of Dany’s dragon dreams earlier in A Game of Thrones, a dream which directly foreshadows the alchemical wedding:
Yet when she slept that night, she dreamt the dragon dream again. Viserys was not in it this time. There was only her and the dragon. Its scales were black as night, wet and slick with blood. Her blood, Dany sensed. Its eyes were pools of molten magma, and when it opened its mouth, the flame came roaring out in a hot jet. She could hear it singing to her. She opened her arms to the fire, embraced it, let it swallow her whole, let it cleanse her and temper her and scour her clean. She could feel her flesh sear and blacken and slough away, could feel her blood boil and turn to steam, and yet there was no pain. She felt strong and new and fierce. […]
“Khaleesi,” Jhiqui said, “what is wrong? Are you sick?”
“I was,” she answered, standing over the dragon’s eggs that Illyrio had given her when she wed. She touched one, the largest of the three, running her hand lightly over the shell. Black-and-scarlet, she thought, like the dragon in my dream. The stone felt strangely warm beneath her fingers … or was she still dreaming? She pulled her hand back nervously. (AGOT, Daenerys)
I hope the word “temper” jumped out to you, because it sure did to me. The fire transformation, the melting of flesh and blood, is also a tempering. That’s because this fire transformation we are discussing in all of these scenes is a description of the forging of Lightbringer. The bathing of the moon in solar fire is the third attempt to temper Lightbringer, the one which produced flaming swords and dragon meteors.
The black dragon is slick with her blood, because it will be Dany’s child – Dany draws a direct association between the egg which will be her dragon-child Drogon and the black dragon in her dream. Just like Mel’s shadow babies, the black dragon represents Lightbringer, child of moon and sun. It’s also a match for Oathkeeper and Widow’s Wail’s “waves of night and blood,” as the dragon is black as night and covered in blood. Drogon’s black and scarlett egg is elsewhere described as “black as a midnight sea, yet alive with scarlet ripples and swirls.” Again, notice the thematic continuity here with the various manifestations of Lightbringer. It’s shadow-black, and associated with black water and black blood.
At the end of the dream we see the fire burning blood and melting away flesh, just as Dany imagines while watching Drogo’s pyre. As we continue with the alchemical wedding, we’ll see more language matching this dream.
She could smell the odor of burning flesh, no different than horseflesh roasting in a firepit. The pyre roared in the deepening dusk like some great beast, drowning out the fainter sound of Mirri Maz Duur’s screaming and sending up long tongues of flame to lick at the belly of the night. As the smoke grew thicker, the Dothraki backed away, coughing. Huge orange gouts of fire unfurled their banners in that hellish wind, the logs hissing and cracking, glowing cinders rising on the smoke to float away into the dark like so many newborn fireflies. The heat beat at the air with great red wings, driving the Dothraki back, driving off even Mormont, but Dany stood her ground. She was the blood of the dragon, and the fire was in her.
I would suggest that the descriptions of thickening smoke and greasy smoke represent the cloud cover of the Long Night, a choking miasma of debris generated by the moon’s destruction and the ensuing meteor impacts on the planet. The Dothraki cough and back away to make the point. Yeah, the Long Night was no fun for anyone, I’m guessing. This cloud cover is also the death of the sun, and would have emerged from the conflagration of sun and moon in the sky, represented here by Dany joining Drogo in the pyre.
The fiery language picks up a lot here, as we see fiery banners unfurled, a hellish wind, long tongues of flame and even great red wings of heat… sound alike the dragons are waking. Most importantly, Daenerys the moon maiden “has the fire inside her,” just as Nissa Nissa and the second moon did before her.
The fire pit has become a great roaring beast which causes drowning, building on all the watery language associated with Lightbringer. This is a reference to the concept of burning moon blood and waves of blood and night coming from the destruction of the moon, but I think it’s also talking about a literal, non-metaphorical flood caused by a meteor strike on the planet during the darkness of the Long Night. Consider the link between black water and the Lightbringer meteors. We just saw that Drogon’s egg is “as black as a midnight sea.” The first time we see Ned’s black sword, which of course symbolizes Lightbringer, he’s cleaning the blood off of it by dipping it in the cold black water of the pond in the Winterfell Godswood – the exact wording is: “he was cleaning the blade in those waters black as night.” He’s creating waves of blood and night, albeit miniature ones. Dany, covered in stallion’s heart blood, immerses herself in the cold black water of the Womb of the World to cleanse the baby inside her. Dany’s baby is the child of sun and moon, and therefore also represents Lightbringer. The black stone fortress of Dragonstone even sits in the Blackwater Bay, which doesn’t seem like coincidence when taken with these other examples. Things which represent Lightbringer keep dipping themselves into black water, and I don’t think that’s an accident.
Therefore, I believe that one of the meanings of the black water / waves of night motif refers to the black waters of the sea during the Long Night, and the connection to Lightbringer implies a black dragon meteor landing in those black waters. The “Sea Dragon” of the story of the Grey King was said to drown whole islands, which reads to me like a dragon meteor landing in or near the sea and causing massive devastation. This stands to reason, as any large meteor impact in the ocean or along the coast would in fact generate massive and deadly tsunamis. The tale of Durran Godsgrief tells the story of a great king who stole a goddess from heaven, a sacrilegious act which triggered the wrath of the gods in the form of a deadly tsunami. This great flood came at his wedding, no less, and killed everyone there save for Durran and Elenei. We’ll surely have to return to the tales of Durran Godsgrief and the Grey King another day, but they bear mentioning here. Now back to the scene at the alchemical bonfire, where we will now see a direct link drawn between the two weddings of Daenerys:
She had sensed the truth of it long ago, Dany thought as she took a step closer to the conflagration, but the brazier had not been hot enough. The flames writhed before her like the women who had danced at her wedding, whirling and singing and spinning their yellow and orange and crimson veils, fearsome to behold, yet lovely, so lovely, alive with heat. Dany opened her arms to them, her skin flushed and glowing. This is a wedding, too, she thought. Mirri Maz Duur had fallen silent. The godswife thought her a child, but children grow, and children learn.
This is a wedding, too, Daenerys thinks to herself, and indeed, it is. It is an “alchemical” wedding because the principle of alchemy is transformation. All of these “having the fire inside you” experiences are transformation experiences. The color of transformation in alchemy is red, as I mentioned earlier, and indeed this is also the ultimate meaning of the red door. That’s why Daenerys sprouts her dragons wings and smells burning blood as she crosses the threshold of the red door in her “wake the dragon” fever dream. It represents her transformation into a dragon, “the Last Dragon” as she thinks to herself as the dream ends and she sees her own face beneath Rhaegar’s visor. Another alchemical concept which seems relevant here is their concept of the sun, whose “bright face” is depicted as a lion, as is common practice the world round, but the alchemists saw the “shadow self” of the sun as a dragon. That’s the kind of dragon being born here, a black dragon whose wings shadow the world, as Drogon’s do in many scenes in the book. I’ll be quoting those in a future essay, don’t you worry. Drogon is a planet-darkening, sun-eclipsing machine.
She has this “wake the dragon” fever dream while giving birth to dead baby Rhaego inside the tent of dancing shadows. She sees a vision of a living Rhaego in her dream: his heart is consumed by fire and fire comes out of his mouth like a dragon before consuming him utterly and turning him to ash. The actual baby Rhaego comes out of the womb dead, stinking of the grave, with bat wings and a lizard tail and scales. As a child of the sun and moon, dead and burnt baby Rhaego is another symbol of Lightbringer – a horrifying one, yes, but entirely in keeping with the pattern of Lightbringer representing darkness, shadow, death, and nightfall. Salladhor Saan calls Stannis’s Lightbringer a “burnt” sword, as opposed to a burning one, and I think he is more right than he knows. Lightbringer is the child of fire, but it is a burnt and blackened thing.
Here is the conclusion of the alchemical wedding, the actual waking of dragons.
…only the fire mattered. The flames were so beautiful, the loveliest things she had ever seen, each one a sorcerer robed in yellow and orange and scarlet, swirling long smoky cloaks. […]
The painted leather burst into sudden flame as she skipped closer to the fire, her breasts bare to the blaze, streams of milk flowing from her red and swollen nipples. Now, she thought, now, and for an instant she glimpsed Khal Drogo before her, mounted on his smoky stallion, a flaming lash in his hand. He smiled, and the whip snaked down at the pyre, hissing.
She heard a crack, the sound of shattering stone. The platform of wood and brush and grass began to shift and collapse in upon itself. Bits of burning wood slid down at her, and Dany was showered with ash and cinders. And something else came crashing down, bouncing and rolling, to land at her feet; a chunk of curved rock, pale and veined with gold, broken and smoking. The roaring filled the world, yet dimly through the firefall Dany heard women shriek and children cry out in wonder. Only death can pay for life.
And there came a second crack, loud and sharp as thunder, and the smoke stirred and whirled around her and the pyre shifted, the logs exploding as the fire touched their secret hearts. She heard the screams of frightened horses, and the voices of the Dothraki raised in shouts of fear and terror, and Ser Jorah calling her name and cursing. No, she wanted to shout to him, no, my good knight, do not fear for me. The fire is mine. I am Daenerys Stormborn, daughter of dragons, bride of dragons, mother of dragons, don’t you see? Don’t you SEE? With a belch of flame and smoke that reached thirty feet into the sky, the pyre collapsed and came down around her. Unafraid, Dany stepped forward into the firestorm, calling to her children.
The third crack was as loud and sharp as the breaking of the world.
Khal Drogo’s flaming lash plays the role of the Lightbringer comet, snaking and hissing and cracking the stone egg. The shattered stone shell of the dragon’s egg is described as a piece of curved rock, evoking a crescent moon. Daenerys bares her breasts to the flame, just as Nissa Nissa bared her breast to Azor Ahai when Lightbringer was forged. We see a firefall, a firestorm, a shower of ash and cinders, and a roaring that fills the world. This is all a description of the meteor shower which rained down on Planetos at the fall of the Long Night.
The last sentence firmly ties the the forging of lightbringer and the impact of these moon meteors to the breaking of the world – that’s the breaking of the Arm of Dorne we are talking about, I believe. The Hammer of the Waters could very well be one of these meteors, breaking the world by severing the bridge between Westeros and Essos. I can’t help but notice that the Dornish city of Sunspear lies at the tip of the broken arm – a sun spear is an apt description for a fiery moon meteor, and it’s in the right place. This is a topic we will be taking a very close look at in a future essay, but the breaking of the world language requires that we mention it here.
Last but not least, we see that Daenerys is not only the mother of dragons, but daughter of dragons and the bride of dragons. That’s because when she is reborn here and in her “wake the dragon dream,” she becomes the “Last Dragon” – Azor Ahai reborn. Illyrio sums it up in A Dance with Dragons, speaking to Tyrion:
“The frightened child who sheltered in my manse died on the Dothraki sea, and was reborn in blood and fire. This dragon queen who wears her name is a true Targaryen.”
Daenerys first plays the role of moon maiden. She is the bride of dragons, as she is impregnated by the solar king, and the role of mother of dragons, as she gives birth to dragons, as the moon did. But now, she has transitioned to the role of the last dragon, the daughter of dragons, Azor Ahai reborn. She represents the comet half which emerged from the firestorm, blazing red in the sky like a flaming sword, while her dragon children represent the moon meteors which come crashing down to earth to break the world. Remember he dream of being bathed in dragon fire, where she is “tempered?” Dany herself now represents the fiery red sword, Lightbringer, which in turn is an extension of Azor Ahai reborn.
It’s a bit confusing because this makes her the daughter of herself, in a way, but that’s what is happening when she symbolically dies as the moon maiden and is reborn as the Last Dragon. She will go on to be a solar king in her own right, leading a Khalasar as only men have done before. As an earthly incarnation of the red comet, the last dragon, she follows the path of the comet and leads her people through the red waste. She goes on to conquer the cities of Slaver’s bay and become both Queen and Khaleesi. She takes to wearing the White Lion pelt in the aftermath of her ritualistic immolation in Drogo’s pyre, which seems like a symbol denoting her solar status. She also begins braiding her hair, when it grows back, to signify that she has Khal Drogo’s strength inside her. I believe all of these symbols work to corroborate what the astronomy pattern seems to be saying, that Daenerys has become a solar king, Azor Ahai reborn, of whom the red comet is merely an extension. I believe this explains why Daenerys is not only the mother of dragons, but also the daughter of dragons and the bride of dragons. She is the bride of fire, but also fire made flesh herself. She is Azor Ahai reborn, as well as Nissa Nisa reborn, and she has not only awakened dragons from stone, but she has woken her own dragon as well.
“…and all that lived and breathed fled in terror from the shadow of her wings.”
~ In Closing ~
To sum up the hypothesis so far: the legend of the forging of Lightbringer originated with a celestial event of great magnitude which occurred in ancient times, the destruction of a second moon by a comet. Lightbringer is, among other things, a metaphor for the comet. It was forged in water and ice as it entered the inner solar system, it was forged by the lion when it was split in half as it rounded the sun, and it was forged in the heart of Nissa Nissa when it struck the second moon and exploded in a truly gigantic fireball. The debris from the destruction of the second moon and its impacts on Planetos triggered the Long Night, and some part of the ensuing magical fallout is likely responsible for the irregular seasons. The remaining half of the comet is the red comet which we see in the current story.
But wait, hasn’t George said that the cause of the irregular seasons was magical in nature? Well yes, he did. We’ve only scratched the surface of this second moon; it seems that it was intrinsically tied to the presence of magic on Planetos. The comet, too, seems to be magical in nature. It’s destruction was a physical act, yes, but also a magical one. Indeed, this is the pattern of nature and magical forces in A Song of Ice and Fire – the Doom of Valyria was a volcanic explosion, yes, but a magical version of a volcanic explosion, with magical causes and magical fallout. The Long Night disaster should be viewed the same way.
The Azor Ahai myth is a likely description that an ancient human would invent to describe what they saw in the sky that day. But I think it goes further, as I said in my hypothesis: as above, so below. Whatever happens in the heavens manifests below, and that is the story of this fellow who lived eight thousand years ago, the original Azor Ahai, Warrior of Fire. We’ve seen Lightbringer manifest in the current story as a comet and a person and a dragon all three, and of course the main legend talks of a flaming sword. I think it’s likely that all of these manifestations occurred at the time of the Long Night as well, and this will be the topic of the next several essays.
check out this bonus essay: Lucifer Means Lightbringer
for a short essay about Morningstar deities, mythical astronomy, and the meaning of “Lightbringer”, or…
continue to Chapter 2: The Bloodstone Emperor Azor Ahai
if you would rather stick with the straight book material and come back for the Morningstar stuff later.
Motifs and Symbols
“∆ =” means “can be symbolically equivalent to”
Comets, Meteors ∆=
- dragons
- swords (flaming and bloody)
- torches,
- fiery hands and fingers
- dragon eggs
- arrows
- spears (w/ skulls or fiery points)
- sunlight (shafts, fingers, rays, etc)
- red doors
- horses
- worms
- apples
The Moon ∆=
- an egg
- a woman
- the wife of the sun
- a goddess
- a city
- an apple
- a fist
We will be adding to this list at the end of each essay to develop a master list of symbolic correlations.
This essay is a revised an updated version of my first version, which appeared on Westeros.org. There are a ton of great folks over there – Durran Durrandon, J Stargaryen, Evolett, Mithras, Equilibrium, Crowfood’s Daughter, Voice of the First Men, and many others – who have improved and refined this essay, a million thanks to all the crew. Radio Westeros and History of Westeros podcasts also contributed greatly to this work. I gained inspiration from their ideas, but perhaps more valuable were their methods of literary analysis, which trained my eye for symbolism and clue-finding. I highly recommend their podcasts, in case anyone has not heard about them.
lucifermeanslightbringer 
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I really love this series and I am totally buying your take in what caused the Long Night. I really enjoy the idea of several myths telling those events. But there is something major I am really missing in this series… Where do the Others fit in all this? So okay, the Long Night was caused by the meteor shower provoked by the second moon explosion. The Others didn’t bring the Long Night. But they are definitely a legend set on that period. I think if you are proposing a alternative scenario for the Long Night you should also mention your idea on why did the Others appear then. It’s the only area in which I think this essay is limping.
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That’s a very fair observation, indeed. 🙂 I have been intentionally avoiding discussion of the Others primarily because it is too large a topic to address as an aside. I do have a lot of ideas about the Others, and a lot of notes and essays planned about them. But since you ask, I will throw out a couple of general possibilities I have in mind.
1.) AA became the NK. I tend to think NK lived during the LN, not after as is surmised from the “thirteenth lord commander” factoid. NK and his Corpse Queen were “sacrificing to the Others,” which as we know from Craster means “giving your male children to be made into Others.” But NK’s Corpse Queen was different than Craster’s wives – she was already imbued with some kind of cold magic (I think of her as an ice magic equivalent to Melisandre, like an ice priestess). So I think it is possible that NK and CQ were making Others, like the first Others. If AA or his son (who might be the LH) became the NK, then that is how the Others and AA and the meteor stuff fits together.
2.) The meteors themselves were partially responsible for creating the Others. Think about Asshai and the Shadowlands, one of the more likely locations for a meteor impact (Bloodstone Emperor’s black stone fell there, and… just look at the place!). I tend to think that these meteors were magically potent and toxic, much like a meteor from a Lovecraft story, an that state of the shadowlands is likely due to the icky meteor sitting in the heart of the shadow. What if the same thing happened in the Heart of Winter? A black meteor impact? It’s foul magic might be leeching into the area, and this might be the magic which causes Others to exist and corpses to rise. It might do this by itself, or maybe a magician learned to harness the power.
3.) in my more recent podcasts about greenseers and weirwoods, I am closing in on the idea that AA was a greenseer who went into the weirwoodnet, and this invasion seems to have triggered some reactions, some fallout if you will. I am increasingly coming to think the creation of the Others has something to do with this. There are a lot of clues about the Others having an origin in the weirwoods and with greenseer magic, and I think it is some kind of reaction to AA invading the weirwoodnet.
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Thanks, lucifermeanslightbringer. I’ll look into them. 🙂
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I am disappointed that you had so little to say about the actual dragons. You have a lot of metatextual things to say about how all sorts of OTHER things are analogous to dragons, but very little in-universe information about what the literal dragons have to do with the moon, the Long Night and Azor Ahai. I was hoping for that.
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Hey Claus. I understand where you’re coming from. I have two answers for you.
1.) keep reading – I get into more specifics about Azor Ahai and what he has to do with both dragons and moon explosions in chapter 2 and 3. I don’t think the moon meteors were the source of actual dragons in any way- dragons seem to have existed before the Long Night. However the moon meteors might have enabled the very dark magic that I believe Azor Ahai practiced, and I think his famous sword was in fact made from a black moon meteor. That’s all in ch. 2 and 3.
2.) I did a podcast with History of Westeros about Asshai, and we talked a lot about the possibility of dragons originating there before Valyria arose. That one is much more focused on the events on the ground as opposed to symbolism and celestial events, so it might be more your cup of tea. It’s actually on youtube as well as their regular podcast feed. Here’s the link:
One final note: I have written an essay specifically fleshing out the idea that Azor Ahai comes from the original dragon-riding culture, the Great Empire of the Dawn (who I think also built Asshai). That essay is due to be updated as a sequel to the History of Westeros Asshai episode, but you can read the old version here:
http://asoiaf.westeros.org/index.php?/topic/127025-astronomy-of-planetos-fingerprints-of-the-dawn/
That too is more focused on the on-the-ground events as opposed to a ton of symbolism.
Thanks so much for trying out my stuff and let me know what you think of the above, please. Cheers!
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I’m re-reading ACOK right now! Because of your theory, I am wondering if dragon glass and dragon steel are likely formed from impact meteorites. I’ve thought so for Dawn, because it is pretty obvious- forged in the heart of a falling star and doesn’t resemble Valyrian steel. If you touch on this in your last essay, I apologize for jumping the gun, but the cosmic hype is off the charts and I couldn’t help it. I always assumed the obsidian/dragon glass was from volcanic activity, but because of so many examples of sand turning to glass in the wake of a meteor impact, I am second guessing that. Anyways, I look forward to following you and especially once TWOW comes out!
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This is amazing. I had been researching the meaning behind the word lucifer, which led me to your blog, and this is the most excited I’ve been since I started researching theories on ASOIAF. I had always assumed that the Long Night was a volcanic winter, but my mistake was in the timeline- I thought the Doom of Valyria was a super caldera eruption, causing he chaos that followed. I had also figured the Storm’s End myth was tsunami related, but in terms of the volcanic activity. I did pick up on all of the moon, blood, moon is an egg references, but didn’t put two and two together. I can’t get over how much sense this all makes now! Thank you for such an intelligent, well written take on ASOIAF.
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Thanks so much! It’s always intensely gratifying to hear responses like yours. I’ve been super excited in the same way you are since I started putting thing together, and the main energy behind my project is just sharing that enthusiasm for the amazing thing George has done. 🙂 I try to do the best that I can to do it justice and explain things as clearly as possible. Of course I won’t have it all right but just by attempting to piece things together I start the conversation which can lead to collaborate insight.
Now what you need to do is just pick any book in ASOIAF and start doing a re-read. The astronomy stuff will fly off the page and smack you in the face. I haven’t but scraped the surface, it’s basically in every chapter because every character has astronomical symbolism, and George is constantly developing it throughout the books. 🙂
Please leave a comment any time you have an idea or question or whatever, I’m gathering those for a Q&A episode sometime soon.
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…Okay… I need to finish reading your essays before I theorize and ask my questions. I finally got to the part where you talk about Dawn and the Daynes… I’ll need a little bit of time to digest this information and keep reading. Once again, EXCELLENT work. I really like where you’re going with this – and this is one of the most compelling theories I’ve read so far. I actually only started reading the books after season 2 of Game of Thrones. I’m a sci-fi reader mostly so I’d never had any interest in these books when all my friends were reading them years before there was even a hint of a TV show. Now that I’ve read them all and the extra stories and I’ve done a re-read, I am completely into it. I’ve spent months reading stuff on Reddit and on other sites and your theory is really blowing my mind.
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Haha, I was going to message you earlier and say “keep reading” because a lot of the things you were floating out sound similar to certain things in the essays. You should also read the one called “Fingerprints of the Dawn” because that one has a lot of the “migration to Westeros” from the GEotD ideas in there.
As a general rule, I’m thrilled if anything I’ve done sparks any new ideas in other folks, so please feel free to reference me and use anything I’ve put out there. Feel free to disagree or reinterpret any parts of the ideas too. One of my biggest aims is to get more people thinking along these lines and looking at the patterns I have highlighted, regardless of how anyone interprets them. The literary phenomena itself is thrilling to me, as you can probably tell, as I love to go meta at the drop of a hat.
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And thank you tremendously for your very kind words. Of course to the extent I have anything right, he person blowing minds is George, but I’m proud just to have been able to catch on to his threads and pull on them. 🙂 The mythical astronomy is just everywhere in the books – once you listen to my podcasts or read my essays and then do a reread of the books, you will catch new ones in major every chapter. I know it sounds ridiculous and over the top to say they are in every chapter, but it’s true. I challenged Aziz to try to stump me after he balked at my claim, and I told him pick any fight scene and I will show you the Lightbringer forging symbolism. Sure , enough, I went 2 for 2 and then he had had enough. 🙂 It’s everywhere! It’s a lot of fun to see how he twists it around and manipulates things. One time, Butterbumps plays the sun role (fat man in a yellow costume) and spits seeds in Sansa’s face to simulate a meteor shower. Stupid shit like that. It’s pretty funny, quite often.
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Hey again LmL! Thank you for the swift reply. I’m still reading thru the second essay – I have to sneak-read it in between stuff at work so I’m I apologize for my slowness. Anyway, I wanted to let you know that my friend and I are starting a YouTube channel and we’re discussing some of our Song of Ice and Fire theories on it. We’re still working out our own theories but after we all started reading your essays and some of the works you linked to by other authors, we’re having to step back and re-evaluate. I hope it’s not too much of a bother if we could start talking about maybe using some of your theories with some of ours. We’d of course be giving you full credit and linking to your site here and stuff like that. If you’re not into that idea, I would totally understand. Also, since we’re talking theory crafting, can I admit that as I’m trying to piece a big picture together, I’m getting a little lost? I think I have something here, but it’s just the beginning of a theory and I’m not sure if I’m even going in the right direction… I’ll share it here and maybe you and any other commenters can help me with this? or maybe correct me if I’ve gone ‘off course’ so to speak?
Here it is:
IDEA:
House Dayne was founded 10,000 years ago when the founder(s) (it could have been a family) and perhaps a few boat-loads of their followers or workers/sailors/miners/explorers/whatever (think Columbus and his 3 ships), travelled from Essos following a fallen star. This “star” was made of a white stone and was used to forge the legendary sword Dawn. They build a castle called Star Fall at the spot where the stone fell and the Daynes stayed at that castle to guard the rock so none of the Children of the Forest or First Men could take it, then they had some of the dudes from the boats start mining the fallen star. Some of those people take this stone back to their homeland – The Great Empire of the Dawn. This place was supposed to be superior in technology, wealth and knowledge than even the people of Jon and Dany’s time thousands of years later (sort of Atlantis style), so it’s not inconceivable that the people who run the GEotD have some ancient level of telescope technology for seeing falling stars and maybe sent a team to investigate it. For 2,000 years this pale white stone is used to create pale flame swords wielded by the rulers of the GEotD, like the ones Dany sees in the hands of her ancestors in her fever dream after her miscarriage but before she hatches her dragons. Anyway, for 2,000 years the palestone swords are created from the heart of this fallen star and perhaps buried with each ruler, just like the Starks have always buried their old rulers in the crypt of Winterfell with iron swords over the bodies. So we know the Long Night supposedly began 8,000 years ago so we can assume the emperors or dynasties or whatever had given way to the reign of the amethyst empress, Nissa Nissa by this point. She was named empress and maybe they practiced sibling marriage like the Valyrians did to keep bloodlines pure and her brother Azor Ahai was her consort but not emperor himself. Azor Ahai, desiring power, maybe despising his sister but forced into marriage, decides to use magic to bring this about. He forges a sword from the palestone of the fallen star and weaves his magic into it. But no matter what he tries, he cannot temper the blade. After 2 failed attempts, he realizes he needs to temper the blade with his sister-wife’s blood. So he sacrifices Nissa Nissa and the blade turns black and lights on fire. This magical event causes a comet to crash into the smaller of Planetos’ 2 moons. The smaller moon splits and rains down on the planet below, causing huge chunks of burned black bloodstone to fall to the surface, burning in the atmosphere like dragons and leaving greasy black stone. The comet meanwhile, has also broken and what was once a white comet is now a red comet that will return. Perhaps if both comets are considered Lightbringer, then we might see a parallel between the palestone that Azor Ahai corrupted to create his red and black Lightbringer sword…. And then I’m not sure… something, something, blah, blah… Maybe Jon Snow really is a Dayne? Maybe fAegon is the son of Lyanna and Rhaegar? I’m not sure, like I said. But I think the Daynes are crazy important.
What do you think?
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So I just wanted to say: This is PHENOMENAL! I studied Physics at University and I took History as my minor, so once I started reading your essays, I was stunned. How did I not see this before?! Just to add, if I may, to your research and proof here… I’ve compiled a few real-life astronomical examples of comets that totally break down because they get too close to the sun (or in one case Jupiter) and still have chunks that orbit and come back.
Comets can TOTALLY break apart, the main reason they do is because of the gravity of a more massive body. Here are 3 really good and totally recent examples:
o Shoemaker-Levy 9 crashed into Jupiter in 1994 and was already in 21 separate piece held together by their own gravity by the time it crashed. It had been captured by Jupiter’s gravity some 30 years earlier and over time, the orbit of the planet brought it closer to the comet’s orbit. Because of Jupiter’s gravity the comet fractured into those 21 pieces and rained down on Jupiter over the course of 5 days.
o Comet 73P is currently in the process of breaking up into 66 chunks and that’s because it’s orbit brought it too close to the sun. It looks like it will continue to break down into more chunks as it continues on its trajectory.
o Comets 252P/LINEAR and P/2016 BA14 that will pass by Earth on March 22, 2016 used to be one comet but something caused them to rip apart and become 2 separate comets. Scientists theorize that the thing that caused them to split might have been our sun. They have an orbit of 150-246 years, depending on what the Sun does to them in the next few days.
Thanks for such a great read LmL, my hat, had I been wearing one, would be off to you sir.
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Hey they Kiran! Thanks so much for your note! Those are great examples, thanks very much for putting those together – I think I’d like to use some of that on a particular essay, so I’ll be sure to give you a hat tip. I kinda knew some of that was out there but I’ve never pulled it all together – it makes the point very nicely. The comet splitting interpretation in some ways seems overly specific for some people, but it’s a basic part of comet reality, as you’ve shown. The idea of comets splitting or breaking up as they round planets and stars is well known to anyone who pays attention to comets, and as someone who’s written a bunch of sci-if, George would certainly be hip to this. It’s also the only way the comet can be “back” in the story if the comet caused some kind of explosion last time.
As for “why didn’t I see this before?” – I had the same feeling. I’d been reading these books for 5 years and never thought about dragons pouring forth from a broken moon as being a meteor event. I felt especially dim for missing it because I read a lot of Graham Hancock – he’s not right about everything I’m sure but he definitely stresses the sky-ground correlations of mythology and ancient monument building to the point where I should I’ve figured it out. But once I got that one little bit about the moon dragons, the rest of it really opened right up to me. I started looking around at other myths and realizing they were memories of these events – Grey King’s Thunderbolt and Sea Dragon, Hammer of the Waters, all the legendary heroes stealing goddesses from heaven… It’s pretty skillful on Martin’s part to work this angle, thinking about mega disasters from the past that are only recorded in legend and myth. The idea of recreating these dramas in the main action with everyone playing celestial roles is basically a way of writing modern mythology.
In fact, if you haven’t read it already, I’d be curious to hear your thoughts on the thing I wrote under the “methodology” tab – it’s a lot of meta discussion about this use of symbolic writing. Probably right up your alley, I’m guessing.
Anyway thanks very much for your contributions, and please keep them coming! If you have any questions, let me know, please. I’m collecting good questions for a Q&A episode.
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If you’re suggesting that the long night was caused by the destruction of the second moon, how then can you account for the fact that the long night legend exists for westeros, the rhonyar, and Yi-ti, but not for ancient valyria? it’s almost as if the long night only affected the far west and far east (if we are looking at a map centered on Valyria. Also, on the northeast frontier of the empire of Yi-Ti, they built the five forts, which are as monumental as the wall, and something that big is not made to keep humans out. Although we do not know what lies west of westeros, or east of yi-ti, it makes me think that somewhere in the northern latitudes, near or above the lands of always winter, perhaps westeros and essos are connected, and the white walkers come from this remote, northern, uncharted land.
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Well, the detailed answers to your questions are addressed in my main essays / podcasts. Did you by chance come across this essay first and not read the others? Check out chapter 1 and give that a try.
Really quickly I can tell you that Valyria rose after the Long Night, not before. The Long Night affected everyone on the map we have, irrespective of whatever caused it. And yes, the “second moon exploding to cause the Long Night” is my theory. That’s my little claim to fame.
As for a connection somewhere off the map in northern Essos, who knows, but I don’t think it matters very much.
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I agree we will certainly see a sun eclipse at some point. But as an event most symbolizing how the second moon is being eaten and dying, or at least a bad omen for it, a forewarning a moon eclipse would even be better imo.
I think it’s impossible to just have it in his head. Heck in my own writing after several chapters I’m already keeping multiple files with all sorts of info to check. Within a month you’re not sure anymore what you wrote at the beginning of the month. Without it too many mistakes slip in. And friends and family always say I have an elephant’s memory.
I might have a nice quote for you with regards to moon maidens, if you haven’t used it already:
The night the bird had come from Winterfell, Eddard Stark had taken the girls to the castle godswood, an acre of elm and alder and black cottonwood overlooking the river. The heart tree there was a great oak, its ancient limbs overgrown with smokeberry vines; they knelt before it to offer their thanksgiving, as if it had been a weirwood. Sansa drifted to sleep [b]as the moon rose[/b], Arya several hours later, curling up in the grass under Ned’s cloak. All through the dark hours he kept his vigil alone. When dawn broke over the city, the [b]dark red blooms of dragon’s breath surrounded the girls where they lay[/b]. “I dreamed of Bran,” Sansa had whispered to him. “I saw him smiling.” (aGoT, Eddard V)
I am BTW working on essays regarding chthonic symbolism as well as chthonic god/goddess characters. The first essay explores Ned’s and Robert’s visit to the Winterfell crypts. My point is to get to Arya’s visit of the vault of faces with the FM and of course LS as a combo of the Norse Hel with Demeter in the form of a fury. But I prefer to follow George’s order of what I call ‘teaching’ the symbolism. I won’t go too deep into it here now, but it shows that Ned and Robert suffer from the inflictions done to them by Persephone’s children, with Lyanna as Persephone (abducted by Rhaegar-Hades and made queen of the Stark Underworld by Ned-Hades). Persephone had 2 children – a moon goddess/nymph who haunted her targets with nightmares taking weird shapes, and Dionysus. Ned is obviously tormented by Lyanna’s ‘nightmarish daughter’ Melinoe, while Robert has taken Dionysus to the extreme. Anyway, I at least wanted to give you head’s up on Persephone’s daughter Melinoe and her ‘ngithmarish/moon dreams’.
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That quote about Sansa and Arya sounds like two moon maidens lying in a pool of blood… And it has a parallel in another scene from AGOT, one where Ser Jorah describes the various colored grasses of the Dothraki sea… He talks about the red blooms making it like a sea of blood:
“The Dothraki sea,” Ser Jorah Mormont said as he reined to a halt beside her on the top of the ridge. Beneath them, the plain stretched out immense and empty, a vast flat expanse that reached to the distant horizon and beyond. It was a sea, Dany thought. Past here, there were no hills, no mountains, no trees nor cities nor roads, only the endless grasses, the tall blades rippling like waves when the winds blew. “It’s so green,” she said. “Here and now,” Ser Jorah agreed. “You ought to see it when it blooms, all dark red flowers from horizon to horizon, like a sea of blood.”
Dany is a moon maiden who is reborn on this sea of blood. Sansa and Arya are moon maidens at various times… And Bran, who wanted to be a knight, was smiling. A smiling knight, or a “smiling night,” as in a crescent moon. And of course the “Bran greenseer training montage” is cut up with the descriptions of the phases of the moon, with four mentions of the moon as sharp and slender as the blade of a knife.
There’s also a Dawn the sword connection here, in a roundabout way. The real Smiling Knight fought Arthur Dayne, Jaime recalls, and after his sword is ruined and the Smiling Knight bleeding from a dozen wounds, Dayne lets him fetch a new sword, he says “it’s that white sword I want,” and then Dayne “gave it to him.” Meanwhile in the paragraph after the Dany one above, there is mention of the ghost grass:
Down in the Shadow Lands beyond Asshai, they say there are oceans of ghost grass, taller than a man on horseback with stalks as pale as milkglass. It murders all other grass and glows in the dark with the spirits of the damned. The Dothraki claim that someday ghost grass will cover the entire world, and then all life will end.” That thought gave Dany the shivers. “I don’t want to talk about that now,” she said. “It’s so beautiful here, I don’t want to think about everything dying.”
Blades of ghost grass, pale as milkglass, glowing with the spirits of the damned? And it gives Dany the shivers? Sounds like a white sword I know… One which I think was the original Ice of House Stark. But damn, it seems to be fairly ominous. Covering the world and killing everyone? I mean that sounds like something the Others would do… And they have pale swords and bones like milkglass… Hey… Wait a minute…. Are all these fucking swords evil, or what?
Honestly I don’t know. I’ve known about this little loop of symbolism for a long time (J Stargaryen pointed it out to me), but not exactly where it goes. The smiling knight is part of the wider “horned lord” mystery, which I believe goes back to human-ish greenseers who caused the moon destruction. The ones that called the Hammer.
Looking forward to your essay, I’m only familiar with the basics of Demeter… I looked into her story with that of Io and Europa and other abducted moon goddesses, but I haven’t been able to loop back and write the moon goddess essay I was planning as of yet. Let me know when that one is up, by all means. 🙂
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Yeah that was what I was thinking as well… two moon maidens and that tied to dragons and blood. Just the crypt scene and the associative words list related to the Underworld I built up from it already points very very strongly to Sansa (as if LF’s pomegranate didn’t alert you to that already). Well all Stark children are pretty comfortable with the underworld, what with them playing in the crypts. They all walk a chthonic path. But do not despair, because they tie to life as well. The Persephone and Demeter mysteries are about the balance of seasons, about harvests, fertility, life despite death.
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Rhaegar and the Bloodstone Emperor are definitely Hades types. And I think this whole correlation implies that the moon meteors must be rehabilitated somehow. I think it has to do with the LH perhaps redeeming his fathers sins – and the LH would be NN’s son just as much as AA’s, just as much NN reborn as AA reborn). This idea is perhaps paralleled by the idea of the moon meteors fire being possessed by thing that rise from the sea, or by the fire rising from the sea itself. Lightbringer meteors fall into the sea (the underworld) but rise from the depths. Harder and stronger, like black steel.
The next essay I release will be drastic overhaul of the black and bloody tides essay which will deal with these ideas exactly.
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It is totally fun reading this theory. It is so consistent.
I am the point where the comet made of ice is compared to the sword ice, which are made two. And my head is screaming for another evidence in this direction: Jojen said “If ice can burn than love and hate can mate”
Then the description of the position of the Sun and the Moon and how the comet would look like killing the moon. And all i think of – at the moment – is [this](http://cdn2-b.examiner.com/sites/default/files/styles/image_content_width/hash/53/99/539936124182454a7985c2c9ec44c37d.jpg?itok=yX3T-PHt), a so-called sex pilus used by bacteria for mating. The egg/moon hatches and dragons are born.
Maybe something to consider.
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Thanks very much for leaving the comment, and yes! It looks like those amoebas are forging Lightbringer, doesn’t it? That’s pretty awesome actually, nice find. The female is even shooting little black lightning bolts or whatever those are.
You know that “love and hate can mate” line is a great one, I should have put that in my section about the procreative aspect of Lightbringer…. Maybe I’ll stick it in there. Tip o the hat to you, good Ser.
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Reading and rereading the essay over the past two days, and especially in relation to a celestial event of last Sunday to Monday it struck me there is one celestial evident that would absolutely fit the associated vocabulary that GRRM clearly has not featured yet, bt I actually think he should. Almost half a year ago we had a sun eclipse, which of course always evokes feelngs of doom, but a moon eclipse as we had this past week is an altogether metaphorical celestial event that would evoke the sense of the myth repeating itself. First the moon seems to be eaten away by a shadow of the night, but once the moon is completely covered by the shadow of the earth it turns this rusty red, like dried blood, like rust on iron. And the moon stays that way at least almost for an hour. It’s as if the moon is metaphorically covered in blood or bleeding… Well, I’m taking poetic license here, but it would perfectly fit the poetic way characters in GRRM’s books describe events or objects or vistas. So, basically a moon eclipse would cover the words: moon, darkness, dying, bleeding, blood, red.
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Hey Sweetsunray, glad you enjoyed the revamped introductory essay. 🙂
The lack of any kind of eclipse in ASOIAF is conspicuous by its absence, I’d say, especially with so many descriptions of the moon and night sky. My hunch is that this is because he is saving it, so to speak. If there’s any truth to my prediction that the comet will return and cause some lunar havoc, I suspect we will get another Gods Eye eclipse.
The description of the moon over Valyria sounds like it was inspired by a blood moon. There’s a couple of other red moon occurrences too. I was definitely thinking of those when I was watching the eclipse the other night. What was really freaky was the reaction by the neighborhood dogs – they went APESHIT. The howling was so mournful, like all of their owners had just died. They REALLY do not like any kind of funny business with the moon. If animals are so affected, I can only consider ancient man and what he might think when the moon turns to blood for an hour.
In any case, I do think we will be getting a very, very prominent eclipse, but I guess I’m predicting a solar eclipse.
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LmL
It’s uncanny sometimes how I think or envision something related to the book quotes you deliver, right before you spell it out yourself. For example right before you write, “I’d like to highlight a specific technique that George is using here, as it’s one he goes to often to show us symbolic associations. Multiple things which are meant to represent the same concept are presented in rapid succession, one after another,” I was reading the Cressen quote and I thought, “I think George has some stack cards or something where he’s got several thematic words written down in relation to a concept.” The moment he wishes to describe something, I’ll bet he picks the card as a reminder and makes sure his description, or anology covers all the necessary words. He does it for such different repeating themes in the most unexpected descriptions and settings that he can’t possibly always remember all that. Someting like, “Ok, describing camp fire here”, plucks card and reads “red (doors), dragons, explosion, stars, comets” and works it in. Similar to how we once talked about how he uses some scenario that we see repeated with different characters at the other side of the world, like the Arya & co being held and put to work at HH and escape compared to Tyrion & co as slaves outside the walls of Mereen. And that idea flashes through my mind, and the next line I read is “BTW George …” When you can make your reader realize the same thing as you present it at the same time, then your essay build up cannot but be perfect! And then George makes the comment of “Just words” at a convention… yeah right. Well in a way it is.
I love how you rewrote this and brought it all together! Especially that you’re imo basically reconstructing George’s stack file card.
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That’s a great way of putting it. I think he just might have that sort of Rolodex or chart or something, or perhaps he has it all in his head. What’s interesting is the way he uses the various incarnations of… meteors, for example, to IMO,y different things about the meteors themselves as well as the item symbolizing them. The idea of ravens as meteors works if you emphasize the black as night feathers of the bird, as well as their status as messengers and omens. You can see the way he is thinking about things, because he’s pretty consistent. He’s made the ravens in his books not only messengers, but carriers of omens and specifically omens for telling the “slaying of the season.” The phrase “dark wings, dark words” is probably calibrated from several angles. It tells about the meteors, about the nature of omens, probably something about the cotf magic, even abstract concepts like unpleasant truth. Are you better off hearing the dark words, or not? He does a good job at selecting ideas from his wide field of influences which have common themes, which makes the thing cohesive.
As for the specific technique of showing you multiple objects together which are symbolically equivalent… I’ve begun to pick up on that more and more. He does it with Sam’s moon face and giant’s shadow as Jon threatened to ride him down when Jon was fleeing Castle Black in book one. The moon is staring over his shoulder, and a giant’s head sometimes symbolizes the moon (Ser Gregor, Titan of Bravos). In Language of Leviathan there’s a scene at the Hammerhorn Keep of House Goodbrohther where the mountain and the castle and the moon are synonymous. It happens at the Giant’s Lance when Cat sees it for the first time in AGOT. The Cressen scene goes even further, because the gargoyles on the walls of dragonstone are also moon meteors symbols. Ravens, gargoyles, comet, field of cookfires – they all appear together, and then George story of cycles through them all in sequence like three of four times, just to tell us: “associate these things together.” I feel like once you key in on techniques like this, they really stand out.
Another good one is continuing a thought from the end of one sentence to the next, or from the end of one chapter to the next. He changed the topic of the sentence or the character pov of the chapter to distract us, but then he’s actually talking about the same thing still. Yeah… “Just words.” That’s hilarious. 😉
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One thing that’s really interesting is to try to delineate the pure archetypes. We have moon maidens, the Nissa Nissa / Mother archetype. But the moon can also be male, it all depends on the scene and what he wants to say. For example. Male moon characters seem to depict different phases of the moon. The crescent moon is the “Smiling Knight” (crescent moon is also called the Cheshire Cat moon), as well as the horned lord. The crescent can be a smile, or horns, or a sacrificial curved knife. But after the horned lord’s throat is cut (think of Renly in the tent), he’s silent, has trouble speaking, or has a neck wound. Gregor plays a moon man role, but his head is cut off, and resurrected Gregor does not speak. Ilyn Payne has a lot of common symbolism to Gregor, and he too cannot speak. He’s called “the silent knight” in a scene where he and Jaime dance beneath the horned moon. I think he’s using all of the phases to tell different stories. A full moon represents pregnancy, about to give birth. The sickle moon is sacrifice and the horned lord. A half moon, I believe, represents either a transformation / turning point broadly speaking, or perhaps a betrayal, to be more specific. It’s when the moon goes from waxing to waning, the turning point, the top of the hill, etc. I’ve seen it appear when fateful decisions are made.
But to return to the idea of archetypes, I feel like there is one “true form” of each, and subsequent incarnations only take on certain aspects. All of the flaming sword guy / Azor Ahai incarnations give us a part of the Azor Ahai picture. He was undead, like Beric, and like Stannis is becoming, or like resurrected Renly appears. He was a one eyed seer, like Bloodraven or Beric. He wielded a flaming sword and used dark magic, like Stannis. He came to the iron islands, both as a moon meteor AND as a person, just as Thoros is first through the the breach in the curved, dark stone wall of Pyke when they put down Balon’s rebellion, and just as Aegon the Conqueror slew Quorin Volmark with his sword Blackfyre. And just as the land of Castle Pyke thrust into the belly of the sea like a longsword. Also, the Red Kracken Dalton Greyjoy possessed a black dragon-forged sword called “Nightfall” and invaded Westeros. The “Sword of the Evening” Vorian Dayne went to the wall, just as the Last Hero did (the LH likely being AA or his son). Time is a wheel, an ouroboros, and everything comes round again. But by going round backwards, I think we can puzzle out the archetypes based on the Dawn Age figures of legend.
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Thanks for the quick reply!
My native languages are Spanish and Galician, so I guess my poor translation skills aren’t needed here (since there are already people interested in translating to Spanish). Anyway, if they want or need some help, I would gladly do it. 🙂
By the way, I read all the thread beneath the article and I must say it’s remarkable the politeness that reigns here. Feedback and discussions are always interesting too, and they are enhanced if the tone is so respectful. Thanks for that,
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I’ve just read this essay and I’m really convinced that your core argument is right. Actually I had to read it in two days, because the text is complex and English is not my mother tongue, but the effort has been worthy.
I didn’t want to leave without saying congratulations and thank you for the development of this theory. The way you reveal all of these metaphors is stunning. I’ll definitely read the next essays.
Ps: I don’t know if someone has already translated your essays, but it should be done.
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Hey there Gallaecus, thanks very much for taking a minute to leave a comment, and you’re quite welcome for the vacuuming up of your free time, that’s what I do best 🙂
I’ve actually has a couple of folks bring up the idea of translating these into Spanish – what’s your native language? I’d be thrilled to have my essays translated into any other languages – my main goal is to draw people’s attention to the general phenomena of mythical astronomy in ASOIAF and the brilliance of what George is doing. I’m sure I don’t have all the details right, but I feel like I am barking up the right tree, at least.
Is this something you’d be interested in helping accomplish? Or was it a simple request? Seems like I would need s translator who is somewhat familiar with ASOIAF to do it right. I’m definitely game to try though if you know someone who is interested.
Thanks again for the note and the kind words of praise. 🙂
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Oh and… yes, the earth might have had two moons, actually:
http://www.telegraph.co.uk/news/science/space/10165036/Earth-had-two-moons-scientists-claim.html
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Did the Doom of Valyria have a scientific explanation? No, not a STRICTLY scientific explanation, but also not an irrational explanation decoupled from science and nature either. The cause of the Doom was magical, surely, but the magic CAME FROM the volcanoes themselves. They harnessed and controlled this fire magic from the earth… until their control failed, and nature (magically enhanced nature) struck back with the long repressed “equal and opposite reaction.” Did the the Doom have a scientific explanation? Not really – a volcanologist would not be able to “solve” the Doom. But the magic which DID cause the Doom was inextricably connected to nature and the element of fire, and the magical disaster used nature as a medium. The result was a magically enhanced form of a natural disaster, just as I have proposed for the Long Night disaster. It’s exactly the same. The cause relates to magic, but the effects are felt in the form of floods, volcanoes, a nuclear winter, etc.
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Hey EternET, thanks for reading and commenting. The seasons are indeed are long because of magic, but magic in ASOIAF in a personification of nature, so you cannot separate the two. It’s just that it’s wrong to ignore magic and think that science alone will solve the riddle – but that is not at all what my theories are doing.
I have to respectfully disagree with your conclusions here, but I appreciate you asking the question in regards to the interaction of science in magic in ASOIAF. It’s certainly something which we are invited to ponder. You’re also not the first to raise this issue of this SSM in particular – it came up very early on in the process of my first essay about this theory. We’ve spent quite a bit of time over on Westeros.org – a couple of thousand comments worth on my 4 or 5 essays over the past 5 months – trying to suss out the relationship between nature and magic, because they ARE connected at the hip.
I have to say, I’m not really sure how you equate this SSM with ruling out the existence of a second moon. Yes, it’s an alternate earth, but one which is “probably bigger than earth,” as he said in another SSM, and one with magic and such. So, clearly, it’s not earth as we know it, and may things are changed, therefore there is no problem with adding a second moon. Most planets have more than one moon.
What I believe the SSM says is that the seasonal imbalance cannot be explained through a purely scientific answer – it has to be rooted in magic. An answer which ignores magic and uses science to explain the seasons is wrong. But in ASOIAF, magic is itself rooted in the forces of nature, so the two cannot be separated. We have to instead try to figure out the relationship between the two, based on the text.
When the Hammer of the Waters dropped and shattered the Arm of Dorne, it’s said (TWOIAF) that giants awoke in the earth and all of Westeros shook and trembled. Now, did giants actually awake underground and stomp around? No, of course not – this is a mythological retelling of an earthquake, as most have concluded. I would however expect that there are magical explanations behind the cause of that earthquake, in some fashion.
The picture I see is this: the magic in George’s world is personified nature. The two are inextricably linked. For example: Dragonglass is obsidian – volcanic glass – so George has imbued it with the qualities of fire magic. The dragons are fire made flesh, and they are described in terms of flying volcanoes. He’s also thought about them interns of the way nature makes animals – he’s made a big point of his dragons have four limbs, not six, because you don’t get six legged animals (apart from insects) in nature. Dragons are magical creatures, but rooted in natural law to an extent that it makes sense for a fantasy novel. We are told explicitly that all Valyrian magic was rooted in fire – an element – or blood, which is the life force of human beings. It’s nature, personified as magic. The Valyrians drew their magic from the volcanoes of the 14 fires, harnessing and controlling the magic which was somehow connected to the volcanos themselves – until something went wrong, and we had a chain reaction explosion – very like a nuclear meltdown. The Doom itself was a combination natural / magical disaster, a natural disaster on magical steroids. The red priests of R’hllor worship fire itself, and see their visions through actual fire. It’s nature, personified as magic. Magic, rooted in natural phenomena.
The Others are a personification of all the harshest aspects of winter – the biting cold, frostbite that will kill, etc. They come with the cold, howling winds of winter – either they bring the winter, or the winter brings them, none can say, according to Sam’s investigation of the NW records, but they come together. They are connected. They are limited by the extent of the cold and the darkness, because their magic is bound by nature. Their ice magic manipulates nature – as George has said, they can do things with ice that no one else can, just as the Valyrian sorcerers could with fire.
And then we have the children of the forest – “those who sing the song of earth.” Their magic is literally rooted in the earth, in the trees, and in the animals. Their magic flows through these things, and comes from bonding with them. The skinchanger bond is a magical personification of the very close and almost psychic connection than people can indeed have with their pets. Their magic is tree magic and animal magic. Green magic. Nature magic.
So, the comet and the second moon exploding. This should be viewed the same way – that red comet is clearly magical. First off, red comets do not exist in nature. Second, the comet appears at the moment of Dany’s “miraculous” birthing of dragons in Drogo’s pyre, and is strongly associated with the return of magic. It appears in epic fashion here at the culmination of the Book One, and then appears all through Book Two quite prominently. It’s connected to Lightbringer, the return of magic, dragons, Azor Ahai’s rebirth, Rhaegar’s ideas about prophecy and the PTWP, its an omen foretelling blood and fire, and it’s called “the sword that slays the seasons.” George is drawing quite a lot of attention to it – that’s one important comet.
And right in book one, he gives us this story about the origins of dragons, and we hear that a second moon used to exist, and exploded, raining down fiery dragons – which are of course meteors, as they are in cultures the world round. We also have the story of the Long Night, a prolonged darkness when the sun was not visible for years. Now in ASOIAF, where magic is rooted in the natural elements, the Long Night should not have a completely irrational explanation. The answer isn’t going to be that the Bloodstone Emperor literally turned the sun dark through blood sacrifice. That would be nonsensical, and not at all in keeping with the magic in the rest of the story. Some sort of magical – natural disaster occurred, akin to the Doom of Valyria.
There are only two things which can cause a nuclear winter – which is of course a real thing – and those are large meteor impacts, and supermassive volcanic eruptions. Now, right in book one, George is telling us about some sort of celestial catastrophe which resulted in fiery meteors raking down on the planet. These are going to be magical meteors, of course, and a magical explosion, etc. A regular comet would simply make a big crater in the moon… end of story. The only way you get a comet to EXPLODE a moon is with magic, just as with the Doom. It’s possible for a chain of volcanoes to all erupt at once, but Valyria obviously also has magical after-effects. The comet is clearly magical, as I said, and it’s likely the two moons had something to do with magic. The meteors themselves are magic, imo, as I have connected them with the greasy black stone. I think Lightbringer was made from one of these black meteors – a counterpoint to Dawn, a white sword made from a white falling meteor of some kind. These “lightbringer sword” are imbued with the qualities of star fire, another example of magic rooted in nature, acting as a personification of nature. You make a sword with a star metal, and you get a star fire sword.
In this essay, my most popular on the westeros forums, I’ve actually proposed and ice and a fire moon, as I think there’s a lot of evidence for it, and obviously it makes a great deal of sense given the nature of the books and the title of the series. Destroying the fire moon, according to my theory, would result in the corruption of fire magic – go visit Asshai-by-the-Shadow and tell me what you find, or perhaps consult the Melisandre shadow baby birthing scene. Fire magic on Planetos does seem a bit shady, wouldn’t you say? Meanwhile, if fire magic is weakened and corrupted, that means ice magic could expand unopposed. George seems to be doing a yin-yang thing with ice and fire, light and shadow, life and death – the idea is balance of opposites, Neither is intrinsically good or bad, it’s the balance being disrupted that is bad. With fire magic weak and corrupt, ice magic expanded, and that was the Others invasion and the Long Night. In this way, George has a magical phenomena paralleling the natural phenomena. The Long Night had all the qualities and origins of a natural nuclear winter, but pumped up by magic and personified in the form of magical beings, Ice Demons who ride down on the winds of winter.
A comet impact which creates a nuclear impact would also create floods and earthquakes, and we also have many myths referring to those two things around the time of the Long Night / Dawn Age. Durran Godsgrief and the myths of the Ironborn talk of deadly, tsunami-like floods. The Hammer of the Waters story and the Ironborn myths give us the earthquakes. The thunderbolt from the Storm God is also a confirmation of the meteor strike, when you take a close look at it, as I did in this essay. All the ingredients are there to cause the Long Night, and George has given them to use directly, via the myths and legends of Planetos. I didn’t make up the idea of a second moon – I just took the “folktale” seriously, because we’ve been given many, many clues that the songs and folktales and nursemaids like Old nan know quite a bit more than most people think, if you know how to interpret the “bard’s truth,” as Martin puts it. And that is what my essays attempt to do.
P.S. If we ever see a Deep Ones invasion, or if one happened long ago, you better believe it came along with a flood tide. In fact, George even gives us that metaphor in ACOK, when the Ironborn invasion of Winterfell is perceived in Jojen’s dream as a black flood tide.
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I don’t like to be “that guy”, especially since I’m really impressed by your investment and research on your subjects and topics (and the length and depth of your essays). However I reread an interview of GRRM =http://www.ew.com/article/2011/07/12/george-martin-talks-a-dance-with-dragons , the famous “oh, you think Jon is dead” one, and there’s this particular question : “This may be a silly question, but: When you think of the world you’ve created, where seasons last for years, where is it? It is another planet?
It’s what Tolkien wrote was “the secondary world.” It’s not another planet. It’s Earth. But it’s not our Earth. If you wanted to do a science fiction approach, you could call it an alternate world, but that sounds too science fictional. Tolkien really pioneered that with Middle Earth. He put in some vague things about tying it to our past, but that doesn’t really hold up. I have people constantly writing me with science fiction theories about the seasons – “It’s a double star system with a black dwarf and that would explain–” It’s fantasy, man, it’s magic.” And it definitly, in George’s own words, defeat your interpretation of the season. And it’s a strong indication your “cause of the long night” is wrong as well, and also suggests that the whole “second moon” idea is debunked (did earth ever had a second moon ?), and…probably most if not the whole premise of your essays.
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Hmm, very interesting observations, Missy! Going over the text and working on essays takes up all of my time, so I hadn’t thought to go back and look for things like that in the TV show. If they are laying any kind of groundwork for a meteor reveal of any sort, I would be totally floored.
Everyone expects another Long Night to come – and if I am right that the comet striking the second moon to produce meteors was the cause of the first Long Night… and the Qarthine have that prophecy about the remaining moon cracking too… I think you see what I am getting at. People often ask me how any of this astronomy stuff would play out in the story in a way that makes sense, and that is my answer. We expect another Long Night, and everyone made a big fuss about the comet when it came by in ACOK, so it’s likely that if the comet does come back around the other side of its orbit and hit the second moon somewhere near the climax of the story, it will likely be the trigger for the new Long Night. A spectacular trigger, no doubt, but it will simply be triggering something we saw coming anyway, so I don’t think it will be distracting from the story.
Thanks for reading the blog and taking a minute to comment, and please share it with anyone you think might like it. 🙂
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I came across your blog and am truly enjoying all of your theories. While I am re-watching that series, I noticed a peculiar thing: The layout of the various rock monoliths of the Fist of the First Men, also where Ned beheaded to the NW deserter and where the Night’s King transforms the baby, are all formed to look like impact strikes. I’m watching the series with all new eyes now… Keep up the good work.
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The blue winter rose growing in a chink in the wall is something I would interpret differently in respect of the seasons. I think it has no business being there and it’s not there to usher in the spring at all. It is a winter rose, not a spring flower. It is cultivated under artificial environmental conditions, in a glass house, and probably has no natural environment, at least none that we see. A true winter / spring transition flower like the crocus does herald spring but this flower does not. I see it as representing the ‘ice trait’ and a herald of winter, of an unnatural winter because flowers do not normally grow in wintery conditions. I think Dany sees it to remind her that ‘winter is coming’. This is something that she appears to be quite ignorant of and it’s high time she caught on because her dragons represent one of the few ‘bringers of light’, one of the few effective methods of dealing with the foes winter brings with it.
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Do you think there’s a parallel between the blue rose that should not be and the blue star eyes of the Others? (Which also should not be)
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I think there’s a parallel in terms of ‘cultivation’. The Starks cultivate the ice trait, represented by the BWR. I imagine the ice trait in their bones is used to cultivate ww that they can control, via the blue star-eyes and that the Stark WW basically oppose the antagonistic WW created by the malignant Great Other.
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That’s an interesting notion, if true, it implies a corresponding two sides to the fire magic folks. Kind of like.. the Bloodstone Emperor? 😉
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LML, it’s great to see you’ve made a blog! (That I found through the History of Westeros forum, because I’m having login problems at Westeros.org – the reason I didn’t comment on your first topic there *sigh*). Anyway.
I was going to try and put my thoughts about your essays in this comment, but it’d have created a mess (though I have some ideas… never a good thing); really, it’s a bit lengthy, so I’ll refrain with:
– It appears you’re associating the LN with the imbalance in seasons, not with the Others — though one could say the Others came because this disequilibrium. Anyway, I think it’s important to see the relations and not the causes between them, with the Others having been defeated but the seasons keeping screwy.
– AA/the comet: I’ve always found it odd that Melisandre and even Maester Aemon considered the red comet a star. I’m not an astronomer, but I’ve always assumed they were pretty different, and while the technology in Planetos wasn’t that advanced, I think in terms of astronomy it should. So, Mel’s assumption that the comet was the star only served to show me how mistaken she could be, ignorantly trying to make a prophecy come true.
I also like your explanation to the forging of Lightbringer; since Mel (and readers) tend to take it too literally instead of abstractly, it kind of baffled me why someone would have six months to build a sword, and the deadline (see what I did here?) increased instead of decreased (30 + 50 + 100 days). I mean, WTF? An army of beings shows, kills everything in its path and the hero has time to practice swordbuilding? Really?
– I see you like Schmendrick’s theory as well. Am I stretching it or we can say AA+NN’s baby was the first dragon rider (provided that there was a human AA+NN equivalent, be it the last hero or Bran the Builder or someone else)? Do the heads of the dragon equal the three forgings of Lightbringer?
– The thing I dislike about the COTF is their general absence in LN prior to the last hero finding them. That means that a) after signing the Pact, they didn’t give a f**k or b) someone screwed up the dates and the Pact was signed post-LN. Option B is my favorite, because if Bran the Builder’s dad was warring against COTF, that would basically nullify the Pact. Of course, that’d give the COTF reason to create the Others and get revenge, but after Bran saw those impaled greenseers, I doubt the COTF would’ve risked it after the constant war, being so pro-nature and all.
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[cont.]
– “I am theorizing a smaller moon, and further away than the surviving one”
Hum, we know the world went dark, but how literally? I mean, I’d say an army of necromancers/demons appearing out of nowhere seems pretty dark to me, but it doesn’t mean there wasn’t light. We know Westeros went dark, so it’s possible the crash happened with the moon on that side, making it very, very dark and cold. Besides, for all intentions and purposes, the “sun hid its face” equals a solar eclipse. Perhaps there was an Earth–remaining moon–sun alignment during the collision, and the other had been around the Shadow Lands. Then, the Shadow Lands’ moon exploded and the North got a literal long night.
– “a big ball of ice and rock (often containing iron) and dirt, often with a few useful trace elements and minerals, such as nickel and phosphorus”
It brings to mind the Old Nan quote about our blue-eyed friends hating iron. I’d say the Other who fought against Waymar Royce was watching to make sure his wasn’t an iron blade. That said, there’s the possibility that Dawn is made of iron, truly forged from the heart of a fallen star, I mean, meteor. That would put dragonsteel either into the “it’s synonymous with obsidian, dragonglass and iron” or… not.
– The whole river-through-the-heart, Daeron and creation/de-creation (which doesn’t necessarily mean destruction) makes me think of Valyria, that “birthed” two cultures: the trueborn daughters (Free Cities) and the bastard (Braavos). Mama’s dead (Doom), but the babies live on, the trueborn hell bent on self-destruction while the bastard (Braavos) watches. And it’s the bastard that has a hand in the upcoming LN (through the Iron Bank’s accord with Stannis and Jon).
To wrap this up (it was about time), I think we should consider a further examination of Dorne. Not only because of House Dayne/Dawn, but also because of the hell and death and damnation imagery there (Hellholt, that sulfuric river whose name I’ve forgotten, the King’s Grave, Ghost Hill, etc.).
/endrambling
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Alright, so the eclipse thing. This was of course brought up early on in the process, and there does seem to have been an eclipse that took place at the moment of collision. There’s a bunch of evidence for this. However. The Long Night spanned the entire northern hemisphere, from Westeros to Asshai. They have Long Night stories everywhere. Essentially, this rules out an eclipse.
My general take on George’s use of magic is that he structures his magic off of scientific knowledge, and then personifies things as fits his story. It’s very much in keeping with the away ancient man personified nature and the celestial bodies as divine forces or god-forms. Obsidian is frozen fire, because it is literally cooled magma. Building on this scientific fact, he’s given it the characteristics of fire magic, because in his world fire is a magical element under the right conditions. Likewise, the Others are a personification of winter itself, and they come with the cold winds.
So, the idea of a comet strolling a moon and exploding it is a bit of a stretch, unless that comet was basically some kind of runaway moon itself. I have detected clues that indicate that this destroyed moon was smaller, as I said, which helps the plausibility a bit, but still, there is a little bit of magic involved in either the comet, the moon, or both to produce the kind of explosion we are looking for. This is a small stretch of reality, but not a wholesale throwing out of the laws of physics and logic.
A prolonged eclipse, however, is absolutely 100% impossible – not even impossible, worse than that – it’s nonsensical. For a moon to eclipse the sun over anything more than a smalł part of earth, the moon would have to be almost the same size as earth. To eclipse the entire planet, it would need to be BIGGER than earth. On top of that, the moon would have to suddenly stop orbiting the planet (impossible), yet remain held to the planet by its gravity (more impossible) and somehow stay perfectly positioned between the planet and sun (impossible). Therefore, we can safely rule this scenario out, because it’s simply nonsensical.
As I was saying above, George’s magical actions are coupled with physical properties – the Others and the cold winds, the dragons are fire made flesh. A magical prolonged eclipse has no sensible corresponding natural explanation or mechanics – it’s purely irrational in nature, and thus I see it as wholly inconsistent with the nature of magic in ASOIAF. On the other hand, the comet striking moon idea is more or less scientifically plausible, with the added accelerant of magic to make the explosion grandiose enough. It also is a much closer match to the text, which always has the sun taking the active role of slaying his moon wife, and with the moon wife always dying in childbirth. A destroyed moon is a sacrifice to save the earth, which fits with George’s themes of death paying for life and Nissa Nissa being a sacrifice. An eclipse, however, has entirely different connotations, thematically. This would make the moon the bad guy who blocked out the sun. Nowhere is any idea like this suggested that I know of. I can’t think of any lunar people that block the sun king’s light. Nissa Nissa didn’t smother AA or prevent him from shining.
I hope that makes sense. It is a logical thing to think of, and the idea was definitely kicked around, but in the end, we concluded it was just not possible.
– The whole river-through-the-heart, Daeron and creation/de-creation (which doesn’t necessarily mean destruction) makes me think of Valyria, that “birthed” two cultures: the trueborn daughters (Free Cities) and the bastard (Braavos). Mama’s dead (Doom), but the babies live on, the trueborn hell bent on self-destruction while the bastard (Braavos) watches. And it’s the bastard that has a hand in the upcoming LN (through the Iron Bank’s accord with Stannis and Jon).
I’ve noticed a similar theme with the Blackfyres being a bastardized form of house Targaryen. There’s a lot of themes of corrupted forms of various things all over the place.. Ive got my eye on them, but haven’t figured out exactly what the unifying idea is.
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Hi Lidy! Thanks so much for rereading and responding. I’ll try to hit most of your questions here:
– It appears you’re associating the LN with the imbalance in seasons, not with the Others — though one could say the Others came because this disequilibrium.
I tend to agree with the latter – the Others were a manifestation, not a cause of, the Long Night. I have theories about this to come, still working things out.
– AA/the comet: I’ve always found it odd that Melisandre and even Maester Aemon considered the red comet a star.
Comets are called shooting stars, and yes, classically, comets are considered wandering stars, as are the planets. Maester Cressen breaks it down to Shireen in AGOT:
– Am I stretching it or we can say AA+NN’s baby was the first dragon rider (provided that there was a human AA+NN equivalent, be it the last hero or Bran the Builder or someone else)? Do the heads of the dragon equal the three forgings of Lightbringer?
No, not at all. This is a possibility I am exploring – that AA & N had a son who was someone important. As for the heads = forgings, yes, actually, if Tyrion is a tart, They are out of order, but Lyanna = ice (water), Joanna = Lion, Rhaella = Nissa Nissa (dragon / fire moon)
I do actually think the Pact happened after the LN, so we’ve come to the same suspicion / conclusion here. I was trying to think of what would cause the First Men to switch religions – that’s just almost unheard of, an entire people dropping their religion – and I think if the cotf helped them survive the Long Night, or repel a dragon invasion at Battle Isle during the LN, that might do the trick. I am working on theories along these lines, but of course it takes a while because I try very hard to stick tot he text and research everything very thoroughly.
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Hey, LML, thanks for answering!
I have the same feeling about GRRM’s writing; his magic is more like a tool, very subtle — except when it’s downright explicit, like when Daenerys hatched the eggs. 🙂
George always leaves something more logical for the most skeptical readers (who disbelieve in magic but believe in aliens and Ragnarok…). However, while we can say without a doubt that the LN is the aftermath of the moon-comet collision, we can’t be sure if this isn’t the type of cosmic thing that’s happened before due to some sort of confluence or not (perhaps Amethyst wasn’t a victim and was playing around with magic, who knows). The differential in this case is that what happened up there echoed down here, in a rather freakish way, so I wouldn’t call your theory a stretch. Besides, the laws of nature are asking to be bent — or dragons and skinchangers wouldn’t really make sense, unless they were the result of hallucinations. Imagine, the last chapter of A Dream of Spring goes like “Bran woke up startled. That was one hell of a nightmare.”
After reading your theory, I agree that a prolonged eclipse wouldn’t make a lick of sense, in addition to being damaging. If it were created by magic, maybe, but one would expect the magic to have faded (and it apparently hasn’t. It seems that Asshai is still doomed, and so is the North). As for the Others, I’d always taken their appearance as a) a spell similar to Sauron’s that allowed the orcs to march to Minas Tirith, like a glamour, or b) Alaska in summer (half an hour of sun per day, with a long night the other 23 ½ hours).
“As I was saying above, George’s magical actions are coupled with physical properties – the Others and the cold winds, the dragons are fire made flesh”
Magic in ASOIAF is elemental. I guess that’s why they don’t require wands or crazy words or caldrons to do it. MMD used a dagger to make the spell that’d bring Drogo back. Crazy thought: would Drogo have lived if Daenerys hadn’t killed his horse? After all, MMD was telling the horse’s strength to go into Drogo. It’s safe to assume Drogo’s spirit went into the horse; in this sense, she’d be forcing an skinchanging.
“An eclipse, however, has entirely different connotations, thematically. This would make the moon the bad guy who blocked out the sun … I can’t think of any lunar people that block the sun king’s light”
Hadn’t considered this angle. There are a number of myths about sun goddesses joining with their consorts/husbands moon gods, to either save them from death or bring them back (moon god and his sun sister committed incest and had to unite and create an eclipse to avoid his death over his rape of her; an Aztec sun god had his glow diminished by jealous gods until he became the moon, and the other god sacrificed with him ruled as the sun; Isis bringing Osiris back — in Egyptian mythology, the sun travelled across the night sky to wait out in the underworld), but not sacrificing them to keep them from ruling, although there are a few myths about husbands ritualistically sacrificed by their wives to end winter. I don’t remember many moon male gods: Sin Nana and Thoth come to mind.
But you know, women were linked to the moon because of fertility (moon’s blood being the main evocative). In RL, people worshipped a goddess and bestowed fertility qualities upon her because men were ignorant of their roles in fertilization. For that matter a number of Amerindian tribes were traditionally matriarchal, under the excuse of being able to pinpoint their maternal lines. In Europe and Asia, they believed in a triple Mother-Goddess (i.e. the Morrigan). This changed around 3000 BC when these people came in touch with invading patriarchal tribes. The Rhoynish, the Fisher Queens, that Amazon-like culture (the women who cut their breasts off) seem to hold this mother-goddess tradition to heart. In a lesser extent, the Jogos Nhai seem to recognize it (the moonsinger are women or men who live as women), but the Dothraki and the Andals downright ignore it.
“Nissa Nissa didn’t smother AA or prevent him from shining”
No, her closest counterpart smothered his to save him from vegetating.
“I hope that makes sense. It is a logical thing to think of, and the idea was definitely kicked around, but in the end, we concluded it was just not possible.”
Don’t worry. It does. I don’t have an inkling about astronomy — so it’s nice to hear someone who understands how the sky works.
“I’ve noticed a similar theme with the Blackfyres being a bastardized form of house Targaryen. There’s a lot of themes of corrupted forms of various things all over the place.. Ive got my eye on them, but haven’t figured out exactly what the unifying idea is.”
In terms of House Targaryen/emperors I’m not very sure (aside from Maegor’s usurpation and the Dance, more evocative of the BB than the Blackfyre Rebellions), but the similarities I’ve noticed between the civilizations: extensive use of fire magic; black stones; dragons; incest (I do think BSE and AE were married, with or without her agreement — perfect way to be emperor in her place); the Doom; the impossibility of restoring either empire to its former glory.
The Blackfyres were trying to usurp the lawful ruling House, but they weren’t the legitimate heirs. I think it’s worth analyzing the Dance in light of the Blood Betrayal (the circumstances are similar enough). Not that we can’t use the Blackfyres, but I tend to associate them with the night’s king and Maegor. A new configuration of the BB, if you will. If we follow Jung and analyze archetypes, maybe it works — I’m not a Jung enthusiast, but won’t deny his theory works.
“I have theories about this to come, still working things out”
Good! *pumps fist into the air*
“Comets are called shooting stars, and yes, classically, comets are considered wandering stars, as are the planets.”
You know, another angle I didn’t stop to consider. It seems so obvious now. LOL And to think I’ve just read The Hedge Knight…
“No, not at all. This is a possibility I am exploring – that AA & N had a son who was someone important. As for the heads = forgings, yes, actually, if Tyrion is a tart, They are out of order, but Lyanna = ice (water), Joanna = Lion, Rhaella = Nissa Nissa (dragon / fire moon)”
I hate the ‘Tyrion is a Targ’ theory with a passion, but won’t base its merits on my personal feelings. I can see him playing a role like Nettles’, and getting a dragon regardless of his blood. Ah, have you ever read the theory that the Lannister children have Targaryen blood through Elaena? Anyway, if the PTWP is one or the three heads, then Tyrion couldn’t be it because he wasn’t born of Aerys and Rhaella’s line.
“I do actually think the Pact happened after the LN, so we’ve come to the same suspicion / conclusion here. I was trying to think of what would cause the First Men to switch religions”
This sudden change of heart (why change after the Pact if they were winning?) has always bugged me.
“I think if the cotf helped them survive the Long Night, or repel a dragon invasion at Battle Isle during the LN, that might do the trick. I am working on theories along these lines, but of course it takes a while because I try very hard to stick tot he text and research everything very thoroughly.”
I agree that the COTF were fundamental during the LN. Maybe the last hero left and struck a deal with them, and Bran the Builder became the first human greenseer after this. But I overlooked Battle Isle. I used to think that, with the base of the Hightower being made of black stone, and the mazes of Lorath, maybe the BSE pulled a Minos and imprisoned some dragons in a maze at Stygai so they could breed with his fire beasts. Yuck!
Anyway, waiting to hear, ops, read more. 😀
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I like your thoughts about the Drogo-horse spellcrafting. I’ve just recently analyzed that passage, and I did get the impression that it was a skinchanger resurrection ceremony, but one which MMD knew would not work because Drogo is not a skinchanger, like his Dothraki ancestors may have been. I covered this idea in my latest Westeros.org essay, which will shortly be available over here.
It is funny to see extremely skeptical people take on ASOIAF, it always makes me chuckle when they impose a very over-rational mindset on to George’s fantasy. But that’s ok, I do think George is making an effort to write things in an ambiguous enough way that people can project their own ideas about religion or magic or ancient mythology onto the story. Some people have a very strong bias against ancient man and ancient myth, considering it all to be be silly stories about half-human figments of people’s imaginations. Of course, wiser folks know that mythology contains a great deal of reliable information, if one knows how to interpret it. It also is a great record of astronomical and meteorological events, seen through the eyes of ancient man.
Personally, I think modern man’s rationalist understanding of everything is inferior to ancient man’s symbolic way of understanding, describing, and relating to the world around them. Science is beginning to come around and understand that the observer is always a part of the experiment, but the pitfall of rationalism is to observe the world as some kind of outsider; whereas symbolic thinking emphasizes the relationships man has to his environment. I probably shouldn’t go too far down this worm hole, backing up…
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I definitely think the first wave of human greenseers was crucially important. I think they may have been some before the pact, as well. The pact represents a widespread agreement, but when we look at individual cases of Dawn Age and Age of Heroes figures, there is a smattering of people who seem to have gotten along with the cotf. The Winged Knight, the Marsh King, the Warg King, the early maesters of the citadel, and even the Grey King, although I know it sounds weird.
The Grey King may be a greenseer – he sits on a weirwood throne with branches wrapped around his head, lived a thousand years and grew grey and corpse like… I mean, it just sounds a lot like Bloodraven. It’s possible there was an early tree-worshipping culture there when the Islands were connected to the mainland which was torn down in the LN catastrophe. Think about the petrified weirwoods of Nagga’s hill. Those trees died somehow, what was going on when they lived? The Grey King doesn’t actually do any reaving – that comes after he dies and his sons engage in an orgy of kinslaying and become reavers.
In any case, I’m working on this line of inquiry, as I the the human greenseers may have been involved in the creation of the Others. Not a new idea, but I am compiling evidence and there seems to be some “there” there.
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[clicks on the first Reply button I see]
Hello!
Sorry for the late answer, but after last Sunday, I had to take a break from everything ASOIAF/GOT related. *burn in hell, Stannis Baratheon!*
Anyway… the idea that the Dothraki do have/used to have a gene for skinchanging is beyond unsettling to me. Without it, they’re already those pieces of work, I shudder to think of what they’d do with it. Varamyr comes to mind, though Dothraki would be worse — considering they do everything Varamyr did. Ugh.
GRRM’s take on magic is very subtle, but it’s there. I mean, a thirteen-year-old walking into a funeral pyre and managing to hatch three dragon eggs? A werewolf-ish bonding? Zombies? Zombie guiding a bunch of kids to a cave to meet a god? Resurrected mother? An almost-thousand-feet ice wall? *blinks*
Everyone’s free to have a take on the books, but denying that there’s something “other” (preter- or supernatural) to these events is just like denying rain is wet. The worst part is that many of these denials aren’t constructive — like the folks that comment on your threads with “Your theory is wrong because I don’t believe in it. And no, I don’t have any reason not to disbelieve it, I just don’t want to open my mind to a new possibility when I know everything in my ignorance. And besides, George didn’t write the world book, so it’s garbage. And, no, I haven’t read the book yet, and stop offending me with asking if I ever plan to.” This is just a symptom of the disrespect that’s been plaguing human relations for years.
And there’s the inconsistency as well. “George said no character is evil.” Really? What about Ramsay and Gregor Clegane? “They are psychos.” But Aerys is called a psycho, too, why is it different with him? Baffling, but amusing.
I believe George’s very careful with his portrayal of religion, but the magic in ASOIAF goes beyond it — it’s more of a connection with the world (similar, but deeper than that of the COTF) than with deities.
“Some people have a very strong bias against ancient man and ancient myth, considering it all to be be silly stories about half-human figments of people’s imaginations”
Yes, these people forget that mythology’s goal wasn’t to create stories, but to explain the mysterious, frightening world.
“Personally, I think modern man’s rationalist understanding of everything is inferior to ancient man’s symbolic way of understanding, describing, and relating to the world around them”
Agreed. Excess of rationalism causes deficit in symbolic thinking, which in turn has a bad impact on abstraction and creativity.
“Science is beginning to come around and understand that the observer is always a part of the experiment, but the pitfall of rationalism is to observe the world as some kind of outsider”
Yeah, I had this problem during my internships. People think the observer doesn’t interfere with the experiment, when the observer is, as a rule, the strange variable in out-lab experiments and his or her relationship with the group seriously impacts the group dynamics; it seems to spring from the belief that science is purely empiric, when it’s also social (with other people or the lab rats we use).
“symbolic thinking emphasizes the relationships man has to his environment. I probably shouldn’t go too far down this worm hole, backing up…”
I know *sigh* Men rejected knowledge before because, you know, religion, and reject it now, not because of religion but… just becasue.
“I definitely think the first wave of human greenseers was crucially important. I think they may have been some before the pact, as well … there is a smattering of people who seem to have gotten along with the cotf. The Winged Knight, the Marsh King, the Warg King, the early maesters of the citadel, and even the Grey King, although I know it sounds weird”
Those Ironborn are a weird bunch! :p
I guess the guys from House Mudd, and possibly from House Royce had a good relationship with the COTF, too, as well as those from the Harrenhal area. This gives precedent to the thinking that human greenseers manipulated the Long Night to kick all humans out of Westeros through some acts attributed to the Children, like the breaking of the Arm and the flood of the Neck. Heck, the wars among the First Men may be a result of this — using the attacks to win the war by depriving the COTF of allies.
“he sits on a weirwood throne with branches wrapped around his head, lived a thousand years and grew grey and corpse like… I mean, it just sounds a lot like Bloodraven”
… and the God-on-Earth. 😉
“Those trees died somehow, what was going on when they lived? The Grey King doesn’t actually do any reaving – that comes after he dies and his sons engage in an orgy of kinslaying and become reavers.”
Yes, these trees, as well as those of High Heart and Raventree Hall are very intriguing — especially because they are linked to Yggdrasil, but called a flesh-eating three.
“In any case, I’m working on this line of inquiry, as I the the human greenseers may have been involved in the creation of the Others. Not a new idea, but I am compiling evidence and there seems to be some “there” there.”
Humans, destruction, “with great powers come great responsibilities,” weapon of mass destruction, greyscale, cursing… why doesn’t it surprise me? 😀 The idea of the human greenseers having created the Others is new to me — I was familiar with the theories about them being dead COTF or dead greenseers, not creations. Looking forward to reading it.
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I gave this some though, and thank you for raising the issue and forcing me to be more specific. I think the key is this: the comet is the sword that slays the seasons.” It represents the transition between seasons. So, the Dawn phase of the solar cycle represents the breaking of winter, or the transition from night to day. Remember that the blue rose growing in the chink in the ice fill stye air with sweetness. It’s the ushering in of spring, just as the morningstar ushers in the day. The green man / horned god deities frequently resurrect at yule – still in wintertime. They bring in the spring, usher it in like a herald or messenger, just like the comet.
Think about summer and winter as polar opposites, while spring and autumn are transitions between those two poles. The same is true of day and night – they are poles – while sunrise and sunset and transitions between the poles. That is why green goes with the gold of summer – it represents the entire fruitful season between transitions. I think that’s why we see green and gold, particularly around all the people from the Reach (associated with Garth, summertime, bounty, etc) and Westerlands (wealth, fertility, prosperity, rich lands).
Thus, the sunset sword, the sword of red fire, represents the transition from day to night – the dying of the sun. This is corroborates what I am saying about Azor Ahai and Lightbringer – they “brought” the darkness, not “fought” the darkness. They ushered in the darkness. It’s no coincidence Ned’s sword now appears the way it does:
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I see your point about the transitions, whereby considering the long summer of 10 odd years, we see a rather short autumn, which underscores the imbalance in the seasons. Regarding the length of the seasons – have you looked at the scenario in terms of the summer and winter solstices? The sun stands at its highest point in the sky at the summer solstice and at its lowest on the day of the winter solstice (a dual sun concept) – these are also the longest and shortest days of the year. The sun literally comes to a standstill at the solstices. Now, the earth’s axis is tilted, it rotates about its axis and revolves around the sun at the same time. The seasons occur because the planet’s axis of rotation is not perpendicular to its orbital plane so for half the year, the northern hemisphere is inclined towards the sun while the southern hemisphere is not. I think this is very relevant to the astronomical scenario that caused the Long Night:
I’ll just quote from the Wiki to finish off the explanation
Also during the June solstice, places on the Arctic Circle (latitude 66.56° north) will see the Sun just on the horizon during midnight, and all places north of it will see the Sun above horizon for 24 hours. That is the midnight sun or midsummer-night sun or polar day. On the other hand, places on the Antarctic Circle (latitude 66.56° south) will see the Sun just on the horizon during midday, and all places south of it will not see the Sun above horizon at any time of the day. That is the polar night. During the December Solstice, the effects on both hemispheres are just the opposite. This also allows the polar sea ice to increase its annual growth and temporary extent at a greater level due to lack of direct sunlight.
https://www.wikiwand.com/en/Solstice
It’s relevant because a change or increase in tilt would also mean longer nights and summers in general with an increase in polar ice during the polar night. I think the broken moon pieces (some of which must have been enormous), falling onto the planet in your scenario also causes a change in the tilt its axis, which ultimately leads to the imbalance we see in the length of the seasons. There several scenes involving Hodor which seem to simulate this scenario: Note how Hodor’s stance goes from upright to leaning and crashing: Hodor is the planet here
Hodor shifted his weight. “Hodor.”
“Hodor.” Hodor clapped his hands together. (two things colliding)
Now Hodor is unstable:
Once a rock moved beneath his foot and he slid backwards, and almost went tumbling back down the hill. The ranger caught him by the arm and saved him. “Hodor,” said Hodor. Every gust of wind filled the air with fine white powder that shone like glass in the last light of day.
It gets worse. Additionally, the snow is getting deeper and his laboured breath fills the air with mist while he strive to stay upright.
Coldhands was still climbing, and Hodor wanted to keep up. “Hodor, hodor, hodor,” he grumbled loudly, to drown out Bran’s complaints. His breathing had grown labored. Pale mist filled the air. He took a step, then another. The snow was almost waist deep and the slope was very steep. Hodor was leaning forward, grasping at rocks and trees with his hands as he climbed. Another step. Another. The snow Hodor disturbed slid downhill, starting a small avalanche behind them.
Hodor spins violently, stumbles and falls – Bran feels the jarring impact (of the moonrock)
Hodor screamed. He twisted, stumbled, fell.
Bran felt the world slide sideways as the big stableboy spun violently around. A jarring impact drove the breath from him. His mouth was full of blood and Hodor was thrashing and rolling, crushing the crippled boy beneath him.
Immediately in the next passage a wight appears:
Something has hold of his leg. For half a heartbeat Bran thought maybe a root had gotten tangled round his ankle … until the root moved. A hand, he saw, as the rest of the wight came bursting from beneath the snow.
See what I mean? Perhaps you would interpret this differently but what I see here is a collision that causes an instability in the planet – it spins, and tilts sideways.
This also ties into the desertification process, which I don’t think is a result of changes in ocean currents alone.
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We did also consider the idea of a more extreme tilt away from the sun. The main problem with that scenario is that the Long Night was felt in Asshai, Leng, Yi Ti, etc. We don’t know exactly how big the planet is (perhaps a little larger than earth as George remarked one time), but Asshai certainly seems to be near the equator. The strip of latitude from Dorne through southern Essos, Valyria, Slaver’s Bay, the Red Waste, and on through Yi Ti is consistent with land in the tropics.
The other problem is that if there were any kind of sudden movement in the earth, whether from the planet slipping over on to its side or ideas about the crust of the earth slipping over the core like a loose orange peel, is that this movement would create so much friction in the atmosphere that all life on earth would be incinerated. We could have a tiny slip or movement, but nothing extreme enough to tilt the planet sideways. Also, a sideways planet would die in short order – the side facing the sun would cook, and the other side would freeze. And I mean well beyond the LN idea – everything dies, yet again.
What we do not know is how far George is willing to bend physics or what makes sense to him in the context of a high fantasy novel. Thus, I mostly try to follow the text and try to explain what it seems to be saying about the LN events.
That Hodor passage is curious – I do see the clues you’re seeing there. I’ll have to take a closer look at that.
I know Hodr is a Norse figure; is he at all like Atlas who holds up the world or anything like that? Any clues about Hodr in relation to earthquakes or the world axis? I’ll look it up later I suppose. Thanks for the tip. The filling the air with glass dust sounds a lot like a sword forging metaphor, which is how Voice of the First Men and I were analyzing that passage. We are both suspecting there is a “cold forge” technique that is like an opposite of fire forging. The Others’ ice magic is almost like an inversion of fire – think about the ice dragons that breathe COLD. Thus when I think about their ice swords, or the idea that Dawn was the original “Ice,” the cold forge thing might be a thing.
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Have a closer look at the solstices in relation to the equinoxes, also in that link. I don’t think the tilt angle would have changed very much but even the slightest change can theoretically upset things. Astronomy / the physics of it isn’t really my thing but I think you’ve delved far enough into the subject to be able to figure it out 🙂
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I’ve read some theories on Hodor being the name of the Great Other, some of which sound quite plausible. Hodor is a giant – in fact suspected to be half-giant and giants are metaphorically termed as boulders. We have the horn of winter that wakes ‘giants from the earth’ which we suspect to refer to earthquakes. A boulder (giant / planet) is woken by an earthquake. Hodor is only half a giant – we only see one half of the planet… don’t know.. spontaneous thoughts on my part.
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Well that’s a to ally new angle on Hodor… I’ll keep it in mind as I re-read when Hodor comes up… I’ll for signs that Hodor is Planet. It’s like the “Pluto is a Planet” campaign, but with Hodor.
We should be able to get that to take off on the internet, right? “Hodor is a Planet Theory.”
I’ll be sure to credit you. 😉
UPDATE: Pluto is once again a planet!
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Welcome to the world of blogging 🙂
Good stuff, even better on a second read. Your interpretation of the symbolism of the red door is the first I’ve read that makes sense and is in line with Dany embracing her dragon nature.
The only thing that does not feel quite right to me is the association of the forging process with the solar cycle. The rhythm of sunrise – midday – sunset works, including the corresponding colours but the night and the seasons are out of place if we follow the scenario of forging. The forging process is over. Or, do you see the night as a forth forging?
Regarding the seasons, I see the dawn colours you’ve attributed to spring as the colours of winter. In spring we expect fresh greens, rebirth and regeneration in terms of plant growth and animal life. In your scenario, the comet is shedding material, degenerating, bursting, along the way, like the sword. It’s not a metaphor I would associate with spring.
I’m not familiar with the ancient solar cycle and all the arguments you present are logical on a stand alone basis but I’m not sure I’d present it within that context.
Nice catch on King Daeron. In addition to the splitting path, his sword also points to Dorne, where you assume another bit of the comet fell. He’s also one of Jon’s heroes – all fits very nicely.
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Hey Evolett, thanks for reading and commenting. Regarding the night sun and the forging cycle, there are a lot of signs that Lightbringer was a dark lightbringer, a sword of sunset and nightfall. Red and black.Sunset was it’s forging, but it was the fire in the night, the nightfire. It reigned in the darkness. And indeed, the forging cyle takes place against a backdrop of darkness in the story – darkness, the “fourth phase” of the cycle, if you will, is lurking in the background – it IS the background. The concept of the night sun is very much a light in the darkness, fighting for survival. The darkness is the medium of the night sun, dark Lightbringer IS the night sun, the night fire.
We also have idea that it went out and was relit. This involves detailed text metaphorsI won’t get into here, but I think it lights up when needed or when sacrifices are made, then goes out later. Just as comets have a dormant phase, when they are cold and dark, before they light up with a tail.
I’ll just leave you with this quote from the chapter where Renly is mudered by Azor Ahai (Stannis here) and his shadowsword as evidence that darkness can indeed be forged, and was:
From ADWD, concerning Ned’s sword (which I believe to be dark Lightbringer):
And here, from AGOT, Arya:
I think that Lightbringer, sword of red fire, has a hidden shadow nature, which represents the night sun, the shadow. I’m going to get into this topic in more detail in a future essay.. there’e even more shadowsword stuff. Lots of fun. Muah ha ha ha…
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Hey LML, great news you’ve started this blog, very pleased. I see Brashcandy & co at PAWN TO PLAYER [ a rethinking Sansa Stark resource ] have linked you as a blog they follow as well. I had already popped in to check out what you’ve got going on here, this is my second visit, via said link this time, great artwork, and a really solid start to this ongoing, fascinating theory/explanation.
I say explanation because of your process and willingness [ perhaps necessity ] to explain the different symbolism, metaphors, patterns etc… and this has enhanced my understanding of how George writes. I’m excited to embark on a re-read armed with this information, when time allows….sigh. [ For now I will continue to soak up your essays, and it must be said, the various awesome posters on your threads, and their opinions on such matters.]
On that point, as I’m sure you’re aware, your essays [ previous threads.] need some deciphering and thought, and I can honestly say you are the first ‘poster’ that has had me taking notes on their material, so thanks, I’m enjoying the ride. Mostly notes on the metaphors, symbolism, and how GRRM is using these to hide his clues, as I’ve mentioned, I’m trying to understand these books to the best of my ability, and this is some juicy info on techniques and patterns to look out for, awesome job.
Most exciting theory and discussion within the Asoiaf fandom in ages IMHO. Thanks for your stellar work thus far 😉
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Well thanks for the kind words, and for breaking the ice here on the comments thread. I’ve had a lot of people reading the post but folks have been reluctant to comment, so cheers 🙂
It’s definitely necessary to take this methodical, step-by-step approach, imo, in order to firmly establish what the symbolism is trying to tell us. Even with all the textual support, for some it’s still sounds far-fetched. However, I think if you have a familiarity with comparative mythology and the universal mythological archetypes, then you have a basic understanding of how gods and heroes are generally based on astronomy in some way. What Maertin is doing is writing modern mythology, where very scene and person and action is intentional and tells a second story (that’s why it takes 5 years to write a book). What I have done is applied my own very rudimentary understanding of comp. mythology, etc. to the series, and so far it’s been very rewarding. 🙂
I must again give credit to Radio Westeros, History of Westeros, and some dude who used to be on the Westeros.org forums named Schmendrick who did an amazing analysis of Jon as a human incarnation of Lightbringer, but it was really a study on Jon as Mithras. It was a long form exploration of a mythological influence which martin seems to have made thorough use of, and it definitely inspired me to go full-tilt. RW and HoW taught me a lot about recognizing foreshadowing and metaphor as George uses them. Those podcasts are just sensational.. I assume everyone has heard and listens regularly.
And yes, the commentors on Westeros.org were amazing, contributed many things to the essays, and helped me refine many ideas. It’s been a resounding success at crowdsourcing a research project.
I am going to put a links section up, and will be sure to include those ‘casts as well as PtP, of course.
Returning to the issue of the hidden astronomy story, what we are dealing with here is a classic literary technique – the story within the story – but used in a new creative way. It’s kind of like if Tolkien had hidden the broad strokes of the Silmarillion through metaphors inside of the Lord of the Rings trilogy. It’s pretty staggering, and you will certainly have an entirely new vision of the novels as you do the re-read and just look for the symbols. The symbols are actually more honest than the narrators! Consider R+L=J. It’s the blue roses that really make it, not puzzling over the logistics. I have tried to keep this in mind as I go – follow the symbols, and figure out what they are saying and how it makes sense.
I generally focus on trying to identify the patterns and interpreting them, as opposed to trying to make sweeping predictions. I do make a couple as we go on to later essays, butI think the patterns can be interpreted a few ways, and certainly their implications can be so. I’d like to get everyone looking at these patterns and seeing what they can make of them.
I should have a re-worked version of Astronomy Part 2: The bloodstone Compendium up pretty shortly, which is really a companion to this first essay.
Cheers and thanks so much for reading and commenting, wizzsmith.
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