Cowboy Dan

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About Cowboy Dan

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  • Birthday 08/02/1991

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    Lost in the Fog; Attending the Feast [Texas]

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  1. Yeeesssss!! I knew you'd be on board once you got to that part. I haven't read your theory in a while so take the following with a grain of salt. Part IV is tentatively titled "The Breaking of the Round Table and the Breaking of the World". The fourth book in TOAFK, The Candle in the Wind, involves the dissipation of Arthur's Round Table, which isn't solid but empty in the center, a nice hollow moon/egg symbol. Like the sigil for House Toland, it's a circle, but if this circle breaks then I'm not sure if things will simply go backwards as you posit. Over in LmL's current thread there was discussion of a sequence of events. In the next Part I'll be showing this sequence over a bunch of different scenes but every time it appears, the sequence is disordered. It's not simply inverted, retrograded, or the like as would work in a standard musical composition but all the "notes and chords" are completely out of order and randomized. That would be my only real contention with the idea of the Wheel of Time, that maybe there's not a simple reversal going on but a total smashing apart and re-ordering of events. Like I said, grain of salt. I look forward to catching up on your writings once I'm done here so I have a more educated understanding of your stance on the titled chapters.
  2. Indeed! Although due to the nature of the Breaking that I posited, I think it won't be as simple as side X wins and sides A,B, and C lose. Depending on where these lands break apart, side A wins and side B loses in one place, side L wins and side M loses in one place, et cetera, et cetera. Perhaps both Stark and Lannister win in their own respective lands although with (one would imagine) some heavy losses. Reminds me of a convo I had with a user over on the subreddit. He said he wasn't a fan of this forum due to certain users that treat the series like an "RPG source book" which got a hearty chuckle out of me. Symbolism isn't for everyone, hell, half the time in discussing symbolism I feel like a kid playing with legos while everyone else is using bulldozers and cranes and shit. Just blows my mind sometimes the way people see these things (like your break down for instance). But I've got a feeling some of the way I see things will blow some minds as well. We all have our strengths and weaknesses. I definitely agree and am looking forward to reading more on your inversion re-read/theory after this is all done to see if I can help shed some light or bring a new perspective to the subject. I really enjoyed the one chapter I participated in. I was expecting a slow response but it is a bit more muted than I anticipated. If someone like you who wants to read along is taking this long, then no wonder it's taking others a while. Thanks for the words of encouragement! I'm just looking forward to having it all out and done with, it's been almost two years in the making from when I put together my first fledgling A+J=J+C post over on the subreddit and that had months of work beforehand. I am starting to empathize a bit more directly with GRRM and getting that monkey off his back. Hell, I don't even have millions of fans/dollars or a magnum opus to worry about! Just a big ass analysis for fun. I want to get back to your second post, particularly surrounding the word 'chink' as it only appears six times in the series and at first glance appears to jive with what you're saying! It seems to be part of a cluster but like I said, since I lack the tangential symbolism it makes my head spin a bit. Your explanation clears it up a bit but let me think on and look into it a bit more.
  3. @LmL I'm sorry to hear that, your threads are definitely a highlight on this forum for me. I know toxicity is easier to walk away from than confront, since it can sour you just as easily as those spreading the negativity. I've also noticed this going on in several ASOIAF discussion locations every year. It seems to get worse around show airings, with the show passing the books and all. There always seem to be book purists that walk away for a while, due to fear of being spoiled by some jerk. Maybe the recent downturn is somewhat related to that. It seems you've made your choice but I hope you'll reconsider coming back around for a while once TWOW comes out. Perhaps more of the good users will also return once there's more to discuss in the series proper. Best wishes in your future endeavors, friend. This place won't be the same with your contributions.
  4. Since I was called over here I guess I can drop a few things real quick. Glad you're around to Mythically Astronomize my findings, RR. This stuff still leaves me wanting even after years of looking at it lol. Awesome to hear! If you're enjoying that kind of thing then you party goers will certainly enjoy the next part. It's aimed almost directly at the LmL crowd and all the scenes I am tying together through word choice and underlying symbolic intent are super heavy with Mythical Astronomy stuff. I just try to stay away from that kind of thing since it's not my forte. If you don't love the next part, I'll donate a liver. I've been picking up on this for a while now. Gendry is going to be sacrificed but is saved by Davos. Sam takes Gilly and her child south, away from the Others. Instead the baby gets swapped in order to save a child from sacrifice (again!). But in doing so the original child meant for the Others is sacrificed to Melisandre. Perhaps the Others are a tiny bit pissed off their offering was given to the opposing side? Dany is also meant to be killed by Robert as a child but is smuggled across the Narrow Sea. I recall a few lesser known examples but I can't remember them all off the top of my head right now. Jon also has an insane number of blue coloring connections but is the character most referred to as "a boy, as green as summer". I pointed out at the end of Part I in my post this is going from the deep green of Summer to blue Winter coloring and I make a case as to why Jon and Jaime serve as dual lightbringer swords going into the underworld in their dreams (in the part I just posted). I didn't mention it there but both are playing the role of 'summer kings that go down to winter', as a dual lightbringer. Makes sense! It all seems to be part of the same cluster. Sweetness, fragrance and perfume tend to hide thorns, poison or venom, which then gives way to corruption, rot, or (as I was not aware and you have pointed out) pus! I've been making a case as to why Jon is an anti-villain. I'll offer a more in-depth explanation in the next part as to why being attached to this sweet poison as a character may actually be turned to a good thing, strangely enough. We've seen this already with The Mountain/Robert Strong, as he gets poisoned but is then resurrected. Actually, maybe that's not the best example... Anyways, I have to return to my cage for now even though it's rather dead in my neck of the woods. I look forward to discussing more with you folks after I'm done with my own monstrous essay.
  5. Into The Twilight Zone In Martin’s writing for The Twilight Zone he penned a 1986 episode titled “The Once and Future King”. Gary Pitkin is an Elvis impersonator that just so happens to look exactly like Elvis. The episode begins with Gary playing “Heartbreak Hotel” (think Nissa Nissa being stabbed through the heart) and speaks with his manager Sandra backstage. She recounts meeting Elvis when she was younger and he gave her a scarf. She goes on to tell Gary she booked him to play in Vegas. Gary becomes enraged saying Vegas killed Elvis and he doesn’t have to make the same mistakes as Elvis just because he plays the same music. He drives home but on the way is driven off the road by a drunk driver which destroys his car. This character is the “drunk fool” archetype I will get to in the upcoming section : think Aerion Brightflame who kills his opponent’s horse at the Tourney of Ashford Meadow and later, as an exiled prince, drinks wildfire. Gary wakes and hitchhikes, to be picked up by a driver in a truck for the Crown Electric Co. Gary recognizes the driver as Elvis himself, as he has travelled back in time but thinks it is a hallucination. He pretends to be Elvis’ deceased twin and goes on to tell Elvis of his future as King of Rock ‘n’ Roll. After showcasing one of his hits and dancing around, Elvis claims Gary is a devil sent to tempt him. They get in a fight where Elvis smashes his guitar against a wall. Gary then pushes Elvis away where he falls onto the broken neck of his guitar which stabs him through the heart. Gary proceeds to bury Elvis (as Jaime is consistently shown being left in the mud for dead) and decides to pass himself off as Elvis in order to preserve his legacy as the King of Rock ‘n’ Roll. He goes to Sun Studio and records his first album. The episode flash forwards to Elvis sitting in a hotel room with Sandra where he tells he felt he never fooled Elvis’ mother and was haunted by his ghost but attempted to live Elvis’ life as well as he remembered. He gives her the scarf she mentioned at the beginning of the episode and the episode ends. The style of time travel used here is what is referred to as a "Stable Time Loop," which is essentially Self-Fulfilling Prophecy applied to time travel. What occurs in a prophecy like this is that a character hears something they dread and wish to avoid but in attempting to do so naturally cause the prophecy to come about. This is most obvious with Cersei's paranoia and descent into madness per the Valonqar prophecy. In the Twilight Zone episode Gary wishes to remedy Elvis' mistakes but once he goes back in time he must write the very music that inspired him to want to be an Elvis impersonator. Despite his wish to not make the same mistakes, he ultimately lives out Elvis' life without making any drastic alterations. We have seen Bran glimpse into the past and even whisper to individuals, such as Theon at the Godswood or touching Jon in the third eye during a dream, which seems to speed along his magical development. It would be rather pointless to introduce a method to affect the past and not employ it in the series, although by nature of Stable Time Loops, a character is not given nigh-infinite power to change the past. They have already changed their past and are bound by their own causal chain to create the very events that lead them to wanting to travel in time and alter that causal chain in the first place. And that’s it for Part II. Part III will arrive in a week, on the day of the Solar Eclipse, and will be the largest entry by a wide margin. I’ll be going into those two archetypal roles I mentioned and hitting a number of huge events that have a smattering of overlapping symbolic connections regarding this breaking event and how/why it is such a key recurring series of events.
  6. Martin’s Sierpinsky Gasket : The Mad Dance ; or : A Treatise on Clustered Symbolism Here’s where I can start getting to the really fun stuff. A while back I was discussing with a Lit. friend of mine, a huge David Foster Wallace fan, the nature of the hidden web of symbolism in the series. His response? “Oh yeah, that’s a Sierpinsky Gasket.” To which I flipped my proverbial shit. What the hell, there’s a name for it!? The more I thought on it I felt, of course, there’s gotta be a name for it. For those who aren’t aware, as I wasn’t at the time, this is a Sierpinsky Gasket. It was created as a triangle that could expand or contract to contain an infinite number of smaller or larger triangles in the same patterning and served as a pre-cursor to the fractal. The real beauty of the Sierpinsky Gasket when used in Fiction? It occurs in every single chapter. David Foster Wallace’s grand work was Infinite Jest, a post-modern door-stopper that serves as a mystery more than anything and he stated in an interview he had roughly four “projects” going on in the book. The user hollowaydivision over on the subreddit wrote a pretty fantastic post, the same day I posted my first part coincidentally, stating that GRRM’s series is a “Post-Modern Detective Meta-Fiction” and I would have to agree with the notion. Funnily enough, Wallace’s Infinite Jest was published precisely six months before AGOT was released. I think this may be like the idea of Multiple Discovery, that since the requisite information is available to the public separate inventors/creators can come to the same or similar conclusions separately. A noted example of this is Charles Darwin and Alfred Russel Wallace, both of whom had reached similar conclusions regarding the evolutionary process. Although I bet a fair amount of you have never heard of this Wallace until now, as he was content to live in Darwin's shadow, away from the limelight. I remember reading some information regarding Einstein’s Theory of Relativity that a number of scientists were working toward the same conclusion in limited capacities but he was the first to put it all together and publish his work, so he's the one we all remember. I imagine GRRM and DFW are likely in a similar boat, just that DFW was more of an “architect” -- as GRRM likes to state the dichotomy -- and was able to finish his post-modern epic utilizing the Sierpinsky Gasket/fractal in a single installation. I’m certainly not the first person to recognize the fractal nature of the series but I am trying to be the first to get to the crux of just what the point of utilizing such a structure is. I have ideas on that front but you’ll have to wait until Part III for my speculation and breakdown of the purpose of this Gasket. An Insight into Clustered Symbolism Showing how this Gasket works exhaustively is not my intent, as I have stated before. I am simply trying to show some examples that scream out to me as obvious connections in order to get other readers to be able to use this process for themselves. Let us begin with the use of the word ‘exult’, a very consistent key word usage. In each one of these examples a character is dreaming (sometimes as a skinchanging experience) or daydreaming of a victorious outcome but the brutal reality is quite different. Sansa's is ended by the Red Wedding. Beric is killed by Sandor. Cersei's is ended by the Walk of Shame. Varamyr loses his humanity. Bran nearly dies during his fight. You get the point. It is very consistent each time in such a small pool. Now I am going to evidence this with a cluster in a small capacity. Feather Crystal pointed out to me once that oranges are symbolic for life. I cannot state with certainty if this is true, although it makes sense, as the ‘peel’ of the oranges are often associated with death. This could work in two ways : any microbes or insects trying to get past the peel may die (or starve by failing to get nourishment) but if the peel is, well, peeled, then the orange its self will die. The first several uses are very clear on this death connection. These are the first five uses of peel in the series. Ned beheads the deserter Gared. Theon wants to kill Jaime after being captured. Drogo dies due to the corruption in his wound. Mormont speaks of Ned's death and lastly Cressen chokes to death as Patchface's cowbells peel in his ears. As you continue to go down the list the hits become less clear. Only about a third of uses relate to death. In the other uses is ‘death’ implied, is Martin using other overlapping symbolism to confuse the reader or does he simply drop the connection altogether so as to obfuscate or throw off the readership? Personally I lean toward the first and second possibilities but I cannot answer this question with comfortable certitude. Despite my uncertainty on an emphatic answer, this type of symbolic intent is readily consistent throughout word choice usage. What I find truly fascinating though is when several of these specific word choices’ symbolic import overlap to create one of these clusters. Let’s view one of these clusters piecemeal then view a quote that slams them all together. The accepted interpretation of this line regards the blue flower representing a rose. This would be representative of Jon Snow, as Lyanna’s son, who is heavily associated with the blue rose of the North. I want to focus on “sweetness” here in this context. When we see a sweet smell the reader can determine it can hide a foul smell underneath. Sweet is often used along with poison to give this a more sinister edge. Going back to the blue rose with this idea of sweetness serving to hide poison this blue rose becomes much less appealing as a positive symbol for Jon. As Ned reaches for the sweet smelling rosy crown, he gets pricked. The rose and its thorn serve as a parallel to sweet poison. I chose the two quote where sweet poison occurs with honey as well. When settling the Bracken-Blackwood dispute Jaime states it is a “sweet that will make him fat and rot his teeth” (rot is sometimes a substitute for corruption which appears shortly). This ties into the Bear and the Maiden Fair hypothesis SSR set forth, that the bear goes for the maiden’s honey and is killed for it, just as Ned is stabbed by the thorn when reaching for the sweet rose. Returning to blue flowers, from Wikipedia: Blue roses are artificial, represent reaching for the impossible and denote royalty. The nature of attaining the impossible would be like entering into one of these greenseer godheads. With that in mind, let’s look at one of the few godheads we have seen firsthand, at the House of the Undying. Blue is often associated with Jon Snow (as the Ice Warrior, hence why I can understand why a good section of fans believe Jon is not a Targ but all North by blood) along with the shadows I have already mentioned. Jon is described as hiding his true face but Drogo hides his face behind a 'copper mask' to Dany. The copper is his skin, so think of the Faceless Men using another’s face to hide their own. Since we have witnessed the undertow of the deathly peel, the sweet smell covering foul ones and the blue corruption of the godhead’s fiery heart, let's see the full quote of Drogo's dying, as it is loaded with these hidden meanings. There is the mud, which I pointed out at the end of Part I, is associated with life in opposition to the destructive nature of fire but since it is cracked and dried it is no longer life-giving. The leaves connect to the Old Gods of the North and the godhead Bran ultimately taps into with Bloodraven. The "sweet smell rose" implies that fragrant blue rose which attempts to choke her, as Will does to Waymar in the AGOT Prologue. Sansa is also believed to be the "maid at a feast with purple serpents in her hair, venom dripping from their fangs," as she supplies the poison (venom) necklace that chokes the life from Joffrey and is herself referred to as "soft-spoken, sweet-smelling Sansa," by Tyrion earlier in ASOS. Now that I’ve shown a passage with several hidden meanings that tie into other passages, let’s go real wide with it. So wide in fact we are going to leave the series behind for a moment.
  7. Jon & Jaime : Waking Dragons & Sleepless Nights Jon and Jaime have a great deal of parallelism and occasional inversions throughout their respective arcs. Let's look at them side by side, boiled down to their essence. 1) Jon joins the Night’s Watch at a young age, an ancient order no longer respected tasked with protecting the realm and wear cloaks of one color : black. Jaime joins the Kingsguard at a young age, a revered but relatively recent order tasked with protecting the king and wear cloaks of one color : white. 2) Both orders require vows that prevent members from holding lands or titles 3) Upon making it to his new station, Jon becomes disillusioned with his new ‘brothers’, many of whom are dishonorable Upon making it to his new station, Jaime becomes disillusioned with his new ‘brothers’, who behave honorably in their duty to the king at the expense of other knightly vows. 4) Jon becomes an oathbreaker at the order of Qhorin, betraying the vows of his order in order to save the citizens of Westeros from the unexpected threat of Mance’s wildling army. Jaime becomes an oathbreaker of his own volition, betraying the vows of his order by killing Aerys to save the citizens of King’s Landing from the unexpected threat of Aerys’ Wildfire Plot. 5) After change in leadership (death of Jeor), Jon is punished by senior officers Slynt and Thorne but is exonerated of his oathbreaking. After change in leadership (death of Arthur Dayne), the new LC Barristan Selmy recommends punishment but is exonerated of his oathbreaking by Robert. 6) Jon is taken prisoner by the enemy, the Wildlings, and is taught to understand an unfamiliar, hostile people by a woman, Ygritte. Jaime is taken prisoner by the enemy, the Starks/Tullys, and is led through unfamiliar, hostile terrain by a woman, Brienne of Tarth. 7) Jon leaves Ygritte behind to return to his post and after dreaming of her, stays at the Wall. Jaime leaves Brienne imprisoned at Harrenhal and after dreaming of her, returns to Harrenhal to rescue her. 8) Both become LC of their orders after the dismissal/death of the previous LC. Jon is elected, while Jaime is given the position by default, as the eldest living member. 9) Jon is offered release from his vows and to claim his birthright Winterfell by a man with the authority of a king, Stannis, but denies the offer, staying true to his vows. Jaime is offered release from his vows and to claim his birthright Casterly Rock by a man with the authority of a king, Tywin, but denies the offer, staying true to his vows. Recall that Daeron the Drunken points out the scary and terrifying nature of Dragon Dreams, to the point he drinks to blot them out. While we're talking dreams I want to point out the mirrored dreams between Jon and Jaime which I have discussed before elsewhere which are extremely important. Now let's see jaime's mirrored dream below Casterly Rock. Jon is alone with "No one", implying the faceless men who hide their faces and Jaime is prodded on by shadowed figures with spears. Jaime asks 'who are you', what business they have there, just as Jon is asked who he is and told that the crypts are not his place. Jon has no torch whereas Cersei is Jaime's only torchlight. Both are scared out of their minds of what awaits in the crypts below their ancestral homes, where they both encounter their ancestral line. They reach this underworld, one by way of a twisting passageway and the other by a spiral staircase. Both are deathly afraid of what awaits them and scream when they enter the darkness. The island of light in a sea of darkness will become important in Part III when we get into the Breaking event. I believe this is representative of Jon and Jaime entering into the godhead through way of death. The golden blond child has the neck wound and accepts his fate ("this is your place") whereas the Jon stand-in fights and symbolically attempts to escape ("this isn't my place"). I believe this is due to Jon saving Jaime from the godhead, as a shadow among shadows. Once he makes his move to protect Jaime he is killed by the shadows that see his true intentions. But hey, resurrection is still a thing so I doubt he'll stay dead. Like Beric, after one too many times resurrected, how warped would Jon become by this? PS: Thanks to LmL for this find. If you hadn't brought up the blond hair I wouldn't have found this particular piece to the puzzle yet. Much love, buddy. Recall the black bastard tomcat quote in which he steals the quail from Tywin at the feast. Jaime in his heavy lightbringer intro. of ASOS is equated to a quail : "A laugh burst from his lips, sudden as a quail flushed from cover." This all fits very well with a fantastic chapter ending passage from The Sword in the Stone involving Arthur and Ser Kay. This brings to mind the Golden Crow of Eastern mythologies. It is a three-legged crow that would eat the grasses of immortality, translated in Chinese to "ground sun" or "spring grow". There were ten of these sun crows and one time all of them came out at once, causing the world to burn. Houyi, the celestial archer, saved the world from being devoured by them when he shot down all but one of these crows. In the Japanese tradition it is construed as a sign of divine intervention, a sign of rebirth and rejuvenation that cleaned up after great battles to symbolize a new renaissance after great tragedies. It is either a raven or a jungle crow and is a symbol of guidance for the Emperor at the time, which led to prosperity for his people.
  8. Black Bastards : Mordred and Jon Snow Jon Snow's arc revolves around the archetypal Jungian shadow, that is to say, the unrecognized aspects of one's personality. Whereas Jaime directly confronts his own shadow in a sort of Dark Night of the Soul and Tyrion admits his love for the game of thrones, Jon Snow is in denial of his desires. i suppose it would be more accurate to say he recognizes his desires but has been conditioned to feel wanting what he wants is wrong and he constantly fights against his own inner desires. After the murder of Qhorin Halfhand, the Free Folk in his presence call Jon out as a warg. Varamyr likewise notices Jon's inherent skinchanging ability, thinking Jon is "still fighting his nature when he should have gloried in it." This is typical for Jon's arc, as he rarely admits what he wants since as a bastard he was told it was wrong of him to want power due to his status. At the end of AGOT and ADWD Jon attempts to leave the Night's Watch with very different results. This matches with Maester Aemon's warning that he had three chances to choose between family and duty but regretted his decision to stay for duty. Jon has chosen twice but been rebuked twice. It is not much of a stretch to say he will leave once he gets resurrected. The blind old maester is not the only Aemon Jon is connected to. He is connected to Prince Aemon the Dragonknight when he has a flashback of Robb telling him that he cannot be Lord of Winterfell. Most interestingly is that during this flashback he is sparring with a fellow NW member but essentially blacks out and goes into a rage, only waking from his dream when he has nearly beaten the fellow bloody. This evidences Jon's hidden desire to be Lord of Winterfell but is denied due to his status as a bastard, especially once you take into account the dream where he wears black ice armor and a flaming sword, only to kill Robb. This sense of blacking out and being given a dream, not even while sleeping but while waking, is another piece for an idea I championed a while back I dubbed “subtle skinchanging”. I will be getting to and evidencing this notion heavily in Part III once we get to what this Breaking moment is and what causes it. Contrast Jon with Ned, who is haunted by the deaths of Aegon & Rhaenys Targaryen. The reader must read between the lines to determine Ned's disdain for the murder of children, as he doesn't actively spell out for the reader "man I REALLY hate seeing dead babies". Jon on the other hand must constantly reminds himself Winterfell is not his birthright when Stannis offers it and thinks "The Night's Watch takes no part" to himself regularly. Those are not the thoughts of a man confident in his decision but one attempting to convince himself he is making the correct choice. On two occasions Jon is directly tied to madness, such as the madness that leads Mordred to attempt usurping Arthur's throne and marry Guenevere. Once he is fighting with his fellow NW members and while defending the Wall he "laughed like a drunk or a madman, and his men laughed with him." The other is a phrase only uttered by the Mad King, "charred meat and cooked bone". Jon Snow is the only other character to use both phrases in conjunction, as Aerys did. Mordred is head of the Thrashers, a Gestapo-like Military Police clad all in black, just as Mordred is consistently decked out in black. Jon Snow, like Mordred, could be called a "black bastard". But Arya spells out exactly who the Black Bastard really is, albeit unbeknownst to herself, as she tries to convince Ned of what she heard in the dungeons: Of course Ned and Arya don't get how important the connection is but the astute reader picks up what connection Martin makes between the beginning and end of the chapter. Jon is the bastard indeed, Arya: Jon Snow is the only character to ruminate on oathbreaking as much as Jaime does. The two of them dominate the search results for the series far and above any other candidate. Jaime’s oathbreaking, like Jon’s, was to serve a greater purpose so I don’t think these connections to Mordred are as bad as they may initially imply. Of course Martin loves showing the greyness of morality and that villains may not be as terrible as some people are led to believe by the opposing side. I would hazard a guess that Jon as a mad Mordred isn’t as damning as it may sound. Mordred likes to skulk around in the shadows as he plots Arthur’s downfall. Jon Snow thinks of himself as a shadow, as “the silent man standing in the shadows who dares not speak his true name” and once as a "shadow among shadows". In White’s work there is a strong emphasis on true faces and names, that a true knight would not hide either (such as Lance taking a false name). Naturally Martin is not one to stick to such outdated hard-lined moralism. We’ve seen true knights hide their name/face throughout the series to behave as a true knight would. For example Dunk hides his identity in The Mystery Knight. The Knight of the Laughing Tree stands up for Howland Reed and this character's identity is still unknown. Lastly there is the undead NW member in service to Bloodraven, lovingly nicknamed Coldhands who helps Bran & cohorts. Mordred also has some Last Hero number symbolism going on. When he attempts to entrap Lancelot and Guenever for their affair he has twelve companions. Lancelot kill his companions but refuses to kill Mordred though, due to an oath he gave to Arthur and which seals the fates of himself and Guenever.
  9. Part II : Jaime and the Broken Lance, Black Bastards and The Sierpinsky Gasket Jaime and the Broken Lance To begin with Jaime, let's get into the colors that are connected to him. Specifically the colors mentioned when he is imprisoned by Catelyn, speaking of murdering Aerys. Early on in his journey Jaime directly connects himself to the red and gold of his house. He loses his hand and during the bathhouse scene is cleansed of the mud clinging to him. After returning to King's Landing he distances from Cersei due to her abusive behavior and has the chapter in White Sword Tower where he sees his half-empty page and can write whatever he wants to in the White Book. He is free to choose his own path in order to determine his future. He has learned from Brienne what it means to be a true knight. He begins to stand against those who are not interested in helping those who are unable to help themselves but use them for their own selfish ends, even if they are his own family. As I stated in Part I Jaime turns from red to white in a very clear symbolic scene. The underpinning is that he turns away from his house's legacy, refuses to continue "covering himself in glory" and chooses the honorable path of a Kingsguard. But change isn't so simple and there are several scenes in which he wears crimson colors again such as at Darry when confronting Lancel, or at Riverrun, where "a darker need had brought him [t]here." The siege of Riverrun is important because he can no longer use his sword and begins to use his words, along with playing up his dishonorable Kingslayer persona in order to cease hostilities without any casualties. Despite his parallels to Lance this is an example of the Arthurian ideal of White's in action, that he is willing to perform "a hateful and dangerous action for the sake of decency". I am going to add a single TWOW quote which evidences this notion in ASOIAF and is rather non-spoilery. When taken into context that he can no longer use his right hand but must use his left, the Left Hand Path (LHP) practiced in certain magical doctrines comes to mind. Rules are often not codified, serve more as guidelines, and center around eschewing social convention, along with the status quo. The left in many religions and languages holds very negative connotations, particularly for men. Interestingly the left is almost always associated with the feminine aspect, with creation and the moon. Perhaps this is trying to imply that in order to create, one must serve as that symbolic cosmogonic storm, to destroy long-held ideas and beliefs in order to make way for new ones. He has never desired power, even after killing Aerys and given the opportunity to place an heir on the throne he abdicates his responsibility. Although Jaime has been consistently offered and connected with being a Hand, once even connecting himself to Ser Criston Cole of the Dance. Perhaps he must take up the mantle of leadership against his own desire in order to properly continue his development. Once he loses his hand and metaphorically starts embracing the LHP, he disconnects from his family and begins to turn much of his attention toward the enacting of justice, as King Arthur did in his quest to turn Might toward Right. There are a number of parallels surrounding Jaime & Cersei to Daemon & Rhaenyra of the Dance. Of course there is the fact they are the Green party, while Cersei is heavily associated with the green of emerald and Jaime likewise has the same eye coloring. Whereas Daemon was exiled, bringing the Stepstone Islands to heel under the IT and then returned to KL to marry Rhaenyra, the opposite is true of Jaime. Cersei rebukes his offer of marriage then exiles him to the Riverlands to bring a lawless land to heel under the Iron Throne. This explanation is to show that Jaime, like Lancelot, is an exemplar knight that constantly struggles with himself. He wishes to be like Ser Arthur Dayne but winds up as the Smiling Knight and makes an active attempt to use both of these ideals to better ends. First off, being 'afflicted by ambitions of decency' is a fantastic way of describing Jaime's arc and attempt towards redemption. The mention of someone running away with the hero's wife brings to mind Rhaegar running off with Lyanna and sparking Robert’s Rebellion then eventually tWotFK. Lastly, the use of cutting a knot is tied to Jaime quite a few times. Tyrion thinks Jaime would always cut a knot where others would untangle them. But Jaime loses his sword hand and is unable to continue cutting through his problems, so must learn to untangle these knots. Jaime begins to use his words as I have pointed out, while Lancelot after his fall becomes reliant on the Word of God. Jaime doesn't name his horses as I evidenced and Lance similarly gets extremely emotional to the point of anger on a couple occasions due to a knight killing his horse. This is a big Breaking motif: think Dany sacrificing the stallion in order to resurrect Drogo. Despite Jaime's status at the beginning of the series as one of the greatest swordsman in Westeros, we first see him fight and take a fall at the Tourney of the Hand. He also loses and is captured at the Battle of Whispering Wood, which leads to losing his sword hand. Like Lance, Jaime's development is not in his prowess but in his fall from and (potential) return to grace. The third book, "The Ill-Made Knight", revolves around Arthur turning his knights toward the spiritual quest of the Holy Grail and chiefly follows Lancelot's journey. He is defeated three times during his quest, first by his own son Galahad, in which he states he had the finest fall he ever had, along with being one of his only falls. Earlier in the story he takes on the pseudonym "la chevalier mal fet" which has a few translations: Looking at you LmL, with your fascination regarding the Church of Starry Wisdom. Particularly of interest, the religion is described as "sinister" which is a word associated with LHP. In Latin, sinister means "left" but took on connotations over time meaning "evil" or "unlucky". Perhaps this starred wisdom was, like Lancelot, cursed? Made me think of a user whose contributions I admire quite a bit on this forum, Sly Wren. Lance has a dream in which he is defeated, just as Jaime is defeated in his weirwood stump dream by the revenants of Rhaegar and his Kingsguard. Lancelot confesses his affair with Guenevere to a priest but when attempting to confess to Arthur, stops himself short. Arthur believes he is referring to Elaine and the secret is kept. Years later Lancelot is seduced by Guenevere into resuming their affair and unknowingly creates the events leading to the Breaking of Arthur's Round Table, since Mordred will be able to entrap them. This is not only due to Lancelot but also Guenevere for seducing him and Arthur for not punishing or confronting them for their transgressions -- due to his love for the two of them. This seems to imply Jaime's redemption relies (at least in part) on his potential to stay disconnected from Cersei. If he returns to her, we may see him fall from grace once more. In the current state of the story that seems less than likely. Honestly I could go on about Jaime & Lancelot’s arcs way too much. Perhaps one day I will do a more detailed character analysis on the two, they’re just so fascinating and understanding their struggles has helped shine some understanding on some of my own personal struggles in life. Ya know, sans child-throwing, incest and affairs with queens. Not really in my wheelhouse.
  10. And onto Part II. I have decided to break up longer passages, cut down on the quotes a bit and simply explain where possible in order to try and save room. It is still rather lengthy but not quite as long as the first part. I cut out two parts regarding archetypal roles which I have dubbed “The Drunk Fool” and “The Fiery Rainbow Man”. This would have gone pretty heavily into the webbed symbolism of the Sierpinsky Gasket, the introduction of which is where this part ends. There is this new Kialo competition going on where users can create a GoT/ASOIAF debate for money and I don’t want someone profiting off my biggest ideas yet to come. This series has given me more than I can say and I am simply trying to give back, free of charge. I wouldn’t feel right competing for money or letting someone else earn money off of something I intend to give freely. Due to this, Part II is a bit shorter than expected but Part III will be the largest entry by far and I'll do what I can to cut it down where possible in the mean time. I have Part III about 90% finished so it should be on time for the 21st, which is coincidentally the day of the Solar Eclipse! Addendum Part I I'll shuffle this back in later but I've discovered a strong backing to my hypothesis of the Breaking of the World. The fifth book T.H. White wrote as his re-telling of the Arthurian Cycle, The Book of Merlin, which details the fight between Arthur and Mordred. Here is the summary from Wikipedia, as I have not read it yet.
  11. I know I said I would post each part every 10 days but the last few days have been really hectic. I got into an accident again today, although this time I was the one that got rear-ended. Everything is fine though! Just some damage to the cars, no physical harm on either side. Due to this I have not been able to put the finishing touches on Part 2 and this weekend just got a bit busier. I will hopefully have the next part posted by Sunday or Monday at the latest and the remaining parts should be on schedule for the original time frame. Was expecting a slow response due to the size of the thing but not this small. I'm not losing steam though, life is just throwing some curveballs as it sometimes will.
  12. Ah! Get out of my head! I had the same notion when I was re-reading, it has a certain logic to it character motivation-wise. I just didn't want to muddy the waters with something I didn't have good evidence of or could easily find if asked. There were a couple things that made me think it possible but I don't want to get too into that here. In the next part I am going into Jon as the Ice Warrior character, contrasting Jaime as the Fire Warrior character and why they mirror Morded and Lancelot from TOAFK, respectively. Mordred was Arthur's bastard child by way of his half-sister Morgause so it is possible the connection is a bit more literal. But I think there's a hand motif for the dragons, 4 fingers and a thumb, inspired by your re-read thread. Assuming Jon, Dany, Jaime, Cersei as the main Targs and Aegon VI as the false (the thumb) it fits well. It doesn't work with Aegon as the real one due to some literal map (fore)shadowing I mentioned to LmL just upthread. No worries about taking a while, I understand its a large course and you've got your own things you do. I understand it might contradict other theories, we're all trying to cut out our own little piece and sometimes things overlap. It can't be helped when we're all focusing on different things that draw different conclusions. That said, I pointed out pretty early on Orys Baratheon was rumored to be Aegon's bastard half-brother, if true, would give the Baratheon branch Targ ancestry. But there were also recent marriages to Targs so they have Targ blood in the line regardless. It'd be a solid ironic punishment against Robert, that due to his blind hatred he tried so hard to wipe out the Targs, then wound up marrying one and placing three Targ-descended children back in the line of succession, meanwhile having some amount of Targ blood himself. Meaning we haven't lost the Targaryen rule yet. As for the rest of your theory, I will have to look into it more once I'm done here. As you can imagine this thing is rather unwieldly and taking up a lot of my free time. Indeed, I'm finally trying my hand at this thing. It's certainly slow to catch due to the size. Hopefully it'll get some help and gets fanned so we can see how big this fire can really get
  13. @LmL Hahaha I just realized why you said you loved me. I was thinking, "I know I've been gone a while but that's a weird thing to say..." Don't worry, I have a good sense of my self-worth. It's just part of a bit. I figure if you wanna catch a song, better start singing along. Have you not heard Them Crooked Vultures? I feel like with the musical influences you have you might enjoy them.
  14. You should know I have a great respect for you as well, my friendly dragon. Without your work to show me just how deep this series runs I would never have thought about taking a crack at analyzing the series myself. So thanks for all the great work! I feel like there's a comment here about accepting hard truths a la Tyrion Targ. I know it's unpopular and not what most readers want but when the evidence is all lined up it's too hard for me to ignore. As I said before elsewhere, I originally intended to prove Tyrion was a Targ but as I read more it just didn't fit with what I saw in the books. But that's the brilliant part about the way the series is written in my eyes, that so many people can be looking at the same thing and draw on a multiplicity of interpretation. Martin is a master of misdirection and I am sure I fall prey to that from time to time as well. That said, I think there is always a danger of mixing the symbol for the substance and vice versa. I am looking forward to counterpoints to my arguments because If I can see where the holes in my theory are I can re-assess what ground I stand on, making the theory stronger, or if that's not possible, adjust appropriately. I'll be getting into the maps at the very, very end but I'll give out a tidbit here. If you crack open the World Book to Page 4, the map of the Known World, you'll see the shadow of a three-headed dragon over Westeros (Jon, Jaime, Cersei) and a one-headed dragon over Essos (Dany). Assuming Jaime & Cersei are the Targs, there are four heads of the dragon currently and offers an explanation as to why Rhaegar tells Dany in her HotU vision "the Dragon must have three heads," one of them has to go. I'm going to jump ahead a little here and talk about the 1986 Twilight Zone episode titled The Once and Future King, which GRRM wrote. Summed up: an Elvis impersonator, Gary Pitkin, travels back in time to meet Elvis (the king of rock 'n' roll who is in a truck for the Crown Electric Co., a thunderbolt/lightning symbol) but he does not play the music Elvis is famous for. They fight and Gary accidentally kills Elvis, then steals his identity in order to create the music Elvis is known for. When he first goes to play the music it is at "Sun Studio". This is the archetypal "imitative fire character" I mentioned briefly and Lann the Clever is likely playing the same role, since he literally steals the sun's fire. When you read my thesis on the Breaking at the end of the essay it will also explain why I think there are imprints of the GEotD all over the place, in locations that don't make a lot of sense. As for the blond thing, I looked into it and that descriptor is used a few times for Cersei and Joffrey (by extension Jaime, Myrcella and Tommen would have the same blond hair, due to their "blood", since the parents are twins) but I will concede it is an exception to the usual coloring. The rest of your points I believe I touch on at some point in the essay so I will wait until you've caught up and see if you still have those misgivings.
  15. I will leave this here so I can link to subsequent parts later. Come dance with me, friends!