daenerys targaryen*

cornbreadcrumbs  asked:

In regards to Jorah, I have an idea on why Martin uses him and what can be learned by his role in the story. Jorah is a deconstruction of the classic courtly love trope. The Knight who loves a lady who cannot be with him. Except in ASOIAF, he's the Westeros equivalent of a neckbeard. He's entitled, whiny, selfish and dangerously reckless. He's always putting women on pedestals, and he's always disappointed they don't appreciate it. Maybe its Martin saying "Look how toxic this way of thinking is"

And to follow up that idea, perhaps so many people defend Jorah because so many men in real life have this problem. They don’t treat women as people, but more as QUEENS that they also have a right to sexually since they are always bowing and scraping for them. Except that this thinking is self serving and self destructive and it gets you no where. Guys who act like that are childish assholes. Just some thoughts on good ole Jorah.”

Well said, and I agree that’s what GRRM’s going for, but to borrow from Roger Ebert, it’s not so much what Jorah’s about as how he’s about it. Right off the bat, slavery is the wrong crime to build that character around–it’s too far, too much, too removed from his context, and instead of establishing a characterization about romantic entitlement, it seems to set a foundation for interrogating his larger moral lapses, yet this doesn’t really go anywhere. There’s no catharsis or tie-in to a bigger picture; you don’t get the same rich contextual understanding of a Victarion or a Littlefinger, where you really see how social forces and their own sins have intertwined. There’s also the problem that Jorah is by far the most prominent supporting character in Dany’s storyline, and I feel there was a lost opportunity to give her someone to play off in a more sincere, varied, and just plain interesting way. Finally, ADWD adds basically nothing to Jorah’s characterization, despite (or because) being our first time with him outside Dany’s POV. He’s got the same goals for the same reasons and is willing to do the same things. At least with Tyrion’s depression, we’re in his head so we get to feel it (this is why I was honestly expecting Jorah to be a POV in ADWD, but nope). 

Basically, I don’t think Jorah’s story is properly structured or executed as a critique, even though all the elements are there. So instead, the elements just become unpleasant actions, icky motivations, and story-deadening scenes, with no real payoff. I don’t feel rewarded for the investment, is what I’m saying. 

2

The ceremony began at dawn and continued until dusk, an endless day of drinking and feasting and fighting. A mighty earthen ramp had been raised amid the grass palaces, and there Dany was seated beside Khal Drogo, above the seething sea of Dothraki. She had never seen so many people in one place, nor people so strange and frightening. The horselords might put on rich fabrics and sweet perfumes when they visited the Free Cities, but out under the open sky they kept the old ways. Men and women alike wore painted leather vests over bare chests and horsehair leggings cinched by bronze medallion belts, and the warriors greased their long braids with fat from the rendering pits. They gorged themselves on horseflesh roasted with honey and peppers, drank themselves blind on fermented mare’s milk and Illyrio’s fine wines, and spat jests at each other across the fires, their voices harsh and alien in Dany’s ears.

8

Daenerys Targaryen’s Fashion 

“I always put trousers underneath because in her psyche anything might go wrong and [she’s always thinking], ‘I might need to run away,’ Even with the longest, most beautiful gowns, she always wears a pair of boots and trousers. I like that sense of, 'I can play this [queen] but underneath, I can run.’“ - Michele Clapton on Dany’s Costumes (insp.)