Серіал до серіалу: етика й мовчазна сентиментальність у першому оповіданні Джорджа Мартіна в жанрі фентезі
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Date
2022
Authors
Собуцький, Михайло
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Abstract
Статтю присвячено детальному аналізу оповідання Джорджа Р. Р. Мартіна 1976 року "Самотні пісні Ларена Дорра", яким ознаменовано перехід майбутнього славетного письменника з жанру сайенс фікшн у жанр фентезі. Розібрано як авторські прийоми створення епічності насиченої оповіді, так і точки перетину її з "Грою престолів", що з нею в нас асоціюється ім’я Джорджа Мартіна. Виявлено знакові мотиви, які переходять з раннього твору автора в кількатомну серію романів пізнього періоду, що триває дотепер. Окрему увагу надано образу Сімох, котрі ще не стали іпостасями єдиного божества, але вже фігурують у сюжеті як нездоланна сила. Проведено світоглядні та мотивні паралелі з культурами різних епох, від античності до зрілого середньовіччя ХІІ століття. Приділено увагу тогочасним уявленням про любов та їх заломленню в проявах почуттів героїв, які ми назвали мовчазною сентиментальністю. Крім цього концепту, використано такі як етика, бажання, щирість. Останній концепт разом із сентиментальністю наводить нас на думку про метамодерний характер творчості Джорджа Мартіна вже в той ранній період.
In the article we concentrate our efforts on the detailed analysis of "The Lonely Songs of Laren Dorr", the first fantasy story written by George R. R. Martin in 1976. Before that, he had written science fiction; and by now, we know him as the creator of the famous Game of Thrones. In this very first manifestation of George Martin’s creativity we can see some kind of a draft for future worlds of his own guided by the power of the Seven. They do not represent as yet different avatars of one and the same deity; rather, they are separate gods. Those gods are envious, cruel, and persecutory, which characteristics remind us of Ancient Greek ones. They steal Laren Dorr’s memory and even his dreams. Once he opposed them, and now he sings his lonely songs in a castle. Forever, because he is immortal. As well as immortal is a girl named Sharra who travels between worlds, searching her lost lover. Ancient gods hated excessive happiness of humans, and so do the Seven. The girl must struggle through innumerable gates between innumerable worlds, and after such a struggle she occasionally enters the lonely world of Laren Dorr. He tries to soothe her by his songs and his compassion, so that inevitably two solitary rebels against gods fall in love with each other. But not for a long time, in her case. After a while, she feels remorse and longs to return to her endless and hopeless search. He sighs and shows her a gate in the neighboring tower, explaining that there is always a guardian. Some try to stop her with force, some with lies. Only he tried to detain her with love, but he was true and never sang her false. He shoves her to the door. Now, he sings his lonely loving songs about her. George Martin’s Shakespearian inspiration obvious in the Game of Thrones was not enough to interpret this early story. We had to actualize ancient theories of love, as well as some medieval ones originating from the 12th century. As we know, Martin always combines those types of imagination. In our analysis we used the following concepts: ethics, desire, truth, and sentimentality. The former two are Lacanian and postmodern, the latter two ones lead us to the metamodern world of today. We cannot ignore the date of 1976 which is too early for a conscious metamodern outlook, but we believe in some kind of the writer’s insight of the forthcoming revival of sentimental moods, sometimes silenced and ephemeral, but always true.
In the article we concentrate our efforts on the detailed analysis of "The Lonely Songs of Laren Dorr", the first fantasy story written by George R. R. Martin in 1976. Before that, he had written science fiction; and by now, we know him as the creator of the famous Game of Thrones. In this very first manifestation of George Martin’s creativity we can see some kind of a draft for future worlds of his own guided by the power of the Seven. They do not represent as yet different avatars of one and the same deity; rather, they are separate gods. Those gods are envious, cruel, and persecutory, which characteristics remind us of Ancient Greek ones. They steal Laren Dorr’s memory and even his dreams. Once he opposed them, and now he sings his lonely songs in a castle. Forever, because he is immortal. As well as immortal is a girl named Sharra who travels between worlds, searching her lost lover. Ancient gods hated excessive happiness of humans, and so do the Seven. The girl must struggle through innumerable gates between innumerable worlds, and after such a struggle she occasionally enters the lonely world of Laren Dorr. He tries to soothe her by his songs and his compassion, so that inevitably two solitary rebels against gods fall in love with each other. But not for a long time, in her case. After a while, she feels remorse and longs to return to her endless and hopeless search. He sighs and shows her a gate in the neighboring tower, explaining that there is always a guardian. Some try to stop her with force, some with lies. Only he tried to detain her with love, but he was true and never sang her false. He shoves her to the door. Now, he sings his lonely loving songs about her. George Martin’s Shakespearian inspiration obvious in the Game of Thrones was not enough to interpret this early story. We had to actualize ancient theories of love, as well as some medieval ones originating from the 12th century. As we know, Martin always combines those types of imagination. In our analysis we used the following concepts: ethics, desire, truth, and sentimentality. The former two are Lacanian and postmodern, the latter two ones lead us to the metamodern world of today. We cannot ignore the date of 1976 which is too early for a conscious metamodern outlook, but we believe in some kind of the writer’s insight of the forthcoming revival of sentimental moods, sometimes silenced and ephemeral, but always true.
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Keywords
Джордж Мартін, етика, бажання, щирість, сентиментальність, стаття, George Martin, ethics, desire, truth, sentimentality
Citation
Собуцький М. А. Серіал до серіалу: етика й мовчазна сентиментальність у першому оповіданні Джорджа Мартіна в жанрі фентезі / Михайло Собуцький // Наукові записки НаУКМА. Історія і теорія культури. - 2022. - Т. 5. - С. 16-20. - https://doi.org/10.18523/2617-8907.2022.5.16-20