A Bent History: The Crooked King in Fantasy and Reality
by Catrina Livermore
In literature, a physical deformity is often used to allude to a deeper-- more physiological state. A form of mimesis, physical attributes often define the true nature of a character. However in reality we are far more aware that our appearances serve as obstructions rather than maps in our path to discovering a person’s true identity. In William Shakespeare’s Richard the III, the young king’s deformity masks his cunning and methodical nature from those closest to him. Similarly, In George R. R. Martin’s fantasy series, A Song of Ice and Fire, the character Tyrion Lannister’s dwarfism overshadows his true nature as an adept ruler and dangerous enemy. Both figures utilize their handicap as a protective cloak: on the surface their deformities give the impression that they are harmless and of no threat to personal ambitions, when in reality both men are constantly scheming to advance their own agenda. Ultimately, both characters are uniquely aware that their handicaps are also their best weapons. Portrayed as less than men, Richard the III and Tyrion Lannister ironically use their handicaps as tools to eradicate the stigma associated with their disability.
Whether one chooses to believe in Shakespeare’s malicious and vindictive tyrant or the Ricardian theory that Richard was a misunderstood king, each version of Richard the III is one that embraces his handicap. Richard uses his disability as if it were his greatest weapon against those closest to him. In the plays first soliloquy, the deformed king acknowledges the proverbial cage that he is forced into as man defined by his disability. “But I, that am not shaped for sportive tricks, Nor made to court an amorous looking-glass; I, that am rudely stamp'd, and want love's majesty To strut before a wanton ambling nymph; I, that am curtail'd of this fair proportion (Act I Scene I) …” While acknowledging his shortcomings, Richard also projects a hint of sarcasm. In reality, Richard is astutely aware that he is capable of greater possibilities than the average man. For Richard, the road to becoming king is about the game rather than the actual goal. His plan, while on the surface would appear to be one motivated by revenge or bitterness, is really a test of his skill. Richard’s plan to hijack the throne is ultimately about establishing his strength. Albeit a deadly game, with heavy consequences, Richard is confident he can win by using only his wits. “And therefore, since I cannot prove a lover, To entertain these fair well-spoken days, I am determined to prove a villain And hate the idle pleasures of these days Plots have I laid, inductions dangerous, By drunken prophecies, libels and dreams, (Act I Scene I).” During his mission to become king, Richard simultaneously proves that he can preform all the duties that the average man could as well as commit acts far greater than the average king solely by engineering a scheme to essentially fracture his family.
This is first made apparent during the courtship of Lady Anne. While politically motivated, Richard’s display of charm and finesse as a suitor also showcased his ability to prove himself a lover. Not only is Lady Anne a means of securing legitimacy to the throne, she is also a means of proving himself to be capable of anything that a healthy man in his position could--charm a woman. “Your beauty was the cause of that effect; Your beauty: which did haunt me in my sleep To undertake the death of all the world, So I might live one hour in your sweet bosom (Act 1 Scene II).” Richard’s pursuit of Lady Anne is a difficult one however Richard rises to the challenge and is able to court Anne even when she is in supposed mourning. Richard’s nonthreatening appearance allows him to tame and eventually court Lady Anne. The funeral scene between Richard and Lady Anne is provocative not only for the intense exchange between the two but rather for the complete transformation Lady Anne makes by the end of the scene.
Originally enraged by his presence and convinced of his role in the loss of her loved one, Anne is emboldened, telling Richard to kill himself. However Richard through words of flattery on bended knees, is able to woo Lady Anne into viewing him as a gentleman. “If thy revengeful heart cannot forgive, Lo, here I lend thee this sharp-pointed sword; Which if thou please to hide in this true bosom. And let the soul forth that adoreth thee, I lay it naked to the deadly stroke, And humbly beg the death upon my knee. Impervious to manipulation of her (Act 1 Scene II).” The noble gesture by Richard gives Lady Anne pause, however it is the gentle disposition of the disabled man on his knees that causes a shift in Lady Anne’s opinion. “'Tis more than you deserve; But since you teach me how to flatter you, Imagine I have said farewell already.” Richard, the man who earlier stated that he could not “court a nymph” was able to make Anne, who was so certain of Richard’s guilt, change her mind with a few charming words and a seemingly heartfelt plea.
Juxtaposing Richard’s charm, Tyrion Lannister also proves himself to be a man worthy of a woman’s love. Although ridiculed for his size, Tyrion manages to find companionship from the opposite sex, many of whom become his most trusted allies. Using his gentle disposition, Tyrion creates a false sense of security for others. “I am generous. Loyal to those who are loyal to me. I’ve proven I’m no craven. And I am cleverer than most, surely wits count for something. I can even be kind. Kindness is not a habit with us Lannisters, I fear, but I know I have some somewhere. I could be . . . I could be good to you (Storm Of Swords).” Perhaps one of his greatest tools, like Richard, is his ability to manipulate others to believe that they possess the power when in fact it is the exact opposite. Tyrion, more than any other character within the novel is able to feed you a lie and make you believe it simply because, coming from an “imp” who has to look up at everyone, it sounds so much more tenable.
Another similarity between the two rulers is their ability to garner sympathy due to their disability. Richard gains sympathy from people like Lady Anne while Tyrion accepts it from anyone who will listen. “My brother is undoubtedly arrogant,” Tyrion Lannister replied. “My father is the soul of avarice, and my sweet sister Cersei lusts for power with every waking breath. I, however, am innocent as a little lamb. Shall I bleat for you?” He grinned (A Game Of Thrones).” Tyrion makes it a point to always remind people that he is an “imp”, attempting to divert people from seeing his true nature as a formidable threat, Tyrion has embraced his disability completely and uses it to throw everyone off balance. This showmanship differs from Richard the III who would rather wait for the right moment to play on his disability. “Why, I, in this weak piping time of peace, Have no delight to pass away the time (Act I Scene I).” Throughout the play, Richard waits for the perfect moment to remind everyone that he is disabled while Tyrion looks for every moment to bombard his enemies with it. “Would you rather be called the Imp? Let them see that their words can cut you and you’ll never be free of the mockery. If they want to give you a name- take it- make it your own. Then they can’t hurt you with it anymore (A Game Of Thrones).” Tyrion flaunts his dwarfism like a badge of honor and has become adept at allowing people to laugh at his appearance while he plots his ascension to power. Richard and Tyrion strive to prove they are true villains despite their handicap. “I'm a monster, as well as a dwarf. You should charge me double (A Game of Thrones).” Tyrion strives to be revered as a decisive leader. He would much rather be a dwarf and powerful rather than tall and powerless.
Admittedly, Tyrion tends to be more ostentatious than Richard however he still proves to be similar to Richard in the sense that they both take the time to know their enemy. “I have a realistic grasp of my own strengths and weaknesses. My mind is my weapon. My brother has his sword, King Robert has his war hammer, and I have my mind… and a mind needs books as a sword needs a whetstone, if it is to keep its edge (A Game of Thrones).” This resonates with Richard’s opinion of his brother, “And if King Edward be as true and just As I am subtle, false and treacherous, This day should Clarence closely be mew'd up (Act I Scene I).” Both men find that their greatest advantage comes from being a good judge of character. In the case of Richard and Tyrion, their enemy happens to be of their own blood. This fact allows them to use their disability to an even greater extent. In Richard’s case, rather than starting a civil war, he can play the innocent brother of good intent. “And thus I clothe my naked villainy With odd old ends stol'n out of holy writ; And seem a saint, when most I play the devil (Act I Scene III).” Throughout the play Richard exploits the familial bond of brothers to eliminate two of his biggest obstacles. Rather than taking the crown by force Richard manages to allow the brothers to remove themselves from the situation. Richard constantly exploits his brother Edward’s weakened state and heightened paranoia to eliminate Clarence as well as gain access to his nephews.
In regard to the boys in the tower, whether you believe that Richard murdered his nephews is not important, what is important is that Richard is finally seen as the villain he is rather than the dutiful brother. “So wise so young, they say, do never live long (Act III Scene I).” To the reader, Richard has reached a point of no return. Accused of murdering a child assumes that the accused has the potential to be a truly evil person. Ultimately Richard has reached his own goal as proving himself to be a formidable and dangerous enemy. Rather than being seen as a harmless cripple, Richard is now a king capable of doing whatever is necessary to remain king. In comparison, while Tyrion has never blatantly threatened to murder his nephew, has never shied away from inflicting the pain upon the rightful king. “I am not threatening the king, ser, I am educating my nephew. Bronn, Timett, the next time Ser Boros opens his mouth, kill him. The dwarf smiled (A Clash of Kings).” Although not one to usually preform the act, Tyrion and Richard are not above punishing those they deem deserve it. Even as cripples they find themselves acting with the full strength of the average man.
Ultimately, Tyrion Lannister and Richard the III are men who constantly work to change the narrative on disability. Although born into nobility their rise to power proved to be a trial that they both manage to accomplish with nothing but their own resourcefulness. Whether or not you believe that both men are liars and murderers, you must acknowledge the magnitude of the fact that no longer are they defined by the defects beyond their control but instead they are remembered for their aptitude for power. Whether in fantasy or reality men like Richard and Tyrion Lannister are to be admired for their perseverance and dedication to define who they are on their own terms.
by Catrina Livermore
In literature, a physical deformity is often used to allude to a deeper-- more physiological state. A form of mimesis, physical attributes often define the true nature of a character. However in reality we are far more aware that our appearances serve as obstructions rather than maps in our path to discovering a person’s true identity. In William Shakespeare’s Richard the III, the young king’s deformity masks his cunning and methodical nature from those closest to him. Similarly, In George R. R. Martin’s fantasy series, A Song of Ice and Fire, the character Tyrion Lannister’s dwarfism overshadows his true nature as an adept ruler and dangerous enemy. Both figures utilize their handicap as a protective cloak: on the surface their deformities give the impression that they are harmless and of no threat to personal ambitions, when in reality both men are constantly scheming to advance their own agenda. Ultimately, both characters are uniquely aware that their handicaps are also their best weapons. Portrayed as less than men, Richard the III and Tyrion Lannister ironically use their handicaps as tools to eradicate the stigma associated with their disability.
Whether one chooses to believe in Shakespeare’s malicious and vindictive tyrant or the Ricardian theory that Richard was a misunderstood king, each version of Richard the III is one that embraces his handicap. Richard uses his disability as if it were his greatest weapon against those closest to him. In the plays first soliloquy, the deformed king acknowledges the proverbial cage that he is forced into as man defined by his disability. “But I, that am not shaped for sportive tricks, Nor made to court an amorous looking-glass; I, that am rudely stamp'd, and want love's majesty To strut before a wanton ambling nymph; I, that am curtail'd of this fair proportion (Act I Scene I) …” While acknowledging his shortcomings, Richard also projects a hint of sarcasm. In reality, Richard is astutely aware that he is capable of greater possibilities than the average man. For Richard, the road to becoming king is about the game rather than the actual goal. His plan, while on the surface would appear to be one motivated by revenge or bitterness, is really a test of his skill. Richard’s plan to hijack the throne is ultimately about establishing his strength. Albeit a deadly game, with heavy consequences, Richard is confident he can win by using only his wits. “And therefore, since I cannot prove a lover, To entertain these fair well-spoken days, I am determined to prove a villain And hate the idle pleasures of these days Plots have I laid, inductions dangerous, By drunken prophecies, libels and dreams, (Act I Scene I).” During his mission to become king, Richard simultaneously proves that he can preform all the duties that the average man could as well as commit acts far greater than the average king solely by engineering a scheme to essentially fracture his family.
This is first made apparent during the courtship of Lady Anne. While politically motivated, Richard’s display of charm and finesse as a suitor also showcased his ability to prove himself a lover. Not only is Lady Anne a means of securing legitimacy to the throne, she is also a means of proving himself to be capable of anything that a healthy man in his position could--charm a woman. “Your beauty was the cause of that effect; Your beauty: which did haunt me in my sleep To undertake the death of all the world, So I might live one hour in your sweet bosom (Act 1 Scene II).” Richard’s pursuit of Lady Anne is a difficult one however Richard rises to the challenge and is able to court Anne even when she is in supposed mourning. Richard’s nonthreatening appearance allows him to tame and eventually court Lady Anne. The funeral scene between Richard and Lady Anne is provocative not only for the intense exchange between the two but rather for the complete transformation Lady Anne makes by the end of the scene.
Originally enraged by his presence and convinced of his role in the loss of her loved one, Anne is emboldened, telling Richard to kill himself. However Richard through words of flattery on bended knees, is able to woo Lady Anne into viewing him as a gentleman. “If thy revengeful heart cannot forgive, Lo, here I lend thee this sharp-pointed sword; Which if thou please to hide in this true bosom. And let the soul forth that adoreth thee, I lay it naked to the deadly stroke, And humbly beg the death upon my knee. Impervious to manipulation of her (Act 1 Scene II).” The noble gesture by Richard gives Lady Anne pause, however it is the gentle disposition of the disabled man on his knees that causes a shift in Lady Anne’s opinion. “'Tis more than you deserve; But since you teach me how to flatter you, Imagine I have said farewell already.” Richard, the man who earlier stated that he could not “court a nymph” was able to make Anne, who was so certain of Richard’s guilt, change her mind with a few charming words and a seemingly heartfelt plea.
Juxtaposing Richard’s charm, Tyrion Lannister also proves himself to be a man worthy of a woman’s love. Although ridiculed for his size, Tyrion manages to find companionship from the opposite sex, many of whom become his most trusted allies. Using his gentle disposition, Tyrion creates a false sense of security for others. “I am generous. Loyal to those who are loyal to me. I’ve proven I’m no craven. And I am cleverer than most, surely wits count for something. I can even be kind. Kindness is not a habit with us Lannisters, I fear, but I know I have some somewhere. I could be . . . I could be good to you (Storm Of Swords).” Perhaps one of his greatest tools, like Richard, is his ability to manipulate others to believe that they possess the power when in fact it is the exact opposite. Tyrion, more than any other character within the novel is able to feed you a lie and make you believe it simply because, coming from an “imp” who has to look up at everyone, it sounds so much more tenable.
Another similarity between the two rulers is their ability to garner sympathy due to their disability. Richard gains sympathy from people like Lady Anne while Tyrion accepts it from anyone who will listen. “My brother is undoubtedly arrogant,” Tyrion Lannister replied. “My father is the soul of avarice, and my sweet sister Cersei lusts for power with every waking breath. I, however, am innocent as a little lamb. Shall I bleat for you?” He grinned (A Game Of Thrones).” Tyrion makes it a point to always remind people that he is an “imp”, attempting to divert people from seeing his true nature as a formidable threat, Tyrion has embraced his disability completely and uses it to throw everyone off balance. This showmanship differs from Richard the III who would rather wait for the right moment to play on his disability. “Why, I, in this weak piping time of peace, Have no delight to pass away the time (Act I Scene I).” Throughout the play, Richard waits for the perfect moment to remind everyone that he is disabled while Tyrion looks for every moment to bombard his enemies with it. “Would you rather be called the Imp? Let them see that their words can cut you and you’ll never be free of the mockery. If they want to give you a name- take it- make it your own. Then they can’t hurt you with it anymore (A Game Of Thrones).” Tyrion flaunts his dwarfism like a badge of honor and has become adept at allowing people to laugh at his appearance while he plots his ascension to power. Richard and Tyrion strive to prove they are true villains despite their handicap. “I'm a monster, as well as a dwarf. You should charge me double (A Game of Thrones).” Tyrion strives to be revered as a decisive leader. He would much rather be a dwarf and powerful rather than tall and powerless.
Admittedly, Tyrion tends to be more ostentatious than Richard however he still proves to be similar to Richard in the sense that they both take the time to know their enemy. “I have a realistic grasp of my own strengths and weaknesses. My mind is my weapon. My brother has his sword, King Robert has his war hammer, and I have my mind… and a mind needs books as a sword needs a whetstone, if it is to keep its edge (A Game of Thrones).” This resonates with Richard’s opinion of his brother, “And if King Edward be as true and just As I am subtle, false and treacherous, This day should Clarence closely be mew'd up (Act I Scene I).” Both men find that their greatest advantage comes from being a good judge of character. In the case of Richard and Tyrion, their enemy happens to be of their own blood. This fact allows them to use their disability to an even greater extent. In Richard’s case, rather than starting a civil war, he can play the innocent brother of good intent. “And thus I clothe my naked villainy With odd old ends stol'n out of holy writ; And seem a saint, when most I play the devil (Act I Scene III).” Throughout the play Richard exploits the familial bond of brothers to eliminate two of his biggest obstacles. Rather than taking the crown by force Richard manages to allow the brothers to remove themselves from the situation. Richard constantly exploits his brother Edward’s weakened state and heightened paranoia to eliminate Clarence as well as gain access to his nephews.
In regard to the boys in the tower, whether you believe that Richard murdered his nephews is not important, what is important is that Richard is finally seen as the villain he is rather than the dutiful brother. “So wise so young, they say, do never live long (Act III Scene I).” To the reader, Richard has reached a point of no return. Accused of murdering a child assumes that the accused has the potential to be a truly evil person. Ultimately Richard has reached his own goal as proving himself to be a formidable and dangerous enemy. Rather than being seen as a harmless cripple, Richard is now a king capable of doing whatever is necessary to remain king. In comparison, while Tyrion has never blatantly threatened to murder his nephew, has never shied away from inflicting the pain upon the rightful king. “I am not threatening the king, ser, I am educating my nephew. Bronn, Timett, the next time Ser Boros opens his mouth, kill him. The dwarf smiled (A Clash of Kings).” Although not one to usually preform the act, Tyrion and Richard are not above punishing those they deem deserve it. Even as cripples they find themselves acting with the full strength of the average man.
Ultimately, Tyrion Lannister and Richard the III are men who constantly work to change the narrative on disability. Although born into nobility their rise to power proved to be a trial that they both manage to accomplish with nothing but their own resourcefulness. Whether or not you believe that both men are liars and murderers, you must acknowledge the magnitude of the fact that no longer are they defined by the defects beyond their control but instead they are remembered for their aptitude for power. Whether in fantasy or reality men like Richard and Tyrion Lannister are to be admired for their perseverance and dedication to define who they are on their own terms.
Nephew vs. Uncle: The Transversal of Villains within the Classical Tragic Dynamic
by Molly Jordan
Revenge is a prevalent theme in the genre of tragedies. It stems from a conflict of injury or insult in which the injured or the insulted feel the need to act in retaliation to a certain degree. Throughout Elizabethan tragedies, uncles were often portrayed as the villains, such as Shakespeare’s Claudius in Hamlet or Richard in Richard III. Hamlet is an ideal example of a revenge tragedy in which the conflict rests in Hamlet’s opposition to his uncle, Claudius, as king. Claudius served as the conniving antagonist of the play in the respect that he killed his brother and king, Hamlet Sr., and then went on to marry the King’s widow, Queen Gertrude. Claudius’ illegitimacy and disparaging character is discovered in the beginning of the play as his superficial actions show his true character and motives.
Hamlet makes it his duty to take revenge on Claudius, the villain that he calls both uncle and step-father, after his father’s ghost appeared to him and gave him this task. Hamlet as a character is extremely philosophical and contemplative as he is best know for his “To Be or Not to Be” soliloquy. In this soliloquy, he contemplates his situation to either avenge his father’s death or end his own life. If not for his promise to avenge his father’s death, Hamlet may not have had enough motivation to seek revenge, and suicide may have been the preferable choice. However, Hamlet’s hatred towards his uncle and approval from his father is enough motivation to overcome his philosophical and timid nature. He then uses his internal conflict, which he disguises as madness, to confuse and distract Claudius from his espionage and ultimately his revenge.
In contrast to Shakespeare’s Hamlet, the roles between uncle and nephew are reversed in George R. R. Martin’s book series turned television series, Game of Thrones. This reversal of the nephew vs. uncle relationship once again involves the classical tragic dynamic between a prince and his uncle. However, in Game of Thrones the prince serves as the villain and the uncle as the one seeking revenge. The plot of the series involves the monarchy of the seven kingdoms of Westeros, with King Robert Baratheon as the overruling King. After King Baratheon was killed, his son, Joffrey Baratheon, became the new king of Westeros. However, unknown to King Robert, Joffrey was a bastard son of the incestuous relationship between Queen Cersei and her brother, Jaime Lannister, making Joffrey an illegitimate heir to the throne. The next rightful heir to the throne was Stannis Baratheon, King Robert’s brother. After much secrecy surrounding Joffrey’s birth, Stannis discovered the truth about the illegitimacy of Joffrey’s birthright and set out to take his place as the rightful heir to the throne.
Stannis Baratheon believed in justice and what was best for the kingdoms. Determined to return justice to the throne, Stannis decided to take revenge on the illegitimate power and take his rightful place as King. He does so not out of greed for power and wealth, but out of a sense of duty to take his place as king and bring order back to Westeros. Unlike Claudius in Hamlet, Stannis’ character is absolute in his motives and actions compared to Claudius’ contradicting ideas and questionable right to the throne. Their views on ruling and their paths to the crown distinguish themselves from each other, which separates the two characters and their roles as the avenger and the villain. Although Stannis plays the role of the uncle, he is more relatable to Hamlet in that they both seek revenge for the true heir to the throne.
Joffrey Baratheon is the antagonist and mirrors the villainous role of Claudius in Hamlet. Martin shaped Joffrey into an easily despised character as a spoiled and cruel child that felt little affection for others. He built an inward perception of his own sense of power and used the oppression he imposed on others to produce a false image of strength and control. However, his power was unsound just like his claim to the throne, for his cowardice was exposed when confronted to fight. His self-image conflicted with his true character just as Claudius’ perceived appearance is disjunctive with his crimes and manipulative motives. Although he plays the role as the villain, Joffrey has some similarities with Hamlet. Other than both being nephews, Joffrey and Hamlet both desired their father’s approval. While his father never knew about his true parentage, Joffrey desired his father’s approval and affection, which King Robert rarely showed. Joffrey’s false sense of bravery and violent control was an attempt for him to live up to his father and earn his approval. For Hamlet, his father’s approval was to be achieved through the completion of his task to avenge his father’s death. In addition to the desire for patriarchal approval, they were both rash in their decisions. Joffrey was rash in many of his decisions to condemn people to death; while Hamlet, although he was deeply analytical with his situation, often made rash decisions and acted impulsively. Hamlet’s rash actions were triggered by his emotions, such as mistakenly killing Polonius thinking it was Claudius. Through these characters, both Shakespeare and Martin suggest that good rulers must be absolute in their character; therefore, Claudius and Joffrey are clearly at fault.
The reversal of villains in Game of Thrones plays with the stereotypical idea of uncles as the antagonists in tragedies. It challenges the tragic dynamic between the relationship of prince and uncle. By making the nephew, rather than the uncle, the villain, as was done in Game of Thrones’ through Joffrey’s character, it forces the audience to view the characters from a new perspective. It makes the audience shift the empathy from the younger nephew, who would normally be portrayed as the character being wronged and cheated out of his rights, to the older uncle, who in most tragedies was viewed as the oppressor with unjust intentions. Martin challenges a prevalent relationship in the tragic genre while maintaining the common theme of conflict: the fight for the rightful claim to the throne.
Martin’s choice to reverse the role of villains in Shakespeare’s dynamics of tragic characters in Hamlet, allows the audience to let go of all preconceived notions they had of each of the characters that they would normally associate if Shakespeare’s classic nephew and uncle relationship was present. Martin’s reversal of this dynamic provokes the audience to reevaluate where the characters’ motives are coming from. For example, even though Joffrey is considered a villain in Game of Thrones, because he is the nephew, which would normally gain the character sympathy from the audience, the audience would be able to see why the character exhibited the villainous qualities. One may argue that Joffrey had no other choice but to be the villain because he was born into the illegitimate position as a bastard child. However, if one argues that Joffrey should not be blamed for his unjust claim to the throne and that his role as a villain stems from his unfortunate incestual creation, how can one argue against his sadistic and oppressive character as not being that of a villain? One may object to this argument with the rebuttal that such characteristics of pure evil are needed in plots like that of Hamlet and Game of Thrones in order to create the elements of revenge tragedy. These villainous characters serve, as Martin understands, as a outlet for the audience’s need to direct their negative emotions toward a specific character outlet. Martin he creates this character reversal in order to shy away from the predictable character portrayals that make the audience discover for themselves a new perspective. The audience can therefore understand what it means to be on the other side. By switching the roles, it challenges the initial understanding of what it means to be the rightful ruler. One needs to delve into the details of the characters to interpret their motives and establish the criteria for what makes a leader.
Shakespeare’s tragic genre will forever serve as a source of inspiration with tragic masterpieces such as Hamlet, Richard III and Macbeth leading the way. George R. R. Martin’s Game of Thrones series took the tragic formula found in Shakespeare and manipulated it in a way that made it more unpredictable for the modern age. The relationship of nephew and uncle found in so many Elizabethan and Jacobean theatre comes to life again with Martin’s use of reversing the roles the characters play, while still mirroring the illegitimacy between Shakespeare’s and his own villains.
Works Cited
Martin, George R. R. A Game of Thrones. New York: Bantam, 1996. Print. Martin, George R. R. A Clash of Kings. New York: Bantam, 1999. Print.
Martin, George R. R. A Clash of Kings. New York: Bantam, 1999. Print.
Shakespeare, William. Hamlet (The New Folger Library Shakespeare). Simon & Schuster; New Folger Edition, 2003.
by Molly Jordan
Revenge is a prevalent theme in the genre of tragedies. It stems from a conflict of injury or insult in which the injured or the insulted feel the need to act in retaliation to a certain degree. Throughout Elizabethan tragedies, uncles were often portrayed as the villains, such as Shakespeare’s Claudius in Hamlet or Richard in Richard III. Hamlet is an ideal example of a revenge tragedy in which the conflict rests in Hamlet’s opposition to his uncle, Claudius, as king. Claudius served as the conniving antagonist of the play in the respect that he killed his brother and king, Hamlet Sr., and then went on to marry the King’s widow, Queen Gertrude. Claudius’ illegitimacy and disparaging character is discovered in the beginning of the play as his superficial actions show his true character and motives.
Hamlet makes it his duty to take revenge on Claudius, the villain that he calls both uncle and step-father, after his father’s ghost appeared to him and gave him this task. Hamlet as a character is extremely philosophical and contemplative as he is best know for his “To Be or Not to Be” soliloquy. In this soliloquy, he contemplates his situation to either avenge his father’s death or end his own life. If not for his promise to avenge his father’s death, Hamlet may not have had enough motivation to seek revenge, and suicide may have been the preferable choice. However, Hamlet’s hatred towards his uncle and approval from his father is enough motivation to overcome his philosophical and timid nature. He then uses his internal conflict, which he disguises as madness, to confuse and distract Claudius from his espionage and ultimately his revenge.
In contrast to Shakespeare’s Hamlet, the roles between uncle and nephew are reversed in George R. R. Martin’s book series turned television series, Game of Thrones. This reversal of the nephew vs. uncle relationship once again involves the classical tragic dynamic between a prince and his uncle. However, in Game of Thrones the prince serves as the villain and the uncle as the one seeking revenge. The plot of the series involves the monarchy of the seven kingdoms of Westeros, with King Robert Baratheon as the overruling King. After King Baratheon was killed, his son, Joffrey Baratheon, became the new king of Westeros. However, unknown to King Robert, Joffrey was a bastard son of the incestuous relationship between Queen Cersei and her brother, Jaime Lannister, making Joffrey an illegitimate heir to the throne. The next rightful heir to the throne was Stannis Baratheon, King Robert’s brother. After much secrecy surrounding Joffrey’s birth, Stannis discovered the truth about the illegitimacy of Joffrey’s birthright and set out to take his place as the rightful heir to the throne.
Stannis Baratheon believed in justice and what was best for the kingdoms. Determined to return justice to the throne, Stannis decided to take revenge on the illegitimate power and take his rightful place as King. He does so not out of greed for power and wealth, but out of a sense of duty to take his place as king and bring order back to Westeros. Unlike Claudius in Hamlet, Stannis’ character is absolute in his motives and actions compared to Claudius’ contradicting ideas and questionable right to the throne. Their views on ruling and their paths to the crown distinguish themselves from each other, which separates the two characters and their roles as the avenger and the villain. Although Stannis plays the role of the uncle, he is more relatable to Hamlet in that they both seek revenge for the true heir to the throne.
Joffrey Baratheon is the antagonist and mirrors the villainous role of Claudius in Hamlet. Martin shaped Joffrey into an easily despised character as a spoiled and cruel child that felt little affection for others. He built an inward perception of his own sense of power and used the oppression he imposed on others to produce a false image of strength and control. However, his power was unsound just like his claim to the throne, for his cowardice was exposed when confronted to fight. His self-image conflicted with his true character just as Claudius’ perceived appearance is disjunctive with his crimes and manipulative motives. Although he plays the role as the villain, Joffrey has some similarities with Hamlet. Other than both being nephews, Joffrey and Hamlet both desired their father’s approval. While his father never knew about his true parentage, Joffrey desired his father’s approval and affection, which King Robert rarely showed. Joffrey’s false sense of bravery and violent control was an attempt for him to live up to his father and earn his approval. For Hamlet, his father’s approval was to be achieved through the completion of his task to avenge his father’s death. In addition to the desire for patriarchal approval, they were both rash in their decisions. Joffrey was rash in many of his decisions to condemn people to death; while Hamlet, although he was deeply analytical with his situation, often made rash decisions and acted impulsively. Hamlet’s rash actions were triggered by his emotions, such as mistakenly killing Polonius thinking it was Claudius. Through these characters, both Shakespeare and Martin suggest that good rulers must be absolute in their character; therefore, Claudius and Joffrey are clearly at fault.
The reversal of villains in Game of Thrones plays with the stereotypical idea of uncles as the antagonists in tragedies. It challenges the tragic dynamic between the relationship of prince and uncle. By making the nephew, rather than the uncle, the villain, as was done in Game of Thrones’ through Joffrey’s character, it forces the audience to view the characters from a new perspective. It makes the audience shift the empathy from the younger nephew, who would normally be portrayed as the character being wronged and cheated out of his rights, to the older uncle, who in most tragedies was viewed as the oppressor with unjust intentions. Martin challenges a prevalent relationship in the tragic genre while maintaining the common theme of conflict: the fight for the rightful claim to the throne.
Martin’s choice to reverse the role of villains in Shakespeare’s dynamics of tragic characters in Hamlet, allows the audience to let go of all preconceived notions they had of each of the characters that they would normally associate if Shakespeare’s classic nephew and uncle relationship was present. Martin’s reversal of this dynamic provokes the audience to reevaluate where the characters’ motives are coming from. For example, even though Joffrey is considered a villain in Game of Thrones, because he is the nephew, which would normally gain the character sympathy from the audience, the audience would be able to see why the character exhibited the villainous qualities. One may argue that Joffrey had no other choice but to be the villain because he was born into the illegitimate position as a bastard child. However, if one argues that Joffrey should not be blamed for his unjust claim to the throne and that his role as a villain stems from his unfortunate incestual creation, how can one argue against his sadistic and oppressive character as not being that of a villain? One may object to this argument with the rebuttal that such characteristics of pure evil are needed in plots like that of Hamlet and Game of Thrones in order to create the elements of revenge tragedy. These villainous characters serve, as Martin understands, as a outlet for the audience’s need to direct their negative emotions toward a specific character outlet. Martin he creates this character reversal in order to shy away from the predictable character portrayals that make the audience discover for themselves a new perspective. The audience can therefore understand what it means to be on the other side. By switching the roles, it challenges the initial understanding of what it means to be the rightful ruler. One needs to delve into the details of the characters to interpret their motives and establish the criteria for what makes a leader.
Shakespeare’s tragic genre will forever serve as a source of inspiration with tragic masterpieces such as Hamlet, Richard III and Macbeth leading the way. George R. R. Martin’s Game of Thrones series took the tragic formula found in Shakespeare and manipulated it in a way that made it more unpredictable for the modern age. The relationship of nephew and uncle found in so many Elizabethan and Jacobean theatre comes to life again with Martin’s use of reversing the roles the characters play, while still mirroring the illegitimacy between Shakespeare’s and his own villains.
Works Cited
Martin, George R. R. A Game of Thrones. New York: Bantam, 1996. Print. Martin, George R. R. A Clash of Kings. New York: Bantam, 1999. Print.
Martin, George R. R. A Clash of Kings. New York: Bantam, 1999. Print.
Shakespeare, William. Hamlet (The New Folger Library Shakespeare). Simon & Schuster; New Folger Edition, 2003.
