Sandor Clegane, The Hound, on the Hypocrisy of Knighthood

A Song of Ice and Fire‘s Sandor Clegane, the Hound, is a vile man, a murderous mercenary who knows no scruples. But his impassioned rants against the hypocrisy of the knights of the Seven Kingdoms–besides providing him with some wonderful lines–give him a little redemptive touch.

In A Storm of Swords, before his battle with Beric Dondarrion, as he is accused by the Brotherhood without Banners (AKA the Knights of the Hollow Hill or The Forgotten Fellowship) of atrocities committed by the Lannisters, the Hound fights back:

“You server the Lannisters of Casterly Rock,” said Thoros.

“Once. Me and thousands more. Is each of us guilty of the crimes of others?” Clegane spat. “Might be you are knights after all. You lie like knights, maybe you murder like knights.”

 Lem and Jack-Be-Lucky began to shout at him, but Dondarrion raised a hand for silence. “Say what you mean, Clegane.”

“A knight’s a sword with a horse. The rest, the vows and the sacred oils and the lady’s favors, they’re silk ribbons tied around the sword. Maybe the sword’s prettier with silk ribbons tied round the sword. Maybe the sword’s prettier with ribbons hanging off it, but it will kill you just the same. Well, bugger your ribbons, and shove your swords up your arses. I’m the same as you. The only difference is, I don’t lie about what I am. So kill me, but don’t call me a murderer while you stand there telling each other your shit don’t stink. You hear me?

After he has cheated a ferryman of his fare by falsely promising to pay him on his ‘knight’s honor’ and is accused of breaking his vow, the Hound says:

Knights have no bloody honor.

Later too, the Hound lets an innkeeper know he does not want to be thought of, or addressed as if he were, a knight:

“I don’t want no trouble, ser,” the innkeep said.

“Then don’t call me ser.”

The Hound is right, of course: there is little distinction, often, in the behavior of sellswords and knights (as Sansa Stark painfully finds out);  the vows of knighthood are all too easily broken.

In leveling these charges against the exalted figure of the knight, Clegane forces a confrontation with the uncomfortable truth that renders the distinction between mercenary and professional soldier a tenuous one: both are in the business of killing.  The mercenary’s acts are all too quickly prejudged as driven by little more than selfish considerations but the soldier may often be granted the privilege of elaborate ideological cover for his actions.

This fragility of the distinction between ‘the man who fights for cause and country’ and ‘the man who fights for purse alone’ suggests a greater moral responsibility on the former.  But as the Hound sagely–if crudely–points out, all too often soldiers (and their leaders) are content to merely dress up their actions with puffery and bombast and pompous proclamations of codes of conduct. It is the easiness with which those may be discarded that is the target of the Hound’s ire. And it should be ours too.

On Almost Drowning

I’ve almost drowned twice. Once during the whitewater rafting trip I described here a while ago. The other occasion came many years before, on a school trip in India, close to a river known for its fearsome flooding, for the toll it often extracts when its swollen waters disdain its banks and make their way over the neighboring lands: the Teesta.

In my high-school sophomore year–the tenth grade–I traveled to Kalijora in West Bengal on a schoolboy expedition. We were to spend a weekend in a forest service bungalow, swimming in the local rivers, hiking through the forests nearby, cooking our own food. It would be three days of blessed relief from school discipline and regulation.

When our bus dropped us off at our digs, close by the Teesta, situated on a cliff next to its banks, we stopped to stare at it in some awe. The summer rains had turned it into a beast. Readers of George Martin‘s A Song of Ice and Fire will be able to imagine what we saw if they remember this passage from A Storm of Swords when the Hound, Sandor Clegane and Arya Stark are confronted by the river Arya takes to be the Blackwater Rush – on their way to Walder Frey‘s castle:

The tops of half a hundred trees poked up out of the swirling waters, their limbs clutching for the sky like the arms of drowning men. Thick mats of sodden leaves choked the shoreline, and farther out in the channel she glimpsed something pale and swollen, a deer or perhaps  a dead horse, moving swiftly downstream. There was  a sound too, a low rumble at the edge of hearing, like the sound a dog makes just before she growls.

Years later, when I would see the Cheat River–in flood–in West Virginia during the rafting trip I described in the post linked to above, I thought of the Teesta again.

The Teesta was fed by a tamer tributary that ran below our bungalow; our plan was to use its considerably more inviting waters for our aquatic escapades. We strung up two ropes across its banks, separated by about fifty yards or so; our hope was that anyone knocked off his feet and carried downstream would be able to use the ropes to arrest his otherwise swift passage to a watery death. We stayed above the first rope; we had two shots at being rescued.

Those ropes saved my life. On the first afternoon, rather foolishly, long after my mates had gone left the tributary and climbed back up the rocky flight of steps to our kitchen for a cup of tea, I stayed on, swimming and wading, reluctant to leave its cool waters for the all-enveloping muggy heat that awaited me once I stepped out from them.

And then, suddenly, I was tumbling. I was knocked off my feet and carried downstream in a flash. As I frantically tried to regain my balance to stop being washed out to the frighteningly visible Teesta, I stuck my hand up, and miraculously grabbed the second of the two lifelines.

The tributary’s current was fast, and my body was now strung out, my legs ahead of me, with my arm hanging on to the rope for dear life. I could not stand up; I could not pull myself back up over the rope to get my head and torso out of the water. I felt water flowing over my head and down again. I could raise my head if I tried and when I did so, I would catch a glimpse again of the Teesta’s brown, furious, roiling waters. They might have been a hundred yards away but they felt frighteningly proximal. I might have shouted a couple of times but to no avail. No one was around; I was alone. If I was washed out to the Teesta, it would be a while before my absence would be noted; I doubted my body would ever be found.

I don’t know how long I stayed in that position; it could not have been too long for I surely would have been exhausted and let go. But somehow, I rolled over and pulled hard on the rope to become upright. Incredibly enough, I found a foothold nearby from which I pushed off into slightly calmer waters, from where I made for shore.

Exhausted and beat up, I walked quietly back up for my tea. No one asked me where I had been; I hadn’t been away that long.

It had felt like a lifetime though.

Game of Thrones AKA The Widow’s Revenge

I quite enjoy HBO’s Game of Thrones and after accounting for all the sex and violence have often wondered why I find it so entertaining; I’m not inclined toward the fantasy genre under normal circumstances and do not think I had read any of its productions before Game of Thrones. (That has changed; I have now read the first novel of George Martin‘s epic series).

Daniel Mendelsohn provides an answer of sorts, beginning with:

This has a great deal to do with the complex satisfactions of Martin’s novels, whose plots, characterization, and overall tone the series reproduces with remarkable fidelity—and whose mission is, if anything, to question and reformulate certain clichés of the fantasy/adventure genre about gender and power.

And concluding:

Whatever climax it may be leading to, however successfully it realizes its literary ambitions, George R.R. Martin’s magnum opus is a remarkable feminist epic.

Quite correctly, Mendelsohn’s central reason for regarding Game of Thrones as a ‘feminist epic’ is the position it accords to Daenerys Targaryen (and to a lesser extent to Arya Stark). Her struggle for power, wherein she will challenge men for the throne of the Seven Kingdoms is an often dominant plot line. She might be assisted by men, she might take advice from them, but she remains her own boss (and as Ser Jorah Mormont often finds out, she is not shy about letting him know this fact); all too often, she commands and rules them.  She is not shackled and dependent on male sexuality: 

The pubescent Dany…is no innocent: deprived of the attentions of her dead husband, she now and then accepts the ministrations of a teenaged handmaiden.

Mention of her dead husband, the Dothraki chieftain Khal Drogo, serves as a reminder that a crucial component in realizing Martin’s feminist vision in Game of Thrones is Daenerys’ status as a widow.

The widow, of course, is the archetypal weakened and destitute woman: she lacks a male guardian, protector, provider, and lover. She is incomplete in many ways. For instance, she lacks that which will realize her motherhood–her sole raison d’etre–a father for her children. From now on, she can only be a dependent, cast out to the not-so-tender mercies of other men, or the sympathies of her own family. The loss of her husband has marked her out as a singular unfortunate; the more superstitious might regard her as the bearer of misfortune for her husband, and seek to consign her to the margins of our world where she may infect us no more. Those women who know the standing of widows in a society like the Dothraki–and many of ours have approximated theirs in the past and sometimes even in the present–may find any inner resolve crumble when confronted with a fate as terrible as that which befell Khal Drogo. But not Daenerys Targaryen. Her mighty man–it is no coincidence that Martin made him the epitome of rugged, virile strength–is brought to his knees by a witch’s sorcery, but this loss, while tragic, does not detract her from her quest.

It is the refusal to embrace the Dothraki widow’s fate that makes Daenerys the strong woman that she is, and that allows Martin to give his epic a feminist hue.