brashcandy, on 27 February 2012 - 06:40 PM, said:
ACOK – Sansa VII Summary
OK, so this chapter focuses a lot on Sansa’s maturity and compassion for others. IMO, these attributes are divided between the political and the personal. We get insight into what would make Sansa a better, more admirable leader than Cersei could ever be, and we also see how this strength and consideration affect her personal, private relationships, transforming a moment of crisis, to one of deeply felt connection. What’s remarkable about Sansa’s courage and dignity in these two central scenes is that her life was in credible peril during both of them.
Bit late in commenting on the thread….bought Skyrim at the weekend.
I think this chapter coupled with the last really build a sense of how far Sansa’s character has developed. In AGOT she cried over a stained dress and was petulant with Arya about it but now she is in danger of losing her life and yet she remains calm and supportive of others, even those who have directly been involved in her humiliation and indirectly in her beating such as Lancel and Cersei. Her composure and compassion are astounding as is her ability to take charge of the other panicked people in the hall, especially given how terrified she is. Cersei running from the room while Sansa walks, really highlights the difference between the two of them. Sansa possesses the characteristics that Cersei emulates when it suits her.
Btw, could this strong ability to sense danger be a facet of Sansa’s “warghood”?
GRRM has said all the Stark children are Wargs, but Sansa’s ability due to the lose of Lady and her naturally compassionate and empathetic nature may mean that she reads people better as she senses how they feel. In other words Sansa Stark is the Deanna Troi of Westeros.
This chapter struck me as presenting an extremely strong case for Sansa as the younger, more beautiful queen in Cersei’s prophecy.
Indeed. Sansa’s ability to keep her dignity and composure in almost unbearable situations at the age of 12 is remarkable.
n the way she tends to Ser Lancel, someone that is fighting against her family, and who previously showed no mercy to her when Joff had her beaten and stripped in the court.
A pet hope of mine is that we get a Lancel prologue in TWOW. I would hope given his new religious nature, that we will get to see his thoughts on Sansa and his behaviour towards her as we did in the Arys Oakheart Chapter.
Just where has Sansa learnt this skill before? And just how is she is able to prevent her own personal fears from taking over? Reading this chapter, she reminded me a lot of her half-brother, Jon, and how he confronts his challenges at the Wall (seems fitting then that she has to pretend to be a bastard later on).
She is very much a mixture of Cat and Ned and displays both the good and bad qualities of each. Her parents were loved and well respected and she must have learnt a lot from them. It would be interesting to see how her and Jon would react to each other if they meet again.
Her fear concerning what will happen when the night is over causes her to think of Lady again, and at the exact moment she whispers the dog’s name, Sandor’s hand reaches out as though he is answering the call. Later, when she glimpses his face in a flash of light, she notes his eyes, which were glowing like a dog’s. However, if Sandor is a replacement for her wolf, he’s capable of scaring her just as much as he would others.
I think this scene could have some foreshadowing and indeed there have been several occasions when Sansa thinks of Lady or indeed her father (in AGOT) in a protective way, only Sandor to appear.
In the last chapter she prayed for his rage to be gentled. The same song seems to have that effect here.
Was he there to rape her? Would he have raped and killed her had she not remembered the song? Personally, I don’t think he was there to rape her, and I don’t believe he would have, but I do think he posed a genuine risk to her life that night.
I agree that her life was more in danger than anything else, but the whole scene got a rapey vibe the moment he pushed her on the bed.
Then we have her wrapping herself in his cloak after she rises from bed. It’s another strange act that seems to belie the earlier terror she felt from him. It’s also an action that GRRM has obviously deliberately included here for a reason. So what is he trying to suggest? It adds to the earlier symbolism of him giving her his cloak to cover herself after she is beaten, except now she is actively choosing to pick his cloak up and use it for warmth and comfort. We later learn that she has kept it as well in her cedar chest beneath her summer silks. The cloak represents marriage and protection in Martin’s world, so is it performing the same signification here? Also, it’s a bloody (white) cloak, which has connotations of a young girl’s bloody marital bedding, taken as proof of her virginity on her wedding night.
Again this could be a foreshadowing of the Younger Queen. She is often given cloaks in the series. Sorry this is jumping forward a little, but she actively resists (as much as she is able to), Tyrion putting the cloak around her and similarly she is not exactly in a happy place when LF wraps his cloak around her. However she uses Selmy’s dis-guarded cloak to kneel on in the courtroom to protect her dress (symbolising perhaps the role of the Kingsguard in protecting her) and then again twice wraps herself willingly and actively in Sandor’s cloak. The fact that in this scene she rejects her featherbed and soft blankets for the yet again dis-guarded rough woollen cloak covered in blood and smoke on the floor is also symbolic. That Sandor took Selmy’s place and both men were the most honourable members of the KG again suggests that she is the one who is protected by the closest things to honourable men in the KG. The smoke and fire may also signify her future marriage to a Targ or Blackfyre depending on what Aegon turns out to be.