Son of the widow has many biblical and arcanic writings in history. The first episode in the Game of Thrones will introduce you to the what is called revelation in literature performed by a construction of symbols and archetypes, while keeping a strict structure of what fans will call fantasy.
In a documentary film, George Martin explains his work as being inspired by both history and a complex material of myths and legends, from the ancient Greek and Egypt to the earlier templar writings.
It all starts with a tragic turn of events in the life of the widow, the very one that Elijah has sent to minister (1 Kings. 17:17 with 18, 20 and Hebrew. 11:35), performed by Lady Stark, wife of Ned Stark, Lord and Warden of the North. A set of events that have to affect both the widow and the prophet, the beheading of Ned Stark, leaving Lady Stark as a widow and the falling of Brandon Stark, who is set to be the prophet, the three eye rave, from the Tower, a topic I wrote about some time ago.
The death of the son is not an accident, but a result of sovereign will and purpose of God for a greater good. Death and resurrection are among life’s greatest mysteries that can never be understood by a profane, regardless of the amount of books they read. Both death and resurrection involve the body as well as the spirit and Brandon’s death occurs in two parts. His spirit dies in the cave of the three eye raven, while the death of the body is portrayed by Jon’s archetype after the purification through water on Jon’s trials.
The process itself, by the way it was applied, is unfortunately, the necessity of suffering, as suffering is the sole manifestion of God’s will and power to provide a godly character, which is set either whether in terms of stability in the mist of storm or in the brotherly love of neighbor and friend, in the form Christianity instructs.
In masonry, the son of the widow is represented by Hiram Abiff, the central character in the allegory of the third degree and the chief architect of the Temple Of Solomon. Some say that “as the wife of Hiram remained a widow after her husband was murdered, the Freemasons, who regard themselves as the descendants of Hiram, called themselves Sons of the Widow”, but apparently it has no foundation in the myth, while others say that Hiram itself was the widow’s son.
In the Gospel of Luke, there is an account of miracles performed by Jesus about raising to life the son of the widow of Nain.
As a work of either literature of movie making, George Martin took a different approach in the making, keeping the focus on events and triggers rather than on the main character, sealing the plot in a mix of allegories, more or less known and understood by the audience.
In the interpretation of figures, GoT remains just another gossip subject of entertainment, instead of debatable ground, philosophical, about life, death, gods, justice, truth, power… and love. There isnt much love in GoT, because when you play the game of thrones, you either win or you die. And survival dismisses the time for love, which acts only as trigger of facts and events that in the end have no value anymore, just like Queen’s Bohemian Rapsody… nothing really matters.