Becoming No One: Rereading Arya III

[fantasmas]

Fantasmas - Funny you should mention the pig thing. In prior rereads, it's been suggested (by me), that the reference to the boar was like the appearances of oranges in the Godfather movies: A sign of bad things coming. Certainly, the salt pork and pigs feet would fall into that category.

Well, a boar did kill Robert Baratheon, and the animal subsequently became one of Cersei's favorite dishes.

And Arya and Bran both eat some suspicious pork later on in the series.

[Pod The Impaler]

Worry fills Arya as she realizes that Bolton might recognize her as his cupbearer in Harrenhal. Bolton is both a thought of dread and anxiety. He was as dangerous as the Bloody Mummers in Arya’s mind, and he might be privy to the fact she killed a guard in Harrenhal. The fear Arya is feeling could be a mix of both danger and shame.

Looking back on this and her escape from Harrenhal, I wonder if Roose Bolton just instinctually / supernaturally raises Arya's hackles the way Ser Ilyn Payne does with regard to Sansa.

[Lyanna Stark]

Hello everyone and sorry for being AWOL so long! Mea culpa, RL and the arrival of Jon Snow have conspired against me and I have been far too busy. And sleep deprived.

Anyways, have struggled to catch up and I am finally on track! Great commentary so far. These chapters really are dense on both information, character development and foreshadowing. Great stuff. :)

I had a few small comments on Arya travelling with the Hound and his exchange with the outriders.

We learn here that the Hound can disguise himself, and that the only thing that stands out is his size. He looks like a very big farmer. And later on, Brienne sees a very big gravedigger. I believe that the Hound's disguise here is foreshadowing for his time as a disguised monk at the Quiet Isle. (Only Lummel thinks it's not a disguise and that Sandor has found his true calling!! ) Further enhanced here by the fact that what stands out to identify him is Stranger who is "no plow horse", and the monks at the QI tried to geld Stranger and use him as a beast of burden, but that was a no go. Stranger stands out, even when Sandor can pass relatively unknown on both occasions.

Further, the reference to Lady Whent is interesting as the possible future Lady Whents are Sansa and Arya respectively, as they are very likely in line to inherit Winterfell through Cat. I wonder what prompted Sandor to pick Lady Whent as his choice. We aren't privy to his thought processes, but the choice is interesting.

Then we have the line of Harrenhal being traded for a horse (interesting thought). And lastly

"Is there any fool like an old fool?" The fool reference is interesting since we have the "fool" Florian and we also have the Dunk and Egg reference to how when it comes to women, all men are fools and all men are knights. Indeed, in the very next paragraph Sandor himself declares that "knights are fools".

Loyalty: By presenting himself as serving Lady Whent and bearing a gift for the Lord of Riverrun, perhaps unknowingly Sandor seems to ally himself with the "correct" side, while Ser Donnel Haigh, if the Haigh that appeared in the Knight of the Laughing Tree story, is allied with the "wrong" side. Further, Arya lists houses she would trust and whose banners she wishes she could see: Glover, Umber, Manderly, Cerwyn. Haigh is not one of them, and there seems to be Bolton men around, also on the "wrong" side.

Looking back on this and her escape from Harrenhal, I wonder if Roose Bolton just instinctually / supernaturally raises Arya's hackles the way Ser Ilyn Payne does with regard to Sansa.

Quite possibly, and like Ser Ilyn, Roose Bolton has been linked with some pretty gruesome stuff in Arya's story line, so I don't blame her for linking him with death and bad stuff.

[Mladen]

I am so glad for you, Lyanna. I hope everything is well, and that you`re fully recovered from `wonders of life` :)

Further, the reference to Lady Whent is interesting as the possible future Lady Whents are Sansa and Arya respectively, as they are very likely in line to inherit Winterfell through Cat. I wonder what prompted Sandor to pick Lady Whent as his choice. We aren't privy to his thought processes, but the choice is interesting.

You either mean Riverrun or Harrenhall, not Winterfell. And since Whents are in question, that would be Harrenhall. I like the idea, and I wonder whether Starks will be able to break the curse.

[Lyanna Stark]

I am so glad for you, Lyanna. I hope everything is well, and that you`re fully recovered from `wonders of life` :)

More or less, if you follow the link there are details of the ordeal of how Jon Snow, aka Jonathan Thorin Emo-dwarf, arrived, induced by The Hobbit and

. :lol:

You either mean Riverrun or Harrenhall, not Winterfell. And since Whents are in question, that would be Harrenhall. I like the idea, and I wonder whether Starks will be able to break the curse.

Thank you for pointing out the error, if should of course be Harrenhal as the Whent seat. Lady Shella Whent is reported to have died as of AFFC, which makes Sansa and Arya contenders for it, if we assume Edmure's child will hold Riverrun, Rickon will hold Winterfell and that none of them can or want to hold two big seats. Minisa Whent seems to have been of the same Whent generation as Lady Shella's husband and Lady Shella had no heirs, and Oswell Whent was in the Kingsguard, so he has no heirs.

[Mladen]

More or less, if you follow the link there are details of the ordeal of how Jon Snow, aka Jonathan Thorin Emo-dwarf, arrived, induced by The Hobbit and

. :lol:

I have read that. I always found the music interesting part of that. My last participation in that made me listen `Circle of life` for 9 hours :). I also hope Mr Rhaegar is more helpful than his book counterpart :)

Thank you for pointing out the error, if should of course be Harrenhal as the Whent seat. Lady Shella Whent is reported to have died as of AFFC, which makes Sansa and Arya contenders for it, if we assume Edmure's child will hold Riverrun, Rickon will hold Winterfell and that none of them can or want to hold two big seats. Minisa Whent seems to have been of the same Whent generation as Lady Shella's husband and Lady Shella had no heirs, and Oswell Whent was in the Kingsguard, so he has no heirs.

There would be some poetic justice in that. If we add to that Sansa snow castle scene, and that LF is current Lord of Harrenhall, I`d like to see Sansa inheriting it and destroy the Giant that held it. Also, the house that was exiled and destroyed to break the worst curse of Westeros, would be great.

[Lyanna Stark]

There would be some poetic justice in that. If we add to that Sansa snow castle scene, and that LF is current Lord of Harrenhall, I`d like to see Sansa inheriting it and destroy the Giant that held it. Also, the house that was exiled and destroyed to break the worst curse of Westeros, would be great.

Indeed. And Harrenhal is certainly a "giant made of stone" too, no? :)

Both Arya and Sansa have interactions with Harrenhal. Arya the most as she is physically there of course, but Sansa too as she witnesses when Harrenhal is granted to Littlefinger and also later on she is of course a captive to the Lord of Harrenhal, and she asks LF to give Harrenhal to Lord Frey (implying she wants him to be struck by the curse).

[Blisscraft]

Glad you have returned, Lyanna and congratulations! You have been sorely missed.

We learn here that the Hound can disguise himself, and that the only thing that stands out is his size. He looks like a very big farmer. And later on, Brienne sees a very big gravedigger. I believe that the Hound's disguise here is foreshadowing for his time as a disguised monk at the Quiet Isle. (Only Lummel thinks it's not a disguise and that Sandor has found his true calling!! ) Further enhanced here by the fact that what stands out to identify him is Stranger who is "no plow horse", and the monks at the QI tried to geld Stranger and use him as a beast of burden, but that was a no go. Stranger stands out, even when Sandor can pass relatively unknown on both occasions.

Further, the reference to Lady Whent is interesting as the possible future Lady Whents are Sansa and Arya respectively, as they are very likely in line to inherit Winterfell through Cat. I wonder what prompted Sandor to pick Lady Whent as his choice. We aren't privy to his thought processes, but the choice is interesting.

Then we have the line of Harrenhal being traded for a horse (interesting thought). And lastly

"Is there any fool like an old fool?" The fool reference is interesting since we have the "fool" Florian and we also have the Dunk and Egg reference to how when it comes to women, all men are fools and all men are knights. Indeed, in the very next paragraph Sandor himself declares that "knights are fools".

I have a couple of thoughts about the above. First, Stranger tied to the back of the "wayn" is a kind of "Trojan" horse, isn't he? A lure to gain access to a forbidden stronghold; a trick to gain entry; a "poisoned" gift. Second, Lady Whent, formerly of Harrenhal as the "gifter" is interesting for a couple of reasons. Lady Whent is a relative by marriage to Lord Frey, as his fifth wife was a Whent. There's a Wynafrei Whent who is married to one of Lord Frey's sons. So Sandor's choice of Lady Whent as the giver is a pretty good one. Finally, the fact that Lady Whent is dispossessed of Harrenhal by Tywin Lannister and is, according to Haigh, trying to "buy it back with a horse" seems like a reasonable probability (as Stranger is quite the steed). The "little game" as Sandor calls it, is afoot.

Like the "fool" reference, especially in this context where Sandor has effectively "fooled" Haigh and later "fools" the "Northman" with his disguise. It seems to reflect a broader theme within the series, though not necessary for Ayra presently, that many of the characters are fools for love.

[Lummel]

...He looks like a very big farmer. And later on, Brienne sees a very big gravedigger. I believe that the Hound's disguise here is foreshadowing for his time as a disguised monk at the Quiet Isle. (Only Lummel thinks it's not a disguise and that Sandor has found his true calling!! )...

I may be alone in my faith...I pray that the Seven illumine your heart and save you from the idolatry of Houndism

More or less, if you follow the link there are details of the ordeal of how Jon Snow, aka Jonathan Thorin Emo-dwarf, arrived, induced by The Hobbit and

. ...

So that was the tune that "pancakes, pancakes" was sung too :laugh:

...I have a couple of thoughts about the above. First, Stranger tied to the back of the "wayn" is a kind of "Trojan" horse, isn't he?...

Aren't you anticipating there a bit - gelding is an extreme, but I suppose effective, prophylactic. ;)

[Blisscraft]

Aren't you anticipating there a bit - gelding is an extreme, but I suppose effective, prophylactic. ;)

I had no idea that "Trojans" were international. :laugh:

In keeping with the "fools" theme, from the lyric of the most honorable Johny Mercer: Fools rush in. . . :D

[Lummel]

I had no idea that "Trojans" were international. :laugh:...

Not that I am aware of, I am simply showing off the entire five inches of my knowledge of the USA gleaned from product placements in your TV programmes.

I suppose an obvious point, but the plan underlines what an alienated character Sandor is. He doesn't know anybody who could vouch for him or give him an introduction, his only chance is to sneak an entry to use his possession of Arya as a bargaining chip. He has low social capital as we might say. And despite his comments with regard to the lack of intelligence or honour of the knightly caste his entire plans relys on the honour of people he doesn't know and who have no reason to trust him - since presumably he's not expecting to be treated by Robb as he treated the ferrymen.

[Blisscraft]

Not that I am aware of, I am simply showing off the entire five inches of my knowledge of the USA gleaned from product placements in your TV programmes.

I suppose an obvious point, but the plan underlines what an alienated character Sandor is. He doesn't know anybody who could vouch for him or give him an introduction, his only chance is to sneak an entry to use his possession of Arya as a bargaining chip. He has low social capital as we might say. And despite his comments with regard to the lack of intelligence or honour of the knightly caste his entire plans relys on the honour of people he doesn't know and who have no reason to trust him - since presumably he's not expecting to be treated by Robb as he treated the ferrymen.

Five? Surely not. . . Certainly much more than that. . . :eek:

Yes, I agree about Sandor. He, without having the appellation, "knight" is certainly a knight errant "type" at this point. He's a wanderer, following a fantasy of Robb accepting or rewarding him for Arya. He's an outcast, like Cain, and although he can see through the Westerosi values and standards with a keen observing eye upon every hipocracy, he can never embrace those values and standards. He's a loner; a lone wolf so to speak. He is in danger of becoming a rogue (if he hasn't already). He's on the road to psychopathy without stability and relationships with others. He cannot "settle down," or conform because his nature, as a knight errant type, is to "unsettle." At this point he is a perfect companion to Arya because, in spite of her "adult experiences,"she is still a child and to a great degree still "an innocent." Sandor, in his picaresque rogue role, has the capacity to teach her how to think differently, differentiate between conflicting ideas and ultimately survive, not only in body, but also in soul.

[brashcandy]

ARYA XI - ASOS

Summary and Analysis

The chapter picks up directly from Arya X as she and the Hound are making their way across the castle grounds, when suddenly armed riders begin pouring from the gates and the Hound has to launch into battle. Arya will later describe it as a "butcher's den" - a fitting metaphor because of the carnage taking place around them, and Arya's own identification with Mycah, the butcher's boy, right at the end of the chapter, before the Hound hits her in the head with an axe.

With Catelyn's final chapter preceding this one, we know that Arya's hopes to see her family alive are futile, and the entire chapter is permeated with a heavy sense of tragedy as a result. As was noted in the discussion following Arya X, the theme of being so close, yet far away, has been a recurring motif in Arya's Riverlands experience, and none more so than now, when the gates of the castle where her mother and brother are stand open, and yet she cannot enter.

Arya wants desperately to reunite with her family, so much that it blinds her to what she would ordinarily notice, and at the end of the chapter, even blinds her to Sandor's harsh common sense, as she runs recklessly towards the castle. The Hound saves her life twice in this chapter, with both times via the skilled use of an axe, first against a Frey fighter, and then on Arya herself. Whilst the Hound acts decisively in her defence, Arya is still conflicted over how she views him:

He is one against three. Arya still clutched her rock. They're sure to kill him. She thought of Mycah, the butcher's boy, who had been her friend so briefly.

Arya is slow to forget or forgive, and despite Sandor promising to return her to her family, her awareness of the injustice Mycah suffered is still buried deep, even if she is conscious that she did not know him for very long.

Somewhere far off she heard a wolf howling. It wasn't very loud compared to the camp noise and the music and the music and the low ominous growl of the river running wild, but she heard it all the same. Only maybe it wasn't her ears that heard it. The sound shivered through Arya like a knife, sharp with rage and grief.

This description recalls the GHH's prophecy about the Red Wedding:

"I dreamt a wolf howling in the rain, but no one heard his grief."

But Arya is actually able to hear the howling, or perhaps a better word would be to sense it, likely due to her warg nature. The effect it has on her is chilling, and the comparison to a knife, "sharp with rage and grief" is reminiscent of the final words in Catelyn's chapter:

The steel was at her throat, and its bite was red and cold.

The playing of the Rains of Castamere is the final soundtrack of death and destruction that has been meted out to the Northerners. Arya remembers hearing it from Tom o' Sevens when they had sheltered in the brewhouse with the brothers from the destroyed sept (Arya VII). At that time, Beric told her:

"... I do not have the power to give you back your father, no more than Thoros does, but I can at least see that you are returned safely to your mother's arms."

The song represents a cruel irony for Arya, as it not only signals her family's demise, but recalls a time when she still had hope that she would see her mother and brother again.

The song was done. There was only one solitary drum, its slow monotonous beats echoing across the river like the pounding of some monstrous heart. The black sky wept, the river grumbled, men cursed and died. Arya had mud in her teeth and her face was wet. Rain. It's only rain. That's all it is.

The images Martin employs all attest to the overwhelming emotions of rage and grief that saturate the chapter. Arya doesn't want to admit she's crying here, and this coupled with the mud in her teeth contrasts with the chapter back in ACOK, after the fight at the stone holdfast where Yoren was killed:

Arya held her breath and kissed the mud on the floor of the tunnel and cried. For whom, she could not say.

The reverse is now true in this instance: Arya knows very well for whom she is crying, but she cannot admit to the tears. It's a telling reflection of the suffering she has undergone since then, and the effect it has had on her. She's trying hard not to break down, not to show weakness, but it comes through in her voice nevertheless:

"We're here," she shouted. Her voice sounded thin and scared, a little girl's voice. "Robb is just in the castle and my mother. The gate's even open." There were no more Freys riding out. I came so far. "We have to get my mother."

It's interesting to compare Arya's reaction to her own crying, with someone like the Hound, who is quite harsh, but whom we see crying openly on three separate occasions in the novels.

Arya spun away from him and darted for the gate. The portcullis was coming down, but slowly. I have to run faster. The mud slowed her though. Run fast as a wolf... She heard loud splashing and looked back to see Stranger pounding after her, sending up gouts of water with every stride. She saw the longaxe too, still wet with blood and brains. And Arya ran. Not for her brother now, not even for her mother, but for herself. She ran faster than she had ever run before, her head down and her feet churning up the river, she ran from him as Mycah must have run.

The mud that is slowing her down evokes the dream she has in Arya III of Winterfell:

She was alone outside the castle, up to her knees in mud. She could see the grey walls ahead of her, but when she tried to reach the gates every step seemed harder than the one before, and the castle faded before her, until it looked more like smoke than granite.

The Twins may not be Winterfell, but it did represent Arya's last chance of finding home. Her vision of Sandor Clegane returns to the original terror he represented in her life - the murder of Mycah - and Arya is running both from and towards two sources of death. Sandor and Stranger the horse are no longer the true danger though, and his act at the end of the chapter is what saves Arya from what would have been a likely death, and enables her to continue on to find her own empowerment in such matters.

[Mladen]

First, as always, wonderful job, brashcandy. It was indeed great reading

This chapter is extremly important. Fisrt not because of just Arya`s storyarc, than for something that already happened. RW, according to GRRM, was extremly emotionally draining chapter to write, and he refused to write S03E09 - Rains of Castamere for HBO, since he didn`t want to go that path again. Interestingly, even in the books, years before HBO show, we could see what impact RW had on author. First and most important, we don`t have reactions from each Stark kid. Sansa`s reaction was shown through Tyrion`s POV, Jon`s and Bran`s through wolves and even that wasn`t fully resolved. So, Arya was the one in the books, that we had to feel with, and understand her pain. This and her next POV are of great significance, not just because of switch in identity, than also showing extremly overwhelming pain she had suffered.

We have already discussed, the motif of being so close and yet so far. And I believe that this will be Arya`s leitmotif in the future books, especially on her path to become no one. GRRM had even used a wonderful way to show that Arya in this POV isn`t going to get where she`s headed when he described the wheel sinking into a mud. This small bump on the road is something Arya had faced so many times, but this last bump was even more important given the fact that in the next paragraph she heard wolf`s howling. Greywind`s howling is something that truly frightened Arya. The wolf girl who has her own instincts could feel that something is way off, and that howling was the knife in her heart. Using metaphor about howling and Syrio`s lesson is a wonderful parallel between her Stark nature and everything she has learnt. For that howling represented vocalism of Arya`s fear and terror that will come.

The realizatio it was battle and recognition of the song she knew, was the last pieces of puzzle Arya needed to understand her fears weren`t without reason. And here we see her confusion, her wolf nature, she would run and fight, she wants to be with her pack, with her family. Her fear cut deep, and she, just like wolf, wanted one thing - the blood of her enemies. She hadn`t thought of safety or anything, she only wanted her family. She refused to ran without her family, her pack. So strong and yet so sad. But, alas as all predators, even wolves can be beaten. And Sandor showed that to her.

This chapter, and Arya`s next will show us, how broken she is, but how strong and endurant. And that`s the beauty of Arya`s story. Unlike everyone else, her fear and sorrow is mixed with desire for vengeance and freedom, and that`s why certainly GRRM had chosen to give us her perpective on RW above all others.

Once again, great job, brashcandy.

[The Sleeper]

The first time I read the books, I thought of the end of this chapter as a false death/cliffhanger (and an annoying one at that). Yes, the Hound had no reason to kill Arya at this point, but that didn't stop me from looking ahead to see if there was a next Arya chapter.

Seen from another perspective, however, and what this meant ot the character, this ending reveals something else. Arya experiences death in this chapter, in quite a literal sense. She faces the image of the Hound coming for her, fully armed and with his helmet on, raised axe in hand, causing all thought to cease, leaving only the instinctive response of flight, the visceral desire to live for another moment until his axe knocks her unconscious. Death is figurative as well. She loses hope, she loses her destination. With the death of her family, Arya Stark loses much of what defined her both internally and to the outside world and is left to drift nameless. The full repercussions of this will the focus of the next chapter and one of them is the fact that LF will be able to use Jeyne Poole as an impostor. In many ways this is the end of Arya Stark.

Leading up to that, Arya is so worn out and frayed by hope and fear that Syrio's lessons, which she had worked so hard to make her second nature, fail her. She fails to see the riders coming out, until Sandor pushes her of the wayn. She's terrified and confused, almost panicked, uncomprehending of what exactly is going on other than the fact that her worst nightmare is conming to life and she bears the onslaught of the sights and sound of the slaughter naked, without the filter of her usually observant and composed mindset.

[1234567]

Dear Brash,

Fantastic write-up.

The links between earth and water and the deluge and destruction it causes tie into Arya's overarching themes and most importantly death. This is a grim chapter, but it seems to yet again herald an even darker foreshadowing for Arya's future.

[Lummel]

Warging

"Somewhere far off she heard a wolf howling...Only maybe it wasn't her ears that heard it." I'm also inclined with that and her hearing the Rains of Castlemere being played that this is an indication of some warging/brain to brain connection going on. After all she is meant to be hearing those sounds over the noise of the shouting and the fighting and the crying and the dieing and despite the distraction of the events unfolding before her eyes.

The Steel Dog

At first I was thinking that Beric stood in simple contrast to Sandor. Idealism vs cynicism. But then again within the BWB there is both idealism - in the need to care for others, particularly the weak and vulnerable but at the same time realism in that many of them realise that they are outlaws and will as likely as not end their days with a noose round their necks.

The early cynics may have got their name because they were dog-like (kynikos), but Sandor fails to be completely cynical for all his vaunting aloud. As in the previous chapter he's prone to believe in the values of others and doesn't imagine that there might be a problem in dealing with Robb and, despite very oddly in the middle of a battle giving Arya a choice as to where to go, he rounds her up like a sheep dog to carry her off.

Is it a surprise that he will eventually become something very like a Dog of the Lord? :laugh:

Nice touch that Arya passes off her tears as only rain.

ETA - Butcher's den

Don't know if this is an American usage but to my mind it is curious, a butcher might have a shop, a counter, a chopping board, a slaughterhouse or an abattoir but foxes have dens.

[The Sleeper]

The early cynics may have got their name because they were dog-like (kynikos), but Sandor fails to be completely cynical for all his vaunting aloud. As in the previous chapter he's prone to believe in the values of others and doesn't imagine that there might be a problem in dealing with Robb and, despite very oddly in the middle of a battle giving Arya a choice as to where to go, he rounds her up like a sheep dog to carry her off.

Cynics were named after Diogenes who lived like a a stray dog. I don't see Sandor as dog-like quite in that sense. If he didn't expect trouble with Robb or his retinue why bother with the disguise?

Also, nice use of the song to give us a time frame for events. While I agree Arya did not probably hear the wolf howling with her ears, the song is described as really loud and coming from both castles so I don't think there is anything supernatural there.

[Blisscraft]

THis chapter once again reminds me how brilliant Martin's writing is. God forbid I gush, but really, he is truly amazing.

First things first - The opening lines: "The feast tents were behind them now. They squished over wet clay and torn grass, out of the light and back into the gloom. Ahead loomed the castle gatehouse."

In these first three lines, Martin skillfully captures the whole notion of being betwixt and between; of being so close and yet so far. The feast tents are past, behind Arya as she moves closer to her goal: the castle, her family. She is slowed by the "squish" as if the wet clay and torn grass are trying to prevent her from moving forward, tugging her way from her possible reunion. "Ahead," her potential future, "loomed." It's ominous and unwelcoming.

Arya sees that the sergeant was wrong the castle is "open." Notably she doesn't accuse him internally or externnally of "lying" or being a "liar." The portcullis is being drawn upward as the drawbridge has been lowered. However, this is done not to admit Arya or anyone else. This opening is to release the hell of Lord Frey's wrath and vengence. Once again this produces within Arya a sense of being betwixt and between. She is confused and doesn't recognize friend from foe. She thinks about "the hundred hundred times" she prayed for the Hound's death, yet now he is protecting her and although she has a rock in her hand, "slimy with mud" she doesn't know who to throw it at.

David and Goliath - There is something about Arya, a child, standing in the mire, facing off with a mounted knight, a rock in her presumably small fist that evokes this biblical image. She doesn't kill the "faceless" Goliath or even hit the sweet spot as she did with Gendry, right between the eyes, however, she distracts faceless long enough that the Hound can kill him and save her. The balance of power has shifted.

Apples - Fire Eater notied the last time that as Arya and Sandor headed towards the Twins they passed an apple orchard. Here Sandor commands Arya to get his helm. It is hidden at the bottom of a sack of dried apples. The apple, the fruit of knowlege, is dried and used to conceal here. However, once Sandor's helm is out of the bag, so to speak, knowlege seems to reveal the truth as to what has happened to Arya's brother and mother. They are as lost to her now as Eden.

Songs - Did anyone else notice that Martin used the technique of overlapping a song in this chapter in a similar way as to his use in Sansa's "Geoffrey's a monster" chapter? The Rains of Castemere and The Bear and the Maiden Fair both highlight and punctuate these respective chapters. Also, going back a bit when Arya hears a song and thinks that Sansa would know the name of it, in this chapter, Arya recognizes Rains without any assistance from anyone.

[Ragnorak]

Excellent write up, Brash. You have a gift for this.

Congrats on your new family edition, Lyanna. I'm sure he's as blessed to have you for a mother as you feel blessed by his arrival. When does he get a pet wolf?

Love the post, Blisscraft, but especially the apples as I didn't know what to make of them.

<snip>

ETA - Butcher's den

Don't know if this is an American usage but to my mind it is curious, a butcher might have a shop, a counter, a chopping board, a slaughterhouse or an abattoir but foxes have dens.

No American usage that I'm aware of. We have no such cookie/biscuit distinction regarding meat that I know of. The only American usage I would expect is to hear that term used by a news anchor trying to sensationalize a serial killer story because they try to be sensitive like that when talking about other people's murdered children. :ack:

Other than your cynic observation did you have any thoughts on the transformation from man to steel dog? It seems a meaningful passage and I get the sense that something is eluding me.

Songs

One interesting element of the song is that it marks the passage of time. So much is written between lines that it creates a sense of Arya rapidly taking everything in. It creates a sense of the adrenaline rush.

“Life is not a song, sweetling. You may learn that one day to your sorrow.”

Sorrow aside, this passage strikes me as another example of how life sometimes actually is a song. (another one that stood out was Big Bucket and "Ned's girl" with "no one writes songs about men who die like that") This is a Song of Ice and Fire after all...

That the Song is The Rains of Castamere is also worth noting. First, for all Walder Frey's assertions about insults to the honor of his House he isn't actually avenging his House by choosing that as his attack anthem. He is advertising himself as the tool of another House and celebrating his status as a pawn. Just a very odd choice for a supposedly prideful man. It also seems to indicate that Tywin Lannister is more involved in the planning of this event than he leads Tyrion to believe and is even more evidence that Sansa's marriage is about The Rains of Castamere and not about Tyrion's son ever sitting in Winterfell to make the North a Lannister holding.

Mud, Water, Fire and Stone

We've noted the water theme in Arya and this book in particular has had a great deal of river and rain appearances specifically. Brash mentioned the mud already. This and the earlier references mentioned all seem quite negative. Arya was always getting covered in mud in GoT and there was that one chapter in Clash with the three black swans where she was feeling the mud between her toes. The mud there was part of a positive image amidst the destruction but that seems lost here.

We've also had several chapters with fire as a destructive force which it is here as well. The repetitive theme of the destructive nature of fire makes me wonder especially since fire was such a central element to Sandor's trial. The trial stands out to me as almost the only non-destructive use of fire in Arya this book. Then we have this line.

Fires glinted off the snout of his helm, and made the steel teeth shine.

Again, not sure what to make of it but there's been enough fire to make me wonder.

Arya picks up a rock here and she tried to kill Sandor with a stone earlier. The stones of the castle stand out too. There have been a good bit of stone references in Arya as well but that may just be part of the required descriptive writing when pointing out castles and caves and things on the ground that aren't trees.

There was some speculation in other threads that the Twins might be a Hammer of the Waters target and the lowered drawbridges covered in water reminded me of that. It as at least a symbol that the sorrow inflicted by Walder Frey represented by this torrential rain is seeping into his own castle and beginning to drown him even as he commits the act.