Dragonsong

Yanus is Menolly’s father. He has a “sullen and cranky” (1) temperament, but Half-Circle Sea Hold prospers thanks to his knowledge and shrewdness. As the narrative states, “[T]hey hadn’t lost a ship or a man in several Turns either, which said much for his weather-wisdom” (2). However, the dour Sea Holder takes a brutally practical approach to leadership, and his oppressive tactics reduce the citizens of Half-Circle to their socioeconomic utility, for he thinks “only of the sea, of fishing, of how to use every man, woman and child of his Sea Hold to the Hold’s best advantage” (84). When it comes to his own family, Yanus’s conduct is even more severe. In a defining moment for his character, he beats Menolly with a belt after she accidentally plays a fragment of her own song to the children of Half-Circle. This incident positions him as an enforcer of patriarchal oppression and an intractable opponent of Menolly’s self-fulfillment. His uncompromising adherence to tradition utterly destroys his already fractured relationship with his youngest daughter. McCaffrey characterizes Yanus as a capable but stern leader and an abusive parent.

As the protagonist’s father and Lord Holder of Half-Circle, Yanus plays a key role in the novella’s examination of The Struggle Against Oppressive Societal Norms, and from the very beginning, his sexist views about women’s capabilities are clear. He actively attempts to squelch Menolly’s dreams of being a professional musician, employing both verbal threats and physical violence, and his words and actions inflict long-lasting damage upon his daughter’s psyche, as demonstrated when she repeats her father’s arguments to Masterharper Robinton before accepting his invitation to Harperhall: “‘But I’m a girl…’ she said. ‘Yanus told me…’” (185). 

Although Menolly internalizes her father’s restrictive expectations for her, she ultimately transcends these arbitrary limitations. McCaffrey also makes Yanus a more rounded, nuanced character by revealing that he secretly appreciates his daughter’s musical abilities even though he suppresses them. As the narrative states, “Once or twice though, while Menolly was ill, he missed her clear sweet voice in counter-song” (46). Yanus believes that he must present himself as unrelentingly stern and traditionalist because everyone in the Hold looks to him for leadership. His stumbling block is his insistence on treating social customs like absolute laws, and he often lacks the ability to distinguish between traditions that protect his people’s survival and ones that are oppressive. Yanus’s static characterization helps to establish why the protagonist must flee her birthplace to find community and empowerment; more broadly, his conduct also demonstrates why it is necessary but difficult for the Harpers and the weyrpeople to shift the holders’ attitudes and broaden their perspectives.

Mavi is Menolly’s mother. When she appears, she is usually assigning Menolly “all the smelliest, most boring” (14) tasks that she can find, or else she is berating her daughter for honing her musical abilities. Moreover, Mavi harbors the distorted idea that she is somehow protecting Menolly by trying to crush the girl’s hopes because she believes that Yanus’s wrath would be even worse. As Mavi reasons, “Teaching anyone to play is Harper business, not yours, m’girl. Just your good fortune Sea Holder is out in the Deep or you’d have the belt across your shoulders, so you would. No more nonsense” (18). As a result, Menolly feels that she cannot look to either of her parents for support. McCaffrey underlines this issue when Mavi regards her daughter with an “expression of anger and disgust” (22) after she learns that Yanus has taken away Menolly’s duties as interim Harper. Like Yanus, Mavi is harsh, demanding, and unsympathetic to her daughter, and her uncompromising demeanor reinforces Menolly’s reasons for running away from home.

As the protagonist’s mother and the Sea Holder’s Lady, Mavi makes important contributions to Menolly’s characterization and advances the theme of The Struggle Against Oppressive Societal Norms. Mavi is a woman who perpetuates her culture’s sexist, limiting ideas of how a girl should behave. For example, she demonstrates internalized misogyny when she begrudgingly permits Menolly to perform songs written by men while adamantly ordering her not to write any music of her own. She exclaims, “Behave yourself when you stand in a man’s place. No tuning!” (12). On a deeper level, Mavi’s deliberately subpar treatment of her daughter’s injured hand represents an even more insidious attack on the protagonist’s empowerment, representing a treat even greater than Yanus’s abusive actions. While Yanus beats Menolly and takes away her gitar, Mavi tries to permanently harm her daughter’s body so that Menolly will never be able to play music at all. Menolly eventually realizes that Mavi “had deliberately let the hand heal with drawn flesh. It was painfully clear to Menolly that Mavi, as well as Yanus, had not wanted her to be able to play again” (133). To find her joy and power, Menolly must heal physically and emotionally from her parents’ enforcement of oppressive societal norms.

Harper Elgion is the professional musician who is chosen to replace Menolly’s mentor, the late Harper Petiron. Elgion is “young and good-looking” (36) and has “a rich tenor voice, strong and sure” (38). He uses these charms to his advantage, as when he asks the women of Half-Circle Sea Hold for information about his predecessor’s mysterious apprentice. He also expresses his creativity through his skillful singing voice and his ability to play the gitar, the pipes, and the drum. McCaffrey rounds out Elgion’s character by giving him progressive ideals that befit his assigned mission to shift Half-Circle Sea Hold’s staid culture. As the narrative reveals, “Masterharper Robinton wanted each of his journeymen to get every Holder and Craftmaster to think beyond the needs of their own lands, Hall and people” (48). Elgion also possesses a penchant for adventure, which he demonstrates by venturing out alone in search of Menolly and fire lizard eggs despite the threat of Threadfall. Elgion’s charm and creativity help him to fulfill Half-Circle’s expectations of the Harper position, while his thirst for adventure and commitment to progress help him to work toward a better future for all of Pern.

Elgion serves as Menolly’s ally, Half-Circle’s new Harper, and the secondary point-of-view character. McCaffrey uses his perspective to relate the events of the Sea Hold after Menolly runs away. The subplot of his search for Petiron’s apprentice eventually ensures that Masterharper Robinton can give the protagonist the opportunities she deserves. Notably, he uses his male privilege and professional standing to help Menolly, who faces gender discrimination, and he therefore stands as an ally in her struggle against oppressive societal norms. He also develops the theme through his efforts to reform Half-Circle’s outdated, restrictive beliefs. By helping Menolly realize her dreams of becoming a Harper, Elgion reinforces the author’s message that music and art can be sources of positive change.

Mirrim is Menolly’s friend and one of the inhabitants of Benden Weyr. The narrator describes her as “a girl about [Menolly’s] age, dark hair tied primly back from a face that was sad, tired and oddly mature” (130). Mirrim’s appearance illustrates her anxiety for her foster mother, Brekke, who experiences depression after her dragon dies. In an attempt to distract herself from her worries, Mirrim tries to focus on her responsibilities at the weyr. She meets and cultivates a friendship with Menolly while tending to the protagonist’s injuries, and her bedside manner with her patient demonstrates both her caring heart and her officious behavior: “‘Will you keep still?’ Mirrim glared so authoritatively that Menolly forced herself to relax. [….] She was considerably gratified by the concerned pity in Mirrim’s face as she examined the wound” (133). Although Mirrim can be bossy, she is a caring friend who worries deeply about the well-being of those close to her.

As the protagonist’s main human friend, Mirrim initiates conversations that further Menolly’s development, the theme of community, and the novella’s world-building. Mirrim helps Menolly to understand life at the Weyr, which keeps very different customs than the hold in which Menolly spent most of her life. By making Menolly feel welcome at Benden Weyr and by facilitating her physical and emotional healing, Mirrim advances The Role of Mentorship and Community in Personal Development. Additionally, the author uses the character of Mirrim to showcase the protagonist’s kindness, patience, and empathy, for Menolly actively “[forgives] Mirrim all her little poses and attitudes, aware that that was how Mirrim had masked her intense anxiety and grief” (159). These gentler qualities are key to Menolly’s characterization because they draw the fire lizards to her. Mirrim also prompts Menolly’s development by explaining that her hand injury is less severe than she was led to believe, and her revelation of Mavi’s meddling makes it “painfully clear to Menolly that Mavi, as well as Yanus, had not wanted her to be able to play again” (134). Mirrim also offers Menolly opportunities for growth and community, serving as an important supporting character.