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Leadership in
Game of
Thrones
Brigitte Biehl
Leadership in Game of Thrones
Brigitte Biehl

Leadership in Game
of Thrones
Brigitte Biehl
Berlin, Germany

This book is a translation of the original German edition „Leadership in Game of

Thrones“ by Biehl, Brigitte, published by Springer Fachmedien Wiesbaden GmbH in
2020. The translation was done with the help of artificial intelligence (machine transla-
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terms of content, so that the book will read stylistically differently from a conventional
translation. Springer Nature works continuously to further the development of tools for
the production of books and on the related technologies to support the authors.

ISBN 978-3-658-34116-9    ISBN 978-3-658-34117-6 (eBook)

https://doi.org/10.1007/978-3-658-34117-6

© Springer Fachmedien Wiesbaden GmbH, part of Springer Nature 2021

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Acknowledgements

I would like to thank the students of the B.A. Creative Industries Management for
discussing the topic Game of Thrones in a seminar series. Alexander Missal pointed
out the “strong silent type” from The Sopranos and made lucid comments about the
series. Norman Noczinski has lovingly tolerated my GoT fascination, among many
others things, and added analyses of the music and legal issues. I would like to
thank the editor Marcus S. Kleiner for encouraging me to pursue this project, and I
thank him and Marcus Stiglegger for inviting me to speak at the symposium “Pop-
ular Politics in Television Series” by SRH Berlin School of Popular Arts (formerly
SRH Hochschule der populären Künste) and DEKRA Hochschule für Medien Ber-
lin, which once again heightened my awarenss of the relevance of TV series and
popular culture. Ulrich Wünsch is to be thanked for literally opening the door to the
popular arts for me and for embodying a creative type of leader during his time as
founding rector of our university that cannot be found in this book.

v
Contents

1 Introduction: Popular Culture and Leadership �����������������������������������  1

2 Authenticity (Eddard Stark)������������������������������������������������������������������� 15
3 Forms of Capital (Robb and Catelyn Stark, Petyr Baelish)����������������� 29
4 Phallus (Yara Greyjoy, Varys)����������������������������������������������������������������� 43
5 Women (Sansa Stark)������������������������������������������������������������������������������� 57
6 Loneliness (Cersei Lannister)����������������������������������������������������������������� 67
7 Charisma (Daenerys Targaryen)������������������������������������������������������������� 77
8 Romance (Jon Snow) ������������������������������������������������������������������������������� 91
9 Disability (Tyrion Lannister, Brandon Stark)���������������������������������������101
10 Conclusion: Leadership Is Relational�����������������������������������������������������113

vii
List of Figures

Fig. 1.1 Power and its centers are constantly in motion, even in our world
today and on The Simpsons. (The Simpsons, 2012, S32E15, USA,
Fox Studios, YouTube https://www.youtube.com/
watch?v=ZcSSpw7t044)�����������������������������������������������������������������������6
Fig. 1.2 Ditch it now! Daenerys, Breaker of Chains, prefers to align her
followers via charisma and visions. (Game of Thrones (GoT),
S03E04, USA, 2013, HBO, YouTube) �������������������������������������������������9
Fig. 1.3 Leaders look ahead and ignore windbags. At least, that’s
what Alliser Thorne says. (GoT, S04E09, USA, 2014, HBO,
YouTube)���������������������������������������������������������������������������������������������10
Fig. 2.1 Doing the unpleasant jobs yourself. Lord Eddard Stark is tough, but
authentic. (GoT, S01E01, USA, 2011, HBO, YouTube)���������������������18
Fig. 2.2 Language is a key leadership tool and is part of social interaction.
(“The Jon Snow Accent! Game of Thrones Accents Tutorial,” Learn
English with Papa Teach Me, YouTube https://www.youtube.com/
watch?v=0Eu2w5X6w0w)�����������������������������������������������������������������21
Fig. 2.3 Excuse me? The throne is taken again, although it was agreed
otherwise? Ned Stark didn’t see that coming. (GoT, S01E07, USA,
2011, HBO, YouTube)�������������������������������������������������������������������������26
Fig. 3.1 One gives away his capital, while the other builds a fleet with a
self-designed coat of arms on the sail. Chaos is his ladder. (GoT,
S03E06, USA, 2015, HBO, YouTube) �����������������������������������������������33
Fig. 3.2 Ballet of the Guards. Cersei visualizes leadership as the organiza-
tion of people in space and time. (GoT, S02E01, USA, 2012, HBO,
YouTube)���������������������������������������������������������������������������������������������34

ix
x List of Figures

Fig. 3.3 When watching is no longer fun. Memes with reactions to the
massacre at the Red Wedding. (https://i.pinimg.com/originals/ac/
c3/c3/acc3c3f76a1c2265fbefd4767c7dde45.jpg)�������������������������������36
Fig. 3.4 Empowerment is not always well received by leaders. Mom is
grounded, tent detention. (GoT, S02E08, USA, 2011, HBO,
YouTube)���������������������������������������������������������������������������������������������38
Fig. 3.5 Catelyn has “female courage” and the right touch: A loyalty oath
means social capital beyond one’s own death. (GoT, S02E05, USA,
2012, HBO, YouTube)�������������������������������������������������������������������������40
Fig. 4.1 Dynamic battle speech, whopping credentials, perfect setting—and
still not convincing enough. Yara is lacking the penis. (GoT,
S06E05, USA, 2016, HBO, YouTube) �����������������������������������������������44
Fig. 4.2 Littlefinger vs. Varys. A battle of words, a chess game in the space.
(GoT, S01E05, USA, 2011, HBO, YouTube)�������������������������������������49
Fig. 4.3 Knowledge is power. One has the upper hand, then the other. (GoT,
S01E05, USA, 2011, HBO, YouTube) �����������������������������������������������50
Fig. 4.4 Who lasts the longest? Highly symbolic games for the guys. (GoT,
USA, S04E01, 2014, HBO, YouTube) �����������������������������������������������53
Fig. 5.1 Dressed for success. Pastel colours are definitely out for Sansa
Stark. (GoT, USA, S08E04, 2019, HBO, YouTube)���������������������������60
Fig. 6.1 A silent scream. Cersei lonely on the throne, as head of the state
and the church. (GoT, S06E10, USA, 2014, HBO, YouTube) �����������75
Fig. 7.1 On a distance from the others: Mother of Dragons, Breaker of
Chains, etc., etc. (GoT, USA, S07E03, 2017, HBO, YouTube) ���������81
Fig. 7.2 Daenerys doesn’t feel naked, she has dragons on her shoulder and
everyone is looking down on the ground anyway. She’s the
power-over type. (GoT, S01E10, USA, 2011, HBO, YouTube)���������85
Fig. 7.3 Daenerys, Mhysa, Breaker of Chains, and medieval rock star. The
masses love her. (GoT, S03E10, USA, 2013, HBO, YouTube)�����������87
Fig. 7.4 Power gives you wings—until the leader takes off. Daenerys before
her last big speech. (GoT, USA, S08E08, 2019, HBO, YouTube) �����88
Fig. 8.1 Being the boss again!? Jon Snow was never able to enjoy promo-
tions. (GoT, USA, S06E10, 2016, HBO, YouTube)���������������������������95
Fig. 8.2 Support makes him uncomfortable. While confident leaders stand
up, Jon would rather sneak under the table. (GoT, USA, S05E02,
2015, HBO, YouTube)�������������������������������������������������������������������������96
List of Figures xi

Fig. 9.1 Dark Middle Ages reloaded: The Red Witch sets a girl with a
scarred face on fire. (GoT, USA, S05E09, 2014, HBO,
YouTube)�������������������������������������������������������������������������������������������103
Fig. 9.2 That’s it: Tyrion, “guilty of being a dwarf,” accuses discriminatory
society. (GoT, USA, S04E06, 2014, HBO, YouTube)�����������������������104
Fig. 9.3 Survival of the Fittest: After 8 seasons of intrigue and killing, a
woman (Sansa) and a disabled man (Bran) split power over the
kingdoms, and one woman (Arya) emigrates. (GoT, USA, S08E06,
2019, HBO, YouTube)�����������������������������������������������������������������������111
Introduction: Popular Culture
and Leadership 1

Abstract
Game of Thrones is not just about fantasy, but about people in uncertain times.
Popular culture is a performative practice that provides us with meaning and
enables understanding of interpersonal interaction and struggles for influence,
legitimacy and power. Central themes of the series are power, leaders and fol-
lowers—the core themes of leadership research that we encounter everywhere
today. Media products show us the complexity of leadership quite lively and in
a more illustrative way than textbooks with their often dry explanations.

Keywords
Popular culture • Leadership • Management research • Relationships •
Interaction

Game of Thrones is not just a fantasy story, but a story about people. The series can
be seen as a serious exploration of human nature in uncertain times. The HBO se-
ries, which positions itself as a complex quality TV series different from regular
public TV, has attracted immense global attention. In the ranking of the most fa-
mous TV series, Game of Thrones is near the top with 38 Emmys and 128 nomina-
tions between 2011 and 2019, behind Saturday Night Live (since 1975), ahead of
Frasier, The Simpsons, and many other great series of this decade like Breaking
Bad and Mad Man. The controversial interest is definitely high. In the early days,
for example, Laurie Penny (2012) in the New Statesman had called Game of
Thrones a “pre-cultural Disneyland with dragons”, full of misogyny, heterosexism,
cissexism and toxic masculinity. The abundance of blood, breasts and rape coupled

© Springer Fachmedien Wiesbaden GmbH, part of Springer Nature 2021 1

B. Biehl, Leadership in Game of Thrones,
https://doi.org/10.1007/978-3-658-34117-6_1
2 1 Introduction: Popular Culture and Leadership

with violence and power struggles in the series by David Benioff and D. B. Weiss,
based on the A Song of Ice and Fire series of novels by George R. R. Martin, was a
shock to global audiences accustomed to strategically calculated and sanitized
power plays in House of Cards, or at least semi-controlled viciousness in media-­
acknowledged and thus less alienating drug wars like Breaking Bad. The struggle
for power in Westeros is more physical and bloodier than in any contemporary
economic or political context, but just as deceitful in terms of transgressions, ma-
nipulations, and defeats.
Over the eight seasons, the analyses of Game of Thrones deepened and differen-
tiated, and the popular cultural phenomenon was milked in many ways. It has be-
come a popular object of media discussion about today, human history, and even
the refugee crisis in Syria (Kustritz, 2016). In the business sphere, online portals
such as Business Insider soon presented rankings of the “leadership skills” of the
series’ characters, and the Economist published a piece on the virulent topic of
women in leadership positions in light of the power shift in Westeros: “Women rule
Westeros. How strange” (Prospero, 2016).
In this book, I use this very issue of power, influence, or leadership as a starting
point for an analysis of Game of Thrones. I understand popular culture as a perfor-
mative practice (Kleiner & Wilke, 2013) that conveys meaning to people and en-
ables understanding, including of interpersonal interaction and struggles for au-
thority, power, and meaning that affect us all. In this way, I bring together research
on popular culture with management research, which may sound surprising at first,
but seems almost necessary if one thinks about the central power struggles and
their protagonists. Thus, I will first discuss further the choice of leadership as a
topic, and then also outline how even management studies, which may seem far
away and not open to culture, arts, and media can benefit from and also develop the
analysis and critique of TV series in a cultural context. Likewise, media and cul-
tural studies on TV series benefit from this interdisciplinary expansion into busi-
ness studies, although and precisely because the disciplines of management with
its paradigm of efficiency and cultural studies with its paradigm of efficacy
(McKenzie, 2001) have long been difficult to unite (Biehl-Missal, 2011).
The central themes of the series are power, leaders and followers. These are the
core themes of leadership research, and more importantly, themes that we encoun-
ter everywhere today. For example, critical management researchers Learmonth
and Morrell (2017) have noted the “ubiquity of leadership” in contemporary dis-
course. There is no universal definition of leadership, but current views see leader-
ship as a process that involves influencing others, occurs in the context of a group,
and propagates specific goals that are shared to a greater or lesser extent by both
leader and followers (Walenta, 2012, p. 496). Leadership is therefore not classical
1 Introduction: Popular Culture and Leadership 3

management with functions such as planning, organizing, leading and controlling,

but has to do with sense-making, motivation and influence.
The topic is hot. In world politics today, we also experience the rise and fall of
great politicians, by whom people initially feel inspired and soon disgusted.
Particularly in today’s business world people do not just want to receive instruc-
tions, they want to be motivated and inspired, they want to find meaning and to
self-­actualize, they look for a purpose and for people who show them the direction.
But that alone is not enough. They constantly engage with these leaders and decide
whether to follow them at all and for how long. This is especially true in areas of
the creative industries and knowledge work (Biehl, 2020), service industries, and
many other situations in our dynamic world, and so the principles of leadership and
interaction that we see negotiated in TV series can be lessons for all our lives as
well.
The varied approaches of cooperation and competition that we see represented
on screen can be applied everywhere, at work, in everyday life, and even in private
life (Galinsky & Schweitzer, 2015). Critically, it has already been noted that the
discourses, techniques and imperatives of management are increasingly entering
our lifeworld, where even private lives are already ‘managed’ (Hancock & Tyler,
2004). No surprise then, that a wide audience beyond typical fantasy consumers are
tuning in to Game of Thrones, where these themes of power and influence are con-
stantly encountered and negotiated.
Or the other way around: the series is built on these themes. A wide variety of
management theories and practical experiences are processed, edited and commu-
nicated to media users by the mass media and specifically in TV series—with the
programme content reflecting the most contemporary, up-to-date management
theories (Towers, 2018, p. 251). Even if the fantasy drama was not created as a
leadership parable, these themes are virulent today and are evident in the media
product, which could be described in psychoanalytic vocabulary as a “social
dream”, a product of multi-voiced and creative collaboration, and thus a reflection
of our contemporary society.
The public audience learns about leadership not only through management
books, journal publications and trade magazines, advanced training courses or
from their own experiences in their daily working lives. Rather, people also learn
about topics through popular culture. For example, they learn from TV series
how good collaboration works (Towers, 2018), and can take away from Game of
Thrones how leadership and followership are negotiated interpersonally. Not
only does the series tell us about the subject matter, but it can help us see certain
aspects of leadership and human power struggles differently and more clearly.
There are emotions, interactions, people! TV audiences can learn many lessons
4 1 Introduction: Popular Culture and Leadership

and ­academics as well can derive new insights for management research and also
advance interdisciplinary perspectives in film and television studies and media
and cultural studies.
Popular culture can be fiction and fantasy, entertainment and amusement, but is
always a source of knowledge about the world. The content is presented differently
from scholarly texts that delineate, parcel out, and dig deep into topics, producing
knowledge as compact and hard-to-digest packages. Studying TV series and cul-
ture puts us in a space between conscious analysis and the unconscious popular
dreams of our society. Game of Thrones, like other forms of popular culture, allows
us to develop new perspectives on our world and gain insights that transcend and
expand boundaries of academic disciplines. The point here is not to delineate
knowledge claims, to further divide and literally “discipline” knowledge. Rather,
popular series should be embraced and used as a mirror of our times to pursue new
perspectives that have asserted themselves in this cinematic expression. Thus, in
this book, I analyze Game of Thrones in an interdisciplinary way with the help of
leadership research in the field of management and organization studies.
Popular culture has the potential to broaden and extend knowledge production,
and various strands of scholarly research have already included the analysis of
popular culture. For example, scholars in the field of international relations regu-
larly consider popular culture and have also looked at Game of Thrones as a politi-
cal microcosm, for example, to discuss political authority in its gendered forms,
realpolitik, and political trends (Clapton & Shepherd, 2017). This consideration is
quite obvious, as political action in one context can be transferred quite easily to
another. Of course, the series’ literary references build a bridge to politics, for ex-
ample to the Wars of the Roses in medieval England, the Crusades, and the Hundred
Years’ War, about which author George R. R. Martin is frequently quizzed and with
which fans engage extensively, for example on their own websites (“History
Behind Game of Thrones”, 2019) or in educational videos distributed by TED-Ed
(Gendler, n.d.).
The rule of kings and dukes is a somewhat different form of management than
we see today in global financial capitalism. But even the ruling royal house of
Westeros is heavily indebted to the Iron Bank. Moreover, kingdoms represented the
first economic units and, with their castles as centers, the most managerially run
organizations with a division of labor. The heroes of the novel are not directly
comparable to contemporary leaders and their PowerPoint meetings and IT prob-
lems. But our human problems are not too far removed in principle from the secret
intrigues, moral dilemmas, and verbal conflicts in fictional literature. Even if the
surface looks different, the inside translates right into modern work life.
1 Introduction: Popular Culture and Leadership 5

The fantasy world presents a range of protagonists who can be discussed as

leadership types with regard to contemporary leadership literature—which may
not seem as obvious at first glance as looking at medieval history and international
politics. However, the visual distance of Game of Thrones from the world of busi-
ness leaves more room to play out and break stereotypes. Watching an office series
like Mad Men, Ally McBeal, or Suits through the dispositive of “leadership” would
not allow this to the same extent. The theme of power is central to the series, which
also distances itself from popular fantasy worlds with fairy tale leanings and pri-
marily female audiences, and connects to serious TV drama not least through its
hard-nosed rejection of romantic endings (“happily ever after”). Also, Westeros is
just pseudo-medieval with dragons and zombies and ahistorical by stirring together
popular myths from different places, eras and times. So the series actually shows
little of the past, but all the more of our imagination—not of the past, but of our
contemporary life.
Game of Thrones reveals to us a harsh view of our world. In our democratic
society, the position of violence is different, so this represents a break for us.
However, there are parallels. Although we undeniably uphold cultural achieve-
ments and do not want to live in the violent and brutal medieval era, we experience
that morals and social contracts are often not really up to date with our times, and
often are ignored. Many examples of cruelty, exploitation and ethical scandals in-
volve the business world in particular. We are aware that “the darkness” is among
us or in the form of political threats on our doorstep (Marsden, 2018). Violence is
still part of life for many people in politically and economically unstable places, so
it has not remained in the Middle Ages. Things like intrigue, betrayal, and power
plays may not often be physically brutal for most of us, but they can be psycho-
logically and emotionally destructive.
The political situation often changes quickly, and this is especially evident in
Game of Thrones, where the carousel of rulers and power spins rapidly. The open-
ing credits already point this out when the camera glides over the three-­dimensional
map of Westeros and Essos and the castles and buildings made of machine-like
parts, pausing until they have spiraled upwards, driven by an invisible dynamic.
The buildings shown change, depending on the locations of each season’s action,
and alternately include King’s Landing, Winterfell, Meereen, Braavos, Dragonstone,
Vaes Dothrak, Harrenhal, Swiftwater, and others. The clockwork-like, relentless
emergence points to the determination and inevitability with which centers of
power are constantly formed and manifest in an architectural form. Ironically, the
Simpsons episode “Exit through the Kwik-E-Mart” shows this aesthetic as an in-
tertextual quotation when the urban buildings, including the White House (Fig. 1.1),
appear and in the last image the wall to the North materializes as a giant couch.
6 1 Introduction: Popular Culture and Leadership

Fig. 1.1 Power and its centers are constantly in motion, even in our world today and on The
Simpsons. (The Simpsons, 2012, S32E15, USA, Fox Studios, YouTube https://www.you-
tube.com/watch?v=ZcSSpw7t044)

Game of Thrones doesn’t just tell us fantasy stories, it tells us about people. The
series shows us human interaction in uncertain times. The protagonists struggle
with themselves, their choices, and with others. Although it is a fantasy spectacle
in a medieval setting, Game of Thrones is now also a leadership drama and a mirror
of our times: the series shows a range of leaders of different genders, physical con-
ditions and backgrounds, and leaders who certainly are contemporary and would
not have existed a few decades ago. Game of Thrones situates itself in the geopo-
litical changes between the Western world and surrounding countries. The story
begins with fixed cultural and racial stereotypes featuring the European white king,
the exotic warlord from the Orient, and the beautiful but mean queen. The narrative
arc of the series is the destruction of traditional territories and power relations, the
shattering of noble family lines, and the mass movement of people as in Daenerys’
transnational endeavor. In season five, half of the characters are migrants, political
refugees, and citizens displaced into the diaspora. The situation seems less segre-
gated and cosmopolitan, with a petite blonde with dragons going up against an il-
legitimate bastard from the North, advised by a eunuch and a man with dwarfism.
The powerful women in the series are undeniably modern. Daenerys, with her
power attributes—not guns, but dragons—and her superpowers, the tough and con-
fident Cersei Lannister, and Arya Stark, who went from young daughter to deadly
1 Introduction: Popular Culture and Leadership 7

assassin, are figures of feminist empowerment, taking on roles that were otherwise
reserved for men. The men, too, are like out of today’s hipster and lifestyle series:
the King in the North, Jon Snow, doesn’t want to lead and deplores it, all the time;
the short-term king, Tommen Lannister, wants to be loved by Mum; and the advisor
to several kings, Tyrion, openly admits his many faults and weaknesses.
Such fantasy stories, as well as other stories after the late Middle Ages and be-
fore our technological times, can be used as inspiration in many fields. Management
research has already turned to classical literature, theatre and art (Sánchez, 2018),
as well as a wide variety of film and TV products (Carroll et al., 2015; Towers,
2018). The strength of these media products is that they offer insights into the (in-
ter)human complexity of leadership that business management textbooks with ane-
mic models and matrices and superficial case studies cannot. Managers and com-
panies have attracted spectacular negative attention in recent decades with ethical
and sex scandals (Morgan Stanley), poorly concealed environmental destruction
(Volkswagen), economic fraud (Deutsche Bank) and global bankruptcies (Lehman
Brothers). Thus, management research and education has turned to the world of
arts and popular culture to bring ethical discussions, reflection, and human inspira-
tion into the discipline (Adler, 2006; Biehl-Missal, 2011).
Models of fictional narrative can enrich concepts of leadership research. For
example, management researchers have read Shakespeare for leadership develop-
ment (Augustine & Adelman, 1999; Badaracco, 2006). Critical readers recognize
that Henry V, for example, is by no means a moral ideal but a sinister character and
master dissembler with different faces, the entire Henriad can be seen as a piece on
the pursuit and maintenance of power as a “matter of becoming a consummate ac-
tor” (Mangham, 2001, p. 302). The theatre play poses the question: Has the actor
already succumbed to the image of the invincible self? Unlike management litera-
ture with its widespread leader-centric, charismatic and heroic leadership models,
these protagonists do not appear as heroes but show their unheroic sides. Thus,
many main characters in popular culture, art, literature and theatre are shown as
incoherent, questionable characters. Such heroes are not the aesthetic proof of
mainstream leadership theories, but present us with masks of insecurity in order to
ignite skepticism and doubt towards generally accepted but not really viable con-
cepts of leadership and followership (Biehl-Missal, 2010).
The leaders in Game of Thrones are heroes of the kind you don’t find in text-
books, but in life and clearly and distinctly in popular culture: They are far from
perfect, under tremendous pressure, and want to challenge themselves and others
to achieve their goals. This is consistent with our complex world today, where
failed leaders, although they do not literally get executed, must make decisions
with great uncertainty, uneasy feelings, and uncertain outcomes. The prominent
8 1 Introduction: Popular Culture and Leadership

leaders in Game of Thrones do this on an ongoing basis. Sometimes this goes well,
and sometimes they fail spectacularly! Those who engage with the narrative can
see great strengths and spectacular weaknesses played out openly for once. Those
who empathize while watching can not only rationally comprehend mechanisms of
leadership and followership, but also become aware of them with their senses and
develop the sensual perception of human interaction as a kind of aesthetic compe-
tence. Last but not least, leadership unfolds not only in the mind, but also in the
hearts of people.
Game of Thrones in particular in the medium of film show the abysses and also
the ugly sides of power, with personalizing close-ups, well-illuminated self-­
destruction and detailed confrontations of leadership archetypes and followers that
always are in doubt sooner or later. The political message to the audience is that it
is necessary to move away from the consistently ideological perspective of the
central, usually male, leader. Adopting a more nuanced view, we understand that
people do not only passively follow one leader, but people are actively questioning
and negotiating their interaction and social order. This insight opens the view for
one’s own responsibility and for possible change.
Game of Thrones, I argue, reflects a view on leadership that can also be seen in
contemporary academic leadership research: leaders themselves have been studied
long and extensively, but followers have received much less attention. In fact, it has
also taken many decades of research to take seriously the idea that there is no lead-
ership without supporters or followers (Uhl-Bien et al., 2014). How these two par-
ties interact is a complex and not easily explained matter.
Scholars today do not see leadership as an object that belongs to a person with
power. We see this expressed symbolically in many instances in Game of Thrones:
although the battle revolves around the object of the Iron Throne, the people who
sit on it change relatively quickly. So do crowns and golden pins of the advisors
and “Hands of the King”. At one memorable point, the Mother of Dragons,
Daenerys, throws the ruler’s whip, as a symbol of command, into the sand (Fig. 1.2)
and leaves the city of Astapor together with the soldiers freed from slavery
(S03E04). The fighters of the Army of the Unsullied follow her voluntarily. Here it
becomes clear: leadership is not created through an object, but between people,
through acceptance, shared values and appreciation.
The narrative of Game of Thrones has incorporated a view of leadership that
describes leadership as a social process that is co-created by leaders and followers
(Uhl-Bien et al., 2014). One can therefore never be sure of being firmly in the
saddle of leadership. The series continuously constructs leaders and deconstructs
them again and again. After the king is before the king!
1 Introduction: Popular Culture and Leadership 9

Fig. 1.2 Ditch it now! Daenerys, Breaker of Chains, prefers to align her followers via cha-
risma and visions. (Game of Thrones (GoT), S03E04, USA, 2013, HBO, YouTube)

The only role where leadership works without any resistance is the Night King.
This mysterious figure is the leader of the White Walkers, invulnerable to normal
weapons, and can bring the dead and dragons back to life to join the growing army
of zombies. No conflict, no questions, no doubt, no words, no thoughts, no feel-
ings, no sense-making, no strategy meetings, no lack of motivation—this leader-
ship role is an overdrawn cartoon. It is never perceived as a serious alternative, but
drives the plot as an inexplicable fear, a stand-in for the irrationality of politics and
economics (refugee movements, economic crises, pandemics, climate catastro-
phes, etc.) until it eventually dies a rather unspectacular zombie death.
Leadership is a rocky road and a shaky position—that is something Daenerys
will learn, as will Jon Snow. Before his first leadership position as Lord Commander
of the Night’s Watch, Jon is told quite clearly by the experienced Alliser Thorne
(Fig. 1.3) that the position does not naturally bring permanent power: “Do you
know what leadership means, Lord Snow? It means that the person in charge gets
second guessed by every clever little twat with a mouth.” (S04E09) Rather, the
leader is constantly scrutinized and challenged. It’s difficult when every smart al-
eck is judging you. But Thorne sees the real danger in self-doubt, as if the only
thing that matters is the leader himself: “But if he starts second guessing himself,
that’s the end. For him, for the clever little twats, for everone.”
The series later reveals that Alliser had downplayed the relationship dimension.
He secretly plots and, in cooperation with others, instigates a revolt against the
commander of the Night’s Watch. Jon, who has decided not to talk to others and
10 1 Introduction: Popular Culture and Leadership

Fig. 1.3 Leaders look ahead and ignore windbags. At least, that’s what Alliser Thorne says.
(GoT, S04E09, USA, 2014, HBO, YouTube)

question himself, but instead confidently lulls himself into safety, is insidiously
stabbed. De facto, everyone questions everyone else. Leadership is a social pro-
cess, a relational thing, and is continually negotiated between leaders and follow-
ers. The principle drives the narrative in Game of Thrones and culminates in many
bloody and surprising moments.
Game of Thrones shows cultural types that we all know, and which I will bring
into correspondence with models of leadership research. Although the series seems
distant from our lives in terms of form, it is not just fantasy, but directly relates
narratively and conceptually to the present in which we live. Congealed in the se-
ries as a multi-voiced creative product are notions of leadership that do not merely
exist imaginatively or theoretically, but are real and among us. My investigation
thus works with a parallelization on multiple levels, relating cultural archetypes to
models of leadership, and relating these to our present. People demand leadership
on the one hand, and are highly ambivalent and critical of it on the other. Leaders
are constructed and deconstructed. Leadership is not a position but a process and is
negotiated interactively between the participants. Finally in the series, leadership is
almost dissolved and transferred to people we would not have expected. The series
works towards this end point, slowly but inexorably, in many twists and turns.
The main characters in Game of Thrones are shaped as leader-centric models
that tend to see their followers as obedient—and always fail, because leadership is
1 Introduction: Popular Culture and Leadership 11

about relationships. To illustrate this, my elaboration begins with one of the most
well-known archetypes, which Game of Thrones also presents first: The authentic
leader, in tune with his values, genuine and straightforward, “the strong silent
type,” the man from the North, the benevolent patriarch, Lord Eddard Stark of
Winterfell (Chap. 2). He is overwhelmed with the complexity of the power games
in the capital and cannot understand the values of others, so he soon fails tragically.
He is followed by subsequent leaders, who appear as a safe bet, because they
bring their social, cultural and economic capital with them as privileges, like Robb
Stark and his mother Catelyn (Chap. 3). “Mama Direwolf” is the mother archetype,
the strong woman in the background who empowers, supports, and patiently work
on his son—but is not appreciated or taken seriously. This leads to the bloodiest
season ending in series history, the “Red Wedding.”
In the power vacuum, various players now try to assert themselves, such as
qualified women like Yara Greyjoy or strategic players like Varys (Chap. 4), who,
however, lack one part: the penis and the potency associated with it. Other mascu-
line leaders boast about the phallus and assert themselves.
Finally, the season 6 finale marks the hour of women rising to the highest levels
of power as leaders, such as Sansa Stark (Chap. 5), who learned a lot and went from
romantic teenager to war strategist and revenge taker.
Cersei Lannister, the feminine, passive-aggressive type, and at times anti-­
feminist schemer isolates herself from her environment as a power-over type. She
assumes a lonely leadership role that she shares with other political and religious
leaders in cultural history (Chap. 6).
A ray of hope is Daenerys Targaryen, the archetype of a charismatic leader: the
“Mother of Dragons” promises a revolution and followers worship her—and then
she loses herself in her own theatricality that becomes devoid of purpose (Chap. 7).
A final attempt to find a traditional leader is made with Jon Snow, who is pushed
into the leader role by his followers in times of crisis against his will—a classical
romance of leadership (Chap. 8).
This does not work out either, and with the exit of the last charismatic and hand-
some man, Game of Thrones serves us a form of leadership that does not corre-
spond to the expectations of the mainstream: “cripples, bastards, and broken
things” (Chap. 9). While leadership in the medieval fantasy world is not yet given
into the hands of a democratic society, it is eventually all the more subtly and sym-
bolically resolved in the medium of the Three-Eyed Raven, who, beyond authentic-
ity, forms of capital, clichés of masculinity, gender roles, and charisma, sits in a
wheelchair as a collective memory on an unspectacular wooden stage and presents
a disinterested face. The audience is left to reconsider and take on their responsibil-
ity in the context of leading and following.
Another random document with
no related content on Scribd:
 There was little time to spare, but there were one or two early customers
of Herr Krantz, who lent instant and unquestioning aid. These helped
Trafford told the narrow street till the landlord had set his oaken shutters in
front of the glass shop-front. Then, as the increasing pressure threatened to
overwhelm them, they darted into the shop, banged the door, and shot the
massive bolts. A rattle of blows resounded on the woodwork, and a chorus
of fierce cries came in strident chorus from the crowded lane. Krantz
switched up the electric light to relieve the darkness.

"I will telephone for the police," he said.

"No," said Trafford, who did not share his host's confidence in the
Weidenbruck constabulary. "Ring up the Palace."

Krantz retired to the telephone in the inner room, and the hammering on
door and shutters went on with redoubled violence.

"What is it that they want?" asked the inmates of the shop of Trafford.

"Me," replied the latter.

"Why?"

Trafford had but the vaguest idea, but he answered boldly:

"Because I am the Queen's friend."

"I have given a message that you are here and in danger," said Herr
Krantz, returning.

"Thanks. Are your shutters sound?"

"I believe so, Excellency."

"I am glad to hear it. I think we should be well advised to go to an upper

window and survey the prospect."

Krantz assented, and led the way up a dark and narrow stair to a room
on the first floor. Opening the double windows, Trafford surveyed a scene
of many heads; the confined thoroughfare was literally crammed with a sea
of human beings. All were shouting, and those whose position enabled them
to do so were banging against the defences with sticks and fists.

"I trust Herr Krantz's shutters are as sound as he thinks," he muttered

looking down on the surging mass of his enemies. "What an excitable folk
these good Weidenbruckers are! I suppose that cross-grained beast, Von
Hügelweiler, has been concocting some evil tale about me, and is egging
them on to pull me to pieces in revenge for his defeat on the Rundsee. But
he finds me in good fighting trim, and I will follow up that blow on the nose
with other attentions if I get half a chance."

He craned his head sideways, to take full stock of his adversaries, and as
he did so it came into contact with a huge icicle, one of the many that hung
like gigantic dragon's teeth from the over-hanging eaves. The slight shock
to his cranium instilled a fresh idea.

"Have you any snow on your roof, Herr Krantz?" he asked, drawing
back into the room.

"The pitch is steep and throws off the snow, Excellency, but there may
be a hundredweight or two."

"And can we get on to the roof?"

"If you will."

"We might create a diversion," pursued Trafford. "A little snow

distributed scientifically on the heads of these good people might have a
wonderfully cooling effect on their heated tempers."

Krantz doubted the wisdom of further infuriating the mob, but

Trafford's enthusiasm was infectious, and he won his way.

A steep ladder and a trap-door gave access to the tiled roof. A shovel
was procured, and in a few seconds a small avalanche was dislodged on to
the more aggressive bombarders of the oak shutters. The effect was
excellent, and a desire to edge away from the immediate proximity of the
wine-shop manifested itself. Trafford, however, was seen, and his image
served to increase the streperous chorus of execration below. He replied
with a mocking bow and a shovel-full of snow tossed lightly into the middle
of the throng. For the moment he held the advantage: curses were met with
jeers; threats with a polite obeisance; any symptom of action was countered
with a swift reprisal of hurtling snow. But the situation was not allowed to
remain definitely favourable. Among the crowd was someone with an
intelligent brain as well as an excitable nature. Von Hügelweiler at this time
was as full of the sentiment of human hate as an insulted and disappointed
egotist could be. The blow he had received had been the last straw. A bullet
in his breast or a sword through his arm would not have burned with such a
fire of shame as the crude, coarse shock of his rival's fist. All sense of
proportion, all notion of justice, let alone mercy, had long ago been
swamped by the bitter tide of maddening disappointment which poisoned
his best instincts. And now the lust of vengeance,—baulked for the moment
by his enemy's resource,—led him to do rather a clever thing. There was a
small fire-station hard by Krantz's brasserie, and this, with the assistance of
his chosen followers, Von Hügelweiler raided. A few minutes later, helmet
on head and axe in hand, he and some half-dozen desperadoes returned
hopefully to the attack.

As the first axe-blow crashed into the oaken woodwork, Trafford sent a
mass of snow on to the assailant. The man shook under the weight, but his
helmet protected him, and he went on with his work undeterred.

In vain Trafford and his companions shovelled their crystalline

ammunition on to the heads and shoulders of their attackers; they delayed
the work of irruption, but delayed it immaterially. It was the crowd's turn to
jeer now, for the axes were playing havoc with the stout shutters, and it
seemed a matter of minutes only before oak yielded to steel, and the
inevitable rush of furious humanity flooded the beer-house.

"We are undone," said one of Trafford's companions; "we must try and
escape over the roofs."

"One moment," said Trafford, sprawling at full length on the tiles, his
head hanging over the eaves. "Herr Krantz, sit on my legs."
 The proprietor, a man of weight, did as he was bid.

With the hilt of his sword Trafford banged at the base of one of the huge
icicles that fringed the overhanging cornice. At the third blow it parted—
four feet of glistening ice pointed to dagger fineness descended like a
javelin on to the back of one of the storming party. The man fell without a
sound. A snarl, half horror and half rage, burst from the crowd. His
comrades raised his limp and lifeless body from the snow, and bore it from
the danger zone.

"Forward again!" cried Von Hügelweiler, furiously rushing against the

shop and burying his hatchet in the splintering shutter.

But Trafford was busy dislodging another icicle of even more

formidable dimensions, and when that was used there were a score of
others. The men drew back; one traitor's life was not worth the risk, and
Von Hügelweiler, finding himself unsupported, withdrew too.

Whether caution would have prevailed, or whether the spirited harangue

which Von Hügelweiler now addressed to his followers would have had its
effect, can never be known. A diversion, more serious than hurtling snow or
crashing icicle, occurred to change men's moods. A troop of horse,
cuirassed, high-booted, armed with naked swords, was making its slow but
irresistible way down the congested thoroughfare; and in the midst, with
black slouch hat and sable uniform, rode the grimly smiling person of
Father Bernhardt. A cheer greeted him, for his errand was unknown, and he
might have come, for all they knew, to help in taking the traitor. If that was
their idea, however, they were soon undeceived. The ex-priest's quick eye
detected Von Hügelweiler, and the latter, reading its sinister message,
commenced a hasty retreat.

"Two hundred kronen to the man who brings me Von Hügelweiler, dead
or alive!" called out Bernhardt.

There was a movement in the crowd, and in it the late Captain of the
Guard was lost to view.
 "Good-morning, Father Bernhardt!" cried Trafford from the roof. "You
arrive at an opportune moment; her Majesty's lieges were getting
troublesome. At first I contented myself with snow-balling them, but they
turned nasty and I had to despatch an icicle. I am afraid one liege was rather
hurt."

Bernhardt's smile widened as he took in the situation.

"A pity it wasn't Von Hügelweiler," he said. "But you'd better let me
escort you to your rooms. For the moment you seem to have fallen out of
favour with the plebs."

"I fear so," replied the American, "and had it not been for good Herr
Krantz, I might have fared badly at the hands of these gentlemen."

"Herr Krantz shall be rewarded," said Bernhardt. "His loyalty is well

known and appreciated in the highest quarter. And as for these 'gentlemen,'
as you call them," he went on, turning to the mob, "I've a good mind to give
them an experience of a cavalry charge in a narrow lane."

The suggestion was taken literally by the mob, and something of a panic
began in the neighbourhood of the steel-clad troopers. But Bernhardt
checked the movement with a quick shout.

"Stop, you fools!" he cried, rising in his stirrups and letting his great
voice ring out. "Stop, and listen to me before you go about your business—
or your idling! What do you mean by this breach of the peace? Has there
not been trouble enough in the city of late? Are you men or wolves, that
you hunt a man through the streets, and pull down the doorway of a
peaceful citizen?"

"He is a traitor!" cried one. "He freed Karl!" cried another, and a babel
of tongues broke out in an eager flood of accusation.

For a moment Bernhardt let them speak. Then he raised his hand and
won instant silence.
 "He is not a traitor," he said with slow emphasis. "He rescued me from
the Strafeburg. Was that the act of a traitor? Had it not been for this brave
and resourceful American I should now be rotting in a dungeon, and you
still beneath the yoke of Karl. It is true that Karl has fled to Weissheim, but
that was a mistake due to no fault of Trafford's. And the fault, whosoever's
it was, he will undo, for he accompanies me to Weissheim, sworn to win
back the Marienkastel from the Queen's enemies."

The quiet force of his words carried conviction to his hearers. They
feared the grim, black figure as a pack of dogs fears its master, but there
was a certain canine affection in their debased regard. Bernhardt was a
superior being, one whose word was law. They heard and believed, and
even began to feel self-reproachful.

"For shame on you, men of Weidenbruck!" went on the ex-priest in

upraised tones. "Shame on you, I say, compassing harm against the man
who delivered you from tyranny! This loyal friend of mine, whose courage
and craft you have just experienced to your own hurt, joins an expedition to
Weissheim as my right-hand man. A foreigner, he endures hardships and
dangers for your sake and that of your noble young Queen. 'Traitor,' you
called him! Hero and liberator would be better titles, I think, for such as he.
With his help there is no fear but that we shall capture Weissheim from our
enemies, and bring back Karl a prisoner to the capital. What reward will
you have then for Trafford, the deliverer? Will you hunt him through your
streets like a mad dog? Or will you strew garlands in his path, acclaim him
from your housetops—aye, and give him the highest in your land to wife!"

Assuredly if the power of words is a wonderful thing, the power of

personality is infinitely greater. Bernhardt had spoken with a certain ready
eloquence, a certain skill of pleading in his client's cause; but another might
have spoken with twice his skill and twice his oratory, and have failed
completely. It was not that he followed the temper of the mob and adapted
himself to their moods; rather, he made their moods for them, and used
them to his own sweet will. When he reasoned they followed and were
convinced, when he lashed they cringed, when he reproached they suffered
agonies of shame; and at the end he raised their enthusiasm for the object of
their late malice, with the ease of a consummate master of men, and his last
question was met with a ringing cry of "Long live the American! Long live
Gloria of Grimland!" The ex-priest's smile was more of a sneer than
anything—so cheap did he hold his triumph over the flaccid minds of the
shifty horde; but his eye wandered to the roof where Trafford stood, shovel
in hand, cheering himself and his secretly-married wife.

"We will escort you to your hotel," Bernhardt called out.

"It is not necessary," replied the American. "Bernhardt the Magician has
effected my metamorphosis—he has changed me from a fox to a lion."

CHAPTER TWENTY-THREE

THE "BOB" RUN

In the far north of Grimland, seemingly secure in its snow-blocked

passes and its improvised fortifications, the mountain town of Weissheim
basked serenely in the unclouded sunshine of its exalted plateau. The life of
the place went on, little affected outwardly by the rude shocks of a
revolution that had unseated a dynasty at Weidenbruck, and incidentally
horrified the sober-minded people of Europe. The railway was cut that
connected Weissheim with the capital, and the telegraph wires were
drooping, limp and useless, from their stark poles. The foreign contingent,
—the English and American visitors of the "Pariserhof,"—pursued their life
of unadulterated pleasure-seeking as thoroughly and unconcernedly as was
their wont. Each morning found the curling rink well filled with
knickerbockered mortals, bearing brooms, and hurling granite bowls over
the perfect ice, and using weird expressions of Scottish origin tempered
with Anglo-Saxon profanity. The snows of the hillsides were scarred with
the double-tracked impressions of innumerable ski-runners, and the great
toboggan run—the Kastel run—found its daily complement of votaries for
its dangerous attractions. Each night the thermometer showed its zero frost,
and each day the winter sun proclaimed its potency with no uncertain ray.
Nature was as serenely unconscious of politics as the guests of the
Pariserhof were of the series of fogs that was at that time choking the streets
of London with obfuscating blackness. This winter, indeed, was singularly
like other winters at this ideal resort of athletic and convalescent humanity.
It is true that horrible tales of rioting and violence had come through from
Weidenbruck,—but similar reports had been transmitted many times
previously,—and if the present rumours were rather more highly-coloured
and substantial than heretofore, that was no reason why able-bodied men
and women should not skate and ski, and play innumerable rubbers of
bridge over cups of hot chocolate and cream-stuffed éclairs au café. It was
true that bands of swarthy men in uniform, and armed with shovels, were
perpetually throwing up snow-works on the surrounding bluffs, but they
respected the skating-rinks and the toboggan-runs—which was all the
visitors cared about. Moreover, they furnished rather a picturesque note as
they dragged their grim pieces of ordnance over the steep snow slopes, and
slowly hauled them into position in the aforementioned snow-works. What
the guests of the Pariserhof failed to appreciate was, that a miracle was
taking place. Weissheim was loyal! Weissheim,—for years the home of
sedition and intrigue,—was all for Karl! Just as in the days of his prosperity
it had turned against him, so now in the hour of his discomfiture it rallied to
him as one man. The troubles of 1904 had taught the good Weissheimers
that they had a man for a Sovereign, that the tall, good-natured, sunburnt
gentleman in spectacles had a hard fist inside his fur-lined gloves, and a
stout heart under his Jäeger cardigan. And the fact that Weidenbruck had
cast him out was a good enough reason for their taking him in. The men of
the mountain despised the dwellers of the plain. Rough, cruel, mutable as
they were, there were still certain primitive virtues among the hardy hill-
folk, and when one day Karl and the ever-popular Saunders turned up
unexpectedly at Weissheim with their tale of woe, they let loose an
enthusiasm that had never yet been accorded to Grimland's legitimate
Sovereign. So, contrary to his fears, Meyer's task had been an easy one. A
more than capable engineer, he soon put the place on as sound a footing of
defence as shovel and energy directed by German book-lore and Jewish
brains could put it. Within a week of his arrival the whole plateau was
secure in its well-planned redoubts and in the excellent temper of the civil
and military population.
 On the twentieth of January, eight days after the King's arrival, the race
for the Cobham Cup took place on the bob-sleigh run. For this event bob-
sleigh crews had foregathered from far and near, for the Weissheim "bob"
run is acknowledged to be the fastest, the most difficult, and the most
sporting in the world. A bob-sleigh,—let me explain for the benefit of the
uninitiated,—is a very long toboggan capable of holding half a dozen
persons. Unlike an ordinary toboggan, it is steered from the front by ropes,
or, in the most up-to-date "bobs," by a wheel. The rearmost man
manipulates a brake with a lever on either hand, and he awaits the
commands of the steersman, who sees the curves coming and realises when
the pace must be checked to avert disaster. Originally, the "bobbing" was
done along the high road, but this was so dangerous to horse-sleighs and
pedestrians, and resulted in such fearful accidents, that a special track was
constructed every winter, avoiding the town and ultimately joining the
highway somewhere near Riefinsdorf. The winning-post was now at this
junction, but for ordinary pleasure "bobbing," crews sometimes continued
their course along the road itself, the constant declivity permitting the craft
to travel at a great speed almost as far as Wallen, ten miles distant, or by
branching to the left, to descend the Rylvio Pass into Austria. The difficulty
of dragging the "bob" back made these distant expeditions events of some
rarity, and, indeed, the first part of the course was so much more exciting
than the roadway, that it was mainly on this portion that practising for the
cup took place.

Imagine a track some six feet in width, formed of snow turned to ice by
the process of constant watering, and so smooth and slippery that a
burnished mirror would be rough and dull in comparison. Imagine this track
inclined at a steep angle, walled in on both sides with low ice-banks, and
trailing a long and sinuous course for a length of over a mile! Here we have
the potentialities of speed when we remember that racing "bobs" are just
low frameworks of wood whose steel runners glide over the polished track
with as little friction as a flash of lightning traversing a thunder-cloud.
When we add that the bends of the course are sharp, and often flanked by
sheer precipices, and that to negotiate these bends at high speed requires the
greatest nerve and skill for all concerned, it is hardly necessary to add that
the sport is one which appeals to wandering foreigners in search of
sensations.
 "It is a pity you have not got a crew," said Karl to Saunders, who, with
his wife, General Meyer, and Frau von Bilderbaum, were seated in a
wooden shelter erected at one of the most exciting bends of the course.
"With your skill at the brake and Mrs. Saunders' skill at the wheel, you
would have stood a fine chance of securing Lady Cobham's trophy."

"It is always a pity when politics interfere with sport," replied Saunders.
"We manage these things better in England. When the shooting season
commences politicians take a rest."

"Here," said Meyer, "the shooting season commences when the

politicians are most active. Only we don't shoot grouse in Grimland—only
kings and councillors."

Karl laughed.

"I should like to have seen Saunders take his crew down the run in
approved style," he said; "I'd have wagered my forest lands to a frost-bite
that he'd have done the best time."

"I should have liked nothing better," said Saunders, "but it is impossible
to do oneself credit without practice. And I have been busy in other ways: I
have been studying Meyer's treatise on Winter War, and I am not sure that
the possibilities it holds forth are not more exhilarating even than the
competition for Lady Cobham's cup."

"We are likely to have that statement verified, if what I hear is true,"
said the Commander-in-Chief quietly.

"And what you hear generally is true," muttered Karl.

"In this case I have no doubts," said Meyer. "A large military expedition
left Weidenbruck the day before yesterday; its destination and object are not
difficult to surmise."

"I am glad," said Frau von Bilderbaum truculently. "If blows are to be
struck, the sooner the better; we are ready for them."
 There was a sound of cheering from the direction of the starting point,
signifying that the first crew was launched on its downward course.

It was morning—10.30 A.M., to be precise—for the race had to be run

before the sun's power waxed hot enough to affect the surface of the track.
And the scene was a gay one: blue and white flags were flying from poles at
every hundred yards of the course, and from the crowded stands erected at
the several points of vantage.

And the day was a typical Weissheim day: the sky was of a deep and
ever-deepening blue. Not a breath of air stirred over the snow-veiled face of
the country. The sun had risen above the shoulder of the mighty Klauigberg,
and had turned the myriad crystals into a sparkling ocean of unbelievable
whiteness. To draw breath was to fill one's lungs with perfect air and one's
heart with ecstasy. To gaze at the shimmering panorama of towering peaks
and snowy buttresses was to behold the finest view in central Europe.

"Here they come!" ejaculated Karl excitedly, as a "bob" came into view,
accompanied by a slight scraping sound, as the runners slithered over the
adamantine track.

All held their breath, for the speed of the descending craft was
absolutely terrifying. At the prow was a goggled figure in a white sweater,
with a red dragon—the badge of his crew—worked on his chest. Behind
him was a young girl, and behind her again four men, all similarly attired.
With the exception of the steersman, who crouched forward,—a tense thing
of staring eyes and straining muscles,—all were leaning back as far as
possible to minimise wind pressure.

"Too fast!" was Saunders' comment.

Suddenly, in response to a hoarse cry from the steersman, the crew

swung their bodies to the left and simultaneously flung out their arms in the
same direction. The manœuvre was designed to bring the "bob" round the
corner without checking the pace by applying the brake. The result was
unsatisfactory. The prow of the "bob" struck the counter-bank violently,
there was a gasp from a hundred throats, and a feathery cloud of snow rose,
in which the limbs of half a dozen human beings were whirling in an
intricate and inextricable confusion. No one, fortunately, was damaged, and
in a few seconds the crew had sorted themselves and resumed their
chequered career.

"Heroism and no brake!" muttered Karl. "How like our friend the
American!"

"May his fall be as harmless!" said Saunders.

Frau Bilderbaum snorted.

"I should like to see him go over the precipice!" she exclaimed.

"You probably will—metaphorically speaking," said Meyer. "He is

accompanying this expedition against us, and he has outwitted me twice."

A minute later another "bob" was making its nerve-shattering descent of

the lightning run. This time its crew,—a well-drilled sextet in blue jerseys
bearing the facetious badge of a tortoise,—swept round the dangerous bend
without mishap.

"Well done, Miss Reeve-Thompson!" cried Mrs. Saunders, naming the

lady who was steering the successful craft.

"That's done me good," sighed Karl in a note of satisfaction. "God's sky

and the best of sports! Clean snow and the champagne air of Weissheim,
and what care I for the rabble of the plains."

And so the morning wore on, with cheers for the skilful, gasps for the
rash, and murmurs of pity for the unfortunate. There were more spills, of
course, but fortunately no disasters of magnitude, and at mid-day the great
competition was over. The "times" were added up and checked, and
ultimately Miss Reeve-Thompson's crew were adjudged the winners, and
accompanied by a cheering throng they received the cup from Lady
Cobham at the Pariserhof.

The royal party waited till the crowd of onlookers had dispersed, and
then wended their way back to the Brunvarad—the Winter Palace—on foot.
As they followed the track that bordered the run they fell in with General
von Bilderbaum, struggling up the hill in a great grey overcoat, very moist
and red of face.

"Well," said Karl, "how are the new forts looking?"

"Very workmanlike, sire. We have got two new quick-firers on to the

south escarpment of redoubt A, and some old but serviceable mitraileuses
in position in the long fosse between redoubts C and D."

"Excellent," drawled Meyer. "And our dear, loyal gunners—are they

continuing to make good practice at the ice-targets?"

"I am sorry for anything they get sight of within two kilometres,"
responded the General.

"I am well served," said Karl. "Herr Saunders here has developed into a
student of minor tactics, and I fancy would handle a brigade as well as a
Moltke or a Kuroki."

At this moment they reached the point of the path where it crosses the
bob-sleigh run, and the races being over and the track closed, a wooden
plank had been laid across the glassy surface to afford secure foothold. The
men halted to allow the ladies,—Mrs. Saunders and Frau Generalin von
Bilderbaum,—to pass first. But the latter,—a lady, as the reader knows, of
somewhat egregious proportions,—was not gifted by nature with a rapid
gait through trampled snow. Holding high her green skirt, and planting her
cumbrous snow-boots with deliberate precision, she advanced puffing and
panting like a mountain engine in a snow-drift. Before, however, she had
come up with the others, a strange man accosted the royal party from the
opposite direction. The individual in question was wearing skis, and looked
fatigued and travel-stained, as though he had come fast and far. A black
slouch hat was pressed over his forehead, and it was not till he was quite
close that Karl and his companions recognised the features as those of Von
Hügelweiler.

The Captain's salutation was as abrupt as his appearance.

 "Hail! King of half a country," he said.

Quietly, swiftly, and without ostentation, Saunders and Meyer covered

the newcomer with their revolvers.

"Hands up when you speak to his Majesty," said the latter.

Von Hügelweiler dropped his ski-ing pole and held up his hands.

"I have a weapon in my breast," he said, "but it is not for any here."

Meyer quietly inserted his hand into the Captain's breast pocket, and
drew out a revolver. It was of the Grimland army pattern, and loaded in all
its chambers. He swiftly extracted the cartridges and transferred them to his
own person, and then,—having satisfied himself that the Captain had no
further munitions of war,—replaced the unloaded weapon in its original
position.

"Now you may talk without the inconvenience of holding your hands in
that fatiguing posture," he said. "What is it?"

"I come from Weidenbruck," said Von Hügelweiler, "and I bring news.
The day before yesterday an expedition left the capital for Weissheim."

Meyer nodded.

"That is so," he agreed; "we get to know things, even in this charmingly
remote district. Still, details are always agreeable. What does the force
consist of?"

"The whole brigade of Guards, two battalions of Guides, and the

Kurdeburg Sharpshooters."

"They do me honour," said the King. "But they will find the railway
somewhat disorganised. You see, we have dynamited the principal viaducts,
to say nothing of the two-mile tunnel under the Kahberg—and these things
are not easy to repair when the snow is down."
 "The railway is open as far as Eselbruck," the Captain returned, "and
from thence they will come over the passes on skis. They will come quicker
than they would in the summer."

"That is true enough," agreed Meyer. "And who is in command of this

imposing force?"

"Bernhardt."

"Indeed! And the second in command?"

"A cursed American."

Meyer smiled.

"That describes Herr Trafford admirably," he said. "But how about

yourself, Von Hügelweiler? How is it you are not occupying a distinguished
position in this amiable field-force?"

"Because there are limits even to my dishonour," retorted Von

Hügelweiler fiercely. "In transferring my services from his Majesty King
Karl to her Majesty Queen Gloria, I knew I was sinking, but I only learned
a little while ago to what great depths."

"You are the man who was sent to hold the Strafeburg for me," said Karl
sternly, "and who handed it over to the mob rather than risk your skin."

"I did not yield to fear," retorted the Captain, turning almost savagely on
his sovereign. "I yielded to an even more odious thing—passion. The
Princess pleaded with me, balancing her woman's grace against my loyalty.
I could face the fury of the multitude, but I succumbed to the blandishments
of a wanton!"

The word drew an exclamation of surprise and indignation from

Saunders.

"And you had your reward!" he said with a sneer.

 "Aye, I have had my reward," was the bitter answer. "Love such as mine
always has its reward. I learned who it was upon whom the fickle Gloria
had bestowed her worthless heart. Who was it, do you think? A nobleman, a
great soldier, a Prince? No! She was conducting a guilty intrigue with the
schweinhund Trafford—the man who betrayed his party by immuring the
enemy in a spikeless Eisenmädchen.

"Yes, that's true enough," said Karl. "The schweinhund Trafford, as you
call him, possesses some rudimentary ideas of humanity, despite his absurd
predilection for anarchy. I may remember that when my time comes."

"It was an act of folly and weakness," said the Captain recklessly, "an
act of treachery to the side he had espoused. As soon as I heard of it I
hastened to Bernhardt's chambers with the news."

"And he said?" asked Karl.

"He said he loved and hated you," replied the Captain.

Karl nodded thoughtfully.

"I believe that expresses his mental attitude towards me very well," he
said.

"It was the mad paradox of an absintheur," Von Hügelweiler

interrupted. "He was half drunk and wholly dangerous, and I left him. I
roused the people against Trafford, but the scoundrel defended himself
cunningly, and in the end the devil-ridden Bernhardt turned up and rescued
him with a troop of Dragoons."

"And why are you here?" asked General Bilderbaum.

"For one thing, there are two hundred kronen on my head in

Weidenbruck," replied Von Hügelweiler. "That makes the place unhealthy.
Neither do I desire to serve that delightful trinity, the wanton Queen, the
dipsomaniac priest, and the verdomte American."
 "But why come here?" persisted Bilderbaum, growing, if possible, still
redder in the face.

Von Hügelweiler ignored the speaker, and turned to Karl.

"I have no claim on your trust," he said to his late sovereign, "no claim
on your mercy—but my services may be useful. I ask no high command, I
merely crave to be put somewhere in the firing-line, where I can put a bullet
into the heart of the cursed American."

A silence followed this savage request. Then Karl turned to General

Bilderbaum.

"What say you, General?" he asked. "Do you like the look of your new
recruit?"

"No, sire," said the old soldier bluntly. "I have some blackguards in my
command, but no double-dyed traitor such as this."

"What!" Von Hügelweiler's nerves,—never well under control,—were

raw and ragged from his recent bitter experience, and by no means
improved by the forced and hasty journey he had undertaken to Weissheim.
With a cry of rage and indignation he swung round on the plain-spoken old
General, maddened at the insult, and raising his fist as though to avenge it
with a blow. But, as on a previous occasion, the General's wife was near at
hand to protect the sacred person of her lord and master. Boiling with
indignation, she hurled her ample person at the mutinous captain. Von
Hügelweiler gave ground—he would have been a Samson had he not done
so. And he stepped, not on to the snow, not on to the plank that crossed the
run, but on to the surface of the bob-sleigh track itself. He might have
trodden on a cloud or a trembling bog for all the foothold it afforded, and
with a cry he fell, the Frau von Bilderbaum falling heavily and
incontinently on him. Hands were stretched out, but too late. Before the
General could clutch the skirt of his devoted partner, the ill-assorted pair,—
struggling, writhing, uttering noises of wrath and fear,—had commenced
the descent of the "bob" run. Nothing could stop their downward progress.
Swifter and swifter the terrified twain glided, impotent hands clutched at
the frictionless banks, and impotent heels were pressed fiercely and
fruitlessly on to the glassy surface of the track. Down they went, the
Captain struggling and swearing, the woman struggling and bellowing. The
pace grew. They became disengaged. Von Hügelweiler slithered swiftly on
his side, Frau von Bilderbaum rotated slowly in a sitting posture,
descending with ever-growing momentum. Up a banked curve she swung,
fat arms were raised frantically, a roar of pathetic discomfort shook the
frosty air, and the devoted woman disappeared from view round a bend of
the track.

Much of the colour had left General Bilderbaum's face. No one laughed,
for the ludicrous mishap might well be a prelude to a serious, even fatal,
accident. Saunders climbed up a high mound of piled snow, from which the
further bends of the track might be visible.

"There are some men at work lower down sweeping the course," he
said, speaking clearly for all to hear. "They have heard the cries and they
are preparing to stop them. Two have put their brooms across the track—but
the speed is gathering. They have stopped her—no! the impetus was too
great—the sweepers are rolling backwards in the snow. Wait! the pace is
checked—others are helping. They've got her. Now—ah! Hügelweiler's on
the top of them! What a collision! She's up, unhurt! It's all right, General;
your good lady is safe and sound of limb. She's had a shaking, but her
nerves are good, or I'm no judge of physiology. Go down and look after
her."

"Aye, and after Hügelweiler, too," spluttered the veteran. "I've a heavy
reckoning with that young scoundrel that will take some paying, or I'm not
the son of Karl Bilderbaum the Fierce."

"I wonder,"—said Karl, as soon as General Bilderbaum had left to

recover his hapless spouse,—"I wonder whether this man Von Hügelweiler
might not prove a valuable addition to our force. He seems to have the
enemy's discomfiture, if not our interests, very much at heart."

"Where would you put him?" asked Saunders.

"I should put him where David put Uriah the Hittite," said Meyer.
"Where he has himself asked to be put—in the firing line."
 CHAPTER TWENTY-FOUR

RIVAL INFLUENCES

Von Hügelweiler had spoken true when he said that the expedition had
started against Weissheim. Two days after Trafford had so narrowly escaped
the violence of the Weidenbruck mob the various regiments were entrained
at the great terminus in the Bahnhofstrasse. The sight of men being
despatched to kill their fellow-men always rouses enthusiasm in the human
breast, and there was abundance of flaunting banners, martial melody, and
sounding cheers from the stay-at-homes. And in the rolling of drums and
the reverberation of cheers Gloria herself seemed to have forgotten her
original prejudice against the campaign. And as the engine screeched and
the royal train, decked with the green and yellow bunting of her House,
moved slowly from the station, she felt a Queen going forth to re-conquer a
rebellious province, a just instrument of picturesque vengeance, rather than
the player of the unwelcome role of blood-guilty adventuress. She put her
head out of the window, and bowed and smiled and waved her hand, a thing
of girlish excitement with the minutest appreciation of the underlying
grimness of the situation.

That day they steamed to Eselbruck. At this point the railway was cut.
The great stone viaduct that spanned the deep ravine was a thing of
shattered piers and broken arches, an interesting problem for the engineer,
and an object-lesson in the effective use of detonating cartridges. At this
point, therefore, the units were derailed, a depôt formed, and on the next
morning the whole force,—shod with skis and in full marching order,—set
itself in motion towards Weissheim. During the march Trafford neither saw
nor heard from Gloria. He was not unhappy. The fine air, the healthy
exercise, the splendid uplands through which they were passing, won him to
a mood of strong content. Something had lit a fire in his heart that no wind
of disfavour or adversity could extinguish. He knew that he was a living
man again, moving among creatures of flesh and blood; not a spiritless
mechanism in a world of automata. He had seen, or fancied he had seen, a
spark of human love in the young Queen's heart, and that spark he swore to
kindle into flame by deeds of reckless heroism. And the great energy that
was his birthright,—stimulated to its highest capacity by the bracing air of
the snow-clad passes and the extraordinary beauty of the land,—filled his
spirit with a vast and comforting hopefulness.

In the course of the afternoon he found Bernhardt by his side. Trafford

began to thank him for his rescue from the mob, but Bernhardt interrupted
him.

"I know about your secret marriage," he said, "and though I think it
folly, it is the sort of folly I admire. Von Hügelweiler told me about it. To
the people he told another story,—a less respectable story without ring or
sacrament."

"So I gather. But I can fight calumny as I can fight other enemies of my
Queen."

Bernhardt nodded approvingly.

"They breed men in your country," he said, and then asked: "Are you
tired?"

"It is impossible to be tired in such air," was the reply.

"Ski-running is a new sport to you, and you are in love."

Trafford laughed lightly.

"I am in love with Grimland," he said. "Weidenbruck is a villainous

place; but these gorgeous mountains, with their great, sombre forests and
limitless snow-fields, make up a picture I shall never forget. I should like to
be king of such a country."

"One never knows," said Bernhardt. "A great and striking victory, and
your dream may be realised. But for the present, remember that you are a