Tag Archives: Jenny of Oldstones

Broken Bonds: The Secrets of Rhaegar’s Song

The unique spiritual bond between a mother and her sons, and the psychic damage to both when that bond is severed.

This is the central theme/motif of Rhaegar’s prophecy, perhaps of the series itself.

After all, what are the Others but a supernatural army of abandoned sons? Maybe they just have serious attachment issues.

In addition to establishing the above point, I believe I can strongly argue the following:

Rhaegar’s song (“Jenny’s song”) has a subtext that only women can perceive, concerning the loss of children–perhaps sons in particular.

The known line of Jenny’s song is actually a refrain, appearing multiple times.

This allows for some interesting speculations about the origins of certain characters.

Sansa is uniquely suited for the task of invoking prophecy against the Others if necessary.

Continue reading

Composer of Prophecy: Rhaegar’s Song of Love and Doom

“I only sing the songs that better men have made.”
MANCE RAYDER — JON I, A STORM OF SWORDS

Rhaegar had a unique knowledge of the prophecy concerning the promised prince.

He kept this knowledge in a secret place…

…somewhere in plain sight, within reach of anyone…

…and yet safe from harm or destruction.

He put the prophecy in a song.

Jenny’s song. Continue reading

The Red Sun Rises, The Glass Candle Burns: The Lost Targaryen Prince

Mance Rayder is the son of Duncan “the Small” Targaryen and Jenny of Oldstones.

Depending upon your beliefs regarding the legitimacy of Jon and/or Aegon, this may render Mance to have a more legitimate claim.

Mance may have been fathered (directly or –more likely– otherwise) by Bloodraven.

The ‘evidence’ for these arguments is largely unconventional and will be disagreeable to many readers. I don’t deny this.

This is because a large portion of based on analysis of motifs, prose, patterns. It’s not the kind of hard “in-world” facts that most of us know and love. It draws from an understanding of Martin’s other works and the prominent, pervasive themes throughout his career. It has elements of SWAG (scientific wild-ass guesses) based on existing precedents. It invokes some analysis of the text that may be symbolic (thus scientifically untestable) allusions. The idea culminates with an examination of elements that tie things together like a rug in The Big Lebowski. Continue reading