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52 pages 1 hour read

Mark Lawrence

Prince of Thorns

Fiction | Novel | Adult | Published in 2011

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Themes

The Quest for Power: “The Game”

“The game” is a metaphor for the competition for power among the powerful magic wielders seeking to gain control over the kingdoms of the story’s postapocalyptic setting. This way of framing political struggle is adopted by Jorg due to the influence of Corion.

For Jorg, “the game” operates on two levels. He uses the metaphor just as Corion and Sageous do in that he thinks of the brothers as his pawns, Makin as his knight, and so forth. However, he goes beyond using “the game” to describe political struggle to using it as a way to describe the stakes of political struggle.

Jorg reasons that the stakes of “the game” are always the same, namely death. This thinking explains part of Jorg’s willingness to push on regardless of the potential cost. To Jorg it makes no difference whether one dies by a high fall, or a sword blow, or even having one’s lifeforce drained by a necromancer. In Jorg’s view, if he is going to pursue a goal that requires he risk his life, then he needs to be ready to risk it at any time. Otherwise, he isn’t really playing to “win.”

Jorg extends that logic to those under his command when he tells Lord Vincent de Gren to order one of his men to jump off a cliff. Jorg wants to see if Lord Vincent’s men will follow his orders even when it means certain death. After all, what is the difference between a soldier being ordered to certain death against an enemy and a soldier being ordered to jump off a cliff? According to the logic of “the game,” the outcome is the same.

Thinking of his quest for power as a game also allows Jorg to make the risks he is taking more abstract, as can be show in this quote: “You lost the game, and what have you lost? You’ve lost the game” (19). By framing death as simply losing, Jorg can depersonalize the danger to himself.

One of the story’s major twists is Jorg’s realization that the true players of “the game” are not the visible rulers but rather the magic-users controlling them from behind the scenes. Kings are simply more pieces on the board for the real players to make use of.

The Necessity of Sacrifice in the Pursuit of Power

Jorg is not only willing to risk his life in pursuit of his goal of gaining power, he is also more than happy to risk other people’s lives or outright discard them as he deems fit. Some of Jorg’s willingness to sacrifice anyone and anything comes from his view of political struggle as “the game.” Just as viewing his quest for power as a game allows him to depersonalize the prospect of his violent death, this perspective also allows Jorg to dehumanize those around him. By viewing his followers as mere tools for his use, he excuses himself from feeling any moral compunction about their deaths.

Well before Jorg learns about “the game,” Jorg’s father teaches him hard lessons about “pain and loss and sacrifice” (289). Indeed, Jorg’s father displays a harshly utilitarian attitude towards other people—so much so that, when he is sick after his rescue from the hook-briars, Jorg doesn’t believe Lundist when the tutor says that Olidan will visit him, thinking to himself “my father would not waste time on me when it seemed I would die. I knew he would see me when seeing me served some end” (27). Jorg again references this aspect of his father’s character when he goes to rescue Makin from Olidan’s dungeons. Makin is weak and has difficulty standing, and Jorg ponders what to do. In the end he tells Makin “I’m my father’s son” (322) to warn the knight that he will be abandoned if he cannot keep up.

And, yet, there are certain things that Jorg is loath to sacrifice. Most obviously he refrains from killing Princess Katherine despite having the opportunity. Katherine is cunning and pretty, and her sister is Jorg’s enemy, so he has every reason to remove her as a threat. Moreover, Jorg is attracted to Katherine and considers that attraction a “weakness” (314) since it can be exploited. He refrains from killing her for two reasons. The first is that he is genuinely attracted to her in a way he has never been to another woman. The second is that he realizes that Corion is attempting to manipulate him into killing her so that leaving her alive is an act of resistance against the sorcerer’s control. 

Revenge as a Motivating Force

Besides his unquenchable thirst for power, Jorg is largely motivated by a desire for revenge that is at times at odds with his philosophy of sacrifice. Despite leaving the Tall Castle in order to take revenge upon Renar, Jorg quickly desists from trying to get to Renar and spends the next four years pillaging with the brothers. Jorg eventually learns that this is due to the influence of Corion but, while he still believes that it was his decision, he rationalizes it by thinking of his revenge as being “a thing without profit” (49) that he set aside in pursuit of power.

It is only when his desire for revenge is rekindled that he turns aside from the aimless plundering he has been engaged in for years and begins his journey towards real power. His decision to ambush Renar’s men when they return to Norwood makes it necessary for the brothers to take the Lichway in order to avoid retaliation by the Count. By taking the Lichway, Jorg stumbles across Father Gomst, which in turn prompts him to decide to return to the Tall Castle.

Following his father’s attempt to murder him, Jorg would seem to have good reason to seek revenge on Olidan but instead sets out for Corion. When Makin expresses his bewilderment at the decision, Jorg explains that Corion is the true driver of Renar’s actions. If Jorg is to get revenge for his mother and brother, Corion is the true target. Nevertheless, it seems that Jorg is learning when to balance desire for revenge with strategic thinking. No doubt Jorg will attempt to take his revenge and kill his father. For now, though, removing Olidan from “the game” is not the highest priority.

Although Jorg learns to balance vengeance against his other goals, he is clearly unwilling to give it up completely. In his encounter with the angel, Jorg asks her: “I could go with you, Lady. I could take what you offer. But who would I be then? Who would I be if I let go the wrongs that have shaped me?” (300) The injuries done to him and his desire for retribution define him.

The Interconnectivity of Feudalism, Power, and Religion

Prince of Thorns is set in a postapocalyptic world that has reverted to a feudal political and social structure. Territory is ruled by hereditary monarchs and administered by the royal household and its knights.

Alliances are secured by marriage between royal families, as seen by Olidan’s marriages to Jorg’s mother to secure an alliance with the kingdoms of the Horse Coast and, later, to Katherine’s sister Sareth to secure an alliance with Scorron.

Allegiance is given personally from a vassal to his lord, not the kingdom, through a formal oath undertaken under the auspices of God. For the vassal to break an oath is therefore considered blasphemous. When Jorg is interrogating Renar’s captured knight, Gomst pleads with the Prince:

‘There are few oaths more sacred than that of a knight to his liege lord. You should not ask him to break it. Nor should any threat against the flesh compel a man to betray a covenant and forever place his soul in the fires of the Devil’ (72).

Just as in medieval Europe, when the continent was largely governed under a patchwork of feudal kingdoms, the Church has a major presence in society. The world of the book is meant to be understood as taking place in the far future of our own world, some thousand years after a cataclysmic event—strongly hinted to be a nuclear war—so the Church of the story is essentially the survival of the Roman Catholic Church. This is shown by the description of mass: “Meeting the pagan had left me wanting a touch of the church of Roma, a breath of incense, and a heavy dose of dogma” (194). And, just as in medieval Europe, the Church’s influence is sometimes more notional than factual, as when Jorg points out to Sageous that “[i]f the pope dared leave Roma these days, she’d be here to curse your soul to eternal hellfire!” (129)

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