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冰与火之歌的主题

JOooker（留言墙 | 贡献）2015年1月23日 (五) 12:33的版本 （→‎暴力与死亡）
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Face in the Pool-Knight Fighting Dragon

尽管引入龙与巫术的概念，相比其他诸多史诗幻想小说，冰与火之歌并未过度强调魔法的功效。(图片来源于J. Allen St. John1905年的作品The Face in the Pool)

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冰与火之歌的主题（Themes in A Song of Ice and Fire）是本词条的探讨内容。

冰与火之歌是一部系列史诗幻想小说，由美国小说家兼编剧乔治·R·R·马丁创作。本书首卷于1996年问世，原计划为三部曲，至今该系列已经出版五卷，最后两卷的创作也被提上日程。小说通过大量角色人物的视点和第三人称手法推动剧情。剧集版冰与火之歌——权力的游戏于2011年登上小荧幕。

冰与火之歌的故事设定在一个架空的世界，主要地点是被称为维斯特洛的大陆及其以东名叫厄斯索斯的庞大陆地。三条故事主线现已互相交织：七个明争暗斗的家族为争夺维斯特洛的统治权而引发的王朝更替战争；北境屏障长城以北，异鬼威胁兴起；15年前，内战中被谋杀的国王的女儿，逃亡的丹妮莉丝·坦格利安正计划返回维斯特洛，夺回王座。

这一系列小说及剧集版改编因魔幻与现实，政治斗争与社会民生交织的主题而备受瞩目。同时书中涉及到角色道德认知，暴力，死亡，性，女权主义，宗教取向等因素，令小说一时站在风口浪尖上。当然，书中诸多美食莪描写令读者垂涎欲滴。

魔幻和现实

再三权衡后，马丁最终定下了版本冰与火之歌中魔法的地位。起先他计划写作着重描述历史而不含魔法元素，但随后增加了有关魔法的内容之后[1]。他坚信魔法在史诗奇幻小说中的运用需非常谨慎，并应明智地把魔法量保持在读者可感受到它逐步上涨的微妙范围内。他也认为文学里，魔法代表了奇异和危险的不可知力量，而非先进的外星科技或仅仅固定的咒语。魔法也须保持自身的神秘，不宜频繁出现。因此马丁避免大篇幅冗长的奇幻描写。魔法元素随剧情的展开逐步递增，不过较其他奇幻小说而言，冰与火之歌仍是一部低魔作品。

尽管本质上都是虚构的，马丁仍深信小说——至少是其核心内容——需源于现实。他赞同威廉·福克纳在诺贝尔奖颁奖仪式上的演讲：不管以何种文学形式表现，“人类自身内心的矛盾冲突”是唯一值得浓墨重彩的部分[2]。不同于前辈们的奇幻小说，马丁尝试使小说更贴近一部历史小说，并因此减少魔法和秘术的描写，而剑术、战争以及政治阴谋则着更多笔墨[3]。大西洋杂志评论称小说有意在奇幻文学中揉入看似与其风格迥异的现实色彩[4]，这也是马丁作品为人称道的一点。杂志更认为冰与火之歌的核心便是现实主义，魔法“只在故事矛盾发生地的边缘区域徘徊，与其视之为奇妙之物不如称其让人毛骨悚然”。冰与火之歌是部破灭期望的小说，它所描述的世界最终和读者心中的世外桃源相距甚远。有时读者会不安地发现，那分明即是现实。

世界

马丁认为在展示冰火里的虚构场景时，奇幻元素必须宁缺毋滥[5]。他把故事设定在一个类似地球的替代世界，或所谓“第二世界”上，[6]在这方面托尔金笔下的中土世界就是先例之一。冰与火之歌的故事主要发生在维斯特洛大陆及以东的厄斯索斯上。小说语言风格多样化，以满足不同性格的角色需求：丹妮莉丝的篇章描述的异域比起基于类似欧洲中世纪历史的维斯特洛，更加绚烂多彩并充满想象[7] 。马丁有意模糊冰火世界版图的大小，省略地图比例，这使得读者无法运用基于实测距离的旅行计量法计算冰火世界的大小[8]，读者仅已知维斯特洛的实际大小相当于南美洲的面积。马丁也有意不提供完整的地图，因此读者就如中世纪对遥远地域一无所知的平民一般。[9]好在每一卷附录都收录了一两张新地图，这使得读者能够在系列的末卷出版后拼凑出完整世界地图。

Milecastle 39 on Hadrian's Wall

位于英格兰北部的哈德良长城，其是冰与火系列中绝境长城的灵感来源

冰与火的世界可以称为后魔法时代的世界，人们不再相信龙和异鬼存于现世。[10]书中角色只熟悉身边的常规事物，像异鬼这样的魔法生物则超出他们的认知范围。[10]生于昔日富裕的贫穷家庭，马丁对遗失的文明和失落的帝国情有独钟。托尔金的中土世界里被遗弃的摩瑞亚矿洞，精灵的神秘离去等，这些带有没落色彩，略显悲伤的故事亦触动着马丁的内心。书中黑暗时代降临前，曾经失落的瓦雷利亚帝国的文明高度可媲美中世纪的罗马帝国文明。帝国的陨落给冰火披上了伤感的外衣。[10] 马丁的哈德良长城（位于英格兰北部，靠近苏格兰边境）之行给予了他灵感，创作了现今奇幻小说中独一无二的绝境长城。他曾站在长城眺望远方，想象来自地中海地区的罗马百夫长会对未知北方来犯的之敌有怎样的担忧，怎样的念想。马丁笔下的长城因其规模，结构亦和魔力，可以说与冰火的世界无缝契合。[11]

维斯特洛的万千特质中最显而易见就是其无序而漫长的季节变更。[12]冰火读者已经对此发展出了众多科学理论，但马丁坚持超自然、奇幻元素才是真正缘由。[12]他认为自己描写的季节各具象征性，夏天代表成长和享乐，冬天则是挣扎生存的黑暗季节。[3]

居住在冰与火世界的主要种族是人类，而少数巨人、异鬼、森林之子等有认知能力的物种生存于长城之外，极北之地。另外常见的动物有狗、猫、马，一些居住在马丁世界里的生物类似于现实世界的古代生物，如更新世（始于距今180万年前）的群居生物野牛，冰原狼(类似于恐狼)，长毛象（类似于猛犸）等。在这些巨型动物群中，只有野牛作为被驯服的牲畜在维斯特洛广泛分布，而冰原狼和长毛象只出没在塞外的极北之地。史塔克家收养的冰原狼展现了远远优于普通狗和狼的智商和战斗力。每个冰原狼宝宝长大后的天性和各自的主人如出一辙，据民间传闻说这是冰原狼的特质之一。此外龙和海怪等传说生物亦相继登场。

龙

龙在冰火中举足轻重。“征服者”伊耿驾驭三条龙，登陆维斯特洛，统一七国。然而坦格利安后代将龙圈养起来的行为，使其数量逐渐减少。龙于冰火故事主线发生前200年的血龙狂舞--坦格利安家族内战期间被相继屠杀，直至灭绝于“龙祸”伊耿三世治时。因此在冰火故事之始，龙被普遍认为已经灭绝，仅剩石化的龙蛋。权力的游戏结尾，丹妮莉丝在卓戈卡奥的火葬后孵化出三条小龙，将之一古老物种带回世间。小说中的龙是身披巨鳞，口吐烈焰，但只有动物智商的爬行动物，如蝙蝠般长有替代前肢的翼翅。尽管有些冰火相关的艺术作品中把巨龙描述成长有四肢，单独翼翅的生物，但乔治马丁多次申明这是错误的。马丁尽可能地不讨论龙，以保持龙区别于常人的特性。[5]马丁设定龙具有核武器般的威慑力，丹妮作为唯一的拥有者成为整个世界最具权势的人之一。从任何一个角度看来，龙与现如今世界的核武器处于同一地位。马丁正在探索武装力量，是否除了能够毁灭世界之外，同样具有变革、改造乃至重建世界的属性。[13]

异鬼

异鬼是出没于长城以北的邪恶生物。它们只在夜间行动，周身伴随着慑人的冰冷。异鬼身形高大，面容憔悴，瞳色湛蓝。他们身穿的盔甲会随着步伐变化颜色，他们的佩戴的极寒水晶剑能冻碎钢铁。异鬼身手敏捷，行动迅速，发出的声音如冰层碎裂般刺耳—这也表明他们可能使用自己的语言。被异鬼杀死的人类会变为尸鬼：类似于僵尸，同时继承异鬼的蓝眼睛。尸鬼不仅限于人类，听命于异鬼的尸鬼熊是被异鬼所杀的巨熊转变而来，它们是战场上的绝对战力。然而在能轻易穿刺异鬼盔甲的黑曜石（也被叫做龙晶）面前，异鬼脆弱不堪。他们也惧怕瓦雷利亚钢，或称为龙钢。死后的异鬼化为一滩冰冷液体。尸鬼免疫黑曜石，却害怕火焰。马丁承诺随着剧情的展开，更多的异鬼将在凛冬的寒风中展现在读者的眼前[14]。马丁未明确表示异鬼文明是否存在。[15]

森林之子

森林之子是维斯特洛的原住民。虽然小说频繁提及森林之子，但他们已消失数千年。森林之子是身材矮小的人型生物，皮肤黝黑，面容美丽，在梦境预言和自然之力方面具有不可思议的力量。据传森林之子使用黑曜石武器和鱼梁木弓作战。在时间长河中，他们存在的证据就是至今还被某些北境人信仰崇拜无名旧神，以及遗留下的鱼梁木。马丁一再强调森林之子不是精灵，他如是说：“森林之子——就是森林之子。精灵已经死了，他们没有。”[16]

政治和社会

Richard Burchett - Sanctuary (1867) contrasted

冰与火系列灵感来源于玫瑰战争（图示），通常指英国兰开斯特家族(House of Lancaster)和约克家族(House of York)的支持者之间为争夺英格兰王位而展开的内战。

纽约每日新闻报道“比起托尔金式的剑与魔法，冰与火更倾向于马基雅维利式的政治阴谋。"[17]马丁将现实社会因素引进冰与火的世界，卫报发现维斯特洛和玫瑰战争时期的英格兰有着惊人的相似，“国家虽处于统一状态，但各地诸侯为争夺王位，纷争不断。一日无王，国家永远被腐败困扰，只看中名望的守财老爷大行其道。两股相对弱小但正直的北方势力组成并不牢靠的联盟对抗富有，强大而诡计多端的南方。哪边输掉战争，哪边的百姓就遭受更多的苦难。”[18]与中世纪类似，同盟建立在双方同乡或者亲戚的基础上，而不是现代意义上国家或民族间的同盟。国王被视为神的化身，由此王位的合法性尤为重要。[11]马丁希望展示领导者们的善恶抉择所带来的各种可能结果，因为纯粹的善良不会造就出色的领导者，反之亦然。[19] 大西洋月报认为冰与火之歌“比起个人英雄主义小说，讲述的故事更贴近政治现实，人性道德和卑微欲望做角逐，新生力量在封建主义压迫的泥潭里挣扎，而不是展示其潜在人性光辉，分辨是非善恶”。（详见道德困境）[4]而卫报窥见马丁在小说中对人类书写的庞大政治篇章进行的简洁着墨。不论王者亦或是窃贼，维斯特洛这块土地上似乎不存在马丁想要深刻剖析的生命载体。这更像一场赌注，赢的人飞黄腾达，输的人被无情的踩于脚下。马丁的每一个角色还被迫在身边亲人的爱和荣誉、责任以及国家之间做出抉择。而追求甚高荣誉的人，甚至通常需付之生命。 小说表现了中世纪各阶层人由于责任和特权的悬殊差异而引发的阶级矛盾。[19]马丁借作品探究出身、所属阶层、价值取向和意识对个人性格塑造所造成的巨大影响。[20]其中身份转变的典型例子就是艾莉亚·史塔克和席恩·葛雷乔伊；艾莉亚在受训成为无面者多次伪装身份，以期最终成为无面者后可以自由在各个阶层中转换身份。相反，尽管私下他们的身份并未改变，昆廷·马泰尔和同伴仍使用假名来在公开场合隐藏真实身份。[20]

道德困境

奇幻小说一个常见主题便是善恶的斗争，[19]但马丁有意打破了新托尔金式奇幻小说的传统设定。[21]他认为托尔金纯粹的正义与邪恶斗争已是陈词滥调，毫无新意，比如，指环王中相貌丑陋，穿着漆黑的人肯定不是好人。[19][21] 威廉·福克纳1950年的诺贝尔获奖小说成了马丁创作的参照和规范：福克纳说过只有自我抗争过的内心才值得被记载和书写。[19]现实中人内心兼有善良与邪恶，马丁亦在冰火中探讨救赎，角色的善恶转变。[22]纽约客对此总结“最初看似讨人喜欢的角色背地里干着不明勾当，明显的坏人却怀有怜悯之心”，大西洋月刊评论“即使是改编自小说的电视剧集，呈现给读者的也非好坏分明的角色，他们时而富有同情心，时而又心怀鬼胎。”

“ 马丁之所以能作为领军人物推动奇幻题材的进步，是因为他拒绝把世界划分为善与恶的摩尼教式对立……在马丁的笔下，战争纷繁复杂又模棱两可，战争中的人们亦是如此，甚至在天上看着脚下芸芸众生发笑的众神也是如此。这一特质赋予了他的作品内容更深层次的意义。[23] ”
—— Lev Grossman在时代周刊2005年某期的文章中写道

相对于恶魔（坏人）和天使（好人），马丁倾向于灰色角色--他称之为坏人的另一面。[24] 长城上的守夜人也被马丁描述为“披着黑衣的正义英雄和人渣罪犯，奇幻小说中打破先例的奇葩。”[11] 大众喜闻乐见或者恨之入骨的小说角色相对于现实世界太过肤浅不立体化，马丁的角色却融合现实因素，读者很容易与之产生共鸣。[7] 读者可由小说中人物的行为和政治立场判断其善恶与否。[1] 马丁的冰火区别于其他奇幻小说，人物的多面性通过各个不同视角来表现，即使反面角色也有自己的章节。[25] 纵观历史，这是明智之举--因为人们认为自己的行为永远闪耀着正义的光辉，而敌人永远是恶棍。[26] 现实中不可能轻易分辨孰好孰坏，正如历史中的无耻之徒也有好的一面，最伟大的英雄也有弱点和缺陷 。

暴力与死亡

纽约时报对马丁“毫不客气的冷血”大加赞赏，“男孩被扔出阳台，妇女被咬掉整张脸，男人被割掉鼻子，女孩被切掉耳朵，轮奸，大屠杀，被动物吞噬，多个砍头情节等内容给该系列打上少儿不宜的标签”。[27] 娱乐周刊报道“马丁杀掉众人喜爱的角色时的残酷是整个系列的特色之一，这也导致读者在房间摔书大呼坑爹——只是之后又会捡起来。”[28] 华盛顿邮报认为“角色的脆弱性和死亡的随机性使情节发展扑朔迷离，同时高度的悬疑情节接踵而至，这是读者喜闻乐见的。[7][29]

尽管奇幻小说源于美好幻想，马丁坦言这类小说反映现实世界是必要的，现实中有时人死的很难看，包括至爱之人。[7] 读者可能对小角色或者魔戒中兽人的死亡无动于衷，但一个朋友的逝世可会让他潸然泪下。[20] 马丁杀死主要角色是因为他痛恨很早透露谁是完好无损的走完故事全程的主角。现实感的缺失是马丁所厌恶的，比如开战前夜士兵不可能不恐慌。对此，他的目的是让读者即使在翻页间也感到周遭风声鹤唳，草木皆兵。[30] 托尔金的指环王启发马丁以角色的死亡震撼读者和主角的牺牲来展示人性光辉，[6]同时他提醒读者切勿沮丧，不要因此找来一堆大团圆结局的书籍聊以慰藉。[6]


“ 前人很多该类型的奇幻小说中都有类似的内在“不诚实”问题：在一场生灵涂炭、毁天灭地的世界大战里，读者熟悉的主要角色却都一个个活得好好的。……我们的英雄们总是能轻轻松松穿过被毁的村庄，杀光从四面八方涌来的敌人，从万劫不复的境地中一次次逃脱。诸如此类经不起推敲的谎言让我很闹心。[7] ”
—— 乔治·R·R·马丁在科幻周刊2000年某期的访谈中说

当写到战争中孰生孰死，马丁直截了当地选择角色列表中着墨不多的次要角色，因为这些人物没发展潜力，或者仅仅是个人名。[31] 然而，大量主要角色的死亡和他们的死亡时间已经为故事的发展埋下伏笔。[31] 发生在冰雨的风暴的三分之二处的血色婚礼导致一些主要角色的死亡，这是马丁创作中最艰难的部分。马丁屡次推迟此章节，但最终以血色婚礼为《冰雨的风暴》画上句号。[32] 读者对此褒贬不一，但马丁认为血色婚礼的写作是痛苦的，阅读她理应也是痛苦的，她会撕开你的心脏，填满恐惧和悲伤。[30]

追溯到托尔金或更前面的时代，战争是许多奇幻小说的中心；当代奇幻小说中通常是好人打坏人，与之相比，战争在道义上更为复杂。[33] 小说本质上是从死亡人数反应战争的残酷。马丁对战争的态度也因对饱受争议的越南战争的认识而尖锐化。[33] 因为马丁反战，小说也就承载了马丁对战争、暴力以及所付代价的一些看法。但他认为把自己的某些观点寄托在书中某些角色身上例如群鸦的盛宴中光脚祭司非明智之举，因为他想成为幕后操纵木偶的人。[20]


小说中最扑朔迷离的剧情要数看似凶狠的角色的死亡和被认为已死角色的重现。[34]大西洋月刊认为马丁对不可预知事物的喜好，让读者对书中明显死亡的怀疑与日俱增，例如魔龙狂舞中琼恩雪诺的未知命运走向。[35] 马丁以为可以写活一个死去的角色，但该角色需经历翻天覆地的变化。肉体可以再次行走，但部分内心已经变质或遗失。马丁从不喜欢指环王中灰袍甘道夫以白袍的身份回归，如果没有甘道夫的归来，指环王将变得更加完美。冰火中频繁起死回生的角色之一就是闪电大王贝里·唐德利恩,他的神奇事迹一直和其他复活的角色隐隐相关。每次复活，他会失去部分人性和关于战争的记忆，肉体亦开始腐烂，但他记得“生前”被赋予的使命。[36]

性欲

马丁眼中冰火这种大量描写美色和性欲的奇幻小说在奇幻史上是凤毛麟角的，[7] 通常作者认为性欲描写是不成熟的，或者干脆抛弃性描写。[37] 即使托尔金的指环王也远离性感的女性，性欲和浪漫的爱情。[7] 考虑到性是人类繁衍发展的原动力，马丁认为不可将其剔除，所以冰火中的角色有七情六欲，这也使得小说更加真实。[37]此外，中世纪骑士在比赛中用诗歌向女士献殷勤，穿戴女士的信物决斗，然而在战场上却无情地强奸女性，马丁对这个反差很感兴趣。[7] 书中没有提及中世纪的青春期性概念是否就是丹妮13岁就发生性行为的原型。 很多出身高贵的小姐在那个年纪就结婚了，性的成熟使她们从孩子变成女人。[6][38] 至于坦格利安，小说把了古代埃及的托勒密王朝和欧洲君主立宪制国家为了保持血统的纯正而实行的近亲结婚与之联系。然而，马丁也看到了乱伦自身所携带的反社会因素，如瑟曦和詹姆之间的亲密关系容不下对方与下级群众交往。 The inexistent concept of adolescence in the Middle Ages served as a model for Daenerys's sexual activity at the age of 13 in the books. Many high-born women were married at or below that age because the onset of sexual maturity turned children into full adults.[6][38] With the Targaryens, the novels also allude to the incestuous practices in the Ptolemaic dynasty of Ancient Egypt and the European monarchies to keep their bloodlines pure. However, Martin also saw a sociopathic element in the incestuous relationship of the twins Cersei and Jaime Lannister, whose strong bonding inhibits their pairing with others whom they regard as inferior.[39]

马丁旨在让读者体验书中的性场景，“性描写可能无与伦比，激动人心，令人无限遐想，也可能是令人倒胃，扭曲变态，黑暗，或者失望，了了敷衍”。[22] 马丁对美国清教徒对待性的态度嗤之以鼻，他也不待见强烈抗议书中性场景的读者。[40] 马丁相信只有强大的双重标准才可以解释为啥一个人不反对斧子劈进脑袋，却厌恶阴茎插入阴道。[37] 反对书中被认为无意义的性，就同时反对了书中莫须有的暴力，宴会和纹章系统，因为它们无一促进剧情发展。对于马丁来说，为身临其境的阅读体验提供感官上的细节享受，比推动剧情更加重要。 Martin aims to let the readers experience the novels' sex scenes, "whether it's a great transcendent, exciting, mind blowing sex, or whether it's disturbing, twisted, dark sex, or disappointing perfunctory sex".[22] However, he blamed the American puritanical attitudes towards sex for some readers' offense with the novels' sex scenes.[40] Martin believes only a strong double standard can explain the lack of objections to an axe going through someone's head, while a penis going into a vagina causes aversion.[37] Accusing the novels of gratuitous sex is inseparable to accusing them of gratuitous violence, feasting or heraldry, as neither advance the plot. Providing sensory detail for an immersive experience is more important than plot advancement for Martin.[35]

受限于相关的儿童色情法律，电视版的冰火被迫在删减片中的年轻角色参与的性场景，和提高演员的年龄间做出选择。显然hbo的一贯作风让这选择不是难事--tv版添加了很多的性场景的同时舍去了小说中的其他元素。权力的游戏的荧屏处女秀引来了诸多对性描写，强奸和妓院的批评（female agency） in the franchise。今日美国谈到HBO给维斯特洛入了如此之多的性感美女，妓女，相比之下维加斯还真变成了修道院，马丁回应，中世纪本来就有很多的妓院。大西洋日报的安伯·泰勒认为性场景是剧中最为令人称道的部分，“为你们滥用的性欢呼吧”。用性和裸体取悦观众是HBO的自由，况且电视剧里的性描写恰到好处，不多余。比如丹妮的性场景让观众看到她只是个女性，容易受伤，也让她更加真实。”安伯同时认为对比其他电视台挂着历史史实的幌子，卖真色情的剧集，，HBO摄制的性场景还算安分守己。一些批评家亦女性权利方面分析冰火(see section #Feminism)。 Because of child pornography laws, the television adaptation was forced to either extenuate the sex scenes for the younger characters or age up all characters. HBO valued the sex scenes so much to opt for the latter,[6] adding some sex scenes to the TV series while leaving out others from the books.[35] The premiere of Game of Thrones was followed by many debates about the depiction of sex, rape, and female agency in the franchise.[35] USA TodayTemplate:'s assessment that HBO added "so many buxom, naked prostitutes that TV's Westeros makes Vegas look like a convent" earned Martin's reply that there were many brothels in the Middle Ages.[24] Amber Taylor of The Atlantic saw the depiction of sex as one of the show's most distinctive aspects, "cheesy only insofar as sex is fundamentally absurd". Despite HBO's freedom to titillate viewers with sex and nudity, none of the show's sex scenes felt superfluous for her; some of Daenerys's TV scenes "make her vulnerability more real than any political exposition". Taylor also lauded HBO's "admirable choice [...] that its nonconsensual sex scenes are deeply unarousing, in marked contrast with shows on other networks that use a historical setting as window dressing for prurient depictions of rape".[41] Some critics also analyzed sexuality in the light of women's powers (see section #Feminism).

关于女权主义

马丁创作了大量的女性角色以探讨小说中族长制家庭所带来的一些弊端和分歧。[20]他手中的角色都具备人类的基本需求，有梦想和影响力，[42]所以书中的女性角色的性格特征也涵盖了与男性角色相同的特质范畴。[20] 马丁可以从所有看似天差地别的视点角色中找到共同之处，不管年纪和性别相同与否。他不歧视女性，也不认为自己是女权主义的先锋，尽管他承认童年时被灌注的一些价值观一直无法完全剔除，甚至那些马丁有意识抵触的思维想法亦萦绕着他。[6] 他感激争论他是女权主义支持者或是反对者的言论，他也满足小说有众多女性读者，哪怕她们只喜欢其中的几个女性角色。[20]他也不会公开发表有关女权主义的言论。[20] Martin provides a variety of female characters to explore some of the ramifications of the novels being set in a patriarchal society.[20] Writing all characters as human beings with the same basic needs, dreams and influences,[42] his female characters are to cover the same wide spectrum of human traits like the males.[20] Martin can identify with all point-of-view characters in the writing process despite significant differences to him, be it gender or age.[42] He sees himself neither as misogynistic or a paragon of feminism, although he acknowledged that some values inoculated with in childhood can never be fully abandoned, even those consciously rejected.[6] He appreciates the discussions whether the series is feminist or anti-feminist,[6] and is very gratified of the many female readers and how much they like at least some of the female characters.[20] He does not presume to make feminist statements in either way though.[20]

大西洋日报指出丹妮莉丝和瑟曦享有诸多共通点，被包办婚姻，意志力异常强大，对待敌人冷酷无情。[43]在维斯特洛，血统和继承权是最被认为是最快速可靠的获取权利的方式，瑟曦已取得和弟弟詹姆生育孩子的先机，这种报仇的手段使得她恨之入骨的丈夫劳勃没有子嗣继承王位。[43]马丁认为瑟曦在魔龙狂舞中的公众游街可被视为歧视女性的表现，但也可理解为女权主义的兴起。King Edward IV死后，他的情人Jane Shore也被类似的方式处置。瑟曦本性自傲，这次惩罚无关男性，但直击女性的自尊。 The Atlantic noted that Daenerys and Queen Cersei share the parallels of being forced into marriage, having strong strengths of will, and being utterly ruthless toward their enemies.[43] As bloodline and succession are the quickest and surest way to assert strength in Westeros, Cersei takes advantage of motherhood by procreating with her brother Jaime, thereby leaving her hated husband Robert without a true heir in revenge.[43] Martin said that Cersei's walk of public penitence in 魔龙的狂舞 may be read as misogynistic or feminist. Jane Shore, mistress of King Edward IV, was punished similarly after Edward's death. Cersei is defined by her pride, and this punishment was directed at women to break their pride, but was never inflicted on men.[44]

自权力的游戏上映后，批评家开始对其中的女性角色对号入座。Ginia Bellafante在纽约时报中写道“《权利的游戏》只是男孩文学，结果却屈尊惠及了另外一半人群；TV版中所有的不正当勾被当做小礼物丢给了女性角色（指过多的色情场景），所以几乎没有女人愿意看，这真是令人发指。尽管有女性会阅读类似冰与火这样的作品，Bellafante认为最好不要遇到一个“在书吧义愤填膺的表示除非在做的每个人喜欢The Hobbit，否则她拒绝阅读Lorrie Moore的最新作品”的女性（铁杆奇幻读者）。[45]这篇文章在平静的湖面激起了万千涟漪，以至于纽约时报不得已关闭了文章下的评论。[46] Critics addressed the series' portrayal of women after the Game of Thrones began airing in 2011. Ginia Bellafante wrote in a The New York Times piece that the series was "boy fiction patronizingly turned out to reach the population's other half" and considered it a "true perversion" that "all of this illicitness [in the TV series] has been tossed in as a little something for the ladies, out of a justifiable fear, perhaps, that no woman alive would watch otherwise". Although there may be women who read books like the Ice and Fire series, Bellafante said to never have "met a single woman who has stood up in indignation at her book club and refused to read the latest from Lorrie Moore unless everyone agreed to The Hobbit first".[45] The article received so many responses that the New York Times had to close down the comments section.[46]

The Huffington Post的Ilana Teitelbaum在一篇评论中回道"亲爱的纽约时报，权利的游戏不仅仅少儿不宜”，[47] 她表示 Bellafante的评论充斥着谬论和对女性读者的傲慢。 原著中的性场景作为根本之一不可或缺地蔓延在整部书中， Teitelbaum认为剧集中的安排合情合理。她从女权主义角度赞扬了关于冰火和奇幻小说的争论，但她反对Bellafante只有男性才对奇幻文学感兴趣的观点，她视Bellafante把奇幻小说看做儿童文学的论断为冒犯奇幻和女性读者的性别定式的提高版。[47]太平洋杂志的 Scott Meslow提出了depicting misogyny和endorsing misogyny的区别，因为冰火系列是设定在性是女性获得权力的主要手段的这么一个世界。尽管TV版的冰火可能有时在最大限度暴露女性身体和真正的剧情发展间选择循规蹈矩，但性场景也使观众对剧中的女性起怜悯之心。[48] Ilana Teitelbaum of The Huffington Post responded in an article called "Dear New York Times: 权力的游戏 Is Not Just for Boys",[47] claiming that Bellafante's piece was not only rife with inaccuracies, but also patronizing to female readers. Teitelbaum defended the many sex scenes in the TV series because the books as a source sprawl with them. She encouraged discussion of the Ice and Fire books and the fantasy genre from a feminist perspective, but rejected Bellafante's point that only men are interested in fantasy, considering Bellafante's characterization of fantasy as "boy fiction" as a promotion of gender stereotyping offensive to the genre as well as to women.[47] Scott Meslow of The Atlantic noted the need to differentiate between depicting misogyny and endorsing misogyny, as the series is set in a world in which sex is the primary means by which women can assert their power. Although the TV series may sometimes toe the line between Skinimax-style exploitation and genuine plot advancement, the sexual scenes also invite the viewers to sympathize with the series' women.[48]

Religion宗教

详情请阅读：宗教
Fridolin Leiber - Holy Trinity

冰火的七神信仰启发于基督教的三位一体教义

不像托尔金的指环王，冰火里的宗教系统巨细无遗，同时马丁也列出了几个相互竞争的不同宗教。魔龙狂舞在冰火系列中首开先例地探讨了维斯特洛和厄斯索斯的宗教问题。不同的宗教反应了各自独特的文化信仰。冰火中的信仰是基于现实宗教，马丁进行稍许融合调整使之更加适用于冰火。时代杂志表示宗教并不能代表真实信仰。尽管宗教权力在各方面都会横插一脚，但在道德层面它不能做任何评判。[49] 马丁试图逐步揭示冰火中不同种宗教的魔法力量被整合为同种超自然力量要耗费多少时间。读者可能对冰火中相互竞争的不同宗教所持主张的正确性，教导方式和各自具有的力量保有不同看法。马丁以批判的眼光看待书中任何宗教的主张，这和他对现实宗教的看法一致。冰火中的神祗不是维斯特洛的救世主，马丁视自己为无神论者和不可知论者的综合体。同时马丁也着迷于宗教和精神，但他厌恶类似于神是不会允许世间充满暴行，折磨和痛苦这种宗教中关于神的标准观点。 Unlike Tolkien's The Lord of the Rings, the novels address religion in some detail,[6] and portray several competing religions.[20] More than any other novel in the series, 魔龙的狂舞 explores the different religions of Westeros and Essos. Each of the religions reflects its culture's temperament. Martin based the series' faiths on real religions, tweaking or expanding them a little.[36] According to Time magazine, no religion is presented as the true faith, although there are eerie displays of power on many sides, nor do any have a monopoly on virtue.[49] Martin tries to slowly reveal in how far the many different kinds of magic in the Ice and Fire world may be manifestations of the same mysterious supernatural forces.[13] Readers remain free to wonder about the validity, teachings and supernatural power of the competing religions in Ice and Fire. Martin regards any religion's claim to truth with suspicion, as he does the claims of real religions. The series' gods, he said, are unlikely to appear deus-ex-machina in Westeros.[20] Considering himself a lapsed Catholic with atheist or agnostic streaks, Martin is fascinated by religion and spirituality, but has never been satisfied by standard answers to questions like how a benevolent God allows for a world full of rape, torture and pain.[6]

The Old Gods旧神

详情请阅读：旧神

最初先民移民维斯特洛，他们和森林之子保持着联系。先民放弃原有的各种信仰，向森林之子学习崇拜旧神。旧神的崇拜并不涉及经文，形式化祭司阶级以及福音运动，旧神亦无具体名称。安达尔人的入侵最终使七神信仰覆盖颈泽以南的全部区域。而北方先民的信仰得以幸存下来，至今多数北方人仍信仰旧神。其实读者可以隐约体会到旧神信仰在现实世界也有原型。森林之子因其拥有绿先知（预知能力）和易形（以心灵感应控制动物）两种强大魔法而颇具传奇色彩。旧神信仰的核心是神木林--以一棵树身刻有人脸的鱼梁木为中心的树林。尽管旧神信仰大致局限在北方，南方的许多贵族家庭也保有神木林，不过大多已沦为普通花园。 When the First Men originally migrated into Westeros, they came into contact with the Children of the Forest. The First Men learned to worship the Old Gods from them, abandoning whatever previous religion they had. The worship of the Old Gods involves no scriptures, formalized priestly caste, or evangelical movements, and the Old Gods themselves have no distinct names. The Andal Invasion resulted in virtually all of Westeros south of the Neck converting to the Faith of the Seven. In the North, however, the First Men remained unconquered, and many continue to follow the Old Gods up to the present day. It is loosely implied that the worship of the Old Gods has some real-world (although magical) basis, a legacy of the Children of the Forest, who possessed considerable magical skill both in greensight (prophecy) and skinchanging (telepathic control of animals). Focal points of the religion were the "godswoods", groves of trees with a "Weirwood" tree in the center, with a face carved into it. Although worship of the Old Gods is now mostly restricted to the North, many ancient godswoods of noble houses remain throughout the South, having been converted into secular gardens.

乔治·R·R·马丁已经声明旧神信仰大致源于现实世界 凯尔特和挪威文化中的pagan（异教，无宗教信仰)信仰，以及巫术崇拜和万物有灵论，再加上自己对奇幻的想象因素。[50] George R.R. Martin has stated that the Old Gods belief system is loosely based on tenets derived from real world pagan faiths in Celtic and Norse cultures, as well as Wicca and animism, blended with fantasy elements of his own imagining.[50]

七神信仰

详情请阅读：七神信仰

七神信仰，通常简称为“七神”，是基于现实中中世纪天主教和基督三位一体教义创造的。[36]它是维斯特洛的主流权威宗教，由安达尔人入侵时传承入境。七神是是天父，圣母，少女，老妪，铁匠，战士和陌客（死神）七位一体的神，和基督教的天父，圣子，圣灵有异曲同工之处。[36]据马丁所述，圣母，少女和老妪的概念启发于异教徒对女人的观念，而男性元素被整合在一起了。陌客，则代表死神。[50] The Faith of the Seven, often called simply "The Faith", is based on the medieval Catholic church and the Christian doctrine of the Trinity.[36] It is the dominant religion in Westeros, having been introduced by the Andals during their invasion of the continent. The Seven consist of the Father, Mother, Maiden, Crone, Smith, Warrior, and a Stranger (Death) instead of Christianity's Father, Son and Holy Ghost.[36] According to Martin, the Mother, Maiden and Crone were inspired by Pagan views of womanhood, while the masculine elements were "hobbled" together. The Stranger, however, represents Death.[50]

宗教的很多方面都和数字七有关---例如，宗教突出的图标照进闪亮的水晶棱镜折射出彩虹的七色。七神信仰以一些宗教经文为基础，其中最著名的要数被划分成七个子本的《七星圣经》。七神的的神职人员通常由神性被划分为：修士是服务天父的男性神职人员，修女是向圣母奉献的女性神职人员，而未知和死亡之神--陌客的全女性神职仆人则被成为静默姐妹。陌客亦是无面者的崇拜之神。铁匠的神职人员在书中也被提及。七神由总主教（类似于教皇）领导，总主教由最高神职议会 the Most Devout选举而出（类似于枢机主教团）。总主教和 Most Devout被提出和创建于千年前的旧镇，直到坦格利安的征服，新首都的建立和铁王座被迁至君临。 Many aspects of the religion are based on the number seven - for example, prominent icons of the religion are light shining into crystal prisms to create rainbows of seven colors. The Faith of the Seven is based on several holy texts, one of the most important of which is The Seven Pointed Star, which is divided into several books. The clergy of the Faith is apparently divided amongst the godhead: "septons" are male priests who serve The Father, while "septas" are female clergy devoted to The Mother. The all-female order devoted to The Stranger, the god of death and the unknown, are the Silent Sisters. The Stranger also forms the center of the Cult of the Faceless Men.[50] Clerical orders devoted to The Smith have been mentioned as well. The Faith of the Seven is headed by the High Septon (analogous to the papacy), who is elected by a clerical high council known as the Most Devout (analogous to the college of cardinals). The High Septon and Most Devout were based in Oldtown for thousands of years, until the Targaryen Conquest and the construction of the new capital city at King's Landing, when the seat was moved there.

七神信仰为维斯特洛社会“骑士”这个观念打下基础，尽管真正的宗教战士--教团武装不同于骑士，并且在五王之战前已经被解散千年。很少北方的战士冠有骑士头衔和爵士称号，因为大部分北方人信仰旧神。而大多数的维斯特洛人信仰七神，铁群岛和北方亦有少数崇拜者。 The Faith of the Seven is the basis for the social concepts of "knights" in Westerosi culture, although actual religious warriors, the Faith Militant, are not the same as knights and had been disbanded for several centuries before the War of the Five Kings. Thus, few warriors in the North may attain the title of knight and the style "Ser" as most Northerners worship the Old Gods. The Faith of the Seven is the predominant religion for most of Westeros' population, though it has some followers in the Iron Islands and the North.

淹神

详情请阅读：淹神

铁群岛的地方宗教。安达尔人入侵维斯特洛时通常会逼迫先民改换信仰，但在铁群岛，安达尔人反而接受了当地的宗教和文化习俗。从对淹神的崇拜可以看出，铁民文化来源于岛国航海文明。水和受淹仪式在该宗教中地位举足轻重。 淹神的牧师称为淹人，淹人们主持受淹仪式(然后使用原始粗陋的 心脏复苏术将人救活)。死刑通常以受淹的方式执行，犯人则作为献祭淹神的供品。 此外铁民们相信风暴之神是淹死淹神的邪恶之神，也是铁群岛谚语的由来：逝者不死，必将再起，其势更烈。铁民们还相信那些死去的人将会“在淹神的水下宫殿大快朵颐”。如同北方人多信仰旧神而少有骑士，只有极少数铁民会成为骑士，因为淹神的信仰体系里没有这一概念，骑士只是是七神信仰的附属产物。 淹神信仰的实质是崇尚武力，宣扬古道——铁民的古道，指的是在海上劫掠财宝和女性奴隶，肆意杀戮和破坏摧毁——这些行为受到鼓励和称道。事实上，海盗和抢劫被看做是对淹神最虔诚的职业，甚至溺死被劫船只上的全体船员也被认为是向淹神献祭。

The local religion of the Iron Islands. When the Andals invaded Westeros they usually forced the local First Men to convert to the Faith of the Seven, but the Andals that invaded the Iron Islands instead adopted the local religion and culture. The Ironborn are a seafaring island civilization, and their worship of the Drowned God reflects this. Water and drowning play prominent roles in the religion. Priests are ritually drowned (then revived using a crude form of CPR). Capital punishment often takes the form of drowning in seawater as a sacrifice to the Drowned God. As the Ironborn believe, the Storm god was an evil god and drowned the Drowned God, although this is where the saying of the Iron Islands comes from; What is dead can never die, but rises again harder and stronger. People who die are believed to go to "feast in the Drowned god's watery halls". As with the Northerners who follow the Old Gods, the few among the Ironborn are knights, because this is a religious concept attached to the Faith of the Seven, not the Drowned God. Still, the belief system of the Drowned God actually encourages martial prowess, and essentially preaches that the Ironborn's traditional activities - piracy, sea raiding for treasure and female captives, causing wanton death and destruction - are all positive and praiseworthy. Indeed, piracy and raising are seen as almost a pious duty, and throwing the crew of seized ship overboard to drown is said to be an offering to The Drowned God.

拉赫洛-光之王

详情请阅读：拉赫洛

拉赫洛教派主要活动于狭海对岸的东大陆厄索斯，但拉赫洛祭司们已在维斯特洛华丽登场，如服务于铁王座的密尔红袍僧索罗斯。拉赫洛崇拜的宗教行为往往体现为需要牺牲献祭的火焰仪式。光之王的祭司通常具有神秘的力量，如索罗斯的火焰剑和梅丽珊卓的邪恶咒语。在梅丽珊卓的影响下，自立为王的史坦尼斯•拜拉席恩改换信仰，并且为了夺取铁王座向拉赫洛的黑暗仪式寻求力量。 A religion practiced primarily across the narrow sea, priests of R'hllor have had a small presence in the Seven Kingdoms for some time, with some like Thoros of Myr in the service of the Iron Throne. Worship of R'hllor tends to involve fiery rituals, many of which require sacrifices. Priests of the Lord of Light tend to display mystical powers such as the flaming sword of Thoros and the malicious spells of Melisandre. Under the influence of Melisandre, the self-proclaimed King of the Seven Kingdoms Stannis Baratheon has converted to this faith, and has turned to the dark rituals of R'hllor to aid him in his quest for the Iron Throne.

拉赫洛崇拜的本质是二元世界观--教义认为真神拉赫洛的对立面是远古异神，寒冰和死亡之神。现存的古代亚夏典籍记载了这两个神祗之间漫长的斗争豪无止境，并预言只有光之子亚梭尔•亚亥归来，挥舞着光明使者，唤醒石龙，才能停止斗争。预言亦揭示长城外的异鬼是拉赫洛的死敌--寒冰和死亡之神的手下。 Worship of R'hllor is dualistic in nature - the antithesis of R'hllor is the "Great Other", a god of ice and death. There exist ancient prophecies in the books of Asshai that suggest the ageless struggle between the two deities will only come to an end when the messianic figure Azor Ahai returns to the world, wielding Lightbringer, the Red Sword of Heroes, and raise dragons of stone. The prophecies also suggest that the Others that live north of The Wall are followers of the god of ice and death who is the eternal foe of R'hllor.

据马丁所述，拉赫洛教派的火焰崇拜大致源于琐罗亚斯德教（拜火教）。而琐罗亚斯德教（拜火教）的二元论信仰又源于摩尼教，同样信仰二元论还有中世纪被阿尔比十字军 武力镇压的法国基督教卡特里派。

According to Martin, the faith is roughly based upon the fire worship of Zoroastrianism. The Manichean, dualistic aspects are also inspired by Zoroastrianism, along with the Catharites| of Medieval Europe who were annihilated during the Albigensian Crusade.[50]

食物

马丁在冰与火小说中对食物有大量描写，以至于批评家批评他“浪费文字”。有书迷统计过，前四部小说一共出现了160道菜，[51]从家常炒菜到皇室佳肴，描写极尽精细，甚至包括宫廷盛宴上的特色骆驼肉，风味鳄鱼，歌唱鱿鱼，海鸥，酱鸭，以及带刺的蛆。[52]赫芬顿邮报的Adam Bruski 认为这些对食物栩栩如生的描述不但有益于营造小说中的氛围，甚至本身也成了书里的角色，常常衬托出用餐者的心境和性格。马丁通过对食物种类和用餐细节的描写，使故事显得更为真实。[53] 在小说里，食物不但能暗示角色的地位，还能推动故事情节的发展，并且预示着凛冬到来前的最后一次丰收。[51]例如卷三“冰雨的风暴”中，红色婚礼的餐桌上那些鸡肋般的食物，正是提醒读者一场混乱即将来临。[51]


一些冰与火之歌的铁杆书迷已经开始着手研究书中美味的烹饪方法。一位烹调好手的书迷博客“十字路口旅店”点击率已超过百万。然而比起烹调，作者马丁显然更擅于品尝，最近几年他更是频繁收到撰写烹饪书籍的邀请。随着《冰与火的盛宴》一书的发行，另两本以冰与火世界为背景的同类烹饪书籍也将竞相与读者见面。 Fans seeking to immerse themselves deeper in their favorite fictional worlds have started cooking dishes from the books. The culinary fan blog "Inn at the Crossroads" received over a million hits. Martin, who is "very good at eating [but] not too much of a cook",[52] received repeated requests to write a cookbook over the years. Two rival cookbooks based on the series are announced,[52] with A Feast of Ice and Fire being released in May 2012.[54]

参考文献

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  2. ↑ Farley, Christopher John (July 8, 2011). "Game of Thrones Author George R.R. Martin Spills the Secrets of 魔龙的狂舞". wsj.com. http://blogs.wsj.com/speakeasy/2011/07/08/game-of-thrones-author-george-r-r-martin-spills-the-secrets-of-a-dance-with-dragons/. Retrieved 2012-02-15. 
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  4. ↑ 4.0 4.1 Serwer, Adam (April 12, 2011). "Game of Thrones: When Fantasy Looks Like Reality". theatlantic.com. http://www.theatlantic.com/entertainment/archive/2011/04/game-of-thrones-when-fantasy-looks-like-reality/237196/. Retrieved 2012-02-02. 
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  6. ↑ 6.00 6.01 6.02 6.03 6.04 6.05 6.06 6.07 6.08 6.09 6.10 Hibberd, James (July 12, 2011). "EW interview: George R.R. Martin talks 魔龙的狂舞". ew.com. http://shelf-life.ew.com/2011/07/12/george-martin-talks-a-dance-with-dragons/. Retrieved 2012-01-21. 
  7. ↑ 7.0 7.1 7.2 7.3 7.4 7.5 7.6 7.7 Template:Cite journal 引用错误：无效<ref>标签；name属性“scifi_magical_tale”使用不同内容定义了多次 引用错误：无效<ref>标签；name属性“scifi_magical_tale”使用不同内容定义了多次
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  14. ↑ Roberts, Josh (March 26, 2012). "Game of Thrones Exclusive! George R.R. Martin Talks Season Two, The Winds of Winter, and Real-World Influences for 冰与火之歌". smartertravel.com. http://www.smartertravel.com/blogs/today-in-travel/game-of-thrones-exclusive-george-martin-talks-season-the-winds-of-winter-and-real-world-influences-for-song-of-ice-and-fire.html?id=10593041. Retrieved 2012-03-27. 
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  40. ↑ 40.0 40.1 Italie, Hillel (July 15, 2011). "Fans Flock To George R.R. Martin's NY Barnes & Noble 外貌". huffingtonpost.com. http://www.huffingtonpost.com/2011/07/15/george-rr-martin_n_899672.html?. Retrieved 2012-02-16. 
  41. ↑ Taylor, Amber (April 14, 2011). "Game of Thrones: A Brutal Fantasy With Mass Appeal". theatlantic.com. http://www.theatlantic.com/entertainment/archive/2011/04/game-of-thrones-a-brutal-fantasy-with-mass-appeal/237316/. Retrieved 2012-02-02. 
  42. ↑ 42.0 42.1 42.2 Harte, Bryant (July 13, 2011). "An Interview With George R. R. Martin, Part II". indigo.ca. http://blog.indigo.ca/fiction/item/514-an-interview-with-george-r-r-martin-part-two.html. Retrieved 2012-02-15. 
  43. ↑ 43.0 43.1 43.2 43.3 Meslow, Scott (June 20, 2011). "Game of Thrones Finale: The Powerful Women of Westeros". theatlantic.com. http://www.theatlantic.com/entertainment/archive/2011/06/game-of-thrones-finale-the-powerful-women-of-westeros/240686/. Retrieved 2012-02-02. 
  44. ↑ Hibberd, James (July 21, 2011). "George R.R. Martin on Dance With Dragons shocking twist (Spoilers)". ew.com. http://shelf-life.ew.com/2011/07/21/dance-with-dragons-shocking-twist-g/. Retrieved 2012-01-21. 
  45. ↑ 45.0 45.1 Bellafante, Ginia (April 14, 2011). "A Fantasy World of Strange Feuding Kingdoms". nytimes.com. http://tv.nytimes.com/2011/04/15/arts/television/game-of-thrones-begins-sunday-on-hbo-review.html. Retrieved 2012-01-21. 
  46. ↑ 46.0 46.1 Birmingham, John (August 1, 2011). "A conversation with Game of Thrones author George RR Martin". [[w:smh.com.au|]]. http://www.smh.com.au/technology/blogs/the-geek/a-conversation-with-game-of-thrones-author-george-rr-martin-20110801-1i6wj.html. Retrieved 2012-02-15. 
  47. ↑ 47.0 47.1 47.2 47.3 Teitelbaum, Ilana (April 16, 2011). "Dear New York Times: 权力的游戏 Is Not Just for Boys". huffingtonpost.com. http://www.huffingtonpost.com/ilana-teitelbaum/game-of-thrones-hbo_b_850014.html. Retrieved 2012-02-16. 
  48. ↑ 48.0 48.1 Meslow, Scott (April 25, 2011). "Game of Thrones: Making Sense of All the Sex". theatlantic.com. http://www.theatlantic.com/entertainment/archive/2011/04/game-of-thrones-making-sense-of-all-the-sex/237759/. Retrieved 2012-02-02. 
  49. ↑ 49.0 49.1 Poniewozik, James (July 12, 2011). "The Problems of Power: George R.R. Martin's 魔龙的狂舞". time.com. http://entertainment.time.com/2011/07/12/the-problems-of-power-george-r-r-martins-a-dance-with-dragons/. Retrieved 2012-01-21. 
  50. ↑ 50.0 50.1 50.2 50.3 50.4 50.5 "Authors@Google presents George R. R. Martin in conversation with Dan Anthony". [[w:AtGoogleTalks|]]. July 28, 2011. http://www.youtube.com/watch?v=QTTW8M_etk0. Retrieved 2011-03-21. 
  51. ↑ 51.0 51.1 51.2 Rosenberg, Alyssa (June 21, 2011). "Food in Fiction: How Cooking Brings You Closer to the Characters". theatlantic.com. http://www.theatlantic.com/entertainment/archive/2011/06/food-in-fiction-how-cooking-brings-you-closer-to-the-characters/240777/. Retrieved 2012-02-02. 
  52. ↑ 52.0 52.1 52.2 Alter, Alexandra (December 8, 2011). "These Literary Tastes Include Eel Pie, Grilled Snake". [[w:wsj.com|]]. http://online.wsj.com/article/SB10001424052970203935604577064981671021446.html. Retrieved 2012-02-02. 
  53. ↑ Bruski, Adam (September 8, 2011). "Cooking With Ice and Fire". huffingtonpost.com. http://www.huffingtonpost.com/adam-bruski/food-george-rr-martin_b_953070.html. Retrieved 2012-02-16. 
  54. ↑ "A Feast of Ice and Fire: The Official Companion Cookbook". amazon.com. http://www.amazon.com/Feast-Ice-Fire-Official-Companion/dp/0345534492. Retrieved 2012-02-14. 
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