Le Cygne

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Beauty and the Beast / Sansa and the Hound (show scenes are near the bottom, including Cocteau and Disney parallels, also Jaime/Brienne parallels) ---

"For in that solemn silence is heard in the whisper of every sleeping thing: Look, look at me, come wake me up, for still here I'll be." ~ Beauty and the Beast

Beauty and the Beast (La Belle et la Bete) is a coming of age story, a story of sexual awakening (the Beast awakens the beast within Beauty) and marriage. Beauty and the Beast bring out the best in each other.

Jean Cocteau's La Belle et la Bete (the inspiration for Sansa and the Hound):

A nice review of Jean Cocteau's La Belle et la Bete by Roger Ebert:

Those familiar with the 1991 cartoon will recognize some of the elements of the story, but certainly not the tone. Cocteau uses haunting images and bold Freudian symbols to suggest that emotions are at a boil in the subconscious of his characters. Consider the extraordinary shot where Belle waits at the dining table in the castle for the Beast's first entrance. He appears behind her and approaches silently. She senses his presence, and begins to react in a way that some viewers have described as fright, although it is clearly orgasmic. Before she has even seen him, she is aroused to her very depths, and a few seconds later, as she tells him she cannot marry--a Beast!--she toys with a knife that is more than a knife.

The Hound says the Beast's lines:

  • La Belle et la Bete (Beauty and the Beast): One does not call me "my Lord"; one calls me "Beast." I don't like compliments.
  • Sansa and the Hound: "Spare me your empty little compliments, girl... And I'm no lord..."

Beauty and the Beast symbolism at the tourney:

  • The tourney in Sansa's story is loaded with Beauty and the Beast symbolism
  • Beauty is Sansa
  • The Beast is the Hound
  • Father is Ned
  • Fake Father is Littlefinger
  • The Prince is Joffrey (what Sansa calls him)
  • The Rose is Loras, the Knight of Flowers
  • Fake Rose is Tyrion, the Knight of Flowers in the Dark (what he calls himself)
  • The Beast (the Hound) is the champion at the tourney for Beauty's Father (Ned)
  • Beauty (Sansa) tells her Father (Ned) she knows the Beast (the Hound) will win
  • Beauty (Sansa) remembers the Beast (the Hound) was the champion at her Father's tourney
  • The Beast (the Hound) defeats Baratheon, Lannister, and Tyrell at the tourney
  • The Rose (Loras) yields to the Beast (the Hound)
  • The Beast (the Hound) says the Beast's lines (above) after the Prince (Joffrey) tells him to take Beauty (Sansa) to the castle
  • Fake Father (Littlefinger) bets against the Beast (the Hound) and loses; had he been there, he notes Fake Rose would have bet against the Beast (The Hound) and lost, too
  • Beauty misses the Beast (the Hound) (she wishes he was there, pretends they kissed, dreams of him in the marriage bed), while the Beast (the Hound) nearly dies of heartbreak remembering Beauty (Sansa) (do you remember where the heart is? that's how you kill a man)
  • The Rose (Loras) and Fake Rose (Tyrion) always yield to the Beast (the Hound) in Beauty's (Sansa's) thoughts and dreams (the Beast (the Hound) always wins, as he did at the tourney)
  • For example, Beauty (Sansa) considers kissing the Rose (Loras), but she gives the kiss to the Beast (the Hound)
  • For example, Beauty (Sansa) dreams of the Fake Rose (Tyrion) in bed with her, but she replaces him with the Beast (the Hound)
  • This goes on throughout all the books, from first to last
  • Quotes from the tourney: Sansa said, “I knew the Hound would win.”... “Is the Hound the champion now?” Sansa asked Ned. “No,” he told her. “There will be one final joust, between the Hound and the Knight of Flowers.” But Sansa had the right of it after all. A few moments later Ser Loras Tyrell walked back onto the field in a simple linen doublet and said to Sandor Clegane, “I owe you my life. The day is yours, ser.” “I am no ser,” the Hound replied, but he took the victory, and the champion’s purse, and, for perhaps the first time in his life, the love of the commons. They cheered him as he left the lists to return to his pavilion.
  • There are also parallels with Sandor and Dunk: Dunk is the champion at the Ashford tourney, where he is a true knight; Sandor is the champion at Sansa's father's tourney, where he is a true knight; Dunk remembers the song about stealing a sweet kiss with a blade while digging a grave; Sandor digs a grave with the same wording, and the song is sung just as he reappears in the story (just as Sansa is pretending they kissed); the maid is from Gulltown, the same place Sansa pretends to be from when she's under cover

Beauty and the Beast, Visions and Revisions of an Old Tale by Betsy Hearne:

  • The Beast assumes a passive role and Beauty an active one. The Beast basically sits around waiting to be rescued by the handsome princess, as soon as she loosens her ties with home and family, especially her father...
  • The Beast, who is first seen as repulsive, is in the end seen before any transformation, as irresistible. He is an ostensible villain who turns out to be vulnerable and even heroic in beastly form...
  • The Beast's task is patience; Beauty's is perception. Beauty, first seen as infinitely desirable, finds herself desiring, and this most loyal daughter turns out to be a promise-breaker, acting in a beastly manner toward a true friend. Before her final choice, one is attracted to the Beast and impatient with Beauty...
  • Beauty must learn to believe not what she sees, but what she feels…
  • On Cocteau’s version: Beauty’s revelation at the end - "I was the monster, my Beast" - climaxes the many reversals explored in both picture and dialogue...
  • “Beauty and the Beast” offers the promise that for all our human ugliness and brutality, we can be acceptable, even lovable, to another human being.  The continuing relevance of “Beauty and the Beast” as a modern theme stems from this fearful knowledge that we are each beastly, juxtaposed with the hopeful knowledge that we are each beautiful.

GRRM on Sansa "kissing the Hound, as she had":

You will see, in A STORM OF SWORDS and later volumes [there's only been one so far], that Sansa remembers the Hound kissing her the night he came to her bedroom... but if you look at the scene, he never does. That will eventually mean something, but just now it's a subtle touch, something most of the readers may not even pick up on.


While Beauty and the Beast are apart:

Beauty's story ---

"As the boy's lips touched her own she found herself thinking of another kiss. She could still remember how it felt, when his cruel mouth pressed down on her own. He had come to Sansa in the darkness as green fire filled the sky. He took a song and a kiss, and left me nothing but a bloody cloak." Sansa on Sandor, AFFC

  • Sansa "remembers" kissing Sandor three times
  • She tells us she's been thinking about Sandor while lying awake at night in bed, and she wishes he was there, and she regrets not going with him, and she puts his bloody cloak (red on white, classic marriage consummation symbolism) with her summer silks
  • The cloak she clutches to her bare breasts and tells us no velvet felt so fine, the cloak she chooses to get under in a scene filled with sexual symbolism (that's twice Sansa has put Sandor's cloak on herself, a hint there will be a third time)
  • After dreaming a thousand times of a tall strong man kissing her when she marries him, she keeps the cloak of a tall strong man who she pretends she kissed in a cedar chest, commonly used as a "hope chest" where young women preparing for marriage keep treasures.
  • She tells us she understands him, in a special way, because she knows his secret, she wonders where he is, she dreams of him in bed with her, asking for a song, a song she says she'll sing for him gladly one day, a song he remembers with his dying breath
  • When the other girls are pretending to kiss a man, she one ups them in her thoughts, what would the other girls think of her "kissing the Hound, as she had"
  • This is not the first time she uses Sweetrobin as a kissing stand-in for Sandor (he says let's stay in bed and read stories and kiss)
  • She has thought of Sandor this way so often, she doesn't even have to name him anymore, and we know who it is
  • She refers to him as "he" (and she doesn't have to name him in her dream of him in her marriage bed), Sandor is the "he" to Sansa's "she"
  • "She found herself" -  Sandor's kiss helps her find Sansa
  • "He had come to Sansa" - this is what she wants to happen again
  • "He left me" - with nothing but his cloak, like a jilted bride; a little while later, when she's asked about the marriage bed, she remembers the Hound, and how he'd kissed her
  • She says "he left me" and he says he left her, too; they both regret that he left her
  • "She could still remember how it felt" - she has imagined this so many times, it seems real
  • Later, she rescues Sweetrobin, like Sandor rescued her
  • Before, Sandor said, "Look at me," and she closed her eyes.
  • Now, "I could close my eyes. The mule knows the way, he has no need of me. But that seemed more something Sansa would have done, that frightened girl. Alayne was an older woman, and bastard brave."
  • Before, Sandor was always there to catch her before she could fall. "She could still feel the cruel pinch of fingers on her wrist as she lost her balance and began to fall. When his hand fell away, another hand, stronger, shoved her back into her saddle."
  • Now, she doesn't fall. "The steepness of this part of the descent made her cling tightly to her saddle. I will not fall."
  • She looks now, and she stays on the saddle, like Sandor helped her do before; she's a woman now, and she's not afraid to look
  • Beauty is ready for the Beast, but where is he?

The Beast's Story ---

  • The Beast proves his love by taking care of Beauty's sister
  • The song about stealing a sweet kiss with a blade from the maid from Gulltown is sung just as Sandor, who nearly stole a sweet kiss from a maid "from Gulltown", re-enters the story
  • Sandor remembers Sansa's song, "You ought to sing me a pretty little song, the way your sister did"
  • Before, he said "I'm no lord" but now, he's ready to bend, in order to reconnect with Sansa: "If this Young Wolf has the wits the gods gave a toad, he'll make me a lordling and beg me to enter his service. He needs me, though he may not know it yet" (the subtext, Sansa needs him)
  • He hears Sansa was forced to marry someone else, and has to sit, drinks too much too fast, then nearly loses the fight
  • Now it's Sandor who can't stay in the saddle, it's time to rest: He slumped in the saddle, and sweated, and his ear began to bleed through the bandage. He needed all his strength just to keep from falling off Stranger... “I need to rest,” was all he said. This time when he dismounted he did fall.
  • "Do you remember where the heart is?... That's how you kill a man" and now the Beast asks again, "You remember where the heart is?" as he nearly dies from heartbreak on the Trident
  • He made a queer sound, and it took her a moment to realize he was sobbing. “And the little bird, your pretty sister, I stood there in my white cloak and let them beat her. I took the bloody song, she never gave it. I meant to take her too. I should have. I should have fucked her bloody and ripped her heart out before leaving her for that dwarf.”
  • His heart breaks for Sansa, as he imagines what she has gone through
  • He mentions his cloak again, he pledged to protect her, but feels he let her down, while at the same time, she's remembering how much he did for her
  • He wishes she had given him her heart and her desires (her song), while at the same time, she's giving him her kiss and remembers giving him her song
  • "I left her" just as she says "he left me" - they both regret that he left her

Beauty and the Beast, their story together and in the future ---

  • The plucked rose symbolism in Beauty and the Beast represents a virgin's sexual awakening; as the rose leads to the Beast, Sansa's thoughts of Loras lead to thoughts of Sandor, who she gives the kiss, for example
  • As Sansa makes the transition from father to Beast, from daughter to lover, there are many juxtapositions of Sansa's real father, Ned, and Sandor, for example: "Strong hands grasped her by the shoulders, and for a moment Sansa thought it was her father, but when she turned, it was the burned face of Sandor Clegane looking down at her"
  • Cocteau has Beauty refuse Avenant's offer of marriage in the beginning, but In the end, Beauty accepts the same man (in appearance) that she rejected before
  • This symbolically reflects Beauty's transition as she overcomes her fears about sex, played out with her exchanges with the Beast, who brings out the beast (sexuality) in her
  • It’s when Sansa is ready to take that leap from father to Beast, when she faces her fears about sex, that Sandor, in turn, relinquishes the last vestiges of the Hound persona, represented by the abandonment of his helm
  • At the same time Sandor nearly dies on the Trident, Sansa is ready to look at him
  • Both Sansa and Sandor are idealists; as children, he played with the knight toy no doubt rescuing a fair maiden and she loved songs of knights and fair maidens; and at times it seems there is no place for them in the world, but they give each other hope
  • Sansa and Sandor, like Beauty and the Beast, see the good in each other and draw that out, they bring out the best in each other, and are better together
  • And so Beauty and the Beast find their way back to each other
  • In Cocteau's version, in the end, Beauty calls the Beast "my Beast" and upon his transformation, Marlene Dietrich said with dismay, "Where is my beautiful Beast?" (the subtext is sexual)
  • The subtext of fear is excitement; in the end, Cocteau has Beauty say "I like being afraid with you" as they are about to "fly away" together
  • There are also Cocteau parallels in the show, see the show section below for more

A song and a kiss:

  • "Sing me a song, why don't you? Go on. Sing to me. Some song about knights and fair maids. You like knights, don't you?"
  • "But one day I'll have a song from you, whether you will it or no." "I will sing it for you gladly"
  • He yanked her closer, and for a moment she thought he meant to kiss her.
  • "Why did you come here?" "You promised me a song, little bird. Have you forgotten?"
  • Then she remembered: she prayed to the mother to "save" Sandor, and when he came to her from a ship called Prayer, she sang for the Mother to "save" him
  • "Little bird," he said once more.
  • "Off to Gulltown to see the fair maid, heigh-ho, heigh-ho. I'll steal a sweet kiss with the point of my blade, heigh-ho, heigh-ho. I'll make her my love and we'll rest in the shade, heigh-ho, heigh-ho."
  • "And she sang for me. You didn't know that, did you? Your sister sang me a sweet little song."
  • "I took the bloody song, she never gave it."
  • As the boy's lips touched her own she found herself thinking of another kiss. She could still remember how it felt... He took a song and a kiss, and left me nothing but a bloody cloak.
  • She dreamed of him in the marriage bed as her husband: When he climbed into the bed his face was scarred only on one side. "I'll have a song from you," he rasped.
  • "You do know what goes on in a marriage bed, I hope?" She thought of the Hound and how he'd kissed her, and gave a nod.
  • "She'll be singing to the stranger, begging for his kiss."
  • Sandor is the only one who asks Sansa to sing; Littlefinger told her life is not a song and Tyrion said the last thing she needs is more songs

More sexual symbolism:

  • Sandor is at the center of Sansa's flowering (his "sword" even shows up at the end of her flowering dream, "the little bird's bleeding" from the rescue) and sexual awakening (she dreams of him in the marriage bed, asking for a song)
  • Blackwater is a symbolic wedding night, reminiscent of Sansa's dream of marriage to a tall, strong man who gives her his cloak of protection and kisses her
  • Sandor pledges to protect her, declaring his love: "I could keep you safe. They're all afraid of me. No one would hurt you again, or I'd kill them" and gives her his cloak; later, Sansa adds the kiss
  • Red on white is traditional virgin consummation symbolism, and Sandor's bloody cloak represents the bloody white sheet; Sansa puts on Sandor's cloak herself, unlike the cloaks given to her by other men
  • Sansa feels Sandor's dagger!dick pushing into her, then a wetness that is not blood, then a tear, and she caresses his face and gets under his bloody cloak (under "him"), and then bells ring in "her" hills and hollows
  • There are many callbacks to Blackwater; what happens between Sansa and Sandor that night is described in sexual terms, then Sansa and Sandor repeatedly remember what happened between them that night in sexual terms
  • The author clearly places a sexual emphasis on that night, on what happens between them, as the feelings simmering beneath the surface come to a boil, just as in Cocteau's version of Beauty and the Beast
  • Sansa adds the kiss to that night, not to a new fantasy; she places importance on what happened between them that night, remembering what she was feeling that night, and imagining what he must have been feeling, too
  • The sexual symbolism of the Blackwater scene is reminiscent of other uses of symbolism throughout the books, notably the dagger at the throat to "steal" a wildling woman, and a song about stealing a sweet kiss with a blade from a fair maid (from Gulltown)
  • Dunk and Sandor are often paralleled, and at one point Dunk is digging a grave (worded similarly to when Sandor is digging a grave) thinks of this song; Dunk pulls a dagger on a woman he kisses, too
  • Another example of dagger symbolism, Jamie pulls a dagger on Claire in Outlander
  • The sparring chemistry, with the give and take between them; Sansa likes that Sandor is fierce, and he brings out the ferocity in her, and in the midst of one exchange, she wants to pet him: He is a dog, just as he says. A half-wild, mean-tempered dog that bites any hand that tries to pet him, and yet will savage any man who tries to hurt his masters
  • Sandor's cloak has marital symbolism and Sansa (who has put his cloak on twice) keeps it in a cedar chest, (a cedar chest called a hope chest is used by young women to keep treasures for when they are married) with her summer silks, a sign of hope that winter will pass, and there will be time for happiness together

Sandor's cloak (and marriage symbolism):

  • Sandor Clegane was the first rider to appear. He wore an olive-green cloak over his soot-grey armor. That, and his hound's-head helm, were his only concession to ornament.
  • The Hound’s scarred face was hard to read. He took a long moment to consider. "Why not? I have no lands nor wife to forsake, and who’d care if I did?" The burned side of his mouth twisted. "But I warn you, I’ll say no knight’s vows."
  • In the back of the royal box, Sandor Clegane stood at guard, his hands resting on his swordbelt. The white cloak of the Kingsguard was draped over his broad shoulders and fastened with a jeweled brooch, the snowy cloth looking somehow unnatural against his brown roughspun tunic and studded leather jerkin. "Lady Sansa," the Hound announced curtly when he saw her.
  • "Enough," she heard the Hound rasp... Boros shoved a meaty hand down the front of Sansa's bodice and gave a hard yank. The silk came tearing away, baring her to the waist. Sansa covered her breasts with her hands... Sandor Clegane unfastened his cloak and tossed it at her. Sansa clutched it against her chest, fists bunched hard in the white wool. The coarse weave was scratchy against her skin, but no velvet had ever felt so fine.
  • Clegane lifted her to the ground. His white cloak was torn and stained, and blood seeped through a jagged tear in his left sleeve. "The little bird's bleeding. Someone take her back to her cage and see to that cut."
  • "I could keep you safe," he rasped. "They're all afraid of me. No one would hurt you again, or I'd kill them." He yanked her closer, and for a moment she thought he meant to kiss her... Some instinct made her lift her hand and cup his cheek with her fingers. The room was too dark for her to see him, but she could feel the stickiness of the blood, and a wetness that was not blood. "Little bird," he said once more, his voice raw and harsh as steel on stone. Then he rose from the bed. Sansa heard cloth ripping, followed by the softer sound of retreating footsteps. When she crawled out of bed, long moments later, she was alone. She found his cloak on the floor, twisted up tight, the white wool stained by blood and fire. The sky outside was darker by then, with only a few pale green ghosts dancing against the stars. A chill wind was blowing, banging the shutters. Sansa was cold. She shook out the torn cloak and huddled beneath it on the floor, shivering.
  • I wish the Hound were here. The night of the battle, Sandor Clegane had come to her chambers to take her from the city, but Sansa had refused. Sometimes she lay awake at night, wondering if she'd been wise. She had his stained white cloak hidden in a cedar chest beneath her summer silks. She could not say why she'd kept it. The Hound had turned craven, she heard it said; at the height of the battle, he got so drunk the Imp had to take his men. But Sansa understood. She knew the secret of his burned face. It was only the fire he feared. That night, the wildfire had set the river itself ablaze, and filled the very air with green flame. Even in the castle, Sansa had been afraid. Outside . . . she could scarcely imagine it.
  • She had dreamed of her wedding a thousand times, and always she had pictured how her betrothed would stand behind her tall and strong, sweep the cloak of his protection over her shoulders, and tenderly kiss her cheek as he leaned forward to fasten the clasp.
  • He made a queer sound, and it took her a moment to realize he was sobbing. "And the little bird, your pretty sister, I stood there in my white cloak and let them beat her."
  • As the boy's lips touched her own she found herself thinking of another kiss. She could still remember how it felt, when his cruel mouth pressed down on her own. He had come to Sansa in the darkness as green fire filled the sky. He took a song and a kiss, and left me nothing but a bloody cloak.
  • Parental roles, Sandor and Sansa looking after Arya and Sweetrobin respectively, Arya is asked if Sandor is her father, Sweetrobin asks is Sansa his mother: Sandor and Arya: Sandor Clegane lifted her onto Stranger's back as if she weighed no more than a doll. Sansa and Sweetrobin: I could carry him myself, Alayne thought. He is no heavier than a doll.

The little bird and the hound:

  • Sandor calls Sansa little bird (a pet name, like Jamie calling Claire Sassenach in Outlander), more than 2 dozen times; he often asks her to sing and says she can fly
  • Sansa usually calls Sandor the Hound (the Beast); she often thinks of hounds (and dogs), she sleeps with a hound when she dreams of him in bed with her asking for a song
  • Sandor (the Hound, the Beast) often appears when Sansa thinks of Lady, her lost wolf; the two are connected in this way throughout the story
  • The Hound and Lady "compete" to protect Sansa: Strong hands grasped her by the shoulders, and for a moment Sansa thought it was her father, but when she turned, it was the burned face of Sandor Clegane looking down at her... Lady moved between them, rumbling a warning.
  • He does the between move to protect Sansa later: Sandor Clegane knelt before her, between her and Joffrey. With a delicacy surprising in such a big man, he dabbed at the blood welling from her broken lip.
  • She thinks about the Hound protecting her, then Lady: Joffrey laughed. "He's my mother's dog, in truth. She has set him to guard me, and so he does." "You mean the Hound," she said... "Is it safe to leave him behind?" She found herself thinking of Lady, wishing the direwolf was with her.'
  • Robert to Ned, just before Lady dies: "A direwolf is a savage beast. Sooner or later it would have turned on your girl the same way the other did on my son. Get her a dog, she'll be happier for it."
  • And when Sansa thinks about Lady: Sansa found herself thinking of Lady again. She could smell out falsehood, she could...
  • She runs right into Sandor and he says: "A dog can smell a lie, you know."
  • Again, she thinks Lady and there Sandor is: Sansa backed away from the window... "Lady," she whimpered softly, wondering if she would meet her wolf again when she was dead.... Then something stirred behind her, and a hand reached out of the dark and grabbed her wrist.
  • She sleeps with the hound she made friends with and she dreams of the Hound and then wishes the hound was Lady: And she dreamed of her wedding night too, of Tyrion's eyes devouring her as she undressed. Only then he was bigger than Tyrion had any right to be, and when he climbed into the bed his face was scarred only on one side. "I'll have a song from you," he rasped, and Sansa woke and found the old blind dog beside her once again. "I wish that you were Lady," she said.

Sansa compares Sandor positively to other men:

  • Meryn (beats her) - later, she remembers what Sandor said
  • Joffrey (torments her) - later, she remembers what Sandor said
  • Slynt (remembers what he did) - later, she remembers what Sandor said (hears his voice)
  • Kingsguard (beats her) - later, she notes that Sandor never beat her; later, she remembers what Sandor said
  • Rapists (attack her) - later, she remembers Sandor rescued her (repeatedly)
  • Ilyn (after Cersei scares her about rape) - she wishes Sandor was there to protect her instead (Harsh as he was, she did not believe Sandor Clegane would let any harm come to her.)
  • Tyrion (orders her to strip, gropes her breast) - she refuses to kneel for his cloak, but she puts on Sandor's cloak herself, and keeps it, and thinks of it often; when she is forced to kiss him, she thinks of Sandor instead; later, she remembers what Sandor said (hears his voice), then dreams of Sandor in the marriage bed with her instead
  • Marillion (gropes her breast, too) - she imagines Sandor is there to rescue her instead (once again, hears his voice)
  • Littlefinger (forces kisses, also touches her breast, and tells her older men make the best husbands) - later, she pretends to kiss Sandor instead, and she places Sandor in the marriage bed because of how he'd kissed her instead
  • Loras (forgets her) - the rose leads to the beast, she remembers Sandor was the champion at her father's tourney instead; when she fantasizes about a kiss, she thinks Loras never kissed her, but Sandor did, so she gives Sandor the kiss instead

Beauty and the Beast parallels in Sansa/Sandor and Jaime/Brienne:

  • Sandor is Sansa's Beast, Jaime is Brienne's Beast (they trade roles in that Brienne the Beauty is Beastly on the outside)
  • Joffrey was Sansa’s prince, Renly was Brienne’s prince
  • Both Beauties, Sansa and Brienne, receive roses from men they reject (Loras and Red Ronnet respectively) in their thoughts and dreams for their respective Beasts, Sandor and Jaime
  • Both pairings explore themes sexual awakening and innocence vs. experience, with a 15 year age gap between Beauty and Beast
  • Florian and Jonquil and true knights come up with both Beauty and the Beast pairs, too
  • Sandor tells Sansa there no are true knights, Jaime tells Brienne there are no true knights; then both men are true knights
  • Both Beauty and the Beast pairs have key rescue scenes; Sandor rescues Sansa from rape, Jaime rescues Brienne from rape
  • Sansa thanks Sandor after the rescue, Brienne thanks Jaime after the rescue; both remember the rescues
  • There’s a symbolic sex scene for both Beauty and the Beast pairs; Blackwater for Sansa/Sandor, the sword fight for Jaime/Brienne; both scenes are filled with sexual symbolism (both men pull daggers on the women)
  • Sansa thinks many times about Sandor’s cloak, and he gives it to her twice, and she keeps it in a cedar chest, and she dreams of Sandor in the marriage bed with her instead; Brienne dreams of the time Renly gave her the kingsguard cloak, but then she dreams of Jaime giving her the cloak instead
  • Both Beauty and the Beast pairs miss each other after they are separated ("I wish the Hound were here" and "Would that Jaime had come with me" and much more)
  • More Jaime and Brienne here

GRRM on the Hound as the Beast:

Getting to write words for Ron Perlman was one of the best parts of the three years I spent as a writer and producer on BEAUTY AND THE BEAST. We had a great team on that show; terrific writers, a top-notch crew, and a superb cast. Ron was twice nominated for an Emmy for his portrayal of Vincent. If anyone ever makes a film of A SONG OF ICE AND FIRE, I wanted him to play the Hound.


(Also SanSan art he put on his website...)

There's something there:

GEORGE R.R. MARTIN: And I do know there's all these people out there who are, as they call themselves, the SanSan fans, who want to see Sandor and Sansa get together at the end. So that's interesting, too.
TOM MERRITT: The TV show has sort of played with that a little and probably stoked those fires, I would think.
GEORGE R.R. MARTIN: Oh, sure. And I've played with it in the books.
TOM MERRITT: Yeah, yeah.
GEORGE R.R. MARTIN: There's something there. But it's still interesting to see how many people have responded to it.
VERONICA BELMONT: I'm not going to say that that hasn't crossed my mind. Maybe I need to go join one of those fan sites and learn more.


The age gap and ages in Westeros:

  • The age gap is 15 years in the books, and about the same in the show (she was 15-16 in season 2, he is playing down in age to be in his 30's).
  • GRRM explains ages in Westeros here, and here, and here.

The Show (for illustration, the show is not a faithful adaptation of the books) ---

Common moments, Cocteau's La Belle et la Bete (Beauty and the Beast) and Sansa and the Hound:

Common moments, Disney's Beauty and the Beast and Sansa and the Hound:

More Sansa and the Hound from the show:

DVD commentary:

GRRM: That beautiful scene between the Hound, Sandor Clegane, and Sansa.

--- Commentary for this scene

Weiss: The developing relationship between these two.

Benioff: Yep. Much more to come.

--- Commentary for this scene

Weiss:  It's a good thing that Rory is as tall as he is. Sophie must have grown a foot in the first year of the show. Luckily she's playing against Rory who's also...

Benioff:  Yeah, he's genuinely massive.

--- Commentary for this scene

SANSA (to SANDOR): What are you doing here?

Lena Headey (to SANSA): He loves you!...

SANDOR (to SANSA): I could take you with me. Take you to Winterfell. I'll keep you safe.

Neil Marshall (director): We re-shot this scene because the first version we did also had a song in it... He made Sansa sing, but it was the song that she had just finished singing, so coming off the back of the scene it would have...

Peter Dinklage (singing the song from the Disney movie): Really? Beauty and the Beast...

--- Commentary for this scene

The script from 4x10:

But Brienne holds him off and the Hound, already weakened from his infected wounds, soon begins to tire...

Even sick and exhausted he’s still far stronger than she is...

You remember where the heart is?

She nods.

The Hound takes a deep breath and looks into the sky. There are no meaningful birds. There’s nothing to look at but rocks and sky and Arya Stark...

Arya still doesn’t move. The Hound sees that he’ll need to provoke her to murder...

And your sister... your pretty sister... I should have taken her. That night the Blackwater burned. I should have fucked her bloody. At least I'd have one happy memory.

But Arya will not be provoked...