Why was the Tournament of the Hand important in “Game of Thrones?”
The splendour and spectacle of a tournament is a sight to behold, brimming with chivalric contests, rambunctious revelry, and a celebration of martial prowess. The elaborate depiction of tournaments in "Game of Thrones" provides us with a vibrant tableau, where chivalry dances with savagery, and power is at constant play. In the third episode of the first season, King Robert Baratheon orders a lavish tournament to celebrate Eddard Stark's appointment as the Hand of the King, despite the kingdom's soaring debt. This seemingly incongruous decision provides us with a unique lens through which to explore the wider implications of such events and how they mirror real-world cultural phenomena.
Drawing parallels with ancient Roman "bread and circuses", King Robert's decision to host a tournament despite the financial strains of the realm reflects the underlying sociopolitical dynamics of the Seven Kingdoms. The phrase "bread and circuses", coined by the satirical poet Juvenal, depicts how the ruling class would use the provision of food and entertainment as a political tool to distract the populace from societal issues and maintain power. Similarly, Robert's tournament can be seen as a distraction - a spectacle to keep the eyes of King's Landing's populace and nobility away from the mounting problems at court.
The idea of a tournament in "Game of Thrones" goes beyond mere spectacle; it is a narrative device that amplifies power dynamics, alliances, and rivalries. The pivotal decisions, interactions, and revelations occurring in the margins of the melee are as crucial as the jousts themselves. This mirrors the world of sports in our own reality, where games often serve as a backdrop for larger cultural and political issues. For instance, the Olympics, while primarily a showcase of international athletic prowess, are frequently rife with political undertones and have historically been used as a platform for sociopolitical protest and demonstration.
Diving deeper into this metaphor, we can find an interesting juxtaposition in the field of Chess, which I would like to focus on. Chess, like a tournament in Westeros, is more than a game; it is a silent war where every move is imbued with strategy and motive. A game of Chess represents two monarchs at war, each move intricately woven into the broader strategy, mirroring the deadly dance of the nobles at a Westerosi tournament. The risk, the reward, the strategy – all are reminiscent of the political maneuvering of the players in "Game of Thrones".
King Robert's tournament, then, becomes a life-size chessboard, with knights and lords serving as the pawns and bigger pieces maneuvering for an advantageous position. Just as a chess player anticipates their opponent's moves, analyzes threats, and plans their strategy several moves in advance, so do the players in the deadly game for the Iron Throne.
The act of announcing a tournament despite the staggering debt also reveals much about King Robert's character. He is like a chess player stubbornly sticking to an aggressive strategy despite the mounting risks, asserting his authority by refusing to adapt his approach to the reality of his precarious position.
In conclusion, the trope of the tournament, often relegated to the realm of colorful spectacle, presents an insightful exploration into the heart of "Game of Thrones". Like the timeless game of chess or the grandeur of the Olympics, it serves as a powerful tool to showcase societal structures, power plays, and political strategy. King Robert's tournament, therefore, is more than a lavish display of martial prowess; it is a reflection of the precarious state of the realm and a grim foreshadowing of the turbulent game for the Iron Throne that lies ahead. By comparing these aspects to familiar cultural fields, we get a more profound understanding of not just the world of Westeros, but also our own world, which is equally filled with spectacles that serve purposes beyond their face value.
