Generational Analysis of ASOIAF
Nov 18, 2015 5:01:00 GMT
SlyWren, regular jon umber, and 3 more like this
Post by whitewolfstark on Nov 18, 2015 5:01:00 GMT
I've had this analysis floating around in my head for a long while.
To begin with, I am also a consummate follower of Strauss & Howe's (here on out referred to as S&H) generational theory (link to their main website). I belong to a website which discusses it in detail and I have more than a few theories about how the theory is more complicated than S&H first suggested, points where I disagree with their analysis of American (and English when you go back far enough) generations, or would tweak dates, or add my own additions to their theories (such as Mega-Saeculums, Generational Cusps, introducing "Advanced Elderhood" as a life stage, and Micro-Turnings), etc. As such, being such a generational nerd, I spent some time breaking down the generations of Westeros. They list archetypal generations, which I consider to be one of four different types of Generations of approximately 20 years in length (some a little longer, some a little shorter).
As a quick summary of a theory will most likely be too general for most people, I would encourage they take the time to orient themselves with S&H's base work for further explanation--though my goal will be to communicate the theory without that being necessary. Still, if you're having trouble, feel free to check out their website linked above.
Summary:
There appear to be repeating patterns to history, this theory is an attempt to explain why these repetitions occur on a large generational scale, studying the social history of people in large groups and how they act and react to history over the course of their lives. The basic concept is that history can be broken down into periods of approximately 75 - 100 year periods (length dependent upon the level of technology and other factors) called "Saeculums" which is an old Roman term for the same construct of measuring time. Roughly, a length of a Saeculum can be attributed to the length of a human life on average (84 years) but there are some which last longer or shorter than this rough average of 84. Essentially the idea is that if you were to live to be 84 and die, you would have come full around to where you started when you were born in the cycle.
Saeculums can be broken down into smaller periods of roughly 17 - 25 years in length called Turnings. There are four turnings which convey specific moods that are created by generations and at the same time create a new generation. If you're lost, think of a Saeculum as being equivalent to 1 solar year, while the four turnings are equivalent to the four seasons one experiences during that year, but on a much larger scale over the course of your life.
I mentioned above that these Turnings are created by generations and at the same time create new generations. This gets a little bit ahead of myself, but let's go into talking about the generations themselves now. Each Turning has its own particular "mood" as it were, just like a season has its own particular "mood". The theory is that complementing the Turnings through history are generations approximately somewhere between 17 - 25 years in length who correspond to one of 4 archetypes (Prophet, Nomad, Civic, or Artist). How these archetypes repeat themselves through four generations born throughout a Saeculum has been attributed to the influence of Turnings themselves. This has been theorized that it's caused by a "missing" generation that will be absent from influencing society at any one point in time, as the old generation dies off and a new one is born again. Essentially, whoever is between age 65 and death or is between 20 and birth are the same archetype, and their absence (being born/growing up and retiring/dying explain the archetype's absence) of influencing the wider culture during that Turning creates the mood of that Turning.
(I should note a friend of mine and myself have tracked generational theory beyond what S&H do (they stop just prior to the outbreak of the Wars of the Roses), along the English history line to Alfred the Great and have noted that even when there are only 3 generations alive as a possibility--that the Turnings occur still, even with "two" archetypes out of commission (one being born, one in power, one leaving power, the other absent entirely)--which suggests that perhaps the mood has more to do with whatever generational archetype currently holds the reigns of power and whether they're ascending or descending in that power, but that's getting away from the strict dogma of S&H--though it's a POV that would be more beneficial to bring to this analysis than the straight theory, I'll admit, which is why I'm mentioning it in the first place.)
In any case, the four repeating archetypes of Generations, with me providing links to what these archetypes look like when employed in common storytelling (where these archetypes pop up the most frequently and why I feel I can apply this to GRRM as both draw on archetypes).
Prophet (sometimes referred to as Idealist) -- commonly portrayed as the Wise Old Man/Woman in literature, OR the obviously morally right young protagonist campaigning against a corrupt old system headed by an old king who sacrifices the young to an outright evil monster (essentially Perseus; or Marina from Shakespeare's Pericles); unlike bland Heroes (listed below) these protagonists have moral convictions to lead them on the path that they know must be done--it isn't a matter of "duty" for them, but one of what is morally the "right thing to do"
Nomad (sometimes referred to as Reactive) -- commonly portrayed as the Cynical Rebel in literature
Civic (S&H use the term "Hero", which I find rather problematic than the alternate term of "Civic" which better fits) -- commonly portrayed as the bland but competent & duty-bound "Chosen One" Hero figure OR the corrupt old King who's made a pact with the devil to maintain his hold longer than he should have it typically by sacrificing the youth in some manner.
Artist (sometimes referred to as Adaptive) -- commonly portrayed as the compromising statesmen who are always seeking diplomatic resolutions to issues where possible.
Here's my analysis based on my impression of the characters what archetypes they'd get thrown into. Another thing to consider is that ASOIAF plays with tropes, so looking more at the negative aspects of these archetypes might be a better indication than looking at the positive indicators.
0?? - 11? = Nomad (Rhaenyra, Aegon II, Daemon "The Rogue Prince") - Daemon is one of the most stereotypical "Nomad" characters of the series
11? - 13? = Civic (Aegon III, Viserys II) - considering who Viserys II is based upon (Henry VII of England), this one just makes sense
13? - 15? = Artist (Daeron II, Aemon, Daena, Naerys)
15? - 178 = Prophet (Bittersteel, Bloodraven, Daemon, Shiera, Baelor Breakspear) - Bloodraven is an ancient Prophet archetype but clearly one who is destined to be a deconstruction of the "Old Wise Man" trope upon which Prophets exist
179 - 198 = Nomad (Maester Aemon, Dunk, Rohanne) - Maester Aemon's advice in this scene is of course what landed him here; Rohanne & Dunk just make sense given their actions
199 - 221 = Civic (Egg, Ser Willem Darry, Walder) - Ser Willem Darry is what marked me here, a man who died doing his duty--Civics long to do whatever they choose as their "duty", and when they fail to do so beat themselves up about it for eternity--the few who do achieve their duty often die doing so. Egg's interactions with Dunk portray a commonly beloved Older "brother" Nomad & Younger "brother" Civic interaction found in stories, so he was easy to place as the beginning of the generation, with Ser Willem at the end. Walder Frey is a good example of the "corrupt Old King" version of this archetype who is willing to sacrifice his own children to make a pact with the "devil" to maintain a status quo long after it should have ended.
222 - 239 = Artist (Jaehaerys II, Duncan, Olenna, Barristan, Hoster, Jon, Rickard, Quellon, Tytos) - Jon Arryn, Quellon Greyjoy, & Hoster Tully both display the common trope of elder Artists holding together a wide-consensus that only they can hold together through an intricate series of compromises, deals, and diplomacy, that falls apart upon their deaths, Olenna is also in this camp for much the same abilities. Barristan in his advice to Daenerys is most definitely an Artist archetype. Tytos is the most negative portrayal of the Artist archetype (especially as a parent) in the series with his indecisive and sensitive nature, forcing his son Tywin to forge with blood & a strict vision what Tytos should have been able to forge together with compromise and diplomacy. Duncan & Jaehaerys seem "right" to fill out the generation. Rickard is an Artist archetype (his demand for due process by showing up in armor for his Trial by Combat, his politicking with Hoster & Jon, his presumably stressed relationship with Lyanna, etc.) who thank his lucky stars is succeeded by a Nomad who is more responsible than his elder brother would've been.
240 - 260 = "The Mad" Generation - Prophet (Aerys II, Tywin, Elia, Oberyn, Bonnifer, Rhaegar, Arthur, Kevan, Gemma, Gerion, Tygett, Mace, Balon, Doran, the High Sparrow) - So named because they're almost all characterized as "mad" or "obsessed" about something. To some extent they seem to come off as a critique of Baby Boomers by a Boomer (Martin is one himself) who dislikes what they've become with age, while admiring the potential that they held in their youth. Tywin, as I mentioned above, had to do double duty for his ineffective father, but what marks him as a Prophet rather than an Artist is that he does so with an uncompromising vision in his mind's eye of what House Lannister should be. The High Sparrow is more typical of the type of character which gives this generation the name of the Prophet archetype. Balon is a Prophet who's succored heavily on religion.
261 - 279 = "The Rebellion" Generation - Nomad (Ned, Robert, Brandon, Lyanna, Tyrion, Arianne, Sandor, Benjen, Edmure, Catelyn, Cersei, Jaime, Willas, Garlan, Lysa, Petyr, Asha, Theon) - there are numerous interactions and perspectives given by characters and through their interactions with other characters which display them as Nomads. This is truly one of the best fleshed out examples of the Nomad archetype in all its various expressions. You have with Ned & Catelyn the typical type of Nomad who emerges more typically in Mid-Life and Elderhood as the responsible, honor-bound, practical variety. With others such as Theon, Edmure, Sandor, and Arianne, you get the young adult impetuous rebels who all have "daddy" issues that they'll never be able to sort out (Nomads have the biggest issues with their actual parents most typically. Usually they find others who are substitute parents upon whom they admire--this is most clearly played out in Theon's story--as they usually have late Artists/early Prophets for parents who are more concerned with other matters than child-rearing).
280 - 29? or 3?? = "The Long Summer" Generation - Civic (Rhaenys, Aegon, Dany, Bran, Robb, Jon, Arya, Sansa, Rickon, Lancel, Margaery) - rather easy to diagnose. Robb, Jon, Dany, and even Sansa are all driven by a desire to do whatever it is that they perceive as their duty (this especially comes across in Dany's character when she perceives her duty to not just abandon the people she's freed from the slavers). Sansa's naivety here actually works as an example of how typically Civics are raised in a nurturing protected atmosphere safe from the harsh realities of life--which they learn quite quickly upon coming of age like a slap in the face. Aegon is a critique of the typical "chosen one" archetype--both the infant with how Rhaegar in his Prophet-parent mode says "I am the father to greatness" & the young adult whom we're introduced to who's been "specially" and "carefully" raised to be the "perfect King". Lancel finds his duty in religion, Margaery in her decided role as being Queen. Rhaenys likely would have fallen into this category, had she lived, as she was one of the "three heads" chosen by Rhaegar, and Rickon has the potential to end up here as one of the last of his generation. Bran is the typical "acolyte" of a "Wise Old Man" figure.
29? or 3?? = Artist - The only infants in the series I'd even venture a guess as to being an Artist archetypes would be Ermensade Hayford and Tyrion Tanner for certain. This is a generation just now being born in Westeros.
As for Turnings, since Martin likes to keep his timelines loose and he has a bad way to judge time by compressing more events than might be possible in a year, this is the hardest part to pin point. What's rather blatantly obvious is that they've only just started getting into their fourth turning (the last turning) with Robert's death.
To begin with, I am also a consummate follower of Strauss & Howe's (here on out referred to as S&H) generational theory (link to their main website). I belong to a website which discusses it in detail and I have more than a few theories about how the theory is more complicated than S&H first suggested, points where I disagree with their analysis of American (and English when you go back far enough) generations, or would tweak dates, or add my own additions to their theories (such as Mega-Saeculums, Generational Cusps, introducing "Advanced Elderhood" as a life stage, and Micro-Turnings), etc. As such, being such a generational nerd, I spent some time breaking down the generations of Westeros. They list archetypal generations, which I consider to be one of four different types of Generations of approximately 20 years in length (some a little longer, some a little shorter).
As a quick summary of a theory will most likely be too general for most people, I would encourage they take the time to orient themselves with S&H's base work for further explanation--though my goal will be to communicate the theory without that being necessary. Still, if you're having trouble, feel free to check out their website linked above.
Summary:
There appear to be repeating patterns to history, this theory is an attempt to explain why these repetitions occur on a large generational scale, studying the social history of people in large groups and how they act and react to history over the course of their lives. The basic concept is that history can be broken down into periods of approximately 75 - 100 year periods (length dependent upon the level of technology and other factors) called "Saeculums" which is an old Roman term for the same construct of measuring time. Roughly, a length of a Saeculum can be attributed to the length of a human life on average (84 years) but there are some which last longer or shorter than this rough average of 84. Essentially the idea is that if you were to live to be 84 and die, you would have come full around to where you started when you were born in the cycle.
Saeculums can be broken down into smaller periods of roughly 17 - 25 years in length called Turnings. There are four turnings which convey specific moods that are created by generations and at the same time create a new generation. If you're lost, think of a Saeculum as being equivalent to 1 solar year, while the four turnings are equivalent to the four seasons one experiences during that year, but on a much larger scale over the course of your life.
I mentioned above that these Turnings are created by generations and at the same time create new generations. This gets a little bit ahead of myself, but let's go into talking about the generations themselves now. Each Turning has its own particular "mood" as it were, just like a season has its own particular "mood". The theory is that complementing the Turnings through history are generations approximately somewhere between 17 - 25 years in length who correspond to one of 4 archetypes (Prophet, Nomad, Civic, or Artist). How these archetypes repeat themselves through four generations born throughout a Saeculum has been attributed to the influence of Turnings themselves. This has been theorized that it's caused by a "missing" generation that will be absent from influencing society at any one point in time, as the old generation dies off and a new one is born again. Essentially, whoever is between age 65 and death or is between 20 and birth are the same archetype, and their absence (being born/growing up and retiring/dying explain the archetype's absence) of influencing the wider culture during that Turning creates the mood of that Turning.
(I should note a friend of mine and myself have tracked generational theory beyond what S&H do (they stop just prior to the outbreak of the Wars of the Roses), along the English history line to Alfred the Great and have noted that even when there are only 3 generations alive as a possibility--that the Turnings occur still, even with "two" archetypes out of commission (one being born, one in power, one leaving power, the other absent entirely)--which suggests that perhaps the mood has more to do with whatever generational archetype currently holds the reigns of power and whether they're ascending or descending in that power, but that's getting away from the strict dogma of S&H--though it's a POV that would be more beneficial to bring to this analysis than the straight theory, I'll admit, which is why I'm mentioning it in the first place.)
In any case, the four repeating archetypes of Generations, with me providing links to what these archetypes look like when employed in common storytelling (where these archetypes pop up the most frequently and why I feel I can apply this to GRRM as both draw on archetypes).
Prophet (sometimes referred to as Idealist) -- commonly portrayed as the Wise Old Man/Woman in literature, OR the obviously morally right young protagonist campaigning against a corrupt old system headed by an old king who sacrifices the young to an outright evil monster (essentially Perseus; or Marina from Shakespeare's Pericles); unlike bland Heroes (listed below) these protagonists have moral convictions to lead them on the path that they know must be done--it isn't a matter of "duty" for them, but one of what is morally the "right thing to do"
Prophet generations are born after a great war or other crisis, during a time of rejuvenated community life and consensus around a new societal order. Prophets grow up as the increasingly indulged children of this post-crisis era, come of age as narcissistic young crusaders of a spiritual awakening, cultivate principle as moralistic midlifers, and emerge as wise elders guiding another historical crisis. By virtue of this location in history, such generations tend to be remembered for their coming-of-age passion and their principled elder stewardship. Their principle endowments are often in the domain of vision, values, and religion. These were principled moralists, summoners of human sacrifice, and wagers of righteous wars. Positive reputations have revolved around them being thought of as principled, resolute, and creative. Negative reputations have revolved around them being thought of as narcissistic, presumptuous, and ruthless.
Nomad (sometimes referred to as Reactive) -- commonly portrayed as the Cynical Rebel in literature
Nomad generations are born during a spiritual awakening, a time of social ideals and spiritual agendas when youth-fired attacks break out against the established institutional order. Nomads grow up as underprotected children during this awakening, come of age as alienated young adults in a post-awakening world, mellow into pragmatic midlife leaders during a historical crisis, and age into tough post-crisis elders. By virtue of this location in history, such generations tend to be remembered for their rising-adult years of hell-raising and for their midlife years of hands-on, get-it-done leadership. Their principle endowments are often in the domain of liberty, survival, and honor. These have been cunning, hard-to-fool realists—taciturn warriors who prefer to meet problems and adversaries one-on-one. Positive reputations have revolved around them being thought of as savvy, practical, and perceptive. Negative reputations have revolved around them being thought of as unfeeling, uncultured, and amoral.
Civic (S&H use the term "Hero", which I find rather problematic than the alternate term of "Civic" which better fits) -- commonly portrayed as the bland but competent & duty-bound "Chosen One" Hero figure OR the corrupt old King who's made a pact with the devil to maintain his hold longer than he should have it typically by sacrificing the youth in some manner.
Civic generations are born after a spiritual awakening, during a time of individual pragmatism, self-reliance, laissez faire, and national (or sectional or ethnic) chauvinism. Civics grow up as increasingly protected post-awakening children, come of age as the civic young team-workers of a historical crisis, demonstrate hubris as energetic midlifers, and emerge as powerful elders attacked by another awakening. By virtue of this location in history, such generations tend to be remembered for their collective coming-of-age triumphs and their hubristic elder achievements. Their principle endowments are often in the domain of community, affluence, and technology. These have been vigorous and rational institution builders. Positive reputations have revolved around them being thought of as selfless, rational, competent. Negative reputations have revolved around them being thought of as unreflective, mechanistic, and overbold.
Artist (sometimes referred to as Adaptive) -- commonly portrayed as the compromising statesmen who are always seeking diplomatic resolutions to issues where possible.
Artist generations are born during a great war or other historical crisis, a time when great worldly perils boil off the complexity of life and public consensus, aggressive institutions, and personal sacrifice prevail. Artists grow up overprotected by adults preoccupied with the crisis, come of age as the sensitive young adults of a post-crisis world, break free as indecisive midlife leaders during a spiritual awakening, and age into empathic post-awakening elders. By virtue of this location in history, such generations tend to be remembered for their quiet years of rising adulthood and their midlife years of flexible, consensus-building leadership. Their principle endowments are often in the domain of pluralism, expertise and due process. These have been sensitive and complex social technicians, advocates of fair play and the politics of inclusion. Positive reputations have revolved around them being thought of as caring, open-minded, and an expert. Negative reputations have revolved around them being thought of as sentimental, complicating, indecisive.
Here's my analysis based on my impression of the characters what archetypes they'd get thrown into. Another thing to consider is that ASOIAF plays with tropes, so looking more at the negative aspects of these archetypes might be a better indication than looking at the positive indicators.
0?? - 11? = Nomad (Rhaenyra, Aegon II, Daemon "The Rogue Prince") - Daemon is one of the most stereotypical "Nomad" characters of the series
11? - 13? = Civic (Aegon III, Viserys II) - considering who Viserys II is based upon (Henry VII of England), this one just makes sense
13? - 15? = Artist (Daeron II, Aemon, Daena, Naerys)
15? - 178 = Prophet (Bittersteel, Bloodraven, Daemon, Shiera, Baelor Breakspear) - Bloodraven is an ancient Prophet archetype but clearly one who is destined to be a deconstruction of the "Old Wise Man" trope upon which Prophets exist
179 - 198 = Nomad (Maester Aemon, Dunk, Rohanne) - Maester Aemon's advice in this scene is of course what landed him here; Rohanne & Dunk just make sense given their actions
199 - 221 = Civic (Egg, Ser Willem Darry, Walder) - Ser Willem Darry is what marked me here, a man who died doing his duty--Civics long to do whatever they choose as their "duty", and when they fail to do so beat themselves up about it for eternity--the few who do achieve their duty often die doing so. Egg's interactions with Dunk portray a commonly beloved Older "brother" Nomad & Younger "brother" Civic interaction found in stories, so he was easy to place as the beginning of the generation, with Ser Willem at the end. Walder Frey is a good example of the "corrupt Old King" version of this archetype who is willing to sacrifice his own children to make a pact with the "devil" to maintain a status quo long after it should have ended.
222 - 239 = Artist (Jaehaerys II, Duncan, Olenna, Barristan, Hoster, Jon, Rickard, Quellon, Tytos) - Jon Arryn, Quellon Greyjoy, & Hoster Tully both display the common trope of elder Artists holding together a wide-consensus that only they can hold together through an intricate series of compromises, deals, and diplomacy, that falls apart upon their deaths, Olenna is also in this camp for much the same abilities. Barristan in his advice to Daenerys is most definitely an Artist archetype. Tytos is the most negative portrayal of the Artist archetype (especially as a parent) in the series with his indecisive and sensitive nature, forcing his son Tywin to forge with blood & a strict vision what Tytos should have been able to forge together with compromise and diplomacy. Duncan & Jaehaerys seem "right" to fill out the generation. Rickard is an Artist archetype (his demand for due process by showing up in armor for his Trial by Combat, his politicking with Hoster & Jon, his presumably stressed relationship with Lyanna, etc.) who thank his lucky stars is succeeded by a Nomad who is more responsible than his elder brother would've been.
240 - 260 = "The Mad" Generation - Prophet (Aerys II, Tywin, Elia, Oberyn, Bonnifer, Rhaegar, Arthur, Kevan, Gemma, Gerion, Tygett, Mace, Balon, Doran, the High Sparrow) - So named because they're almost all characterized as "mad" or "obsessed" about something. To some extent they seem to come off as a critique of Baby Boomers by a Boomer (Martin is one himself) who dislikes what they've become with age, while admiring the potential that they held in their youth. Tywin, as I mentioned above, had to do double duty for his ineffective father, but what marks him as a Prophet rather than an Artist is that he does so with an uncompromising vision in his mind's eye of what House Lannister should be. The High Sparrow is more typical of the type of character which gives this generation the name of the Prophet archetype. Balon is a Prophet who's succored heavily on religion.
261 - 279 = "The Rebellion" Generation - Nomad (Ned, Robert, Brandon, Lyanna, Tyrion, Arianne, Sandor, Benjen, Edmure, Catelyn, Cersei, Jaime, Willas, Garlan, Lysa, Petyr, Asha, Theon) - there are numerous interactions and perspectives given by characters and through their interactions with other characters which display them as Nomads. This is truly one of the best fleshed out examples of the Nomad archetype in all its various expressions. You have with Ned & Catelyn the typical type of Nomad who emerges more typically in Mid-Life and Elderhood as the responsible, honor-bound, practical variety. With others such as Theon, Edmure, Sandor, and Arianne, you get the young adult impetuous rebels who all have "daddy" issues that they'll never be able to sort out (Nomads have the biggest issues with their actual parents most typically. Usually they find others who are substitute parents upon whom they admire--this is most clearly played out in Theon's story--as they usually have late Artists/early Prophets for parents who are more concerned with other matters than child-rearing).
280 - 29? or 3?? = "The Long Summer" Generation - Civic (Rhaenys, Aegon, Dany, Bran, Robb, Jon, Arya, Sansa, Rickon, Lancel, Margaery) - rather easy to diagnose. Robb, Jon, Dany, and even Sansa are all driven by a desire to do whatever it is that they perceive as their duty (this especially comes across in Dany's character when she perceives her duty to not just abandon the people she's freed from the slavers). Sansa's naivety here actually works as an example of how typically Civics are raised in a nurturing protected atmosphere safe from the harsh realities of life--which they learn quite quickly upon coming of age like a slap in the face. Aegon is a critique of the typical "chosen one" archetype--both the infant with how Rhaegar in his Prophet-parent mode says "I am the father to greatness" & the young adult whom we're introduced to who's been "specially" and "carefully" raised to be the "perfect King". Lancel finds his duty in religion, Margaery in her decided role as being Queen. Rhaenys likely would have fallen into this category, had she lived, as she was one of the "three heads" chosen by Rhaegar, and Rickon has the potential to end up here as one of the last of his generation. Bran is the typical "acolyte" of a "Wise Old Man" figure.
29? or 3?? = Artist - The only infants in the series I'd even venture a guess as to being an Artist archetypes would be Ermensade Hayford and Tyrion Tanner for certain. This is a generation just now being born in Westeros.
As for Turnings, since Martin likes to keep his timelines loose and he has a bad way to judge time by compressing more events than might be possible in a year, this is the hardest part to pin point. What's rather blatantly obvious is that they've only just started getting into their fourth turning (the last turning) with Robert's death.
Still, I find that the Westerosi generations and their archetypes are far easier to identify than the Westerosi Turnings--with the exception of the death of Robert ending the Unraveling and beginning the Crisis.
