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About GloubieBoulga

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  1. I think you have reached some very interesting connection here : the sphinx is the "riddle and the riddler", and so could be the greenseer ^^ Good catch ! As @Archmaester_Aemma wrote it, I don't think it is a coincidence to find these colors : red, grey and black. For me, here, the grey is also an alteration of the white, and red-white-black are the three canon colors for ancient alchemy (when people wanted to change metal in gold, and practiced alchemy like magic art). But the red -> grey -> black is directly linked to the arrival of the Long Night (just after, Jon remembers "Winter is coming"). After your post, I was wondering if there was also a possibility to read the reverse, I mean : black -> grey -> red = love's stories (like Cersei + Jaime, for example) -> war (the war of the 5 kings and of different legitimacy) -> the new world after the peace was made (a peace "à la Tywin" ?) is blood tainted (also a result of red/purple- wedding), and finally with poor value with the "copper" (as Renly described like "copper" by Donal Noye : bright but only illusion). From conception to birth, great violence, it seems !
  2. In "Heresy about the Wall". I was making an inventory of other walls in the saga, that could help to make a bit light on the Wall. For Qarth, I noted : I could add now that the "pyre of the dead" are also an obligation beyond the wall because of the Others, so this imagery could represent more than only Rhaegar's pyre. "Babes being butchered" is a theme we find throw all the saga, so I wouldn't surprised if we would find it also at the origins of Winterfell (I evokes the possibility discussing about the scene of the wolfhead-man having a leg of lamb as a scepter in Dany's vision of HoTU - oh wait, the HOTU is in Qarth, too) About the "love story", I think now there isn't only one, but two at least + some other without reciprocity, and "Brandon the Builder" (= the greenseer at the origin of the Wall and Winterfell) was the observer of the loves stories, and the hopeless lover in the same time. The black is the color of the bastardry... and of the crows and ravens. Concerning the golden eyes of the 3rd wall, the wolf Summer has golden eyes, and If I recall well, Nymeria, Lady and Grey Wind too, but Summer is the most intelligent of the direwolves and his eyes are his remarkable physicall specificity. Described as the "center of the world", Qarth is a kind of Wall or Winterfell, as "frontier" between many world (for Winterfell and the Wall, this is the frontier between living and dead kingdoms). To finish, at Qarth, Drogon burns a blue heart and the Undying who have many common things with greenseers = the chapter with the Undying foreshadows (imo) the destruction of the Heart of Winter.
  3. Nymeria is poised to return

    I was just reading your post this afternoon, before you asked for my advice, and I vote for a good night more than for a coffee ^^ More seriously, I was wondering if Val being same family/blood than Mallister could bring more sense to the story, and I can't see the "bonus". But after reflexion, you pointed some common points, so if I'm not convinced yet with a real "common bloodfamily", there can be some common symbollic part, and perhaps they can represent some archetypes who are linked (with "archetype", I mean original characters of an original and ancient scenario, which tells the origins of the Stark of Winterfell, of Winterfell castle, of the Wall, and of course of the Others and Long Night). One of the archetypes I have found is a maiden - daughter of a "bear king" - who wanted a Stark's bastard but was married to a legitime (officialy) Stark (of Winterfell) after the death of the bastard. The color brown is associated with the bear (the color black too), for example in the song "the bear and the fair maiden", or in AGOT Eddard II when Robert is compared to a bear and wears brown gloves (there are many other example for the association brown-bear). The grey is for the Starks and the dead kingdom, the shadows and phantoms. It is not a real color in the saga, but the "color" of faded and dead things. So the brown and grey pelt could show Val as the "girl" of a dead king (as archetype, obviously). I see Val as a double of Dalla, I mean they both play same archetype but at different moments of the "original story" and with different possible issues. Dalla's baby saved by Jon make me imagine that there was perhaps in the far past a baby who was killed - just like Cersei orders to kill Robert's children, even if they are babies. So... I can't say much more for the moment, because I never seriously looked at the part played by the Mallisters. The only thing that come to my mind is about the name "Jason", who was a hero of greek mythology, who looked for the golden pelt of a ram and found it. The ram had a name "chrysomallos" (chrysos significate gold, in greek; and "mallos" significate wool; so the name of the ram is the exact sense of "golden pelt"), he had wings and was a symbol of fecondity. So there is perhaps a pun with Jason Mallister (Denys is also a name of greek origin : the original version is Dionysos; Denys is latin and short version, but I'm here talking only for the name, not for the god Dionysos who has his latin "equivalent" as Bacchus). And the ram/goat/lamb/sheep are playing a big part in the saga. And are linked to the bear's theme. Honestly, I can't say if it is totally intentional and calculated by GRRM. I don't know if I have helped, but there were the ideas that came to my mind ! ^^ Edit and Add-on about the hero Jason, who was linked to the sea with his companions, the "Argonauts".
  4. Very interesting, as if Ramsay was "cursed" twice : by his father (I continue to think that Roose uses him as scapegoat and perfectly knows that Winterfell is the death for him); and by the wolfblood of Winterfell. To add another detail in this chapter : If I count well, 11 + 2 = 13, that's the number of the Last Hero + his dozen companions looking for children of the forest. What is even more troubling is that the 12 Theon's companions will all die, and himself will "loose" his horse, and his "sword". Ok, Ramsay is still alive for the moment, but Reek (the 2 "fake" Reek") have already died. I think that could be a point for Little Walder as one of the hunters. They all die at Winterfell. There is an interrogation about Wex, whom I wonder if he doesn't play the part of the dog in the "last's hero tale" (he sleeps ordinary on the floor near the bed of his master, he is mute like Ghost, he can follow Rickon Osha and Shaggydog by resting "under the wind" and not be "smelled", he is loyal to Theon, aso...)
  5. In fact, what helps us for the interpretation is the sexual metaphore, as you have noted, and as @Seams did too : this metaphore is essential in the whole chapter Sansa VII ASOS. So here, the beast "outside" is a continuation of the snowed Winterfell built by Sansa, but the focus of the camera has changed : at the beginning, she is outside, she wants to play a snow battle, but she has no partner. So she wants to make a snowed knight, but instead the knight, what is forming is a castle. She realizes after that the castle is Winterfell : that is not really what she wanted, but a home, why not after all ? My most recent interpretation is that a Maid in the past was "in love" with a bastard (a "king's bastard"), and perhaps she had sex and children with (I've actually no answer for that), but she finally married a king (for me the "queen's bastard") [imagine Arya wanting Gendry and passing time with low born and bastard people, and Sansa marrying Joffrey : the 2 faces of the same originaly character], and if she had children with the king bastard, these were killed. This Maid character is the feminine ancestor of the Starks of Winterfell : trapped in Winterfell and trying to go outside with some ambiguous feeling (=Lyanna escaping but returning at Winterfell after her death), but she gives life to a new lineage. Back to the Eyrie, Sansa replaces the Eyrie with her Snowed Winterfell (a winterfell belonging to a bastard, ironically ^^), and uses it to defend herself against LF (the bird predator, what could mean that the "original crow" desired the maid too but instead marry her, he gave her to another, the "queen's bastard"... his brother). Little Robert destroys the snowed castle, but this tells the future story, imo, so for the chapter, the snowed Winterfell - built in the center of the Eyrie - has symboolically replaced the Eyrie and for the second part of the chapter ( = the confrontation/ordeal with Lysa) an old queen and a young queen are fighting for the domination of the place, inside the place. During the building, we have already LF penetrating the castle and trying to rape the maid. @Seams and you had noted also the parallelism with Ramsay Snow at Winterfell (who signed "true lord of Winterfell"). It is totally justified and particulary strong. As Jeyne Poole has trails of bites and Ramsay being Ram(say), the Bolton bastard wears the double "identity" : he is in the same time a ram character and a wolf character (a hunter). I think we find the same themes with Craster : his wives/daughters are trapped in his "castle", but they are in the same time "safe", but Gilly wants to escape when she has a baby boy and wants to spare his life. Craster is also a hunter, as the crossbow he receives proves it. And with Craster, the lamb metaphore is very strong, adnwe come back to Dany's vision : the lamb is a sacrificied victim (slaughtered, raped, devored, all the same), but being the ram's child, the lamb is also a future predator. I don't think we are going so far : the theme of the wolf blood is more complexe than it seems ^^ And the pleasure is for me : the reflexions are also very helpfull for me and this random about direwolves who don't cry permitted I saw how complex the "wolf theme" was. As we are with Dany, we could make also the link with Mirri maz Duur. After all, to avenge her folk, she calls a wolf's shadow and a man-wraped-in fire's shadow. I don't let it ! I just need time and enthousiasm/energy to continue it (and I'm in the same time working about essays in french, for french readers ^^)
  6. Theon, Archery and Redemption?

    Not necessarely Drogon, but perhaps one dragon stolen by Euron, and to (re)play the Grey King killing "Nagga" the sea-dragon, and/or the Drowned god vainquishing the Storm god Against the archery ability, there are Theon's mutilations : I'm not sure he can keep an arrow yet when some fingers are missing. Same with toes : toes are very important for equilibrium. Theon's skills could also prepare other "revelations" about archers of the present or of the past; sure, GRRM doesn't note them just for fun, but there are many possibilities, indeed. Sarella and Anguy have also to be noticed as exceptionnal archers, for example. And perhaps Sam at the end. So wait and see ^^
  7. Yes, we have same expression and concerning Sansa and Jon, I also used to thought it was the sense of their clothes : they are wolves disguised in sheep. For Jon, it is also a crow disguised in sheep, but "sheep" remains a disguise. But I recently went a bit further and saw some ambiguous ways, I mean that the disguised can be "sheep" but also "wolf" (= as predator). For example, concerning Jon, here : With Sansa, I found it even more ambiguous because the "sheep disguise" is under the fox/wolf (in the chapter, the fox represents the "power" and the domination, because Lysa wears also fox furs and has some elements to link her to Cersei and Tywin Lannister. Sansa's fox represents the fight between two "queens" - a young future and an old). So, for me, litteraly, Sansa was a lamb/sheep disguised in fox/wolf (= in predator). What joins your remark about the king butcher and butchered. I made the hypothesis that Sansa's first nature wasn't a wolf's nature, but a sheep's nature, and that the adventures of Stark children conducted them to discover this originally nature (not the only one, for sure, i think they have also "naturally" a bird nature and probably a bear nature). In other words, the discovery of other bloods than the "wolf blood", presented at the biginning of the saga as their "dominant blood". Another very interesting thing, who intriguided me for long time, in Sansa VII ASOS : - worrying is used normally (="being worry about something"), but also for another sense, always the same : a predator is eating some meat : Daenerys with the stallion's heart, Shaggydog, some dogs eating dead people (Weese's one for example), Ramsay's bitches whichi steal Theon's meat, the naked woman of Dany's vision devored by rats... and Craster eating a sausage. As a ram (a dominant sheep, in fact), Craster is a predator. - Slamming is used quite often, classical sense, in particulary for ship "ramming" (Davos III, ACOK) - the ram which is used to open the gates during the siege of the Wall (Jon VIII, ASOS), is described as giant spear (" pushing along a tree trunk on great wooden wheels, its end sharpened to a point"), and the "bang" is the more often for "spears banging against shileds" (not only, obviously, but interesting to note that the "bang" is used during the red wedding, as a signal to lead Roslin and Edmure to bed, so just before the massacre) So, the "beast outside" the door of the moon, and waiting for a "victim", is a predator, but it is very difficult to determine which it is really : the description makes it a wolf and a ram, both in the same time. Again, I think you're right to consider the wolf-head man as a butcher (in the vision, he can be responsible of the massacre), and as a butchered king (in the same vision, he could be also the ultimate victim of the scene, who is devored after all his sibling were butchered). And yes, I was evoking the iron crown thinking to this scene where Joffrey is wounded by the IT and where a knight loyal to Stannis (after the defeat of the Blackwater) shout that the IT was refuting Joffrey as king. Perhaps we can link the iron crown to golden collars that Tyrion, Penny and Jorah are wearing as slaves; or even to the chain of the Hand. Where I disagree, is the interpretation of the Dany's vision as a foreshadowing for red wedding : at the red wedding, Robb doesn't preside, the scene is very much noisily (absolutely not the case with the vision), only few characters are killed (not all), and there is no lamb. But, the man with a wolf-head is troubling and obviously Robb wearing Grey-wind's head recalls that. So my interpretation is that the red wedding is a reminiscence of another "original" crime. Original crime symbolized with its consequences in Dany's vision, which permits litteral and metaphoric interpretation. (to be honest, I think there are few different "original crimes", but the crime against the guest rights is the ultimate) During the red wedding, Robb is no more really the king in the north, but he is the "king who lost the north"; and Walder Frey will capture Edmure, the lord of the Riverlands, in other words, the Frey are capturing for them the lordship of the Riverlands (hoping with Roslin that they will have a little Walder Tully to lead Riverrun). I think we find here also the same theme than the "Rat cook" (despite the fact that the king of the tale is changed in rat and not in wolf... but in the saga rats and weasels have same imagery, what is very obvious with Arya Stark and with the Frey. so, Starks and Freys have some symbollic commun points), and I really wonder if in the past, there were children offered to a guest. I have a kind of taboo with that, but GRRM has already prepared this possibility with babies and little children used as war weapon : the murder of little Aegon and Rhaenys, the little girl "weasel" who is saved by Yoren and by Arya and disappears after that, Edmure and Roslin's future baby, fat Walda's future baby (with Roose Bolton pretending that Ramsay will kill the new born), and Dalla's baby and Gilly's baby. To conclude before I left, I interprete Dany's vision as a clue to suggest that the wolf blood is a curse for the Starks of Winterfell. And to go further, it would be a curse because they don't have this blood throw their parentage, but throw the sacrifice of a "real" wolf blood (a wolf changed litteraly in lamb, to make in return the ram a wolf), trapped and kept in the weirwood, which permits to the Stark to have in their veins the wolf blood.
  8. concerning the wolf-head man (he is a king, because he is presiding and he wears a crown : for me, the detail "iron crown" evokes also the Iron Throne who can slaughter people who sit in, illustrated here with a massacre) and the lamb's leg, wolf and lamb/sheep/goat are often associated, especially with Stark children who all are at a moment "transformed" in lamb : - Sansa (Sansa VII, ASOS) wears lamb wool under fox fur when she is building the snowed Winterfell - Jon receives and wears a sheep cloak when he is with the Wildlings, but he wears his blacks under this cloak (Jon I, ASOS) - Arya feels like a lamb when she is captured by the Mountain and leaded to Harrenhal - Bran wears lamb wool when he rides out WInterfell to hunt with Theon and Robb and is captured by wildlings and deserters of the Night Watch (i doon't recall well if there are other occurencies for Bran as a lamb/sheep/goat) - Rickon... so, we will surely see something with Skagos Concerning the scene, it can be also linked to Theon's dream when he sleeps in lords Stark's bed at Winterfell (ACOK) and dreams of all dead Starks feasting together (with some other dead people, like king Robert). "Under the sea gods are feasting", but it seems it's not happy feasts !
  9. Wow, I never noticed that v.15

    Note that the silver goblet in Europe is a current (and very old) gift for the birth or baptism. It is associated with precious jewelry (pendants, bracelets...) and the more often the name of the new born is carved. In noble families, the arms/sigils/words of the family are carved with. It is a concrete manner to link the baby to the lineage, and continue the family. So the Stark silver goblet has probably the signification of belonging a lineage, a particular blood. Offering a cup to Joffrey significates a re-birth (a new area for the realm where the Reach and the Tyrell are at the first place, for example ^^), here very ironic because the poison will be in the cup at the end. But perhaps the silver gobelet of the Stark is "metaphoricaly" poisoned too
  10. Quaithe Doesn't Exist (SPOILERS ALL)

    Indeed, no weirwood with Quaithe, but the mask is interesting because it is literaly a wooden face, as weirwoods have faces carved ontheir tronk. If we add the capacity to talk to people in their dreams (via glass candle for the most probably), you can make a symbolic link with the weirwoods and with the 3EC. To go further, Xaro Xoan Daxos and Pyat Pree can also be reliated to the 3EC, non in the sense where they would be incarnations of the 3EC, but as literar variations on the same theme : - Xaro is described with some physic characteristic of a bird (after prey bird and mocking bird, here is the exotic and colored bird ^^) As bird-character, he is a liar and greedy. His lie toward Daenerys is shown by his interest for boys when in the same time he want to marry her, and also with his false tears; at the end, there is an hypothesis about him like the one who paid the Sorrows to kill Dany (and not the warlocks as Dany thinks). And his greediness is representing by his house swallowing people : Daenerys think even that Illyrio-the-whale is beaten. Though, as Illyrio, Xaro is a merchant, as LF. LF's greediness isn't visible throw his house (he has no really house, in fact, like cuckoo, LF makes his nests in nests of other people), but throw his clothes - Pyat Pree : another liar, like are the crows , He is "pale", word used to describe BR ("lord pale", in Bran II ADWD), or the Others, or people dead or near death in particular (pale has many other occurancies, for shadows and mists, also, but the important think is the context : the first appearof an Other describes him as "pale as milk", and people of Qarth are called "blood milk" by Dothraki, for example). So the colors of Pyat are "pale" and "blue" : the blue of the shadow-of-the-evening, which open the "third eye" and gives the blue lips. The drink of the warlocks is made with a tree all black with blue leaves : this is the exactly opposite of the weirwood's colors, but here I think the opposite is used to show parallelism. Without developping further Pyat's stuff, I just wanted to show how the 3 characters (Quaithe, Xaro and Pyat) are symbolically linked and how they all represent an antagonist and/or a trap for the dragon (Quaithe wants that Dany goes to Asshai, and she don't hesitate to whispers some advices which have all same purpose : be confident to nobody; a perfect way to create and cultivate paranoia, and we know where paranoia conducted Aerys). Daenerys don't interest them, but her dragon-blood, and her dragons. They are all kind of liars and manipulative people that the dragon must "slay" at the end. Probably some step before slaying/dissolving the "lies" of the 3EC. If I push a bit the parallelism, I suspect that a 3EC of the past was strongly desiring another "royal" blood, like wolf-blood.
  11. Weirstuff

    tsss, pyre is Dany's stuff, it is known ! Jon's stuff is giving mercy ^^ (hop, I disappear)
  12. How old is Arya at the end of her last chapter?

    There can be a good indication with the visit of Harys Swyft at Braavos : the decision to send Harys Swyft is taken in epilogue from ADWD (PoV Kevan Lannister), and he is at Braavos effectively in preview chapter "Mercy" (TWOW). Sail across the detroit doesn't need years nor months, it must be around 2 weeks from KL, perhaps more with the tempests, but not much more than one month. We just ignore how many time Harys Swyft stays at Braavos, and it can be significant. By the way, she keeps 2 years less than Sansa
  13. @LynnS, very interesting perspective about Jon. I didn't had seen it ! To add some elements to your last argument : Jon doesn't advise or teaches only Bran or Arya, but in a kind of way it is also the case with Sansa and Rickon. For Rickon, there is ofr example what Jon demand to Tyrion in AGOT : For Sansa, the link appears when she is in the Vale, under the identity of a bastard, and it is particulary strong when she is building the "snowed" Winterfell (the snow is even falling "ghostly"). The chapter before Sansa VII's (ASOS) is the chapter where Jon definitely refuses Winterfell and the legitimacy as Stark purposed by Stannis. I wonder if what Jon is "teaching" (unconsciently) to others Stark children is to renounce to the Stark name and assuming to be a true bastard, perhaps as a condition for quit the childhood, growing and become an adult (and then live). It seems to me significant that the only Stark child who is dying (for the moment), is Robb, as truly heir of Eddard Stark and all the kings and lords in the North. In that perspective, if Rickon becomes the heir of Winterfell and the North throw the Manderly, it could be a bad thing for him
  14. Oily black stone

    If we want to study the "oily black stone" rigourously - I mean just following the text - so it appears only 3 times in all what GRRM wrote about the world of Ice and Fire : once in ASOIAF for the throne of the Ironborn, and twice in TWOIAF : 1.Yeen at Sothoryos 2.the throne of the Ironborn. The black stone of the Hightower's Tower at Oldstone isn't an oily black stone, but the maester are tempted to compare it to the black melted stone used by Valyrians (like Dragonstone or the black Wall of Volantis), that wakes some interrogations about valyrian presence in Westeros, or the knowledge of building tecnics that are historically attributed only to Valyrians. But nowhere the stone of the seastone chair is linked to the stone of the Hightower's tower. If they were the same, surely that maesters would have remark it. For the moment, only the readers are linking the two, with others mysterious black stones. I think we can assume that Westerosi know their lands better than us ^^ Same way, the stone of Asshaï isn't the oily black stone, neither the melted and black valyrian stone : This is the only description of the stone at Asshai. So, to be short, the oily black stone appears only once in ASOIAF. It seems to few to have a narrative theory about it, for the moment (by the way, I think it can support a symbolic reading to compare it to other thrones, like the IT or like white thrones of weirwoods^^) (Edit : I was mistaken here : "But nowhere the stone of the seastone chair is linked to the stone of the Hightower's tower. If they were the same, surely that maesters would have remark it. For the moment, only the readers are linking the two, with others mysterious black stones. I think we can assume that Westerosi know their lands better than us ^^" In fact, there is one maester who links seastone chair and Hightower's tower, and he says that the black oily stone is the trail of a legendary race of sea's creatures, the Deep Ones... direct reference to Lovecraft. But sadly, no link with battle of the dawn, last hero, starks, dayne, lightbringer, AA, even nor snarks nor grumkins ^^)
  15. Ravens are not Crows

    Thank you ! After reflexing on the subject, I see that I turned a bit around my idea but I was not enough precise. In fact, I fought your idea of the crow acquiring (stealing ?) knowledge by pecking the eyes very judicious, but I missed to integrate to my analysis... and that could nuances the point of view. So : ravens have the knowledge from the beginning - perhaps naturally - but they close their eyes and don't retain their memories. There is something a bit repetitive and "robotic", I mean without consciousness. Crows have not "the knowledge" at the beginning, they acquire it during the crow's life : that's valable for the Watchers on the Wall with experience (especially experience of the cold, and I suspect that the constantly contact with the magic Wall itself has an influence more than just symbollic). That's true, the erasing of the "memory of the life" is an obligation; but this memory of their past life is replaced by new knowledge - I think a memory of the dead - like new brotherhood, and if the theory about the greenseer being trapped in the Wall throw the weirwood and the black gate at Night Fort is true, so the watchers share some part of his own knowledge. Wall, greenseer, we think to Brandon the Builder, and so, I make the parallel with little Bran. he also must give up his past (as Jojen says to Sam, the Bran boy of Winterfell has died, and that's not only a way to protect him) and will acquire all the knowledge of the 3 Eyed Crow in return. But what is troubling with the Watchers, is effectively that they speak totally openly about wildlings, but for the Others/the "cold winds"/the dead who walk, they speak only with allusions and some mystery, as if the subject were taboo though their oath speaks of the LN and the eternal Winter. As if they just were touching something forbidden : they know but they can't speak freely about. Bran again : Returning to the life, Bran loose all these memories of "dead experience", but a trail remains in the name he give to his direwolf, as an "anti-curse". And indeed, I think the knowledge of "beyond the Wall" (as world of dead) is taboo : as he is wrong on other subjects, I think Mormont is wrong when he says that the Night Watch has forgotten what they must keep, in fact, it could be that they never were clearly told about it : just the oath (and once the obsidian, as it is mentionned in the archives of CB), and that's all. But that contradicts a bit the Long Night as a storical fact : it is very strange and incoherent that the knowledge about the LN seems to be a secret only for initiated watchers. It is natural for "ordinary" people to forget cataclysm - we call that "resilience" - but the Night Watch was just instituted to defend against the LN and to keep the memory of the LN. The only hypothesis that satisfies me for the moment to explain the apparent contradiction, is that the LN never happened in the past, but is an anticipation of the future (the time of the saga), an event so strong that its trails were sensible for "dreamers" and "inspired people" (priests, singers, maegis, prophets, greenseers...) far in the past and far geographically too. I agree, I was too shortly ; the discovering of the twincest (and of the fact that the heirs of the IT are bastards) is the first element. I continue to think it is as determinant as an impulse, like losing the innocence and falling from winterfell as paradise for children, but the "fall" is only the beginning and the first steps (of the fly and of the knowledge). Obviously, the last step concerns the heart of winter. I think too that the more he gains knowledge, the more the crow takes an active part to the events (and bears a heavy responsibility). Perhaps that also explains the particularity of BR : yes, he broke all the rules with kin(g)slaying, guest right, incest... but he never lied about it and never tried to hide his acts after they were done. And I wonder if this "openly acting" (like Jaime killing Aerys) is not the reason why he was "chosen" as mentor for Bran. I think I didn't said it clearly, but I also agree with the principe of BR non being the 3-Eyed-Crow, with a nuance, though : for me it is "non being the original 3EC". But the text is enough ambiguous to support easily BR at least as a passage for the 3EC : I mean, as greenseer wed to a weirwood, he mix his soul to the 3EC's soul, so he is also a part of it.