Dragonsong

In Dragonsong, McCaffrey weaves together the genres of science fiction and fantasy to tell a coming-of-age story with feminist overtones. Like her acclaimed Dragonriders series and the rest of the Harper Hall trilogy, the novella takes place on the planet of Pern, and the foreword highlights McCaffrey’s unique niche in the literary world by showcasing her talent for blending elements of science fiction and fantasy. For example, the foreword sets the stage and appears verbatim at the beginning of many of McCaffrey’s Pern-themed stories, featuring classic science fiction trappings details such as telepathy, teleportation, time travel, and human colonization of a distant planet,. Even the dragons, which are usually a staple of fantasy, are given a science fiction twist. These creatures are “a highly specialized variety of a life-form indigenous” (ii) to Pern, and the specific dragons used to fight the Thread are the product of a selective breeding program undertaken by human scientists. Dragonsong is generally classified as a young-adult title, and the main conflict is based on Menolly’s efforts to become a Harper despite opposition from her family and culture. The struggle for independence is a frequent subject in young-adult fiction because it reflects a common challenge that adolescents face in the real world. Dragonsong therefore combines science fiction settings and fantasy adventure with realistic human experiences.

By relating Menolly’s passion for music, McCaffrey examines the theme of Empowerment Through Self-Expression. Early in the story, the author emphasizes that Menolly’s skills for singing, playing instruments, and composing songs are rare gifts that should be cherished. As Harper Petiron observes, “One in ten hundred have perfect pitch […] One in ten thousand can build an acceptable melody with meaningful words” (4). Music is the protagonist’s greatest passion, and although her family lacks the capacity to understand her zeal, Menolly considers music to be “the one thing that made her life bearable” (44) in an existence otherwise characterized by drudgery, disrespect, and outright abuse. Her decision to continue writing and playing songs in secret at the risk of her parents’ displeasure speaks to her great love for music and the solace that it offers her. At this early point in the story, the injury to Menolly’s hand is existential in nature, as it threatens her ability to pursue her passion and to empower herself.

Yanus and Mavi’s opposition to Menolly’s dream of becoming a Harper illustrates The Struggle Against Oppressive Societal Norms, and McCaffrey makes it clear from the very beginning that their hardline stance is rooted in sexism. Even after their youngest daughter performs a Harper’s responsibilities well, they are unable to cast off the tradition stipulating that only men can be Harpers at Half-Circle Sea Hold. As the Hold’s leaders, Menolly’s parents have a strong stake in maintaining the status quo. This conflict comes to a head in Chapter 2 ,when Menolly’s father uses physical violence as punishment when she gives way to her musical talents and plays a fragment of her own song. As the narrative states, “If only she had been a boy… Then it wouldn’t have mattered if Petiron had died and left them Harperless. Nor would Yanus have beaten a boy for being brave enough to sing his own songs” (23). This moment of brutality makes it clear to Menolly that her parents’ “judgment was irrevocable and harsh” (21). When she realizes that her parents will never accept or honor her deepest passions and will instead commit flagrant abuse in order to thwart her, Menolly has no real reason to stay. This confrontation thus foreshadows her later decision to stay away from Half-Circle Hold indefinitely. If Menolly is to realize her goal of becoming a professional musician, she must do so in the face of societal opposition, starting with her own parents’ violent antipathy.

Throughout Menolly’s struggles in these early chapters, she is emotionally devastated by her grief over Petiron’s death, and his absence from her life deprives her of The Role of Mentorship and Community in Personal Development. Although the broader community of Half-Circle Sea Hold is more appreciative of her talents and is more open to change than Yanus or Mavi, the holders do not challenge their leaders’ harsh treatment of Menolly, and it is clear that she must leave her birthplace behind in order to find a community that will truly honor her. Initially, McCaffrey emphasizes the protagonist’s deep loneliness and the absence of a support structure by opening the novel with the aftermath of Petiron’s death and establishing that “[h]e had been the only person in the Sea Hold who had ever encouraged her in anything: and most especially in that one thing that she was now forbidden to do” (19). With the loss of this single source of kindness and understanding, Menolly is bereft of any guidance or encouragement in her goals.

Although Petiron dies before the story opens, he exerts a major influence on the narrative’s structure by advocating on Menolly’s behalf and writing to the head of the Harpers. The recurring mentions of Masterharper Robinton in these chapters also foreshadow his presence in the novel’s conclusion, when his interest will finally grant Menolly the freedom to pursue her musical passion in earnest. In the meantime, although Harper Petiron’s death is a great loss to Menolly, her late mentor’s actions will eventually help her find a supportive community and others who believe in her.

Throughout the novella, Menolly’s determination to engage with music however she can serves as a motif of her pursuit of empowerment through self-expression. Menolly’s musical skills are a key part of her unique identity, and her talent is apparent when McCaffrey states that the young protagonist is “the only person in the entire Half-Circle Sea Hold who could play any instrument as well as the old Harper” (1). Whenever she has joyful experiences, her immediate reaction is to turn them into songs, as when the sight of the fire lizards inspires her to compose “a fire lizard song: sprightly, cunning, secretive” (29). Menolly is at her happiest and most authentic when she is writing and performing music, and these moments provide the only relief from her deeply oppressive life in Half-Circle Sea Hold.

As the story continues, fire lizards also emerge as a motif of community. Menolly encounters the creatures for the first time in Chapter 2, and they become central to the plot and the protagonist’s character development in the next two sections. The contrast between Menolly’s elation at seeing the fire lizards and the loneliness of her life at Half-Circle Sea Hold hints at their future thematic importance and the much-needed sense of belonging that she finds among them.