Mostrando entradas con la etiqueta faust. Mostrar todas las entradas
Mostrando entradas con la etiqueta faust. Mostrar todas las entradas

lunes, 14 de agosto de 2023

LE VEAU D'OR (SINGABLE TRANSLATION)

 This one is to an Apis image and emblem of Taurus ♉, materialism, capitalism: Sung by Mephisto in Gounod's Faust, with libretto or lyrics by Jules Barbier and Michel Carré: Le Veau d'Or (The Golden Calf)!

LE VEAU D'OR

Translated by Sandra Dermark 

14th of August MMXXIII 

................

The Golden Calf stands always upright!!!

Its power grows by the hour

Its power grows by the hour

From end to end of Earth, all right!!!

To feast this image, fat and lazy,

royalty and peasants yield

to the sinister sound of shields

to dance in a circle, crazy...

All around its pedestal

All around its pedestal!!!

Master Satan leads the ball

Master Satan leads the ball 

Master Satan leads the ball 

Master Satan leads the ball!!!

....................

The Golden Calf is slayer of God!!!

In its derisory Glory

In its derisory Glory

It insults Heaven, loathly, odd!!!

It beholds, in strangest ire,

at its feet the human race,

storming forth in heedless race,

into blood, and mud, and mire,

where gold's glitter is to call,

where gold's glitter is to call!!!

Master Satan leads the ball 

Master Satan leads the ball 

Master Satan leads the ball 

Master Satan leads the ball!!!



LE VEAU D'OR (Literal translation)

 For once, a literal instead of singable translation! This one is to an Apis image and emblem of Taurus ♉, materialism, capitalism: Sung by Mephisto in Gounod's Faust, with libretto or lyrics by Jules Barbier and Michel Carré: Le Veau d'Or (The Golden Calf)!

LE VEAU D'OR

Translated by Sandra Dermark

14th of August MMXXIII

..............

The Golden Calf stands always upright!!!

They praise its power

they praise its power

from one end of the Earth to the other!

To feast the infamous image,

royalty and populace together,

to the ominous noise of shields,

they dance in a crazy circle

around its pedestal,

around its pedestal!!!

around its pedestal!!!

And Satan leads the ball/is master of ceremonies!!

And Satan leads the ball/is master of ceremonies!!

And Satan leads the ball/is master of ceremonies!!

And Satan leads the ball/is master of ceremonies!!

.....…......................................

The Golden Calf is slayer of God!!!

In its derisory Glory,

In its derisory Glory,

the loathly monster insults Heaven!!!

He beholds, oh strange rage!

At his feet the human race

storming forth, steel in hand,

into the blood and the mud

where the burning gold glitters,

where the burning gold glitters!!!

And Satan leads the ball/is master of ceremonies!!

And Satan leads the ball/is master of ceremonies!!

And Satan leads the ball/is master of ceremonies!!

And Satan leads the ball/is master of ceremonies!!




martes, 19 de septiembre de 2017

ACH, ICH BIN EIN ELEND SÜNDER...

Att Jergen Puckel är tysk, om inte tyskättling, râr det inget tvivel om. Keine mehr Zweifel, dessutom, när han liksom sin landsman Heinrich Faust förskriver sig till den Onde, ger sin signatur i blod... och ger Mefisto följande svar auf Schweutsch (undertecknat har rättskrivit Bellmans usla tyska):


 Ach, ich bin ein elend Sünder,
 mein Contract till Ende går;
 Herz einmal, ich mich verbinder,
 noch zwei år.

Ich soll alle Flicken kränke,
på Spielhusen vare flink,

 altrich på min Ehefrau dänke,
 på Katrink!
 Schönt Fiolen schtemmer.
 Bringt mir Bleck und Penne!
 Fröhlich hör jak dik nu till, tu Fan, vid förschte Fink.


 Mit mein rechte Blut jak schriever
 dich nu dette Refersal,
 det jak mich nu übergifver;
 Ganz fatal!
 Det jak ej will vare nükter,
selten uti Kirchen gå,
 truhget fülle meine Plikter,
 klunke på,
 glemme alle kremper.
 Stockholm den Nofember,
 Manu mea propria, auf Krugen Rosenthal.





lunes, 22 de mayo de 2017

THE TEMPTER IN TRAGEDY

In surveying the earlier plots we ended by looking briefly at the 'dark' versions of each type of story: examples where the underlying patterns fails to work out to its proper, happy conclusion. In the case of Comedy it might seem a contradiction in terms that there could be a 'dark' version, in that if 'recognition' and a change of heart fail to take place as the precondition of a happy ending, the story can scarcely be regarded as a Comedy. How then would we describe such a tale?
Let us consider a familiar example. We see a hero who falls in love with a beautiful heroine. She loves him and, despite strong initial opposition, they get married. But the hero unwittingly giyes offence to a jealous, embittered third party, who becomes the chief dark figure of the story. The dark figure determines to get his revenge, and begins to drop hints to the hero that his young wife is being unfaithful to him. The villain hatches a dark plot, involving a lost handkerchief, supposedly given by the heroine to her lover. The hero is taken in and becomes deranged with rage. If this were a Comedy, when confusion and misunderstanding have reached their height, this is where the process of 'recognition' would begin to clear things up. The true explanation of the lost handkerchief would come to light. The dark figure would be exposed for the villain he is. The hero would recognise he had dreadfully wronged his wife, and would be filled with contrition. Finally hero and heroine would be reconciled, and all would end happily. As we all know, however, the story does not end like that, precisely because there is no 'recognition'. Othello is not a comedy, and it leads us on to the next plot.

Tragedy

Sooner or later, in any attempt to explore the deeper patterns which shape storytelling, we are brought up against one central, overwhelming fact. This is the way in which, through all the millions of stories thrown up by the human imagination, just two endings have far outweighed all others. In fact we might almost say that, for a story to resolve in a way which really seems final and complete, it can only do so in one of two ways. Either it ends with two lovers united in love. Or it ends in a death. 
On the face of it, this might not seem particularly odd. Nothing in human life, after all, might be considered more final than death, What could be more natural than that our imaginations should conjure up stories which conclude with their hero/ine reaching old age and a natural death? 
But the point is that the number of stories which end like this, with their hero/ine passing peacefully away in the fullness of years, is not very great. When we talk of a story ending in a death we do not usually mean a natural death at all. We mean a death that is violent, premature, a death that is 'unnatural' (Sw. ond brâd död). In other words, we mean a death which shows that something has gone hideously or, as we say, tragically wrong. 
Of course the huge mass of stories which end in violent death do not by any means all have the same underlying shape. It is possible to arrive at such an ending by any of a number of routes. For a start, as we have seen from our glimpses of the 'dark' versions of other plots - the dark Rags to Riches story, the dark Quest and so on - it is possible for other basic types of story to lead up to such a conclusion, when we might talk of them having a 'tragic ending'. And even when we turn to that great family of stories which have for thousands of years been more specifically described as 'tragedies', we find considerable variety in their underlying shape and moral emphasis. Even more than with Comedy, we are venturing here into an area of storytelling which cannot be delineated in just one simple formula. 
Nevertheless, all through the history of storytelling, we find one particular type of story which is shaped by a pattern so persistent and so distinctive as to make it unmistakable. This can be illustrated by as well-known examples, composed in a wide variety of cultural circumstances and for greatly differing purposes, as: the Greek myth of Icarus; the German legend of Faust; Shakespeare's Macbeth... 

Each of these stories shows a hero/ine being tempted or impelled into a course of action which is in some way dark or forbidden. For a time, as the hero/ine embarks on a course, s/he enjoys almost unbelievable, dreamlike success. But somehow it is in the nature of the course s/he is pursuing that s/he cannot achieve satisfaction. Their mood is increasingly chequered by a sense of frustration. As s/he still pursues the dream, vainly trying to make his position secure, he begins to feel more and more threatened - things have got out of control. The original dream has soured into a nightmare where everything is going more and more wrong. This eventually culminates in the hero/ine's violent destruction. 
In fact we can set out the general stages through which the pattern unfolds like this: 
1. Anticipation Stage: the hero/ine is in some way incomplete or unfulfilled and their thoughts are turned towards the future in hope of some unusual gratification. Some object of desire or course of action presents itself, and his energies have found a focus. 
2. Dream Stage: he becomes in some way committed to his course of action (e.g., Faust signing his pact with the devil Mephisto, King Lear banishing his youngest daughter, Cleopatra keeping Mark Antony away from Rome) and for a while things go almost improbably well for the hero/ine. S/He is winning the gratification s/he had dreamed of, and seems to be 'getting away with it'. 
3. Frustration Stage: almost imperceptibly things begin to go wrong. The hero/ine cannot find a point of rest. S/He begins to experience a sense of frustration, and in order to secure their position may feel compelled to further 'dark acts' which lock them into the same course of action even more irrevocably. A 'shadow figure' may appear at this point, seeming in some obscure way to threaten them.
4. Nightmare Stage: things are now slipping seriously out of the hero's control. S/He has a mounting sense of threat and despair. Forces of opposition and fate are closing in on them. 
5. Destruction or Death Wish Stage: either by the forces s/he has aroused against their own self, or by some final act of violence which precipitates their own death (e.g., murder and/or suicide), the hero/ine is destroyed. 
If we look again at the familiar example of Macbeth, we can see how these five stages correspond exactly to the five acts into which Shakespeare divides the drama: 
1. Act One (Anticipation Stage) shows the triumphant generals Macbeth and Banquo returning from winning a great victory. They meet the three 'dark sisters', who prophesy to Macbeth that he will hold three great titles, Glamis, Cawdor and King. This fires his ambition and when he hears that a grateful King Duncan has already rewarded him with the first two titles, he writes to his lady wife to tell her about the witches' prediction that he would one day hold the third as well. She eggs him on to make the prediction complete, and they find their 'focus' in the conspiracy to murder Duncan. 
2. Act Two (Dream Stage) shows Macbeth comitting the 'dark deed' and subsequently killing the two drunken grooms (rather brief comic relief) to cover up his crime. Initially things could not go better for the hero. Duncan's two sons flee to England, arousing suspicion that they had somehow been implicated in the crime, and Macbeth is chosen to be king. 
3. Act Three (Frustration Stage) opens with Banquo soliloquising 'Thou hast it all now: King, Cawdor, Glamis, all, as the weird women promis'd; and, I fear, thou play'dst most foully for it'. The first inklings of suspicion are arising. Macbeth in turn is distrustful of Banquo because of the witches' prediction that it would be his descendants, not Macbeth's, who would sit on the throne of Scotland. He arranges for Banquo's murder. Macbeth expresses his growing frustration in such phrases as 'we have scotch'd the snake, not killed it', and this is heightened when the murderers report that they have killed Banquo, but that his son Fleance escaped. At dinner that night Macbeth is confronted with Banquo's accusing ghost, and the act ends with the news that Macbeth's last supporter among the great Scottish lords, Macduff, has fled to England to join Duncan's sons. 
4. Act Four (Nightmare Stage) opens with Macbeth's second, much more fearful visit to the witches, who give him three increasingly enigmatic warnings: that he should 'beware Macduff; that he will only be overthrown by 'man not of woman born'; and that this can only happen when 'Birnam wood has come to Dunsinane'. Now in a state of mounting terror, Macbeth lashes out at the man who seems most to threaten him, the fled Lord Macduff (exiled to England to join the rightful heir), by arranging for the Macduff wife and children to be brutally murdered. The second part of the act shows the horror with which this news is greeted by the exiles in England, and the coming together of an army to invade Scotland and overthrow the tyrant whose villainy is now clear for all to see. 
5. Act Five (Destruction Stage) shows the nightmare closing in around Macbeth and deepening to its climax: with Lady Macbeth's guilty sleepwalking scene ('unnatural deeds do bring unnatural troubles'); the approach of the avenging army to Macbeth's lair at Dunsinane; Lady Macbeth's death; and finally the battle, when Lord Macbeth learns that Macduff was 'not of woman born' (ie through c-section) just before Macduff slays him. 
The pattern is complete. The pattern we have been looking at here is in fact so fundamental to the understanding of stories that its implications will be with us for the rest of this book. It is not just the starting point for exploring all that complex family of stories which we think of under the general heading of Tragedy, because it presents the tragic theme in its blackest and most basic form. It also, as we shall eventually see, provides one of the best starting points for exploring the profound link between the patterns which shape stories and those which shape events in what we call 'real life'. Indeed, so important is it that we should become completely familiar with the workings of this tragic cycle that we shall shortly look in rather more detail at a further half-dozen examples; and these have been chosen, in addition to those already touched on, to build up a fuller picture of the range of basic situations from which a Tragedy can unfold. 
We shall then, at the end of this chapter, take a look at the most obvious way in which storytellers may sometimes vary the emphasis of their presentation of the basic tragic theme: by concentrating only on the closing stages and beginning at the point, halfway through the complete cycle, where the mood of frustration is coming to be uppermost. 
Finally we shall be in a position to draw on all these and other examples to look at the essence of Tragedy in a deeper and more general way. What is really happening to the hero or heroine of a tragedy as they get drawn into their fatal course of action? Why does it seem to lead so inexorably to disaster? And what is it which distinguishes this type of story from all the others we have looked at, where the fundamental impulse is to lead the hero/ine to a happy ending? 

Faust: The weak man unmanned 
The story of Faust is that of the most brilliant man of his age who gained a great reputation for learning until the moment when: 
'swol'n with cunning, of a self conceit, 
his waxen wings did mount above his reach, 
and melting, heaven conspir'd his overthrow.' 
The super-intellectual Faust is not physically powerful or a leader, like Macbeth or Othello. In manly terms he is essentially weak. Such strength as he has is all in the intellect/reason. But, cut off from his fellow humans by his life of abstract speculation and disputation, the desire creeps up on Faust for limitless power and knowledge, so that 'all things that move between the quiet poles shall be at my command'. What he dreams of, in compensation for his weakness, are the two aspects of the masculine value, power and knowledge. But he desires them only to gratify his ego and to assert himself against the world. There is no sign in Faustus of the rooting feminine that might connect him with other people or with the reality of the world outside himself. And where the light feminine is lacking, only the vacuum of the dark feminine remains. Through this void the Tempter Mephistopheles enters to offer him the treacherous bargain, a fantasy of omnipotence and omniscience in return for his soul. No sooner has the battle between the 'Good Angel' and the 'Evil Angel' for the hero's soul been lost, than it begins to become clear that the powers Faustus has been given are nothing more than empty illusions, such as being allowed to play silly irreverent tricks on the Pope, who as the 'Holy Father' is symbolically an aspect of the Self. 
Finally Faustus conceives his supreme desire to make love to the most beautiful woman who ever lived, Helen of Troy. She appears and he dreams that she is his immortal 'other half,' his anima - 'Sweet Helen, make me immortal with a kiss'. But when he does kiss her - 'her lips suck forth my soul, see where it flies'. The most famous lines of the play, 'was this the face that launched a thousand ships, and burn't the topless towers of Ilium', have already warned us that Helen is no light figure but the terrible Temptress, luring men on to war and destruction. And no sooner is their brief, empty love-making over (with a 'wise old man' coming on to pronounce Faustus's doom) than the hero is plunged firmly into the Nightmare Stage, when he realises that all is now irretrievably lost. He is about to pay the price of eternal punishment in hell. 

Carmen 
Our next example is the story of Bizet's opera Carmen (1875), closely based on the novel of the same title by Prosper Mérimée. 
When we meet the hero Don Josetxu (or José), a Basque corporal in the army stationed in Seville, he is in love with a shy young girl, his adoptive sister Mikaela, and she with him. All might seem well, but our sense that something is about to disturb their happiness is aroused by the entry of the beautiful and imposing Carmen, a classic Temptress (Andalusian/Romany, dark of features, and dressed in red; to contrast with innocent blonde Basque girl in blue Mikaela). She tries to flirt with Jose, at first in vain. She stalks off, but not before she has thrown down a blood-red flower at his feet. Wavering for a moment, he picks it up and places it next to his heart. Micaela returns, and José seems freed from Carmen's spell. A short time later, however, he is sent to restore order after a fight. Carmen has been involved and he has to arrest her. Once again she directs all her seductive charm at him, and this time he falls completely ('Carmen you have bewitched me'). Temptation has won. The Focus has been found. 
Plunging recklessly into the Dream Stage, Josetxu allows Carmen to escape and tollows her to a tavern, where they ecstatically declare their love for one another. José gets involved in a fight over Carmen with one of his officers, Lieutenant Zúñiga, whom he injures in the ensuing swordfight; and to avoid punishment for insubordination he deserts the army and flees to join Carmen and her gang of bandits in the mountains. No sooner has this dark act committed Jose irrevocably to his course than frustration sets in. The fickle Carmen begins to lose interest in José and transfers her admiration to the handsome bullfighter Escamillo. The unhappy Josetxu feels increasingly trapped. He cannot now return to his former life, despite a pitiful attempt by young Mikaela to win him back. He is still infatuated with Carmen, although it is becoming obvious to everyone except himself that he has lost her. 
The nightmarish nature of his plight is now brought home to him when José meets Escamillo coming up the mountainside. Not recognising him, the matador recounts how Carmen used to love a soldier but that it is all over. Josetxu lashes out at his rival and the two have to be pulled apart by the bandits. The triumphant Escamillo invites them all to a bullfight, in which he will be the hero of the hour. 
All that is left to unfold is the final stage. The 'pale and haggard' José, his eyes 'hollow' and 'glowing with a dangerous light', arrives at the bullfighting arena to confront Carmen, who scornfully rejects him and tells him she now loves Escamillo. In the last paroxysm of desperation, Josetxu stabs her to death - thus ensuring his own immediate arrest and, presumably, execution. 

Jules et Jim
 Yet another example is that well-known film of the 1960's, Francois Truffaut's Jules et Jim (1962). 
1. Anticipation Stage: Jules and Jim, two high-spirited young men in pre-First World War Paris, are full of nervous energy but lack direction, until a friend of theirs, Albert, shows them some lantern slides, including one of a female statue recently dug up on the Adriatic. A silent film-type caption tells us that they had never seen such 'a calm, tranquil smile' as that which appears on the statue, but that if they saw it again 'they would follow it'. It is the beginning of a Focus for their fantasy state, and when three strange girls shortly afterwards turn up for dinner they see that the third, Catherine, has exactly the smile of the statue. She is a bewitching madcap, given to impulsive pranks, and the two heroes are captivated. The Focus is complete. 
2. Dream Stage: Catherine moves in to live with Jules, but the three become otherwise inseparable, enjoying a mad time all over Bohemian Paris. The sense of being drawn into a reckless, exhilarating dream is heightened when the three go off to the South of France together for the summer. 'After a long search they found the house of their dreams' says a caption. Here they play childish games together in the sun, Catherine always leading. T think we are lost children' she says, and a caption tells us 'she is an apparition'. They return to Paris, where Jules and Catherine decide to get married. 
3. Frustration Stage: gradually the mood of the story darkens. The Great War approaches and the three are separated because Jules, as an Austrian, has to return with his wife Catherine to the other side of the great European divide created by the war. When hostilities are over, Jim travels to be reunited with his friends, who are living in a lonely châlet in the Alps with their little daughter, and finds all is not well with the marriage. They are all awkward together, talking in platitudes punctuated by silences; Catherine sleeping alone ('we lead a monastic life'); and the mood is darkened still further by the surrounding gloomy forests and mist-shrouded lakes and peaks. Their old friend Albert reappears in rather sinister, enigmatic fashion, living nearby (is he having an affair with Catherine?). The sense that they may all be caught in some impending vortex is conveyed by the introduction of the film's theme song Le Tourbillon, 'The Whirlpool/The Maelström'. Jim finds he is slipping hopelessly into love with Catherine himself. Jules allows him to move into the chalet, though not without a warning: 'watch out'. 
4. Nightmare Stage: as the three of them return to France, the action of the film becomes more and more fragmented, as if they were all sleepwalking through some baffling nightmare, with many premonitory references to death. Catherine, becoming ever more withdrawn and enigmatic, with manic outbursts of fey gaiety, shuttles between the two men (with Albert making a last ominous, mysterious appearance). Jim makes a last desperate bid to escape from the vortex by returning to his old girl friend Gilberte, telling Catherine that he wants to marry and have children. 
5. Destruction Stage: Catherine, with a strangely purposeful air, summons both Jules and Jim for a drive in the countryside in her little car. They stop at an inn for lunch. She calls Jim to her car, and deliberately drives it over a broken bridge into the river. Both are drowned, leaving a sadly uncomprehending Jules to superintend the burning of their coffins to ashes. 

One of the more illuminating ways to look at the pattern of Tragedy is to contrast it with more positive types of plot. 
In some respects the position of the hero/ine at the beginning of a Tragedy is not dissimilar to that of the hero/ine at the opening of, say, a Quest or a Rags to Riches story. We first meet them in some situation which does not give ease or satisfaction, which cries out for change. Then something happens which points the way forward. They receive some kind of 'Call' which leads them out of their dissatisfying state into the adventure which is going to transform their lives. 
The great difference between Tragedy and other kinds of story begins with the nature of the summons which draws them into that adventure. When the hero/ine of a Monster-Slaying story or a Quest receives the 'Call' - however hazardous the course it opens out to them - we are in no doubt it is right for them to answer it. When the hero/ine of Tragedy reaches the same point, we are uneasy. We are aware that the 'Call' is not of the same nature; which is why it may more aptly be described as the 'Temptation'. 
This is because of the peculiar way in which the summons to action is directed at one particular aspect of the hero/ine's personality. We have already become aware that there is one part of them, one desire, one appetite, which is nagging at them to the point where the urge to gratify it is building up into an overwhelming obsession. This may be an appetite for power, as in the case of Macbeth or Faust, who dream of winning 'power, honour and omnipotence' such as no one has ever enjoyed before. It may be a hunger for sexual excitement or romantic passion, as with those Victorian wives frustrated by their tedious, inadequate husbands: for instance Anna Karenina, Effi Briest, and Emma Bovary. It may be a longing for sensation rather vaguer and harder to define, as in the examples of Dorian Gray or Bonnie and Clyde, committing bank robberies for 'kicks', where elements of sexual desire and the desire for power over others are mixed together. 
But in every instance we are aware that what their obsession is drawing them into is something which violates and defies some prohibition or law or convention or duty or commitment or standard of normality. They are being tempted into stepping outside the bounds which circumscribe them. Icarus wishes to defy the balance of the natural laws which govern his flight. Faust wishes to step outside the bounds of conventional knowledge. Dr Jekyll and Dorian Gray wish to step outside the bounds of morality. Anna Karenina, Effi Briest, and Emma Bovary wish to step outside the bounds of their marriages. In every case, the tragic hero/ine has come to sense the circumstances in which we originally discover them - the Macbeths, Bonnie and Clyde, Don Josetxu and Carmen, Romeo and Juliet, Othello, Cleopatra, the list goes on and on - as in some way irksome, restricting, tedious, inadequate. 
And it is this sense of constriction from which the Temptation - whether it originates within themselves or is personified in the figure of a Tempter or Temptress who lures them on - seems to offer the promise of almost unimaginably exhilarating release. 

This leads on to a second difference between the pattern of Tragedy and that of other kinds of story. When the hero/ine of a Quest or an Overcoming the Monster story receives the 'Call', not only are we in no doubt that they should answer it: we know that they will have to commit themselves to their adventure totally, body, heart, and soul; and they usually leave no one else in any doubt as to their intentions. We are given the impression of someone completely and openly dedicated to the course s/he is embarking on. 
When the heroes or heroines of Tragedy are faced with the Temptation it is a different matter. In many instances we see them struggling or wavering before they succumb, a sign that they are initially by no means single-minded about giving way. Faust wrestles with himself before signing his pact with the devil, as he hears the arguments of the 'Evil Angel' urging him on and the 'Good Angel' trying to call him back. Lord Macbeth falters at the sight of the dagger in his hand, until Lady Macbeth as his 'evil angel' pushes him onward. Othello wavers through the course of the stormy, ill-omened night before he is convinced of his wife's alleged betrayal, until the 'evil angel' Iago finally persuades him. In a similar way, Don Josetxu is torn between his 'good angel' Mikaela and his 'evil angel' Carmen. 

In each instance it is as if part of them is reluctant to commit the irrevocable act which another part of them has come to desire: as if, right from the start, the tragic hero/ine is a 'divided self,' one part of their personality striving against another. A second way in which many hero/ines of Tragedy may be seen as 'divided' is in the need to keep their 'dark' impulses and actions hidden from the world behind a 'light' or respectable front. The main reason why Dr. Jekyll and Mr. Hyde has become one of the most celebrated stories of the English-speaking world is precisely because it crystallises this familiar motif so vividly, by making the central characteristic of the story the splitting of the hero into two quite distinct personalities, the respectable, law-abiding Dr. Henry Jekyll; and his secret 'shadow-self,' the deformed and totally amoral 'night creature' Mr. Hyde.
In general we may speak of a split between the 'light' and 'dark' sides of all these characters: and it is, of course, their 'dark' side, initially hidden from the world, which is worked up into a state of anticipatory obsession by the Temptation. But sooner or later they succumb. The 'dark' energy finds its Focus. Macbeth screws up his determination to kill Duncan, Don Josetxu succumbs to the charms of Carmen, Anna Karenina succumbs to the charms of Aleksei Vronsky, Faust seals his pact with Mephistopheles: they have passed the point of no return. And the first consequence is a flood of nervous excitement, marking their entry into a new stage. As Dr Jekyll puts it, when he first manages to effect the switch into his Hyde self: 'I was conscious of a heady recklessness, a current of disordered sensual images running like a mill race in my fancy, a solution of the bounds of obligation.'
The bounds have been overstepped. Suddenly all seems possible. We are aware that our hero/ine has left the comparative safety and security of the situation in which they began, like a boat launched out from the shore onto the unknown currents of a fast-flowing river. And to begin with it is fiercely exhilarating to be whirled along in this manner. But where is it going to lead them? 
One of the most significant facts about stories, as we know, is their drive to work towards an ending: an ending which will give us the sense that everything set in train during the story has been resolved. In almost any story we see the hero/ine leaving their initial state for a period of still greater uncertainty, when all seems more than ever unresolved.
The whole point of Tragedy is somehow in the nature of the course the hero/ine has embarked on that they are not going to reach that happy and secure point of rest we usually call 'happy ever after.' They may imagine that, if only they can reach such and such a place, they will be secure. Indeed a large part of their time is often spent striving towards just such a fondly imagined goal. But the trouble is that the ground keeps on giving way under their feet. From the moment they succumb to the Temptation and imagine that they are about to start enjoying their rewards, nothing turns out quite as they expected. Indeed, if we look closely at the unfolding of any of the tragedies we have been considering, we can see how the mood of the central figure is continually swinging between anticipation and frustration throughout the story. Nothing for the hero/ine bent on a tragic course can even quite resolve. And for this there are two, closely related reasons. 
The first is that, when they embark on their course, there is always something which they overlook. It is not for nothing that we apply the word 'reckless' to the mood in which they set out: they have their attention fixed so obsessively on one point, one object of desire, that they do not pay heed to other factors in the overall context in which they are operating which may therefore produce consequences which their restricted vision fails to foresee. When Icarus ascends upwards in his heady flight towards the sun he shuts his mind to the physical laws governing his flight. When Don Josetxu succumbs to his infatuation for Carmen, he has become blinded to the possibility that she may eventually switch her affections to someone else just as casually as she switches them to him. When Macbeth carries out the murder of Duncan his only conscious thought is that he is removing the one obstacle between himself and his heart's desire, the kingship. It does not enter his mind that his crime might one day be found out. 
In fact we see the hero/ines of Tragedy becoming more and more ensnared in their predicament, precisely like the hero of one of those 'Stickfast' or 'Tar Baby' tales in folklore where, with every attempt to get free (like Macbeth murdering the suspicious Banquo) he only gets a little more trapped: except that when Br'er Rabbit gets stuck to the Tar Baby he is falling into a trap laid for him by someone else, whereas the hero/ines of Tragedy are becoming ensnared by some obsessive desire which springs ultimately from themselves. In this respect it is no accident that we so often, in relation to the central figures of Tragedy, see reference to the words 'dream' and 'fantasy'. We naturally use such words to describe the state of mind of someone who has in some way lost touch with the reality of the world around them. And this is precisely what is happening to the hero/ine of a Tragedy. They are being drawn into a kind of fantasy or dream-state, in which their obsession with gratifying one desire or appetite overrules their capacity for wider judgement. Having entered into such a state of illusion, they slide further and further into it. Having made one false move, they are led into another and another in an increasingly desperate bid to shore up or retrieve their position. They are set more and more at odds with the reality of the world around them - until finally it begins to close in on them, demanding a reckoning. 
Nowhere do we see this inexorable process more clearly reflected - and this is the second reason why the course followed by the hero/ine of Tragedy cannot reach a satisfactory resolution - than in the evolving nature of their relations with the other people around them in the story. 

At the beginning of a full five-stage Tragedy, the central figure is always part of a community, a network of relationships, linked to other people by ties of loyalty, friendship, family, and/or marriage. And one of the most important things which happens to such heroes and heroines as they embark on their tragic course is that they begin to break those bonds of loyalty, friendship and love (even if, initially, they may form other alliances). It is the very essence of Tragedy that the hero/ine should become, step by step, separated from other people. Often they separate themselves in the most obvious, violent and final way possible, by causing other people's deaths. And here we must particularly note the kind of people around the hero or heroine who are most likely to die in a Tragedy. In tragedies, we may single out four types of victim who are particularly likely to suffer as a result of the hero/ine's reckless course. One of these is generally male, two female - and we may describe them as:
the Rival or 'Shadow'
the Innocent Young Girl
the Temptress.

The Rival or 'Shadow' 
This is a figure in some way on a level with the hero (e.g., by age, rank, gender or some other similarity) who comes to stand as a kind of 'opposite' and threat to him. An obvious example is Banquo, Macbeth's comrade in arms and fellow general, who is promised that his descendants will succeed where Macbeth fails and who is the first to see through his old friend's crimes. Another instance is Jim Vane, the young brother of the actress Sibyl Vane, who is driven by a pure love for his wronged sister, just as Dorian Gray's love for her is impure. A third is Clare Quilty, the lover (ostensibly a small-town playwright, but actually a pornographer!) who steals Lolita off. He stands as a threatening 'shadow' to the hero in the opposite way, precisely because he is so similar to Humbert, sharing his obsession; which is why Humbert feels eventually driven to murder him. (More examples would be Count Paris, the "another man" who "kisses by the book" whom the Capulets betroth their daughter Juliet to; as well as Lieutenant Cassio, a good friend to Desdemona, yet allegedly her erotic lover, in Othello). Even more significant than the hero's relations with these male figures are those between him and the chief feminine figures in the story: particularly when we bear in mind how important it is to a fully resolved happy ending that the hero should eventually be brought together with a heroine as his 'other half in perfect, loving union. The chief feminine figures in Tragedy also tend to polarise into two distinct types:

The Good Angel (Innocent Young Girl)
On the one hand, most poignant of all the hero's victims because she is so defenceless against his hard-hearted egotism, there is the good angel, an innocent young girl. She stands in relation to the hero as 'good angel', but is inadequate to sway him. Sooner or later the hero brutally rejects her. And there is no moment in Tragedy more pregnant with the horror of what is happening to the hero on his downward path than when the fate of such a girl is decided: as when Sibyl Vane, rejected by Dorian Gray, commits suicide. When (in Carmen), little Mikaela is finally rejected by Don Josetxu and creeps away into the shadows, we know he is doomed. The whole tragedy of Othello is contained precisely in the way that he blindly turns on the 'good angel' of his life, his 'other half' Desdemona, and stabs her to death.

The Temptress 
The other type of heroine in Tragedy is quite different, in that she is herself a 'dark' figure, leading the hero on. Even so, the Temptress almost invariably ends up dying a violent death, usually at much the same time as the hero. Bonnie, having drawn Clyde into his life of violent crime, is shot down with him in the closing moments of the story. Cleopatra, having lured Mark Antony away from his manly 'Roman self' and played a crucial part in dragging him down to military humiliation, commits suicide shortly after he does. The most terrible symptom of the nightmare closing in on Macbeth is the onset of his wife's insanity, leading to her mysterious death shortly before his own. At least these 'dark' heroines remain faithful to the man they have drawn down to destruction. In other versions of the theme the Temptress slips away from the hero in the closing stages, and nothing contributes more to his mounting sense of frustration than the fact that the woman for whom he has staked all proves ultimately elusive. Humbert loses Lolita. Carmen's abandonment of Don Josetxu drives him to final distraction. Catherine, the 'apparition' who bewitches Jules and Jim, ends up by slipping away from one and dragging the other down to his doom. And nowhere is this motif of the 'elusive feminine' presented more subtly than in Faust where, as the last, supreme demonstration of his devil-given powers, the hero is permitted to conjure up the most beautiful woman who has ever lived, Helen of Troy. Faust steps forward to seize and kiss her. She turns out to be just another insubstantial vision, and vanishes. At last he knows all is lost. In every instance the hero finds himself unable to reach the fulfilment he craves, where he can achieve complete and lasting union with his desired 'other half. Either she drags him down to share his destruction, or she skips away from him like a will o' the wisp. The same is true, in reverse, of tragedies centred on a heroine. Both Anna Karenina and Emma Bovary leave the dull, inadequate security of their marriages for men who set them on fire with a fantasy of romantic passion. In each case they cannot reach the new security they dream of, where they can at last achieve the sense of total union with another man. In each case they begin to flounder and struggle: part of them still wishing to push onward, part now longing to get back to the dull security they so recklessly abandoned. In Anna Karenina there is that superb description of the 'divided self' when, at the height of the Frustration Stage, Anna tells her husband: 'there is another in me... I am afraid of her. It was she who fell in love with the other one ... that other is not I.' But it is the dark 'other self which eventually wins, leading Anna to reject Mr. Karenin for the last time and to throw in her lot irrevocably with Vronsky. No sooner has she done so than her lover begins to slip away, a will o' the wisp, leaving her to disintegrate towards that terrible final moment when, all alone, she flings herself beneath the wheels of the advancing train.
In some Tragedies, there may be a male Tempter instead, like Mephisto or Iago. The most extreme form of this outwardly and biologically male character who works through the insinuating manner of the 'dark feminine', trying to get a hold over the usually male hero by pretending to be acting in his interests, represents the ultimate type of dark figure in stories, the Tempter. This figure, who is extremely dangerous because he is so deceptive, is most commonly seen in Tragedy.
An obvious example is Mephistopheles, pretending to offer Faust all sorts of illusory powers and the ability to know and see 'hidden things' (i.e., to see whole), when in fact he is appealing only to the weak, deluded Faustus's ego and seeking to destroy him. Iago is a similarly devilish example, pretending to be serving Othello's best interests, but in fact seeking only to trap and destroy him. Lord Henry Wotton plays the same role in luring Dorian Gray onto his path to self-destruction. The 'dark figure' of Lord Henry Wotton tempts with two thoughts. The second is how wonderful it would be to live a life of total physical self-indulgence, recognising that the most intense spiritual experiences in life come through the senses.
The Tempter is in fact the supreme 'dark opposite' in stories because he stands at the ultimate pole from the state of wholeness. He represents in its most extreme form egotism pretending to be its opposite. As such, if the male hero is weak in judgement and self-control, he can become the most dangerous adversary of all.

The point about the hero/ines of Tragedy is that they end up utterly alone (even if, occasionally, like Bonnie and Clyde, male hero and heroine die together), completely cut off from the rest of society. They have been drawn by some part of themselves into a course of action which is fundamentally selfish, putting some egocentric desire above every other consideration, isolating them both from reality and from other people. Initially, in the Dream Stage, they succeed in imposing their will on the world and the people around them. They have broken the rules and seem to be getting away with it, because they have seized the initiative and because other people are not yet fully aware of what they are up to.
But gradually the truth of what they are doing begins to dawn on others. Those around them begin to constellate in opposition. The hero/ine having first set themselves against others, we now see the rest of society gradually setting itself against them.
Finally, having torn and trampled the network of relationships originally surrounding them into shreds, the hero/ine is left alone. Whereas in other types of story the tendency is for a general gathering together at the end, round the central union of the male hero and the heroine, in Tragedy exactly the reverse happens. The male hero and heroine are divided in every way: split within themselves, split from their 'other self,' split from the rest of society, which has gathered together only to encompass their destruction. Entirely isolated, all that is left is that their life should be violently extinguished.
In this image of an incomplete, egocentric figure who meets a lonely and violent end, we may recognise the essential characteristics of another deeply familiar figure from stories, whom we have already met in quite another context. We begin the next chapter by exploring some of the striking parallels which emerge between the hero/ine of Tragedy and that figure we previously encountered, from a very different standpoint, as the Monster.


Tragedy
But, because we are now seeing this familiar drama through the eyes of its chief dark figure, Tragedy focuses more intimately than the other plots on two things. First it shows us how someone is turned into a dark figure in the first place; and secondly we see just why the dark power eventually leads those who have passed under its spell to destruction. As we saw in Chapter Nine, The Divided Self, the tragic hero/ine possessed by some fantasy of power or passion is trying to achieve something which cannot ultimately resolve into reality. Made heartless and blinded by the force of their egocentric obsession, they become more and more cut off from other people and from the reality of the world around them, until they are so far at odds with the entire context of their existence (including their own deeper selves) that the bubble of make-believe can no longer be sustained. And as we see happening to Othello or Dorian Gray, Stavrogin or Dr Jekyll, Anna Karenina or Emma Bovary, eventually the hero or heroine can tolerate the strain of this irresolution no longer. So disintegrated are they, inwardly and outwardly; so far has their original dream proved an illusion; so far off the rails has their blinkered vision taken them; so horrified has part of them become at what the dark component in their personality has led them to that, in self-disgust, they turn their violence suicidally on themselves. Thus do we see at the heart of Tragedy how the dark power, in rebellion against the whole, in the end works to bring about its own destruction.

The Dark Inversion 
For obvious reasons, Tragedy occupies a unique place among the basic plots, because in a sense it turns the essential pattern of the other main types of story upside down. All these other types of story have their 'dark' versions, which we shall return to. But Tragedy is the only basic plot which is primarily concerned with showing what happens when the hero or heroine cannot muster the positive qualities necessary to wrest the life-giving feminine value from the shadows, but become so identified with the dark power that they cannot escape from it. It thus shows the process of transformation taking place in, as it were, a negative form: the hero/ine(s) are led ever further downwards and into the dark imprisonment, rather than upwards and away from it. And one of the corollaries of this is that we see the landscape familiar from other types of story appearing strangely inverted.
As the light part of the tragic hero/ine falls further and further under the shadow of the darkness which has taken root in them, and they slip into ever greater egocentricity and lack of feeling for others, we see how their judgement, their ability to see the world straight and whole, becomes increasingly clouded. In fact their vision becomes so distorted that they actually come to see everything at the reverse of its true value. The light values increasingly become a threat to them; light characters come to seem only as obstacles to their egocentric desires. As Macbeth's Witches have it, 'fair is foul and foul is fair'; or as the Duke of Albany puts it in King Lear, 'wisdom and goodness to the vile seem vile'. And one of the ways in which we see this inversion most strikingly exemplified is in the nature of the figures around the hero/ine whom they are most likely to see as hindrances in their path. In an earlier chapter we saw how there were certain figures who were most likely to become the victims of the tragic hero on his downward course. In fact we can now see how these correspond to the characters who, in other types of story, are most likely to appear as dark figures: except that here, where the hero himself is dark, they appear as light. For instance, the tragic hero may turn on someone who comes to assume particular importance to him as his Rival, like Banquo - the hero's honourable counterpart or light alter ego, who comes to haunt him as a reproach to his crimes. (The same role is fulfilled by Count Paris in R&J and Cassio in Othello).
But it is when we come to the feminine figures whom the tragic hero is most likely to kill or injure that we see the tragic inversion in its most revealing light. Nothing can more tellingly betray the horror of the dark state a tragic hero is getting into than the moment when he kills or rejects the 'Innocent Young Girl', the 'good angel'. When Othello kills Desdemona, when King Lear sends Cordelia into exile, when Don Josetxu turns his back on Mikaela, when Dorian Gray's rejection of Sibyl Vane brings about her suicide, when Stavrogin's violation of little Matryoshka leads to her hanging herself, their ultimate fate is sealed. In violating or rejecting the feminine outside themselves, they have become catastrophically closed off to the feminine value within themselves, that which alone could allow them properly to feel and to see the world whole.

The archetypal family drama 

We also here come to a complication, in that it is perfectly possible for a male character in a story to remain unrealised in a positive sense on both sides of his personality at the same time. He lacks masculinity as well as the inner feminine. Although this makes him outwardly weak, it does not mean that he is not driven by the urge to exert power over others. But because he is unable to show his desire to dominate openly, he resorts to acting in the manner of the 'dark feminine', by guile and treachery. Such a character may pretend to be concerned for the interests of others, like Aladdin's Sorcerer Jafar or those Dark Rival figures, Blifil, the 'goodygoody' and 'sneak' in Tom Jones, Joseph Surface in A School For Scandal, Moliere's Tartuffe; but this is only a hypocritical front for his ruthless self-seeking. In fact the most extreme form of this outwardly and biologically male character who works through the insinuating manner of the 'dark feminine', trying to get a hold over the usually male hero by pretending to be acting in his interests, represents the ultimate type of dark figure in stories, the Tempter. This figure, who is extremely dangerous because he is so deceptive, is most commonly seen in Tragedy.
An obvious example is Mephistopheles, pretending to offer Faust all sorts of illusory powers and the ability to know and see 'hidden things' (i.e., to see whole), when in fact he is appealing only to the weak, deluded Faustus's ego and seeking to destroy him. Iago is a similarly devilish example, pretending to be serving Othello's best interests, but in fact seeking only to trap and destroy him. Lord Henry Wotton plays the same role in luring Dorian Gray onto his path to self-destruction. The 'dark figure' of Lord Henry Wotton tempts with two thoughts. The second is how wonderful it would be to live a life of total physical self-indulgence, recognising that the most intense spiritual experiences in life come through the senses.
The Tempter is in fact the supreme 'dark opposite' in stories because he stands at the ultimate pole from the state of wholeness. He represents in its most extreme form egotism pretending to be its opposite. As such, if the male hero is weak in judgement and self-control, he can become the most dangerous adversary of all.
In those stories where the central figure is a heroine, or rather a shero, the emphasis of the challenges presented by the dark figures is reversed. When a heroine comes up against the 'dark masculine', like Leonore against the Tyrant Pizarro or Portia against Shylock, it is her strength which has to be called primarily into play, her 'masculine' qualities (although coupled with an unshakeable hold on her femininity). When she is up against the 'dark feminine', like Cinderella faced by her wicked stepmother and the ugly stepsisters, or Gerda by the Snow Queen, it is generally her own genuine femininity, her innocence, beauty, and goodness of heart, which is the most obvious measure of her superiority, and it is this which in the end attracts the 'light masculine' figure of the hero to release her (though there are also subversions; see Salgari's Capitan Tempesta for a shero confronting the dark feminine using her 'masculine' qualities!). But the heroine, or rather the shero, may also come up against that most 'inferior' figure of all, a male figure working through his 'dark feminine' wiles, like St John Rivers trying to lure Jane Eyre into a marriage which we know would first imprison and then kill her. St John Rivers is the Tempter as Dark Other Half, like those weak, treacherous false wooers who attempt to seduce several of Jane Austen's heroines, or Anatoly Kuragin, the would-be seducer of Natasha in War and Peace. The Tempter, as the ultimate 'dark opposite' of the state of wholeness, is thus just as much the most dangerous enemy to the heroine as he is to the hero, and like him she needs to summon up all her potential for wholeness to resist him; just as does Jane Eyre does in her final struggle to free herself from succumbing to Rivers.

Comedy: The dark and sentimental versions 
What happens when the ego takes over the archetype of Comedy? A truly dark version of this lightest of plots might seem a contradiction in terms. In fact such stories have played a much more important role in the development of storytelling over the past 200 years than might be supposed. The only reason why this is not generally appreciated is that, when Comedy turns truly dark, we no longer recognise it as Comedy. We saw earlier how Othello is a play which in plot terms shows many of the ingredients of a Comedy; although when there is no 'recognition', and the hero thus ends up smothering his anima and turning his dagger on himself, it becomes arguably the darkest play Shakespeare ever wrote. For similar reasons, we shall not be looking at some of the best-known examples of what happens to Comedy when it turns dark until the next chapter.

The Ego Takes Over: Tragedy
One of the first notable tragic operas to centre on the plight of 'the persecuted maiden' was Donizetti's Lucia di Lammermoor (1835), loosely based on a novel by that leading Romantic novelist Sir Walter Scott (The Bride of Lammermoor). But when we look at its plot we see something very significant has happened. It is not like that of a conventional Tragedy at all. With its stratagems, confusions and misunderstandings, it is much more like the plot of Comedy: but comedy which has gone hideously and tragically wrong.
The heroine's brother Lord Enrico is at once established as the central dark figure. Not only has he wrongfully usurped the estates of the light hero, Edgardo, with whose family his own has a long-standing feud; he is also under suspicion of treason against the king. He conceives as the only hope of reviving his fortunes a scheme to marry his sister Lucia to another powerful lord, Arturo. But Lucia has already established a secret love with Edgardo, with whom she exchanges rings and vows of eternal fidelity. When Edgardo leaves for France, Enrico forges a letter to make her think Edgardo has fallen in love with someone else. Devastated by this, and to save her brother from death for treason, Lucia nobly agrees to marry Arturo. The wedding ceremony takes place. But no sooner has Lucia signed the marriage contract, than Edgardo bursts in to protest, crying for vengeance. In despair at her brother's treachery, Lucia hands back her ring to Edgardo, who flings it down, cursing all her family, and storms out. Not long afterwards, while the wedding celebrations are still continuing, word comes from off-stage that Lucia has lost her reason and killed her husband. She then enters for her famous 'mad scene', in which she goes through an imaginary wedding ceremony with Edgardo. Unaware of this, Edgardo goes to the tombs of his ancestors, wishing he could join them because he has nothing left to live for. He then learns that Lucia has lost her wits and is dying. A bell tolls for her death and, promising her spirit that nothing can part them, he stabs himself.
As in Othello or Romeo and Juliet, The Bride/Lucia of Lammermoor is 'a Comedy without the saving grace of recognition'. Trapped by wicked deceit into their fatal misunderstandings, the innocent lovers are torn apart and die despairing lonely deaths without ever knowing the truth. But, unlike in the Shakespearian versions, there is no redeeming note at the end; whereby we might at least see the dark author of their misfortunes, like Iago, being taken off for punishment; or, as by the death of Romeo and Juliet, the feuding families being reconciled and harmonious order restored. Out of this black ending there is no victory for light. Only the dark inversion has triumphed. And thus, in a fundamental sense, the story remains unresolved.
 It was perhaps not surprising that Verdi should eventually have been drawn to produce his own version of that original dark comedy-turned-tragedy, Otello (1887), where the hero suffocates the heroine before plunging a dagger into his own heart.
What must strike us about these stories is what concoctions of artifice they are; how unrelated to any genuine outward or inward reality; how wilfully their familiar archetypal imagery is manipulated to play on the emotions of their audience, with its effect reinforced at every point by music of memorably emotive power. They provide a perfect definition of what is meant by sentimentality in its most sensational guise: using an outward show of much of the most basic symbolism programmed into the human imagination to trigger off the desired emotional response. Yet most revealing of all is how nothing more effectively achieves such a response than the spectacle of a beautiful, virtuous heroine, the embodiment of the feminine value, the anima and soul of mankind, being oppressed, imprisoned, degraded and finally put violently to death.

The Trickster 
A last archetypal figure must be added to complete the list. In some ways, as we saw, the darkest figure of all in stories is the Tempter - Mephistopheles or Iago - who appears as a personification of the hero/ine's dark ego-self or fantasy-self in its most 'inferior' form of all. The Tempter is 'inferior' in every respect, ruthlessly using his power in the treacherous manner of the 'dark feminine' by pretending to act in the hero/ine's highest interests while in fact seeking to destroy them. The real purpose of the Tempter is always to blind the hero/ine, to restrict their consciousness without them being aware of it. 
However, we also occasionally see a light version of this figure, the Trickster, who is an aspect of the Self. Like the Tempter, his aim is to trick people into a different state of consciousness: but this time the other way round, to broaden and heighten their vision, to bring them into contact with the Self. 

The Fatal Flaw 

The essence of the tragic hero/ine, in short, is that they are held back by some fatal flaw or weakness from reaching that state of perfect balance which is presented by stories as the supreme goal of human existence. They are doomed to fall short of the goal because in some way they are stuck in a state of incompleteness or immaturity. 
To understand the essence of what is happening in Tragedy we must recall the two great principles of the Self which guide a light hero/ine to the ultimate goal. S/He must show themself as perfectly balanced. Firstly he must be strong, in the positive sense which gives sovereignty over the self and proper authority over others. It is this which enables them at last to succeed to the 'kingdom'. Secondly s/he must be open to that which connects them with the world outside and with feeling for others. It is this which enables them at last to be fully united with the anima/animus. It is the balance between these things which allows them ultimately to reach the goal. 
But what happens if a hero/ine remains centred not in the Self but on the ego? Firstly, strength, instead of being turned inward to give control over the self and its appetites, is turned outward. It becomes merely an egocentric desire to win power, to assert oneself over others. Secondly, that which connects them to others, instead of expressing itself in selfless, unbounded love, turns into the selfish, exclusive love of passion or erotic desire. The egocentric hero/ine is still driven by the urge to reach a goal: indeed this is the very definition of the tragic hero/ine, as they find the Focus for those dark desires. And when we look at the nature of the tragic goal we see how it invariably corresponds in an outward way to that of the hero/ine who is centred in the Self. S/He may wish to win power, to rule over a 'kingdom', like the Macbeths or Richard III. S/He may feel the overwhelming urge to be united with an obsessively desired 'other half,' like Juliet or Don Juan Tenorio. But because s/he wants to achieve the goal for egocentric reasons, the puzzle no longer fits together. 
 This is what Tragedy is really about. It shows us the hero/ine trying to achieve the goal but in the wrong way. Because of that 'fatal flaw' they are unable to succeed. In fact Tragedy shows us everything we have become familiar with in the type of story which comes to a happy ending, but in an inverted form. The light hero/ine is drawn up to the ultimate goal and finally liberated, by a balance between light masculine and light feminine. The dark, or tragic, hero/ine is possessed and drawn downwards by the dark masculine and/or the dark feminine. Instead of seeing the world whole, the right way up, s/he is drawn into seeing it upside down, by that dark inversion which turns light into dark and dark into light: so that the people s/he is most obviously turned against are the very people who represent those values of the Self which s/he should be realising in themself. What we see in Tragedy, in short, is an exact reversal of the pattern which leads to wholeness. And if we recall the essential moves the light hero/ine has to make to bring themselves to the Self, we can see how the plot of Tragedy shows each of them in a negative form. 
The light hero/ine is confronted by one or more of a series of dark figures, the 'dark family', whom s/he must resist or overcome in order to emerge fully and wholly into the light. S/He must escape the clutches of the Dark Mother, representing the 'dark feminine'; s/he must overcome the Dark Father, representing the 'dark masculine'. S/He may then have to overcome each of these challenges again, in the shape of the Dark Rival and the Dark Other Half - until finally, having confronted each test in the right way, s/he can reach the supreme goal. S/He can be fully united with their 'light other half,' the anima/animus, and succeed to the kingdom. 
In Tragedy we see a complete inversion of this scenario. When the tragic hero/ine is confronted by the 'dark feminine' (or by the Tempter, who represents the 'dark feminine' in biologically masculine guise), s/he does not resist: s/he succumbs, and falls fatally under its emasculating spell. If a male hero's masculine strength does emerge, it can only be in the inferior form of the 'dark masculine', compelling him to the loveless pursuit of power and domination over others. And as we saw earlier, there is then a familiar set of light figures who are most likely to be the tragic hero's chief victims on his downward course:

  • then there is the 'light Rival' or 'light Alter-Ego', who corresponds to the hero in some way, as in terms of age, status, and/or situation, but who is positive where the hero is negative, and thus his 'light Opposite';
  • above all there is the Innocent Young Girl, the 'Good Angel' or 'light Other Half', representing the supreme value of the 'light feminine': except that in Tragedy she is not sufficiently powerful or well-developed to sway the male hero and turn him back towards the light. She is the figure whom we shall see, where the hero himself is not fully developed, as the 'inadequate' or 'infantile' anima. 

Nothing more tellingly reflects the course of the male tragic hero's inward spiritual disintegration than the way, when he is confronted by any of these light figures, or each of them in turn, he either kills or brutally rejects them. Each time he does so, he is in effect killing or rejecting that aspect of himself. Thus does he remain locked into the basic situation of the weak, immature hero, bewitched by the dark feminine, who cannot grow up. He turns on one component of his psychic kingdom after another, extinguishing the light, until the darkness finally kills his soul and he plunges to destruction. 

The cue for the weak, vain young hero Dorian to succumb to his fantasy is provided by the Tempter Lord Henry and, like his shadowy Mephistopheles, the hero thus becomes an amalgam of dark feminine and dark masculine, the complete opposite of a light, whole man. 
Hannibal Lecter turns out to be a masterful, outwardly courteous, devilishly ingenious representative of the 'dark masculine' possessed by the 'dark feminine'. He has the heartless, intuitive subtlety of a 'Tempter' figure, as he tries to lure the heroine under his spell. In this sense the gender wires begin to get crossed because, although Clarice is meant to represent tough modern womanhood, she finds herself getting drawn by his penetrating intelligence into the more familiar archetypal role of a young woman falling into the power of a male monster.

There is scarcely any play of Shakespeare's in which someone does not in some way attempt to trick or deceive someone else, whether it be Iago tricking Othello with the handkerchief or all those heroines in the comedies who appear in male disguise. But no play contains anything like so many plots and stratagems as Hamlet: at least nine in all. Scarcely has Polonius seen off Laertes to Paris than he is sending Reynaldo after him to spy on his moral conduct.

If we look at the rise and fall of Nazi Germany as an archetypal story, then the role of Hitler is that of a Tempter. The blow the German people had suffered to their collective national ego through their humiliating defeat in the First World War, followed by years of weak, unmasculine government under the Weimar Republic, led them to see their once proud, militaristic nation as having been reduced to a state of impotence and economic depression. Hitler emerged as the visionary and orator who could awaken Germany's dark, resentful nationalist energies. With his election as leader of the nation in 1933, the Anticipation Stage found its Focus. This launched the Dream Stage of Nazi rule which was to develop through the rest of the 1930s. Inspired by its 'dream leader', the fantasy grew in confidence round projections of the masculine values of power and order, constantly extending its appetites as it began to take over one neighbouring country after another.

2. The temptations: ego versus Self 
The hero Jesus grows up to manhood in normal fashion, marked out only by the episode when, in his early teens, he astonishes the elders in his local synagogue by the authority with which he expounds the scriptures. But then, when he is finally ready to reveal his message to the world, comes the second 'mythic' passage in the story, the dream-like episode when goes out alone into the wilderness/desert to be put to the test by the devil (Satan). He is offered three temptations: that he should use his divine power to turn stones into bread; that he should throw himself off the temple roof (quite a high tower), so that he can demonstrate his power by being saved by angels; and that, when he is taken up 'into a high place' (presumably a peak or mesa) to be shown 'all the kingdoms of the world', he can be given the power to rule over them.
This is a significant moment in the history of the human imagination. The figure of 'Satan', as (the LORD's) 'opposite', has appeared before in Jewish legend, most notably in the Book of Job. But never before has this Tempter-figure emerged so openly and in such uncompromisingly personal guise. He is a complete personification of all the treacherous, self-deceiving, self-destructive power of the human ego. And the reason he can be now be portrayed in such an extreme way, as a 'dark opposite' to the hero, is that in no story before has the hero ever been portrayed so uncompromisingly as a personification of the Self (perhaps the only exception is the Indian legend of the Buddha). In rejecting the three temptations out of hand, Jesus shows he is so completely identified with the Self that he has no ego to be tempted. Of course he will not turn stones into bread, because what he stands for has nothing to do with gaining advantage in the outward, material world. He is concerned solely with the internal realm of the human spirit. Equally he will not be party to a spectacular demonstration of his power simply in the name of saving himself. Again he has no interest in exercising power over the 'kingdoms of the world' because his message is concerned with a wholly different 'kingdom': that spiritual domain within each human individual which has nothing to do with the exercise of power over other people. 

viernes, 9 de diciembre de 2016

THE QUEEN BEYOND THE WALL

THE QUEEN BEYOND THE WALL
A Tale in Seven Stories


The sun resounds, like she's done ever,
in the great concert of the spheres,
and she completes her fulfilled journey 
amidst loud thunderclap and cheers.
She gives strength to the failing angels,
though they can't sound her core or may.
The undescriptibly high opus
remains sublime, like the first day.


Story the First: Of the Night's Queen and the Maesters' Looking-Glass

This story is framed as a tale told by Septa Roelle to Jaime Lannister and Brienne of Tarth one stormy evening at Evenfall Hall, the harsh yet beautiful ivy-grown keep on the western coast of the Sapphire Isle of Tarth.
It takes place centuries before the start of our story.
"Now listen, dear children! Let the story begin, for when we get to the end we shall know much more than what we already know..."
"I hope this is a war story rather than a romance", a lovely green-eyed boy tells the septa.
"There will surely be great battles to be told. Don't worry", a younger yet taller blue-eyed girl replies.
"One day, the then second son of the great Northern House Stark, a fearless warrior who had risen up the ranks of the Night's Watch to the rank of Lord Commander (he was the thirteenth Lord Commander in the history of the unit), went on a recon mission beyond the great Wall of ice that protects our world... to find, in the Haunted Forest, a strange lady of stunning beauty, with silver hair and ice-blue eyes ("skin as white as the moon, cold as ice, and eyes like cold blue stars"). She was a female White Walker, who lured him deeper into the woods, into an ice cave, and then she took his soul. When the Lord Commander returned to the Nightfort, he enchanted all of his subordinates, binding them to his will.
And thus, they ruled from the fort as Night's King and Queen, committing human sacrifices, mostly of women and children, no matter if they were Winterfellian Northerners from south of the Wall or free, roaming wildlings.
The leader of the wildlings and the Northern King of House Stark (the older brother of the Night's King), forsaking their differences, joined forces and rallied the brave youths of the Northern lands to meet the royals in open battle. The Night's King fell on the battlefield, and his consort was fatally wounded by her brother-in-law. The most widespread version of the story says that she died. But she actually survived and retreated up north to her ice cave in a glacier. And surely, she is still alive.
Later on, all of the wisest maesters in Westeros gathered in a Conclave in Oldtown, where they had been educated, to discuss the end of a long winter. Together, they crafted a powerful magic mirror, which they planned to take north of the Wall. This mirror could only reflect reality as it was, devoid of deception, and they planned to give it to the 22nd Lord Commander of the Night's Watch as a valuable tool: for such a looking-glass that reflected a sickening grin instead of an "honest" smile would surely reveal what the Walkers were and are at heart. At the Wall, after a year-long and perilous journey, the maesters were attacked by White Walkers, and, since dragonsteel, dragonbone, and dragonglass hadn't been discovered yet, the learned men were overpowered, the mirror was shattered by the Queen in the heat of battle, and the shards were sent flying in all directions, scattered all over and around Westeros. The tiniest of them are still whirring about, causing a chaos the maesters of yore hadn't expected at all, because these slivers of enchanted glass, so small that they can barely be seen, can enter human bodies through their lips, their nostrils, their eyes... and subsequently lodge in the warm, throbbing hearts of those people, turning those hearts cold as ice and hard as steel."
The flaxen-haired girl doesn't shudder, neither does the golden-haired boy, who shouts in defiance:
"That would never happen to me!".
But, like all humans, he may turn out to be actually wrong...
For there is at least one shard of the maesters' looking-glass whirring around in the cool air of Tarth, searching for a heart to harden. And now, readers, you shall find out what is to happen next...


Story the Second: A Young Heir and a Young Maiden

There is a sapphire in the middle of Shipbreaker Bay, a lovely isle with fresh azure waters within and salty azure waters without. Rainbows form where the springs and streams fall from the heights onto lower ground, and these many sources of freshwater, like the lakes that are perfectly clear liquid looking-glasses in the meadows and heathlands, are the tears that the Maiden herself once wept for Ser Galladon, a dashing mortal knight from the once barren island of Tarth and the only lover she ever knew, or so Stormlanders still believe in our days. 
It's a pleasant and modest spot, rising from the azure tides of Shipbreaker Bay, on the Stormland coast of the vast and diverse continent of Westeros. Tarth itself is not densely populated, a harsh yet beautiful island of brave and honest people ruled by the Tarths of Evenfall Hall, a middling noble family now dwindled to a widowed lord of middling rank and his only daughter.
At Evenfall Hall, a lonely and tomboyish child Brienne (having lost her mother and siblings) is excited about the prospect of a visitor mentioned in a letter sent by carrier raven all the way from Casterly Rock in the Westerlands: for Lord Tywin Lannister himself, the most powerful and wealthiest man in all Westeros, has sent his eldest son to be squired at Evenfall (omitting the real reason, id est, Jaime's more than innocent sharing of bed with his twin sister). When the young Lannister lands, an elated girl with short hair fairer than his and freckled cheeks, taller than any girl he has ever seen before, has already sauntered before her stalwart father to welcome the dashing, golden-haired, green-eyed Jaime, and to introduce herself. The people of the village below the Hall are modest, they do put up a celebration but not a grand one in honour of the Lannister boy, and he gets to live at Evenfall with the Tarths. The septa, Roelle, is losing her patience with Brienne's needlework, and Lord Selwyn, called the Evenstar, finally convinces her to let him raise his only daughter as a male heir.
Jaime has got issues of his own: with the letters dancing and scrambling before his eyes, he finds it hard to read and write. However, with enough love and patience (especially with encouragement from his new-found friend Brienne), he soon overcomes this hurdle, little by little, though not taking a liking to reading, preferring more active pursuits.
Soon, Lord Tywin's heir has nearly forgotten his siblings, and sees Cersei as a sister once more, because of the freckled, blue-eyed girl. Though they aren't brother and sister, Jaime Lannister and Brienne of Tarth bond to love each other as if they were, by sharing experiences (both have lost their mothers, both like stories and sword fighting).
Jaime and Brienne explore the sights of the Sapphire Isle together, learn to swim and to fight together, help each other with their homework, get into scrapes, play games like monsters-and-maidens, listen to Roelle's stories together at night, and even Selwyn Tarth, a hot-headed yet merry bear of a veteran warrior, opens up to Jaime and lets him spar with Brienne.
And he always loses to his good friend.
It is during such a fight with wooden swords that it happens. Their childhood days are full of love and innocence, so who could say that they are finite after all? Running across meadows rife with wildflowers, bathing and drinking in waterfalls to cool themselves after sparring, wooden swords held in their little hands, the bright summer sun beating upon their fair hair, both children cannot be happier. For a while, they stop by a waterfall spring, as the tankard is soon detached from the blue-eyed girl's belt and both lindenwood shortswords are quickly pulled from their scabbards.
Right when he's determined not to lower his guard or waver, the blond boy gets what appears to be an eyelash or a speck of dust in his left eye. Brienne casts off her sword, worried, and then Jaime gets up, calming her with the words that he's all right, though he's visibly heated up by the sun above and by the struggle of the swordfight against a worthy opponent; and, having wiped the perspiration from his brow, plunging his face and both arms down to his elbows into the pool to fill the tankard, then drinking his fill of cool spring water, eagerly at a deep draught, to quench his thirst... but then, he feels a searing, stabbing pain in his chest, like a heart attack. Clutching the left side of his chest and reeling, he complains about feeling stabbed in the heart with an icicle before collapsing unconscious, breathing heavily; already seeming to struggle against impending death.
A surprised Brienne loosens his doublet while Jaime is unconscious, and she calls for the Maester of Evenfall Hall... but scarcely has she run away to look for help that young Lannister is feeling fine again, as if nothing had ever happened, but his eyes have lost their sparkle, and his voice has become cold and emotionless, as sharp and as piercing as an icicle or a freshly-quenched Valyrian sword. Jaime tells Brienne not to worry, that he is fine, he calls Brienne a freak, and he laughs at her unkempt hair and freckles, even coldly saying that a Lannister should never lose to a girl, nor to a freak. She doesn't understand why he has changed that much for worse. And then, defiantly laughing, he saunters on his own towards the Hall, leaving a puzzled Brienne to lag after him.
A tiny shard of that magic mirror mentioned in the legends (remember the maesters' looking-glass?), which fell by chance into that tankard right before it was drained, and which the golden-haired lordling has drunk without knowing it, has entered the Lannister lad's heart, and it's now frozen through and through, like a lump of ice encased in steel.
He doesn't want to play games or listen to Roelle's tales anymore, he'd rather impersonate the old septa by mimicking her voice and gestures, doing the same with the maester, with his guardian Lord Tarth, even with Brienne herself. And he refuses to go out exploring with her, though she'd love to go out with him. He’d rather stay at Evenfall and train himself in the arts of war.
Everyone is surprised by Jaime's change of heart, yet unaware of its cause.
The next time they spar, Jaime wants to fight with a blade of sharp steel instead of his usual wooden sword. And, when he's told that he's too young to wield steel, he physically assaults his guardian, being nevertheless overpowered by Selwyn Tarth and punished with spending the afternoon locked in an empty room without any distractions or the company of Brienne. Yet little Golden-Hair enjoys this scenario.
His voice and the look in his green eyes have also become different; they are now far sharper, even piercing, so conceited and arrogant is he. The few times he gets close to the Maid, the Lannister scion draws steel and stands in awe of his reflection on a blade or breastplate, and tells her as coldly as he can, giving her a death glare and putting the blade to her throat, a hair's breadth from the skin:
"Look at yourself and then look at me... your looks are not that interesting, except if you appeared on stage in a mummer show. While I am a Lannister myself. And a Lannister is flawless."
As time goes by, Jaime gradually distances himself more and more from others, becoming more warlike and defiant for each year, changing his habits to drinking summer wine, and becoming able to wield steel in a ruthless manner, yet Brienne remains hopeful that he'll change for the better. Until both children come of age, and Jaime has become one of the best-looking young men in Westeros, and Brienne, an impressively tall short-haired tomboy, broad-shouldered, with a contralto voice and a soldier's rough hands. Then, another raven comes flying all the way from Casterly Rock: Lannister Senior wants his heir back. Brienne and the others at Evenfall Hall follow Jaime to the docks to take leave of him, but the youth doesn't look back except to cast a piercing glare at all of them, without uttering a single word.
At Casterly Rock, Tywin Lannister, a tall and slender, strait-laced statesman with a manly baritone to match, informs his children of their plans: Jaime will stay at Casterly Rock and Cersei will head for King's Landing to find a suitable bridegroom. Yet the young heir feels brimming with wanderlust and desire to fight, and he wants to stay by Cersei's side. And he won't give up. Upon confronting his own father and expressing what he feels for his twin sister, Jaime feels a little painful twinge in his heart. The coat of ice has warmed a bit and a crack has been made in it.
So Tywin finally gives in, accepting his son's proposal to escort Cersei to the capital. En route to King's Landing, three days later, the bridal entourage comes across a troupe of mummers (itinerant performers) carrying a maiden, the most beautiful one he has ever seen, in an iron cage of the kind used to transport dangerous prisoners. Her hair is like spun silver, her skin as white as the moon, cold as ice, and her eyes like cold blue stars. She looks at Jaime with those wistful blue eyes, and the crack in his heart deepens due to the compassion that he's feeling for her.
That night, Jaime leaves the campfire that the Lannister entourage and the mummers are sharing, to free the lovely maiden in the iron cage, which is but an illusion meant to encourage him to draw close to her. 
As soon as he's broken the lock with his blade and set her free, the Night's Queen steals a kiss from his lips. He is scared, yet in awe, entranced. Her kiss makes the youth feel cold in his steel breastplate, so cold and numb, so cold it burns, and with that searing pain in his chest once more, like a draught of fire stealing through every pipe of his lungs... and thus, he falls unconscious in her arms and fears he is going to die, as the blood freezes in his veins... Then, Jaime comes to his senses, no longer feeling anything or caring for anything, and his now open eyes have changed from their usual mint green colour to her eerie shade of blue, shining bright like stars, and his skin has turned as strangely pale as the Queen's. Her kiss has erased all the remembrance of his past life, both of Casterly Rock and Evenfall Hall, both of Brienne and Cersei, and that same kiss has shut the crack in his frozen heart, reinforcing the ice in his chest and quenching the flames of every feeling within. 
The Night's Queen laughed as the golden knight kissed her hand, a painfully delicate sound like shattering glass. It was the same sound that frozen lakes make before they crack and drown the travellers who endeavour to cross them. The icy temperature of her skin surprised Jaime; burying under his own skin, invisible tendrils wrapping around his slowly freezing heart, trying to squeeze the life out of him. But after a moment his breathing returned to normal and the cold around him did not seem so unpleasant.

"May I have your name, good Ser?" the Night's Queen just asked softly, "For I have only ventured South in search of brave warriors, knights noble and true, to serve as part of my Queensguard. Could it be that I am addressing such a man?"

Jaime's heart has skipped a beat as the magic mirror began to relish the cold, pushing pride and vanity to the surface. "Ser Jaime Lannister, Your Grace. The youngest knight ever to be admitted into the guard."

The Queen widened her pale blue eyes, a slow smile carrying across her beautiful face. "You must have done something very gallant indeed to be granted that accolade."

With the mirror clouding his heart and mind, Jaime did not realise how all the important decisions in his life had been made by someone else, instead replying with a wry lopsided smile, "That's what I've been told, Your Grace."
She laughs again, stepping close enough to reward his courage with a kiss to his cheek. For any other monarch, the touch would have screamed of impropriety but, as her lips pressed against his skin, Jaime cannot think why such a gift should not be freely given.
 
"I think I will make you my Lord Commander", the Queen whispers as if to herself, encouraging a spellbound Jaime closer
The Night's Queen wraps Jaime up in her white cloak and takes to the sky with the blond youth, now turned a living wight, flying up north, towards the Wall and beyond. Now that his mind is left a blank slate, something stirs within him at the sight of this white-haired yet youthful regal presence; in his opinion, has he never seen such a lovely or such a clever face: not only worthy, but even perfect for him. At night, Jaime stays awake to wonder at the changing moon and the countless stars. By daylight, he sleeps in the arms of the Night's Queen, leaning against a well-shaped chest where no heart will ever throb.


Story the Third: The Heretic Burnings of the Priestess Endowed with Powers

At Evenfall Hall, everyone misses Jaime, but Brienne is the one who misses him the most. No ravens from King's Landing or Casterly Rock alight on Tarth for a year, and the Maid misses her friend, still harbouring the hope that he may be still alive.
One year after Jaime's departure, they finally get a message from the Lannisters' residence. Lord Tywin and his daughter haven't had any news of Jaime either, and the Tarths are blamed for the young heir's disappearance.
Upon learning this, Brienne, determined to prove her family's innocence and rescue Jaime, decides to depart in search of the young Lannister. Convincing her father is not hard: she gets a sailboat with a good captain, a good sword, and provisions... and then, convinced that she shall find the green-eyed scion one day, she sets sail for the mainland.
When they are a stone throw away from Storm's End, the fortress on the cape that stands opposite Tarth, Brienne sees a war camp full of soldiers before the fortress, and several poles driven into the ground on the outskirts of said camp. Upon landing as the sun sets in warm colours behind Storm's End, she notices that the banners of the camp are yellow and adorned with flaming hearts... and that there are women and children in modest Stormland dress tied to the stakes.
As soon as she has landed, she is arrested by soldiers with flaming hearts on their breastplates, who take her, unarmed and hand-tied, to the presence of their king.
As the evening sky darkens, the warrior maiden is brought into the headquarters. His breastplated chest adorned with a flaming heart as well, the stern and slender ruler, clean shaven and with short dark hair, his features hard as if they were chiseled on a cliff, looks at her with cold, piercing eyes blue as steel... and then, he coolly asks Brienne:
"Do you acknowledge the Lord of Light as the one and only true God?"
"The Lord of Light? And should that perchance be you?"
"Heretic... Guards, take him to the stake", King Stannis (who thinks Brienne is a young man) coldly commands, as the red-eyed lady with flowing red hair and a gown the colour of freshly-shed blood, with fire in her eyes, the ruby on her choker glowing like an ember, draws closer to the modest camp chair that serves as the invading leader's throne.
Soon, Brienne is tied to one of the empty stakes with thick ropes. The changing of the guard occurs a couple of times, as the former guards leave for the encampment and return with firewood, which they pile at the foot of each stake. She is determined to escape the blazing fate that awaits her at the stake.
Tied next to Brienne is a cute-looking young boy with raven hair. To break the ice, they have some conversation. His name is Edric Storm and he is currently orphaned. He tells Brienne that all the people tied to the stakes will be burned and executed because they still believe in the Seven Gods and refuse to convert to the faith of invading King Stannis Baratheon, whose priestess and mistress is the Lady in Red.
Evening turns into night and more soldiers arrive at the stakes, carrying flaming torches and candles. Their bright flames flicker in the dark of night. Among them are two riders, hard King Stannis and the Red Lady with fire and passion in her eyes, looking wistfully at her liege lord, whose firm right hand wields a red and glowing flaming sword, then at the people tied to the stakes.
A couple of gestures, and then the soldiers light the firewood before the stakes, as the Red Lady chants in some unknown language, then calls upon the greatness and goodness of the Lord of Light:
"R'hllor, R'hllor, R'hllor, R'hllor... Please deliver us, for the night is dark and full of terrors!"
Trying as hard as she can to break free, Brienne finally manages to loose and untie the ropes around her wrists. Then, she frees Edric and as many people as she can, and she retrieves her sword to cut more ropes, before running away into the woods with the liberated prisoners. When the guards have got lost in the woodlands and the flames of the execution ground have become a distant glow, all the people the maiden has saved thank her.
Then, upon leaving the woods for open fields and roads, they part ways. Most of the freed Stormlanders are heading for the capital, while Edric is expecting a welcome at Highgarden. Brienne has told the boy her story and he has replied:
"A dashing young knight, clean shaven, with golden hair and green eyes? Well, maybe I know him."
The Maid hopes that Edric is actually referring to Jaime. So, she and Edric agree to travel into the Reach together. Curious to visit another country, but also to reunite with her friend, our heroine is now sure that her adventure has not come to an end.


Story the Fourth: The King and Queen of the Reach

"A dashing young knight, clean shaven, with golden hair and green eyes? Well, maybe I know him."
Brienne is now sure that Edric is actually referring to Jaime.
"Though he seems rather fond of His Grace King Renly. Maybe he's forgotten you..."
The Maid is somewhat surprised and asks her new friend, by a campfire in the woods, more about Edric's liege lord and the way his path came to cross with the one she thinks is Jaime. And the boy answers:
"Well, he was Lord Renly from the start, a Baratheon of Storm's End, the youngest brother out of three whose parents died in a shipwreck before his third birthday... When he was still a child, both his older brothers went away (one to the capital, the other to Dragonstone) and left him alone at Storm's End, as an only child. So he grew up from an adorable child into a dashing young gentleman, slightly spoiled by his guardians, but nevertheless sweet and cheerful. Renly loves dressing up and being the centre of attention. That's how he's always been. I know him so well because we were raised at Storm's End together, like you and that fair warrior of yours."
"What a coincidence!"
"So he's now in his twenties, and weary of his lordship duties, so, to distract himself, he begins to daydream until he thinks he'll style himself king of the Stormlands. And the bannermen agree, and they tell him he must have a queen, and thus, a proclamation to find one is announced. From Bronzegate to Nightsong, the finest ladies in the land enter Storm's End to try to win his heart, but he looks at them with that fixed expression, with a glare sharper than steel and a sneer of discontent, and without saying anything... and their courage forsook them. They couldn't think of anything to say, and just repeated the last words he had uttered, which he did not particularly love or even care to hear again. Of course he hoped for something else! For he seems not to care for them at all, sending them away one by one with a graceful flick of the wrist. The suitors have to turn back in shame, some of them even in tears. It was as if they had drunk milk of the poppy, which made them doze off, and they did not recover themselves until they breathed in the cool breeze out of doors. So, about twelve days later comes this young man from the Reach, a clean shaven lad with long golden hair and bright green eyes, wearing a glittering breastplate, with a good sword by his side."
"Jaime! Sure he is!"
Well... There he stands, this dashing fair-haired youth, the Warrior incarnate, before my Liege on his throne of golden antlers... talking to him without bending the knee, as if they were brothers, to everyone's surprise, and both of them had a rather pleasant, lively conversation, which I couldn't hear properly for all the distance and the courtiers' whispers; but as far as they could see, they gave the feeling that they were taken with the wit of one another. They're both drawing all attention, the newcomer is cheerful, friendly, and clever, and it's crystal clear that His Grace finds the unknown knight after his taste, while the golden-haired stripling has found Renly charming."
"And they've both gone to the Reach?"
"To Highgarden, apparently, for reasons I haven't been told. Secrets of state. Most likely to tie the knot with a sister of his... And, while my Liege was away, comes this invasion and all these burnings... We've got to warn King Renly and his bannermen. By now, it seems that the wedding celebrations are still going on."
"Jaime's got a sister! And he would never get boring to listen to. Sure, it can't be no other... So, we're off to Highgarden?"
"You'd better keep your armour clean, or else the guards won't let you into the palace. For you're so modest that you won't impress the court with those looks of yours."
"If I do something worth notice there?"
"As long as you do something courteous and beautiful. Like dance, or speak well."
"Guess I'll try to do my best..."
Brienne has always longed to visit the Reach, for it is the land where many of her childhood tales take place. A place more fertile and lovelier than the Hall where she was born, the Reach, in her mind, makes Tarth and Storm's End look bleak in comparison.
The trek across Westeros is spent rather merrily, catching hares and freshwater fish, telling stories and each other's lives... getting, now and then, a steed at an inn or their armour and weapons polished. And soon, the Reach stretches before the fair maiden and the dark-haired boy, as far as they can see, in all its glory: a lovely hilly region with terraced vineyards on the banks of the blue Mander, shady linden groves, quaint villages... Vast orchards of peaches, fire plums and other fruits, fragrant meadows dotted with thousands of colourful wildflowers, fields of corn and of Reach roses as far as the eyes can see, like oceans of gold... Estates and large farmhouses, and bannermens' castles straight out of fairytales, surrounded by colourful gardens, crown some of the hills. The villages and marketplaces are hosting celebrations, with bustling fairs, due to the fact that the young Queen of the land is getting married. But nowhere, as Brienne and Edric hear, will the festivities be as impressive as at the royals' seat itself, where a tourney will be held.
Following the course of the lovely blue river, that artery of the Reach which still is called the Mander, the two young people remain impressed by all the sights they encounter. The Maid has grown impatient, she can't wait to see Jaime... it sure must be him, with that soft golden hair and those bright green eyes. And the idea of seeing each other again in such a beautiful backdrop would be grand indeed.
Then, after a week or two of travelling through the fertile Reach, Brienne and Edric notice from afar, at a riverbend, a soft hill crowned by the stateliest castle they have so far seen in their short lives, surrounded by open meadows and fields of golden roses, on which the lists for the tourney rise as a colourful encampment. On top of the hill, slender white towers line walls as white as cream. On the slopes of the hill, in between the wall at the foothills and the one at the top, grows a complicated hedge maze of sweet briar roses.
Now Brienne, as she approaches Highgarden, has made up her mind to take part in the wedding tournament, both to show the courtiers her skill as a fighter and to get closer to the one she thinks is Jaime. She reaches the lists by mid-day, and the guards posted there inform her that the bride and groom are still in the sept, and that the tourney will not begin until the wedding has come to an end. There will be a great feast at Highgarden, most probably in the castle gardens, after the tourney, and all of the knights who fight in the tourney will be invited. And thus, Brienne enters the lists with Edric for a squire. For the officer in charge of the lists, having Stormlanders who represent the bridegroom's birthplace in the tournament will give more local colour to the show.
Since the young Stormlander is also impatient to see his liege lord again, they decide not to wait until King Renly arrives with his Queen and her brother, but rather to enter Highgarden and surprise them at the sept door.
Which turns out to be easier said than done: the guards at the outer wall gate let them in upon hearing that they are a knight and squire at the tourney (they're also elated at the fact that the newcomers are Stormlanders), but trying to navigate the Highgarden briar maze without a map proves pretty hard for Brienne and Edric. In fact, after having walked for a long while, they realize that they have been walking around in circles, and thus, they can't get in or out. How will they ever get to fight in the tourney or see their loved ones?
Right when the Maid and her friend are beginning to despair, they suddenly hear the peal of wedding bells from the sept, and the shrill notes of a fanfare. "We're saved!", they think. Finally, they will be able to escape and give the royals their surprise!
And then, seconds later, a grand entourage in green and gold, turning left at the corner, appears before their eyes and crosses their paths: a dashing young man in a shining breastplate, with a crown of golden antlers (or branches?) on his long raven locks, a beautiful maiden in a white bridal gown, with a crown of golden Reach roses on her long auburn tresses, to the left of him, and a young blond knight to the right of him.
"Renly!", Edric calls the royal bridegroom as they advance towards the entourage. "Jaime!", Brienne calls the name of the one she's been looking for as loud as she can. "My fair warrior!"
The royal procession comes closer... the knight next to the clean-shaven King is not Jaime! Indeed, the young man's hair is curly and a darker shade of blond, like older gold, while his eyes are more of a hazel colour. His armour is inlaid with gilt flowers.
"He's not Jaime... he does resemble Jaime to a certain point... but, anyway, he's young and dashing..." Brienne staggers and all she sees is clouded, then, utter darkness. Yet she can still hear voices in her unconscious state:
"Edric? Is that really you? Have you come all the way from Storm's End?"
The soldier with the gold flowers on his armour said, "There's a young man lying on the grass... Is he...?"
"No, in fact, my knight Brienne is still alive."
"Have you come to take part in the tourney? Let's loosen that breastplate a little. Loras, go to the nearest fountain and get a ewer full of water. We don't want any warriors to fight in disadvantage."
As King Renly Baratheon loosens the modest breastplate on the unconscious form's chest, he realizes that Brienne is not a young man at all.
"But... he is a..."
"What is she doing here?", Queen Margaery asks curiously.
In the meantime, the vaguely Jaime-like Ser Loras has returned with a golden pitcher full of water. Though he doesn't need to: Brienne has already come to. And she is as surprised as everyone around her is.
"All right, let's be honest, Your Grace. I am a young woman, but I'm not a lady."
And then, Brienne tells her whole story: her now distant childhood on Tarth, her relationship with Jaime Lannister, how he grew cold and disappeared, how she found Storm's End under siege and Edric at the stake... how she saved all of those innocents, and how she believed that the knight next to His Grace was her long lost friend. With twinkles in his wistful blue eyes, her liege lord replies:
"This is Ser Loras Tyrell, Knight of Flowers, my lady's brother and the Lord Commander of our Kingsguard. It pleases me to find fellow Stormlanders here, and a maiden who rather would wield a longsword than a needle. You should be as brave a warrior as you are clever, for you have fooled us all!"
"I will give all my bravery, Your Grace".
"We now know each other. You may call me Renly. This is my Queen Margaery, and I have already introduced Ser Loras to you. At the tourney, you will meet the rest of the Tyrell family. Come on, Edric!"
During the tourney, Brienne throws all of the Reacher knights, including Loras's older brother Garlan, off their steeds. Finally, she even confronts the King of the Reach and the Knight of Flowers, who have, both of them, to accept defeat. Now completely victorious and cheered upon by the crowds, Brienne is given a wreath of golden Highgarden roses and crowns Renly "Queen" of Love and Beauty. Ser Loras advances towards Renly and gives him a kiss on the right cheek, as he casts a piercing glare at the lady knight.
Against a beautiful, colourful sunset, the grand wedding feast takes place in the Highgarden godswood: an earthly paradise where lindens cast their shade into white fountains, dark green ivy lines the palace walls, and flowers of every bright colour give the whole scene a lovely rainbow air. The Three Singers, the graceful triplet weirwoods, entwine their branches and reflect themselves in a tranquil pool.
The elegant tables are set in the shade of a wisteria trellis. The bridegroom is obviously in the very best of spirits, feeling that all eyes are upon him, bowing, shaking hands, and smiling left and right as, his own hand in his bride's, they sail confidently down the path, to take their place at the head of the table, where the guests are already assembled.
In between the meat pies and the peaches in honey, before the wedding cake is served, as the first stars light up the night sky and Arbour red and gold wine of the Tyrells' choice vintage flow freely from the fountains, Brienne has made the acquaintance of the rest of the Tyrell clan, at whose table she is allowed to sit, next to Ser Loras himself. There's old Queen Olenna, the clever matriarch, an elderly dowager with a rapier wit. There's her son Lord Mace, father to Loras and his siblings, a merry good gentleman who reminds Brienne of her own father, but with a broader girth. And there's Alerie, Olenna's daughter-in-law, a real learned lady, both clever and beautiful (Brienne would like to have a mother like her), who presides over her husband and children. There are these four children: Willas, a clever young man who leans on crutches -his left leg shorter than the right since that riding accident-, learned and calm, truly his mother's son; Garlan, stalwart and gallant as the Warrior himself; the dashing Loras, whose armour is inlaid with gilt flowers, a handsome lad now sitting between her and the King; and the youngest child and only daughter Margaery, with nutbrown hair and eyes, slender as a lily and fair of face as a Reach rose, now Queen of both the Stormlands and her own birthplace. And there's Garlan's lovely wife, Leonette: a red-haired and green-eyed young lady with breasts like ripe peaches, the Maiden incarnate.
Within that circle, Brienne even thinks of herself as too modest and a little out of place. The distinguished courtiers look at her as stiff and lifeless as statues of wax, and the lackeys who serve at the table snicker behind her back, but at least the Tyrells and their Stormlands in-law, especially the latter, are well-spoken and indulge in entertaining conversation with her, as the Maid of Tarth tells the story of all that she has been through, from Jaime Lannister's arrival at Evenfall to this very feast.
The wedding cake, rising above all the lemoncakes, rosecakes, baked apples, and spicy honeycakes, is seven-tiered, decked in seven different kinds of sugarspun Reach flowers, with sugarspun lifelike figurines of the bride and groom to crown it all, filled with seven different fruit and edible flower preserves. Never has Brienne tasted anything so scrumptious before. Yet Renly washes his share down with a long draught of Arbour gold, having nearly choked upon learning of the siege of Storm's End.
There were sparkles of rage in the newlywed's eyes as he thought of his beleaguered birthplace. Indeed, the reserved and stern Stannis Baratheon had never been interesting in Renly's eyes... but that shy youth has now become an inflexible warrior king, determined to claim what he believes is rightfully his. The brothers have spent decades apart... What ever happened to Stannis on Dragonstone for him to become such an oppressor? For Renly Baratheon, this change means nothing good.
When the dessert is already finished, and the supper ended with a last drink of brandy, the ball is opened by the royal bride and groom. The older Tyrells, husband and wife, dance with each other. So do Garlan and his Leonette. And so do young Edric and fair Brienne. They waltz and twirl, holding their partners by the hand and letting the ladies follow their steps, graceful as falling linden leaves. Though one couple stands aside from all the others: the Maid of Tarth firmly leads Edric Storm as they dance, and he follows her steps.
When the first dance is over, couples are exchanged: Loras, whose armour is inlaid with gilt flowers, now dances with his sister, Leonette with her father-in-law, Edric with tall Alerie, and King Renly himself leads Brienne out to dance. The maiden's cheeks blush scarlet like ripe strawberries, so much that her freckles disappear, and she lets herself be led for once: he looks at her wistfully, and the blue eyes of both sparkle brightly. Never since Jaime left Tarth has she felt this helpless. "Can this really be love?", the blond maiden whispers to herself.
As the sound of dancing and the spiraling circles fill her consciousness, Renly comes out to the balcony with her, his own silk-gloved hands holding those of Brienne, clad in steel.
"How wonderful the stars are," he says to her, "and how wonderful is the power of love!"
"I know your heart belongs to another," she answers; "for my own heart is another's as well. Still, I cannot thank you enough for all of your kindness and the way you have treated me!"
The nearly full moon is now in the middle of the night sky, and the Tyrells and their courtiers are once more within the keep. Renly and Loras have led Brienne through a beautiful drawing-room lined with portraits of beautiful ladies and dashing lords, then through elegant halls, each one grander than the previous (First comes a hall with a floor of white marble, hung with tapestries of crimson silk, depicting battle scenes of Reach history in bright colours. Then a hall with a floor of pink marble, hung with paintings of such size and magnificence that the Maid would ordinarily have stopped to admire them, followed in turn by a third hall, which has a floor of black and white marble laid in squares like a chessboard, and which is hung with mirrors in gilded frames), into the bedchamber wing, where the Knight of Flowers has generously offered her his own room; he will stand guard himself in the chamber of his dear sister and her dashing spouse. He has said he can do no more. The Maid cannot find the right words to thank them.
The bedchamber itself is vast and elegant, filled with the scent of freshly-picked lavender and Highgarden roses, with a canopy bed of curtains thickly embroidered with gold and silver thread, a mirror that occupies a whole panel of the walls, a wardrobe twice or thrice as large as Brienne's own at Evenfall Hall, and a costly crystal glass chandelier on the ceiling. There is also a lovely ornate dressing table.
Loras has servants dress her in a fine negligée of crimson silk, its collar and sleeves lined with fine Myrish lace, and then, he pushes the bed-curtains back for the Maid to go to bed, before affably taking leave of her.
As Brienne wraps herself in the soft mint-green brocade sheets and draws the golden velvet bed-curtains, she thinks of the kindness she has encountered at court. That night, sweet dreams come to her: she is leaving Highgarden, leaving the Reach, she comes into an open field in more northern lands, a rider gallops towards her... it is Jaime, this time, no longer cold or detached, offering her his hand, and both of them riding away past holdfasts and cots. But it is all only a dream, and thus, it fades away as soon as she awakes.
The King of the Reach himself peeps in through her bed-curtains, his attendants bringing forth an armour of cobalt blue steel, inlaid with bluebells and forget-me-nots
, with a knee-long cape of the same cool colour.
So she is dressed in this blue armour, that sparkles on her reflection in the mirror that covers a whole panel of the bedroom wall.
As for Edric, he has eaten supper and then slept with the army officers, having already enlisted in the ranks of the Reach.
For breakfast, there are spiced honey cakes and various fruit pies, served with clear lager and with mint tea. The maiden now sits to the left side of Queen Margaery, and the Lord Commander to the right side of King Renly Baratheon, both royals sitting on the thrones that have presided the banquet-hall table.
They talk about the invasion of Storm's End, and Brienne learns that the invaders' leader is also a Baratheon, one of Renly's older brothers, with whom he had broken ties long time ago. The vast army of the Reach has been already trained and prepared for the upcoming conflict.
The royals offer to have a notice about Jaime's whereabouts sent throughout the Seven Kingdoms, and detachments to carry on the inquiry Westeros-wide while the rest of the army is fighting the war.
Renly offers Brienne to enlist in his ranks and join them at the war front, where she could perform gallant feats, but she only asks for a horse, new weapons, and provisions to carry on her search for Jaime.
And thus, at the entrance of the briar maze, right before she crosses the garden gate, she beholds a white gelding, caparisoned in cobalt steel as well, with a green silk saddlecloth, on which the embroidered golden rose of Tyrell and stag of Baratheon shine brightly as stars. 

From the saddlecloth hangs a fine longsword, with a ruby-eyed golden lion head for a pommel, in a finely ornate scabbard glittering with golden lions and rubies, aside from a fine mint-green silken bag, also embroidered with the Tyrell rose, containing a glass canteen full of summer wine (the same Arbour red that was served at the wedding feast) and a dozen journey-cakes.
The rubies on the sword glitter like stars, and, when she draws steel, she sees that the blade is covered in black and scarlet ripples. Why would a Baratheon or Tyrell keep a Lannister sword, and one of costly Valyrian steel besides, in the first place?
“‘Tis a wedding gift from Lord Tywin himself,” His Grace replies to Brienne’s question. “Yet Loras and I have already got many fine swords, and besides, you are looking for the Lannisters’ missing heir, or not?”
Thanking her hosts sincerely, the Maid of Tarth fixes her new sword on her belt, having already thought of a name for it: Oathkeeper, since it will recall that she swore to find Jaime.
King Renly and Ser Loras help her get on her steed, embrace her, and wish her good luck. So do the rest of the royal family. Even Edric comes to say farewell, for he is going to war. The young bannerman looks like a child Renly in his breastplate and doublet. He has been given permission to be part of her escort, and thus, they shall have a little more time together.
"Farewell! Farewell!" say Loras and Renly, and Queen Margaery as well, drying up their tears into silken lace handkerchiefs. Looking back at Highgarden for every now and then, the maiden crosses the garden gates with the detachment she has been given for an escort. At the borders of the Reach, the other riders depart to join the army, as Brienne takes Edric in her arms and they kiss each other for maybe the last time.
"Farewell!", both say in tears, for maybe they wouldn't see each other anymore. Then, Edric departs with the rest of the riders, leaving Brienne on her own, riding up north. This is the saddest of all farewells for both of them.

Maybe Jaime has joined the Night's Watch to escape his father's expectations. So thinks Brienne now. If so, she is most likely to meet him at the icy Wall where the known world comes to an end. Surely taking the black means a celibate life married to the Watch he can never leave, but what matters to the Maid is that Jaime is safe and sound. And, after having a long talk with him about their adventures... surely the best option for her would be to turn southward away and fight under Renly's banner for a just cause; but now, finding Jaime comes first on the list.
So, she leads her steed into the Riverlands. At the first inn, she has to exchange that horse for a dun mare after having had breakfast and spent the night there, unaware that there are also scoundrels at that very tavern, and that she'd better be careful with the rarities she carries.



Story the Fifth: The Little Greenseer

The Riverlands are a wilder and more wooded region than the Reach, but nevertheless dotted with villages and keeps worth visiting. Passing by the Gods' Eye and watching the black ruins of Harrenhal mirrored in the tranquil lake against the evening twilight makes the Maid of Tarth think of the finity of greatness. How many times did she, as a child, ever hear the tale of the Ironborn king who spent his life on raising a fortress that he thought never would fall! Nowadays, the empty walls branded by dragonfire serve as a prison for the Lannisters' enemies, and a curse hangs over the fallen keep, dark and veiled by the evening fog. She encamps near the ruins on her own, in a run-down outpost of the long-gone Ironborn.
The Riverlands were once a land of war, every confluence a battlefield made immortal by history and folktale alike. Like the Reach, this is another region she long time dreamed to visit. The Trident is a wider river than the Mander, and, from a window in the Inn at the Crossroads, the Maid even sees barges sailing down the stream to Riverrun and further on towards the Bay of Crabs.
She would, next day, have gladly crossed the Trident at the Confluence Ford (which another timeline might have named the Ruby Ford), but a whim of her youthful spirit soon leads to complications for her. Instead of crossing at the Confluence Ford to follow the Kingsroad, the Maid has decided to follow the Red Fork and then cross all three of the Forks one by one at their sources. The reason why? She longs to visit Fairmarket, a quaint village and marketplace by the Blue Fork, just like any other in the Riverlands... on whose outskirts a great battle once spelled defeat and the fall of an empire for the Stormland army against an invading Ironborn host. More precisely, she wishes to ride across the battlefield of yore, now turned into a peaceful meadow for cattle pasture.
The innkeeper, Masha Heddle, a slightly overweight good woman in her forties, warns Brienne not to try that route. She gives the maiden but three words of caution, as many as the Forks that join at the confluence: "Beware the Freys". Yet Brienne has already saddled her steed and galloped away along the Red Fork: her youthful heart, in its enthusiasm, does not heed the wise advice of her elders.
Along the River Road does she ride, up to the border with the Westerlands, to cross the Red Fork at the open field where herds of Riverland Red cattle quietly graze, and the sept tower of Fairmarket rises like an only eminence. While riding across these meadows and crossing the Blue Fork, Brienne can only think of her countrymen who sleep in an eternal trance beneath covers of tall grass and modest wildflowers. Spending the night at Fairmarket Inn, she surprises the locals by revealing that she is a Stormlander. The whole community has looked at her like a local celebrity, though in a much more modest way than the courtiers of the Reach.
The next day, as she follows the course of the Green Fork, the third tributary, she can only think of the defeat that the Stormlanders faced on the battlefield, and of the downfall of her region's golden days. Perchance a Tarth ancestor is earthed in these ripe meadows, having left a widowed lady and fatherless children to mourn the fallen hero. Only the Warrior knows, and the Stranger as well.
Brienne has spent the night in the ruins of Oldstones, at the source of the Blue Fork, and, the next morning, she quenches her thirst in one of the rills, and then crosses the confluences of the many rills that join to make up this river. This day, she will have more treacherous waters to cross...
In the middle of the slightly swampy, fertile lowlands, twin keeps, with a lone tower in their midst, stretch across the Green Fork across a massive bridge of gray granite. The river, swollen with the recent rains, flows surging impetuously, so that the twin castles prove the only crossing across the rapids. Brienne has no other choice than to cross at this stone bridge. She is completely unaware of which consequences her decision may have.
To make things even worse, dark storm clouds cross the skies, concealing the sun, and a violent downpour forces Brienne to seek shelter at the twin keeps. The guards at the gate of the western one welcome her in, their blue doublets decorated with a silver crest that displays the twin keeps:
"Welcome, dear stranger, to the Twins, the seat of House Frey."
That evening, the Maid knows no words to thank the elderly Lord Frey, whose immense family she is surprised to be introduced to, for a pot of warm soup and a nice soft bed, in which she is snuggled up until way after daybreak. After having broken her fast on a few fried freshwater fish and some good ale, she takes to her steed and gallops across the granite bridge, not heeding old Lord Walder Frey's words that she should pay her toll. Indeed, she has offered them her breastplate and her canteen, but the Lord of the Crossing has also demanded Oathkeeper, and she needs her blade more than anything else to save her friend. So she's departed with all of her valuables, fending off squires in blue Frey livery, to the other side of the Green Fork and onto the Kingsroad. A small army of Frey men is still on her heels, and she cannot rest by day nor at night, always fleeing, until her mare is sinking in the swamps of the Neck, with a weary rider on her back, completely surrounded by soldiers in silver and blue.
"Now we've got you!", the leader, a scar-faced and ill-shaven sellsword, says. "Pay the price, or else, shame will fall upon..." He staggers and he falls, the middle prong of a trident-like frog spear thrust in between his shoulder blades. The other soldiers grow defiant: "You frog eaters!" The crannogmaiden who had thrust her spear into the officer's back lunges at the other Frey sellswords, as a tall and sturdy young man with a dark-haired child on his back also attacks the detachment, and a cream-coloured wolf the size of a pony bites the same soldiers, who are subsequently scared enough to retreat southward.
Then, the crannogmaiden offers the Maid of Tarth her spear to lean on and shows her out of the quicksand. The young crannogmaiden is about the same age as Brienne, but more slender and shorter, narrow-shouldered and darker of skin, with long dark brown hair. Her large green eyes sparkle with defiance.
"Reed. Meera Reed. Fear not. We shall be friends and travel together. We need a warrior like you on our side. I suppose you are a veteran knight?"
"I have fought in a tourney recently. By the way... my name's Brienne, and I come from Tarth, in the Stormlands."
"Pleased to meet you, Brienne. But first, let's introduce my fellowship, shan't we? Meet my younger brother Jojen." A crannoglad about Edric's age, dark and green-eyed like Meera, waves his hands from a treetop. "Our companions. Bran Stark of Winterfell, and Hodor. He can't say any other word."
"Hodor!", the large young man says, with a smile on his face. Now Brienne is completely sure that the little boy is Bran, as Jojen points downwards to the pony-sized wolf:
"And Summer, our pet direwolf". The Maid is impressed by the appearance of a beast of legend. "In these fens, nothing is ordinary." She had hitherto thought that direwolves did not exist, and that crannogfolk breathed underwater with gills, their hands and feet webbed like those of frogs. Now that she sees that these people have lungs and limbs just like hers, she is prepared for anything she may encounter on her quest.
"I'm sorry that your horse sank into the marsh", Jojen apologizes in a calm and kindly tone. "You can try to ride Summer instead." Not wanting to walk through the treacherous swamp like her guides do, she agrees and strokes the fur on the surprisingly friendly direwolf's warm back. Summer is, after all, a steed as trusty as any other.
The little band has now marched together until not long before sunset. They are now in the very heart of the Neck fens. Large green logs bask in the misty marsh sunshine, displaying ominous chartreuse eyes. From the swampy ground and shallow lagoons rise islands of reeds, on which villages of modest reed huts dot the now foggy landscape. The people of the little band stick together not to part ways, get lost in the fog or sink into the quicksand. The Maid of Tarth clings to Summer's fur as strongly as she can.
"Hodor!" Hodor loudly shouts.
"Our crannogs", Meera says. "Thank the gods we have make it in time! At dusk, the lizard-lions start prowling the fens for their prey... Teeth like daggers. You wouldn't like to come across one."
They are now inside a little hut on a crannog, a hut that Meera usually shares with her brother, and now with the young Stormlander as well. The crannoglad is listening to Brienne's story attentively, while his sister has ventured to the edge of the crannog to catch frogs and fish with her spear. The evening twilight filters, red and warm, through the reed walls of the thatched hut.
Brienne has told Jojen her whole story so far, and he has listened attentively, making clever remarks at every turn in spite of being an illiterate young crannoglad. This boy is more mature than Edric, in fact, he is too mature for his age. Reserved and poised Jojen reminds Brienne of a character in a tale she once heard: "a youth in appearance, yet an elder in wisdom."
Soon, Meera enters, her reed belt laden with green frogs that they will have to eat raw, in the style of crannogfolk. At first, Brienne disagrees, but watching the siblings and not wanting to starve or to be uncourteous, she finally joins in. The raw frogs taste bland, neither too good nor too bad. Then, after supper, all three prepare to lie down on their bed of reeds. Meera will sleep with her spear, standing guard should enemies attack.
"Tell me more", the crannoglad says. "About Jaime, and the Stormlands, and the other places and people you have seen".
Inside the hut it's warm and moist, and, suddenly, Jojen falls unconscious on the bed of reeds, falling suddenly asleep. Before going to bed themselves, Meera tells Brienne that her little brother is a greenseer: a person whose dreams foretell things to come, and they never fail. Ever since he came down with a lethal fever as a child, Jojen has had this strange gift.
Upon taking off her breastplate, Brienne reveals to her crannogmaiden host that she is a woman, which surprises Meera, but does not seem to faze her, since both of them are warriors.
The Maid reflects on all the strange things she has encountered this day: crannogfolk, a direwolf, a greenseer, and even Hodor. This night, she dreams of being in the Reach once more, getting married to Jaime where Renly and Margaery should be.
The next day, while breaking their fast on raw frogs speared by Meera, the young boy tells the other two who occupy the hut about the dream he had last night. In it, Brienne ventured into an ice cave during a snowstorm. The winds and sleet dashed wildly about her, until, in the end, she managed to enter and find, at the end of the cave, a golden light which was fading away, but grew stronger in her presence and enveloped her.
The Stormlander listens to Jojen attentively, since the crannoglad is giving the account of his dream in the same solemn tone that a septon would use during a religious service. She interprets the green dream as a vision of her reunion with Jaime Lannister. So it is, but the lad warns her that the task will be full of hardships.
"Anyway... hardships have I endured from Tarth to these fens!"
"We're also heading up north", Meera tells the female knight. "North of the Wall, past the outposts of the Night's Watch. We will need their aid to open the gate. So will you."
"If that should be a problem... I believe Jaime has enlisted."
"Not I", the young greenseer calmly replies. "I had a dream about three or four moon-turns ago. A dream in which a white whirlwind of snow carried a young man up in the air, above the Wall and across it. His hair was like beaten gold, and there was a golden lion on his scarlet doublet, just like your missing friend Jaime."
The Maid has never seen before so young a body with so old a head. And thus, she is fully convinced of all the things that the little greenseer says. Her golden-haired friend having gone further than the Wall...
So he is beyond the Wall, still wearing the Lannister colours... That is definitely a fate worse than taking the black! Does that mean that Jaime has become a wight? Can live people become wights, and can these become human again? How will they get past the border and into the unknown wastes? The little band comprised of a direwolf, a crippled boy and his Hodor, a Stormland knight, a crannoglad, and a crannogmaiden set off along the Kingsroad early that morning.
During a pause in the trek, the little Stark boy confirms Brienne's suspicions:
"I have seen Jaime Lannister. A good-looking yet pale and harsh young man with hair as bright as the summer sun, dressed in gold and scarlet, was soaring above my head, his face buried in the arms of the Night's Queen, as I climbed up a ruined tower of Winterfell to feed our crows some corn. Then, he pushed me off the tower wall as he, with a piercing glare and a sharp voice, said: 'The things I do for love.' Ever since, my legs cannot carry me, yet Hodor has been my way of moving, and Summer as well when I warg into him."
The freckled maiden shudders as she hears these words. Has Jaime grown so cold that he would gladly shove a child off a great height just to have some privacy? For a while, with her head buried in her hands, she thinks of that, yet her hunch that she will somehow make him regain his reason banishes such frightful news from her consciousness.
In the evening of the same day, while spending the night in the holdfast ruins of Moat Cailin, in the courtyard between the three towers, Brienne decides that she should offer her aid to the Night's Watch, having been able to pass for a young man so far during her trek across Westeros. The plan is accepted by the rest of the fellowship.
The Kingsroad now winds through the endless wastes of the North: hilly plains dotted with barrows give way to vast pinewood forests dark as night, half-frozen lakes, and harsh granite hills, in which a hamlet or a holdfast is always a welcome sight. But the Maid of Tarth and her companions most often encamp around a fire by a lake, in which Meera spears fish for supper and for breakfast. When they encamp, it's always by a lake, from which a few perches speared through the broken ice, roasted over the campfire, are better than nothing at all. The North is vast, and cold, and dire: ostensibly hostile, yet beautiful in its pristine harshness. Every day, the air gets colder, the night gets longer, and the wolfskins that Meera packed in the crannog come finally to good use, as the live wolfskin called Summer does.
Bran tells the Maid that his stepbrother is Lord Commander of the Night's Watch. She wonders what he may be like. The fellowship's trek is now growing long.
For two days, they encamp by the Long Lake, the largest one in the North. On the third, it starts to snow at dusk, and they cross a frozen river to reach the half-wooden fortress on its other shore. Here, at Last Hearth, the Umbers give the Maid and her fellows a hearty welcome, with a good warm supper the like of which Brienne had not had since she slept at the Twins.
On the very next day, the maiden, the crannogfolk, and their followers wake up and break their fast as heartily as they had had supper: with mulled wine and roast salmon. The Umbers also give them bearskins to wrap themselves in against the colder winter weather. The young people leave Last Hearth to find a calm and beautiful forest covered in deep snow. Summer gallops as fast as he can with Brienne on his back, as an Umber freerider drives the other members of the fellowship, in a large wooden sleigh, towards the Wall.
Around nightfall, Brienne and her friends can see the lights of Castle Black shining like warm stars in the distance. And, behind the outpost, they behold the great ice Wall that stretches as far as they can see, so high it can reach the sky, dyed in various warm colours by the evening twilight.


Story the Sixth: The Maester and the Lord Commander at the Far Side of the World

Castle Black is not a single edifice, but a cluster of different barracks and keeps with walls of the same black stone and darkened wood. Meera has climbed to the top of the Wall to have a good view of the other side, while Brienne has walked into the courtyard, and recruits on guard duty approach her, as the boys and Summer sneak into Castle Black and into the vaults, where they will hide and spend the night.
The recruits take Brienne for one of them and tease "him", like they are used to do to newcomers at the Wall, making fun of Brienne's blue armour among other things. She defends herself with Oathkeeper, impressing the force-recruited ruffians, and even drawing the attention of a well-dressed and dashing raven-haired young man in black furs, who has recently entered the courtyard from outside, shaking the snow off his overcoat. This young man arrives with a direwolf the size of Summer, but white as snow, with eyes red as rubies. And the pommel of his sword looks just like his direwolf's head.
He is soon interested in Brienne, wanting to have such a great fighter at his service, and he leads her into the Lord Commander's Tower. Which means that the reserved young man is the Lord Commander, Bran's older stepbrother Jon Snow.
In the tower, a visually impaired elderly man in black, wearing a maester's chain, comes across them. Brienne learns that this sage older than a century, with grey cataracted eyes, is Maester Aemon of the Night's Watch. Maester Aemon greets Jon, who insists that Brienne should sleep in his bed and keep the blue clothes on.
That evening at twilight, Meera spots, from the top of the Wall, the ruins of the Nightfort south of the Wall, and a passage through it in the kitchens of the ruined fortress. She hastens to encounter her brother and the others and make her way to the Nightfort... she gathers everyone in her fellowship except Brienne, who (as the crannogmaiden has learned from some soldiers) is staying as a guest of the Lord Commander's. Led by Night's Watch officer Benjen Stark, the Reeds, Bran, Hodor, and Summer set off for the Nightfort, in whose kitchens they spend the night, but not before sending word of their departure to Brienne, who gets to hear of it through overweight recruit Sam Tarly. She's already had her supper at the Commander's Keep: honeyed chicken, crisp and warm, washed down with mulled wine that goes down like a blessing. But Jaime's golden locks and emerald eyes are nowhere to be found among the black-clad officers of the garrison.
After supper, Jon dates Brienne to have a talk with him at his office. A large black raven with fluffy feathers flies from a perch on to the Lord Commander's shoulder, asking for corn that it eats from Jon Snow's hand: "Corn! Corn!". The white direwolf, whose name is Ghost, lays himself to rest by the office table. Brienne tells Jon her story. He is surprised that she is a young woman and that she has come from as far as Tarth. "Tarth! Tarth!", the raven croaks the name of the Sapphire Isle. And Jon admires her indeed.
The Lord Commander has taken the Maid to his keep for the privates not to do what they are most likely to do in an outpost without any women when the occasional female appears. He even tells her a story:
"There once was a young boy, the illegitimate son of a Northern lord, whose stepmother favoured her own trueborn birth children. In the end, weary of not being appreciated, he fled the keep he called home in the company of his pet direwolf and joined the Watch. At the start of his service, many of the base-born soldiers teased him for being a lordling, seeing in him nothing but an effete know-it-all. They called him Lord Snow. Only the old Lord Commander, whose steward he had become, saw him for what he was. One day, the old Lord Commander was killed in a skirmish, and the outcast youth, now come of age, who was brave and open-minded, was elected the next Lord Commander, so that he literally became Lord Snow at last."
"I'm glad that he finally was no longer teased". Brienne loves the story.
"Well..." Jon Snow replies. "That lad was me."
"Lord! Jon! Snow!", the vegan raven flaps its wings.
That night, as she is lying in bed, Jon tells her that he'll spend the night in the outpost's underground library, discussing some matters with Maester Aemon. Brienne spends the night awake, eavesdropping at the conversation, which happens to concern her quest.
AEMON: She's but a girl!
JON: She's but a girl... and she has come all the way from the Stormlands! She has made it all the way from her southron birthplace to our quarters, to the last outpost of the Crown of Westeros, and tomorrow she'll venture beyond the Wall! Why should we deny to help her? She could help us by finding a way to turn wights into humans once more... I have seen that blond wight, which matches her description, and she is convinced that she can save him! Perchance feelings can help where science has always failed.
AEMON: She's but a girl, and he's a wight! That's foolhardy!
JON: That's hardy, Aemon, hardy. Don't you understand? She's made friends with all kinds of people, she's walked through fire and ice. Royalty have bent the knee before her, and she has looked at her own death in the eyes. There's great power in her. The power of her love and of her conviction, that lies in her courage and in her noble heart. If she cannot save her wight at all, then nobody will.
RAVEN: Tarth! Love!
AEMON: You have convinced me at last. We should... how do you youngsters say? You know... Give her a try.
Now Brienne is sure that Jaime is a wight. That's the reason why she has not been able to find him among the officers in black! She had never expected such a turn for the worse. But she is not the least afraid. After so many hardships, why should she back away being so near her journey's end? She hopes that, in one way or another, she will save his life.
The next day, after having broken her fast on eggs with bacon, black pudding, and sausages in the company of the Maester and the Lord Commander, the Stormlander watches as the latter opens the gate of the Wall up north. A detachment of lordlings alone, led by the Lord Commander himself, will follow her into the Lands of Always Winter, protecting her from wildlings and direwolves. And, speaking of direwolves, Ghost will be her steed. At the gates, old Maester Aemon comes towards them, offering Brienne more furs, these ones the black ones of a Night's Watch officer, and a crude dagger of black glass, its hilt covered in modest hemp string:
"This is dragonglass, truly sharper than steel. A rare crystal from the blazing vitals of the Earth, it is a weak point of White Walkers. Just like your Valyrian steel sword, should you lose it north of the Wall. Dragonglass, however, can't stop a wight... but fire can. Wights feel no pain, and they will keep on fighting until they fall. Do you still have your sword and flintstone?"
"I have."
"If you fail, you may have to set your wight on fire."
"I will see... but I hope I don't", Brienne replied.
"You youngsters are always that hopeful. Like I said... Let's see..."
She takes her leave of the old maester, listening this time attentively to his advice. There are tears in his clouded eyes as the gate opens and everyone rides through the redoubtable wall of ice, into the uncharted wastes beyond.
Clinging to Ghost's warm white fur, she still heads northward through the ranger paths of the Haunted Forest, without even stopping, until she has left the detachment way behind her. And, suddenly, she looks up from the white fur and realizes it:
"I am lost, and on my own! But I won't give up that easily..."
There is young Brienne, all alone, in the dire and dreary frozen wasteland beyond the Wall. The night is long, the moon is full, and the vivid northern lights colour the snow in many different bright shades. Snow bears, direwolves, and mammoths may lurk behind every treetrunk and every rock. And, to make things even worse, a violent blizzard is raging.
After so much time riding on her own that she does not know for how much she has travelled, the forest gives way to the foothills of the snow-capped, granitic Frostfangs. The air is now so cold that it burns, turning her whole face bright red and making her feel numb. And the storm still rages on, more violently than before.
Suddenly, on those barren slopes, a baker's dozen of White Walkers come towards her. They look as beautiful as they look redoubtable: white-haired and white-skinned, with eyes that shine like blue stars and swords of blue crystal or ice in their hands. Their translucent blades, sharper than any steel sword, glow with an eerie blue shimmer.
Twelve of them are male, but the leader appears to be female, and a beautiful one as well.
Then, Brienne pulls her dragonglass dagger from beneath her furs, she draws Oathkeeper in her right hand and wields the crystal in her left one, and she dashes with the little strength she has left at her opponents. The black steel that she wields pierces their white skin, liquefying them one by one as they scream in an eerie tone. In the end, only the female leader is left, and she strives with all her might to protect the ice cave in the glacier behind her. A cave strangely similar to the one in Jojen's green dream.
The blizzard has finally calmed down, but young Brienne's trials are not over yet.
The Maid of Tarth now has to contend with the Night's Queen. Fire and ice, life and death, are interlocked in this single combat, out of which there can only be one survivor. She addresses Brienne in a strange language, which she merely hears as the cracking of ice, while looking with a piercing blue glare at the mortal maiden who shares her eye colour and the star-like sparkles in her eyes.
Though Brienne has already started to falter, she is still determined to fight, aware that both her own life and Jaime's are at stake. Her instinct gives her the necessary strength which she is beginning to lose.
The Maid and the Queen spar for a few seconds, the former making the latter retreat with her Valyrian steel, slashing the Queen in the right wrist, from which she bleeds water, and then, finally, thrusting the blade into the middle of her chest, causing her to liquefy into water as she fades away with a smile of pleasure on her face.
Then, suddenly, a figure rushes forward from the cave. It's a pale and gaunt young man. His hair is as yellow as gold and his doublet bears the Lannister crest, though his clothes are so worn he can barely be recognized. His eyes, like the Queen's, are piercing and shining like blue stars. His skin is as pale and cold as ice, and his lovely face is completely inexpressive. And there's a crystal sword, like those of the White Walkers, in his right hand. He appears to be in some sort of trance, but not even aware of it. He does not even recognize his childhood friend, the one he always crossed swords and explored Tarth with.
The Maid of Tarth is stunned by whom she sees, and she nearly falls unconscious. But she soon rises up again, ready to strike, convinced that he will be set free.
Finally, Brienne has found Jaime at last. But will she be able to save his life?


Story the Seventh: What Happened Beyond the Wall, and What Happened Afterwards

The crystal sword twirls in Jaime Lannister's right hand, as he advances towards Brienne, his piercing blue eyes fixed on her sparkling blue eyes. There he stands, with his fixed expression, casting doubt on all she has to say. Advancing towards her, he prepares to strike her warm flesh.
Let the waltz begin!
The two young people cross swords gracefully and quickly, as if they were waltzing.
The Maid is now at the end of her strength, yet determined to save her friend or die in the attempt. She draws steel against her unexpected oponent, but Jaime's blade breaks her own. Half her sword, the pointy end of Oathkeeper, falls on the frozen ground. Then, the crystal sword strikes her right side, sliding between her ribs, bringing the taste of blood to her lips, a taste of steel and salt at once. Her whole frame is racked with pain. For every time she breathes, the Stormlander feels the pain of the ice-cold blade piercing her chest, though the wound is not that deep. Her chest feels tight and oppressed, like tied up with a corset. And she feels how her lungs fill with blood, that gushes up her airways.
"Shall I die here, all alone, in this frozen wasteland... by the hands of the one I love?"
And then, suddenly, Jaime stops. He stands in a state of stasis, still holding his blood-tipped sword, hard and pale, his eyes firmly shut, still, rigid and emotionless like an ice statue of a great warrior. Then, Brienne draws closer. She cannot bear to set him on fire. She remembers Edric, and Renly, and the Tyrells, and the Reeds, and the Maester and the Lord Commander: all those who have been touched by her story. They were right, all of them: she had not left her birthplace for nothing. Should it all really be in vain?
"Jaime! At last I have found you! Then, why don't you see it's me before you?"
Leaving a trail of crimson liquid on the blue ice in her wake, she rushes towards him, calling his name, filled with both elation and worry, but already staggering, half-conscious with blood loss, swallowing the pain that racks her every time she breathes.
The maiden embraces the one so long sought, a form so cold that touching it burns, and she puts her blood-stained purple lips to his pale and cold white lips, as the wound in her right side touches his left side, wavering red blood warming a heart of steel encased in ice. And then, it happens... That failing life-blood starts flowing up her airways again, and, with the painful kiss of life, a few drops of blood steal through the Westerlander's parted lips, searing his throat, reaching his heart and turning it warm and soft like it was before, as the liquefied mirror shard dissolves in his bloodstream. Suddenly, he feels the taste of blood and the warmth of life coursing through his veins once more. And thus, as Jaime listens to the feverish throbbing of a familiar heart within the chest his head is leaning against, he opens his eyes, which are now bright green once more; all the past rushes back to him in a single instant, and he recognizes a certain flaxen-haired young person, with a gaping wound in her right side, standing so close to him. Those freckles, those eyes... Has he really wounded her? Where are they, and what is he doing here, in these bleak and barren wastes?
"Brienne... Dear, lovely Brienne..." His speech is slurred and his limbs falter, but his mind is at least clear.
"Jaime... Please, put some of my furs on... you're going to freeze..." Her voice is faint and she is reeling, but the maiden can't take her eyes off him at all.
"Oh... My fair warrior..." both whisper, shedding tears of joy that freeze before they reach the ground. Within the largest of the teardrops from the Lannister heir's left eye, the liquid remains of the looking-glass shard leave his weary system. And thus, many intense feelings surge at once within him: pain and cold, but also surprise and elation, dread and comfort, as he looks around him at the frozen wastelands and feels the teardrops sear his weather-beaten cheeks, clasping Brienne's waist with all the strength his weakened arms can muster, for her not to leave him alone to his certain death, as she, with equally failing strength, lays her black-gloved warrior's hands on his strong shoulders.
Then, both of them, still embracing each other, fall unconscious upon the glacier ice. Everything turns dark before their eyes. We would assume they were going to die, for they couldn't possibly be happier, but luckily the white direwolf, in the heat of the Maid's battle, had rushed forth towards the detachment. So here they come, led by Jon Snow, to find the lifeless forms of both young people still faintly breathing, lying on the ice with smiles of joy upon their faces.
When they wake up, they're both in the officers' quarters of Castle Black. For how long have they slept?
Was it all a surreal, endless dream?
Maester Aemon has been tending to Brienne's wounds, that's why she wakes up with a bandaged chest, and he is sure that a strong, healthy young person like her will soon recover. Jaime has gained a little colour on his cheeks at last, though he should better put on a little more weight before returning wherever he pleases. Brienne wants both of them to return to Tarth and live their lives in peace, and the Westerlander temporarily agrees. The trials they have endured have strengthened their bond: now he loves her for the dangers she has passed, and she loves him for having understood the reason why.
Within about a week, the Maid is fully recovered from her wounds, both those of the heart and of the flesh. Only a scar on her right side remains. In the underground library, she plans the journey in the company of her beloved Jaime, of the blind old maester, and of the bold young Lord Commander. A dark-haired girl, with large green eyes and a sharp trident on her back, has also arrived this week. It's Meera Reed, ready to return to her crannog.
The Maid of Tarth remembers the crannogmaiden, whom she thought she would never see, and they embrace, ready to share each others' experiences since they parted.
"So this lad over here is Jaime Lannister", Meera is being ironic. "A fine fellow to stray that far away. I'd like to know whether you really are worth going to the ends of the Earth for! Please, Brienne, tell me how you got him back!"
After hearing Brienne's story on how she freed Jaime, Meera is ready to share her own tale:
"Bran and Hodor, with Summer in tow, are now learning to become greenseers with a wise old seer of the Haunted Forest, north of the Wall."
"And your brother... Jojen? I'd like to see him again", the Stormland maiden still remembers the middling crannoglad with the wisdom of a maester.
"He is still weak, and lying in bed in the officers' quarters. I'm tending to him, waiting for him to awaken from his trance", Meera replies, full of worries.
Upon returning back to their quarters, they find, effectively, Jojen in bed, pale as his covers, sunken into a deep sleep. Everyone gives their best wishes to the crannogmaiden, for her brother to recover as soon as possible.
In the meantime, the route home has been already planned: along the Kingsroad through the North and Riverlands, then into the Reach, then westward into the Stormlands and then sailing from Storm's End back to Evenfall Hall on Tarth. The Maid has still got her sword, for Oathkeeper was brought with her and has been recently reforged by the one-handed smith of Castle Black, while the Westerlander has had a new sword forged for his own defence and that of his saviour.
After about a moon-turn (a month) of rest and revelations, Jaime and Brienne finally take their leave of the Night's Watch officers and of the good crannogfolk. And everyone, even the meanest privates who would tease Brienne when she first came, even the corn-eating raven and Ghost, Meera but not Jojen, who is still recovering... Everyone has gathered on the courtyard to say farewell, a very fond farewell.
The next night, Jaime and Brienne stop at Last Hearth, where the Umbers give the young couple provisions for the trip and a sleigh to travel faster at least to the Neck, where, after weeks of endless travelling, Jaime and Brienne take to riding the two sturdy horses that pulled the sleigh along the Kingsroad, through the marshy Neck all the way into the peaceful Riverlands, where they follow the road steering clear of the Freys, cross the Red Fork at its ford and spend a night in the Inn at the Crossroads, where Masha instantly recognizes Brienne, assumes the dashing young man must be Jaime Lannister, and makes her best fruit cake for both young people to continue their journey well-fed. Both young lovers receive the delicious sweet cake for dessert and for breakfast.
Within a week, they have entered the Reach once more. But the once lovely and happy land is now desolate and dire, dark clouds cover the bright sun, all of the villages are draped in black, and the bells in every sept in the land toll mournfully, like they usually toll at a funeral.
Long before crossing the Mander, they have even beheld Highgarden itself draped in mourning black. Once before the palace, they find a young lady dressed in a satin gown the colour of midnight, picking white lilies by the riverside as she weeps in a black lace handkerchief, concealing her lovely face... yet displaying a crown of blue winter roses, her nutbrown hair cut short like Brienne's. Why would she constantly be sobbing Renly's name?
From the garden gate saunters the Knight of Flowers, now clothed in black and gold, shortsword held in hand. Approaching his sister, he suddenly recognizes Brienne, and a fire is kindled in his heart, his smooth cheeks now ablaze with rage:
"There you were, you worthless craven! His Grace gave you an offer to fight in our wars, and you declined, to look for that fellow over here... Glad you found him, but that will never make the Reach attain its former glory! Had you taken to the field with us, King Renly wouldn't have fallen before the walls of Storm's End, neither would the fortress itself have shared his fate! Defeat is not what we grieve the most... Now, His Grace is lying in our sept, embalmed, a gaping stab wound where his throat joins his chest! My sister Margaery is no longer pleased to be queen: she has cut her lovely hair, wearing the widow's black...! Had you but fought in our ranks..."
The Maid of Tarth bursts into tears at the fate of her liege lord:
"Renly... I couldn't save his life at all...!", she regretfully sobs. "How does Edric fare?"
"That young boy?" Loras Tyrell asks with an ironic smirk, still incensed. His new black armour is also inlaid with gilt flowers. "They have taken him prisoner to Dragonstone!"
"Edric... Renly... If I only had... How is Tarth? How does my dear isle fare?"
"You're lucky that only the Stormland mainland has been occupied. The waters of Shipbreaker Bay are so treacherous that not even Stannis Baratheon himself has dared to challenge them."
"At least everyone is safe at home..." Brienne thinks, but then, the young Reach knight gives her a piercing glare, drawing steel from an ornate scabbard inlaid with gilt flowers:
"You killed my liege! You took Renly's life! Had you fought by your side, he would still be alive, and the Reach would still remain as grand to us as always!"
"Is this a challenge to single combat?", the Maid replies, pulling out her bright sword as well... but then, the dashing Westerlander steps in between Brienne and Loras, ready to face the latter.
The two young men cross swords gracefully and quickly, as if they were waltzing. The Stormland maiden can only look at the duelists, thinking of what her absence has meant for others, and, regretting that this tragic scene is the consequence of her decisions, she wishes that neither Jaime nor Loras should die. Suddenly, the Knight of Flowers, after a brave thrust from his opponent, drops his sword on the spearmint-covered riverbank. Holding his sword towards Loras Tyrell's throat for a few seconds, the Lannister finally sheaths it, sparing the life of a worthy opponent. Yet crimson blood gushes forth from the blond victor's right wrist, and his face starts growing pale.
"Our maester won't tend to him, no matter how severe his injuries might be", Loras coldly says. "For his sake, Renly was lost. That's for sure. You are thus banished from the court of Highgarden and from the Reach, under penalty of death. We give you two weeks to leave our lands."
Brienne is now certain that Jaime will soon die. Not fully recovered from his time as a wight, he may lose his life before they reach Saltpans in the Riverlands, where they have decided to embark after their unexpected banishment. They are now exiles, forced to return up north again and retrace the steps they have taken. They spend the nights in the same quaint inns where they have slept before, as Jaime comes down with a searing fever, which forces him to lie prostrate, thirsty and delirious, ablaze like dragonfire yet drenched in a cold sweat. In his dreams, always asking for drink and cool air, the Westerlander tosses and turns, and writhes, as if he were possessed. Life and death struggle for him, he grows weaker and weaker for every day, and a regretful Brienne, as she puts the canteen to his lips every now and then, soon beholds that the veins in his wrist surface, dark purple, on his now lilywhite skin, and that, the weaker he becomes, they spread more and more towards his heart, that pounds like the hoofbeats of a cavalry charge upon his left ribs.
She can only think of Renly and Edric, of the Tyrells in their sorrow, of how her quest has been selfish in a certain way and made others suffer. And even made others die. Now, she's even losing Jaime due to the very resolve she had of saving his life. There is still hope in her youthful heart, but, by the time they have entered the Riverlands, this hope is quickly fading away: her Westerlander is now breathing hardly, ablaze with fever, his life a candle flame in the middle of a storm.
Now the sun is setting behind the fortress that Black Harren once dedicated his life to, and the two young people are resting by the liquid mirror that the nearby lake is for Harrenhal. The cool, refreshing lake water shines like liquid gold in the evening twilight. With this shall the Lannister have his thirst quenched this evening.
As the now deeply unconscious Westerlander's life is beginning to recede, the Maid of Tarth has refilled her canteen in the waters of the God's Eye, to give her febrile lover to drink. As she puts the canteen to his lips, she notices a few riders in scarlet and golden livery riding from Harrenhal along the shore, towards the dying lordling and his weary heroine. She recognizes the golden lions on their breastplates. And they recognize the young man who lies, writhing and breathing shallowly, on the bushes that line the lake shores.
"The heir...! He is alive! Our Liege will be so pleased...! Let's take him to the keep, for our maester to tend to his wounds."
"May I follow you? I have saved his life, and brought him over all the way from beyond the Wall!", Brienne explains.
"You're a nice lad! Come on, we're riding back to Harrenhal!"
So the freeriders return to the fortress with an unconscious Jaime and a despairing Brienne. Her worries are soon soothed by the leader of the riders, who reassures her:
"Don't worry! Our maester... Can we call him a maester? Anyway, at Harrenhal, we have got the most skilful surgeon in Westeros, no doubt! There's no one else who can save the life of our Liege's heir..."
At the gates of Harrenhal, the young people are welcomed by the guards standing outside, who appear to be elated at Jaime's arrival, but also worried about his state of health. They rush the unconscious Lannister upstairs to the fortress infirmary, then prepare to lead Brienne into Lord Tywin's quarters. The Maid, however, would rather stand by Jaime's side for the night and meet the governor next day. So they agree that she should stay by the struggling Lannister heir, and help the former Maester Qyburn tend to the now fatal wounds.
We now find them upstairs, in the infirmary. The tall, lean, kindly surgeon, aged and silver-haired, has given the struggling Westerlander a drink of milk of the poppy to ease his searing pain and fever. Stripping Jaime's right sleeve, Qyburn looks at the veins, which have now reached half-way to his elbow, and puts more of the warm narcotic to his lips.
"There is poison in his blood, but, fortunately, it has not got that far. Had the poison reached his heart..."
Brienne grows pale at the fact that Jaime might have died, but she sighs in relief upon being reassured that his life still can be saved, as the wounded heir eagerly quaffs the drug at a single deep draught.
"We'll have to sever this right hand before the poison in his blood spreads anymore. The young lord will have to learn to be left-handed, but at least he will be alive."
With remarkable sang-froid, seizing a sharp knife with a scary-looking blade, he quickly severs Jaime's right hand, as blood and pus are sprayed all over the room. Then, the clean shaven surgeon addresses the Maid of Tarth in a reassuring tone:
"Now, please bring me a ewer of ice-cold water to pour drop by drop, carefully, upon the stump. After an hour or so, bring me fire. One of the torches on the wall will do. It is not enough to amputate. The fire will prevent the poison that remains from spreading any further, and it will also seal the stitches, after the ice water has stanched the blood. I have opened an artery, and we don't want your friend to be drained of blood, do we?"
Soon, the stump is gently washed time after time in cold water to the point that the flesh and blood are freezing, and the icy liquid poured upon the shivering Lannister heir's right wrist ceases to be dyed in scarlet, as his eyelids flicker and the Maid finally catches a glance from those mint-green orbs, before they shut as easily as they have opened. Then, fast as lightning, Brienne rushes for a lit torch on the wall, and soon the stump on Jaime Lannister's right wrist is well cauterized and bandaged.
He spends the whole night in bed, given milk of the poppy to ease his pain and quench his thirst, tended to by his Stormland maiden and by good Qyburn, who remain awake at either side of his bed all night long. During the long wake, Brienne notices that the surgeon is wearing the comfortable black robes of a maester, but no trace of a chain around his neck. And she can't help to inquire why he is missing the chain that every maester wears as a sign of his skills.
"My dear summer child, I was once expelled from the ranks of the Maesters."
"Why did they cast off your chain?", she inquires.
"I dissected people's bodies, to understand more on how our life works. Though I carried out my research in secret... At least, there is Harrenhal, and Lord Tywin has finally seen the worth in my forbidden knowledge." Qyburn has his head buried in his hands, but he is smiling as well.
"I'm glad that you found a good use for your skills."
"Anyway... We had already despaired to find the young heir... we even thought that he was dead. Have you really saved him? Tell me the whole story."
For Brienne, adding more episodes to the story that she's told over and over again is not that hard. Now she has added the welcome that they received at the Reach, with her own reflections on having caused the suffering of the Tyrells and the death of Renly. The pain she feels upon uttering these words makes her heart feel heavy.
The kind surgeon looks at the Stormlander with those warm nutbrown eyes of his as he coolly explains:
"So his heart was frozen overnight... I have heard time after time of the shattered mirror of yore, and a shard must have entered the heart of your friend. Nevertheless, the warmth of your blood, or of your kiss, must have freed him both from this thraldom and from being a living wight. Which I have never heard of before. After all, this world is still half uncharted, but there are wonderful things which science, no matter how much research is carried out, will never explain."
The sun rises, and soon, the Maid has spent three days and three nights awake by her lover's side. Jaime gradually recovers, breathing more steadily, his fever cooling down, and he finally opens a pair of bright green eyes. By the end of the week, his convalescence has finally come to an end, and he can finally stand upright, though he is surprised upon realizing that his right hand is gone. Qyburn calms the young Westerlander down by telling him about how he had to sacrifice a limb to save a life. But how will Jaime ever fight a war without his right hand? His childhood dreams of glory are now drifting away. The Maid of Tarth consoles him with the promise that, back on Tarth, she will be his instructor, and thus, he will be as skillful a swordsman with his sinister hand as if he had always used it in combat.
"No matter," the Lannister heir replies with a shrug. "I was born left-handed. All my early childhood long, until I came to Tarth, I had to train swordfighting and write with my left arm tightly tied to my back. There was no way of untying those knots. So I got used to being a righty... it feels strange to turn left-handed again as a grown-up... right?"
Within that self-same week, Lord Tywin Lannister himself visits his convalescent heir and asks him for forgiveness, for having attempted to live Jaime's life. And the old Lord of the Westerlands is soon forgiven.
Cersei is now living in the Red Keep and crowned Queen of Westeros, but her brother has returned after a long disappearance, making the usually stern Tywin smile for the first time in decades. Moreover, he thanks Brienne for having saved his dear son's life and gives them his blessing, accepting her for a daughter-in-law:
"I hope that you stay as close to each other as my own Joanna, the Seven bless her soul, once was to me. Jaime, you have found a diamond in the rough. There are not many girls like her, and your mother was one of them. Brienne of Tarth, your household may grow pale beside ours, but you have proven yourself worthy of a Lannister scion."
And thus, they take their leave of the wealthy Lord Tywin and his redoubtable keep. He promises the young betrothed that he will visit them one day, and we believe that it will happen in a near future. Before leaving, the Maid of Tarth has a homing raven sent to Evenfall. Lannister freeriders escort their heir and his bride to Saltpans, where they set sail for the Hall where she was born.
Brienne blushes Lannister red as Jaime hauls her below decks. It would be many days before they arrive to face whatever future awaits them but that night when she boldly curls herself around Jaime, no longer children but embracing like they once had; his lips in her hair, her hands balled on his chest, caught up in each other, Brienne knows it will forever be midsummer in their hearts. 
With a good captain and fair wind in their sails, the young couple finally recognizes, in the distance, the cape on which Storm's End stands and a large island dotted with coastal villages. Pretty soon, they have landed on Tarth, where nothing appears to have changed. The sun is shining brightly, the fishermen's wives are mending their nets, and the sept bells ring a merry peal in the warm summer air. On they proceed to Evenfall Hall, where the same old ivy still grows on the walls, and, as they cross the Hall gate, the Evenstar, now grown old, comes in person to greet them, having heard from the villagers of the return of the heiress. All three embrace, father, daughter, and son-in-law, now reconciled and finally proud of each other.
The next day, the same sept bells they heard upon landing peal joyfully once more at the marriage of a now contented young Lannister and his Tarth bride, a crown of ivy on her flaxen hair and a shining breastplate on which his golden locks fall. Though she is as happy as a noble bride can be, the fair Brienne will keep her maiden name for life.
Upon returning home to Evenfall for a modest wedding feast, the newlyweds discover that a wedding gift has been sent to the Hall by carrier raven: a present from Casterly Rock and Tywin Lannister himself. The ornate package contains a right hand of pure solid gold, that the maester of the Hall soon fixes on the green-eyed youth's right wrist stump. Now nothing has come undone. Nearly nothing appears to have changed.
Was it all, then, a long and painful dream?
Jaime and Brienne take each other by the hands, four hands no longer cold and one of them now worth gold. They look into each other's eyes, his green as linden leaves, hers blue as summer seas. And, all at once, both suddenly realize that they can't be happier at all, and that life is the greatest gift they have ever received.
And there we take farewell of them for this time, on the ramparts of Evenfall Hall, all grown up, yet children at heart, on a warm and glorious summer evening, rendered even warmer and more glorious by their feelings.


Everything that shall end
is but a clue.
What cannot be fulfilled
does here come true.
What cannot be described
is here made real.
The eternal feminine
leads us to feel.