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Arianne's Cape Wrath journey = Jon Snow Beyond the Wall


Seams

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In a recent thread about the Winterfell crypt, @Clegane'sPup pointed out the similarity between the crypt and the CotF cave in which Arianne and Daemon Sand search for Arianne's cousin, Elia (one of the younger Sand Snakes). I agree with the point that GRRM often gives us cave scenes for important conversations, soul-searching, journeys and symbolic turning points - and I added that I thought ruins might be part of the larger cave / crypt / stone tunnel motif. Clegane'sPup cited an excerpt in which Elia goes deep into the cave on her own with just a torch, and is finally found catching fish with her hands:

The passageway Arianne had chosen for herself turned steep and wet within a hundred feet. The footing grew uncertain. Once she slipped, and had to catch herself to keep from sliding. More than once she considered turning back, but she could see Ser Daemon’s torch ahead and hear him calling for Elia, so she pressed on. And all at once she found herself in another cavern, five times as big as the last one, surrounded by a forest of stone columns. Daemon Sand moved to her side and raised his torch. “Look how the stone’s been shaped,” he said. “Those columns, and the wall there. See them?”

“Faces,” said Arianne. So many sad eyes, staring.

“This place belonged to the children of the forest.”

“A thousand years ago.” Arianne turned her head. “Listen. Is that Joss?”

It was. The other searchers had found Elia, as she and Daemon learned after they made their way back up the slippery slope to the last hall. Their passageway led down to a still black pool, where they discovered the girl up to her waist in water, catching blind white fish with her bare hands, her torch burning red and smoky in the sand where she had planted it.

“You could have died,” Arianne told her, when she’d heard the tale. She grabbed Elia by the arm and shook her. “If that torch had gone out you would have been alone in the dark, as good as blind. What did you think that you were doing?”

“I caught two fish,” said Elia Sand.

You could have died,” said Arianne again. Her words echoed off the cavern walls. “…died… died … died…”

(TWoW, Arianne II?)

The faces with the sad eyes are like the statues in the Stark crypt, of course. But the scene is also very similar, in my opinion, to Jon Snow finding the obsidian cache at the Fist of the First Men (ACoK, Jon IV) : he is surrounded by the forest, he is led along a difficult path, instead of a pool, he crosses a stream where Ghost has stopped to take a drink (Is the white wolf like the white fish?) and then he jams the torch into the ground so he can use both hands to dig in the sand. The scene ends with the word "died" repeated three times, as if Mormont's raven were present to make a point about Elia's potential death.

The loose sand in the obsidian scene was so unexpected in that setting that I thought the author must be using the sand to tell us something about Dorne - are we supposed to compare sand and snow? The northern bastard and the southron bastards? There are details in the digging of the bundle that indicate that a birth is occurring and that Jon delivers the newborn. Is it significant that the baby emerges from sand? Is it important that Elia is the name of Rhaegar's wife, and Jon is presumed to be Rhaegar's son? If the birth symbolism is correct, are the two fish caught by this Elia (niece of the Princess Elia) supposed to represent the two children of Princess Elia?

So I went back and re-read the Arianne chapter to see what else I could see. Details struck me right away. I quickly concluded that Arianne's journey through Cape Wrath is a fast forwarded equivalent of Jon's journey Beyond the Wall. The chapter's opening line:

All along the south coast of Cape Wrath rose crumbling stone watchtowers, raised in ancient days to give warning of Dornish raiders stealing in across the sea.

Sounds like the forts along the Wall, raised in ancient days to give warning about white walkers and/or wildlings.

. . . where the corpse of the Young Dragon had once lingered for three days on its journey home from Dorne.

Hmm. I wonder whether we will see the corpse of the (presumed) young dragon, Jon Snow, linger for three days before . . .

Some will make a mark upon a paper if you ask for payment, but there’s others who would just as soon cut your belly open and pay you with a handful of your own guts.

Craster and Lord Commander Mormont both have their bellies cut open.

There is extended description of lush vegetation, similar to descriptive passages when Jon climbs a mountain with the Night's Watch brother Stonesnake, and when he wakes up at Craster's Keep after rain has frozen on the surrounding flora during the night. Arianne also observes refugees fleeing the battle lines. Although Jon Snow doesn't see the wildling refugees at this point, he and his Night's Watch brothers are aware of the exodus of free folk from their traditional villages.

Both characters are aiming toward kings: Arianne wonders whether she will meet up with her brother at the end of his journey, and whether he will be King Quentyn, married to Daenerys Targaryen. Jon's mission is to meet up with the King Beyond the Wall. Interestingly, Arianne is still thinking that fAegon is a boy and that Jon Connington is running the show at Griffin's Roost. Toward the end of the chapter, Haldon Halfmaester reminds her that Aegon is leading the army and that he is a man grown - this is similar to Jon Snow's transformation from a novice ranger to the Lord Commander shortly after his return from his undercover mission.

At a castle called MIstfall, Arianne encounters two members of the Golden Company who are holding the stronghold on behalf of Aegon. They are known as Young John Mudd and Chain. My initial thought is that Young John Mudd represents Jon Snow: Arianne makes an observation about Mudd being the surname of an ancient line of kings. Chain wears chains and carries a length of chain as a whip-like weapon. Could Chain represent Rattleshirt? The author doesn't tell us that the crossed chain on Chain's chest rattles when he moves, but we can imagine it. Or it could allude to a maester, which might mean a Sam Tarly equivalent.

There are more details that might match Jon's arc. I realize, though, that a number of the details also match Bran and Meera's arc - the blind fish, the eyes in the chamber (skulls and bones in Bloodraven's cave), blackberries. There are also Sansa parallels, with discussion of melons and maidenheads as well as waterfalls and weeping, which allude to Alyssa's Tears at the Eyrie.

The author introduced Arianne relatively late in the series, but she is "catching up" quickly, undergoing a journey that took the Stark kids many chapters and books to cover.

 

 

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On 8/1/2017 at 6:23 PM, Seams said:

Arianne's journey through Cape Wrath is a fast forwarded equivalent of Jon's journey Beyond the Wall.

Jon's passage through the heart of the mountain with Qhorin half-hand in Jon VIII of A Clash of Kings fits the motif that you are exploring with Clegane's Pup.

An excerpt:
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A great jumble of fallen rock blocked their way partway up, where a section of the cliff face had fallen, but the surefooted little garrons were able to pick their way through. Beyond, the walls pinched in sharply, and the stream led them to the foot of a tall twisting waterfall. The air was full of mist, like the breath of some vast cold beast. The tumbling waters shone silver in the moonlight. Jon looked about in dismay. There is no way out. He and Qhorin might be able to climb the cliffs, but not with the horses. He did not think they would last long afoot.

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  <snip>  (They jump through the icy stream on horseback.)
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The cleft in the rock was barely large enough for man and horse to pass, but beyond, the walls opened up and the floor turned to soft sand. Jon could feel the spray freezing in his beard. Ghost burst through the waterfall in an angry rush, shook droplets from his fur, sniffed at the darkness suspiciously, then lifted a leg against one rocky wall. Qhorin had already dismounted. Jon did the same. "You knew this place was here."
"When I was no older than you, I heard a brother tell how he followed a shadowcat through these falls." He unsaddled his horse, removed her bit and bridle, and ran his fingers through her shaggy mane. "There is a way through the heart of the mountain. Come dawn, if they have not found us, we will press on. The first watch is mine, brother." Qhorin seated himself on the sand, his back to a wall, no more than a vague black shadow in the gloom of the cave. Over the rush of falling waters, Jon heard a soft sound of steel on leather that could only mean that the Halfhand had drawn his sword.
He took off his wet cloak, but it was too cold and damp here to strip down any further. Ghost stretched out beside him and licked his glove before curling up to sleep. Jon was grateful for his warmth. He wondered if the fire was still burning outside, or if it had gone out by now. If the Wall should ever fall, all the fires will go out. The moon shone through the curtain of falling water to lay a shimmering pale stripe across the sand, but after a time that too faded and went dark.
Sleep came at last, and with it nightmares. He dreamed of burning castles and dead men rising unquiet from their graves. It was still dark when Qhorin woke him. While the Halfhand slept, Jon sat with his back to the cave wall, listening to the water and waiting for the dawn.

 

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I find it rather mysterious, the way they were following moonlight to get to this hidden cave, and once they entered the moonlight followed them in.  In the Arianne chapter, the "music of another little waterfall would call to them" as they made their way.  There is also the cliff face which makes me wonder- could it have actually been a carved face prior to falling? 
 
Jon, the Halfhand, and Ghost plunge through the waterfall to avoid capture.  They stop to sleep on the sand, and Jon has zombie nightmares.  As they exit the cave the eagle/Orell is watching them, and wildlings catch them.  Rattleshirt lies to Jon about Mance- said that Ragwyle gut him and then commands the wildlings to gut Jon, but Ygritte speaks up in Jon's defense.

Rattleshirt rattles.  And, there is much ado about it.  The Lord O'Bones threatens to make Qhorin's bones rattle, which he follows through on before the end of the chapter.  My sense is that both chains and bones as armor can easily be turned against you or acquired by your foe once you are slain.  Arianne uses Oberyn's bones to try to control Elia's behavior, by having her swear on her father's bones.  There is an interesting bit about dragon-slaying and chains in The Princess and the Queen-

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Prince Joffrey’s Tyraxes retreated back into his lair, we are told, roasting so many would-be dragonslayers as they rushed after him that its entrance was soon made impassable by their corpses. But it must be recalled that each of these man-made caves had two entrances, one fronting on the sands of the pit, the other opening onto the hillside, and soon the rioters broke in by the “back door,” howling through the smoke with swords and spears and axes. As Tyraxes turned, his chains fouled, entangling him in a web of steel that fatally limited his movement. Half a dozen men (and one woman) would later claim to have dealt the dragon the mortal blow.

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The meta bit about remembering the two entrances of caves seems important.  As if we are subtly meant to recall other caves that have two entrances. 
 
A feather in one's cap may be something that GRRM is playing with.  I like the parallels with who is really responsible for the deaths of Elia and Qhorin.  Afterward, Rattleshirt tried to claim responsibility for Qhorin's death because the wolf did Jon's work for him, and well- he pretty much ordered it.  Specifically, Rattlshirt bellowed, "Feather them!"  Similarly, Clegane did Tywin's work (Elia) and enabled Robert to take power.  Arianne seems really concerned about her responsibility to protect Elia from Feathers the man.
 
Elia and Qhorin are also both making torches for cave spelunking and recklessly leading others into their depths.  Arianne is covertly trying to figure out what the Golden Company is planning (attack on Storms End), while Jon is gathering intelligence about where the Wildlings are headed.  The free folk love to spirit women away, and Arianne seems to be open to the idea. Or maybe she is like Jon (when he doesn't realize that he stole Ygritte) and doesn't see it that way because she is working so hard to please her father?
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On 8/4/2017 at 9:09 AM, Stark Klowd said:

Jon's passage through the heart of the mountain with Qhorin half-hand in Jon VIII of A Clash of Kings fits the motif that you are exploring with Clegane's Pup.

...

Rattleshirt . . . said that Ragwyle gut him and then commands the wildlings to gut Jon . . .

. . . Arianne uses Oberyn's bones to try to control Elia's behavior, by having her swear on her father's bones. 

 
A feather in one's cap may be something that GRRM is playing with.  I like the parallels with who is really responsible for the deaths of Elia and Qhorin.  Afterward, Rattleshirt tried to claim responsibility for Qhorin's death because the wolf did Jon's work for him, and well- he pretty much ordered it.  Specifically, Rattlshirt bellowed, "Feather them!"  Similarly, Clegane did Tywin's work (Elia) and enabled Robert to take power.  Arianne seems really concerned about her responsibility to protect Elia from Feathers the man.
 
Elia and Qhorin are also both making torches for cave spelunking and recklessly leading others into their depths.  Arianne is covertly trying to figure out what the Golden Company is planning (attack on Storms End), while Jon is gathering intelligence about where the Wildlings are headed. 

This is another good example of the cave journey, for sure. Other elements in common:

Arianne is accompanied by Daemon Sand, to whom she lost her virginity some years earlier. Jon will find Ygritte at the end of the tunnel, to whom he will soon lose his virginity.

Qhorin is linked (in my mind) with Benjen. He is Benjen's "brother," of course, as he is a brother to every other member of the Night's Watch. But he is the only character I can recall who says that he knew Rickard Stark. I suspect that either Benjen or Qhorin buried the obsidian cache at the Fist for Jon to find. And Qhorin's mission has been to find Benjen (as well as to spy on Mance). Maybe Qhorin is a symbolic version of Benjen? I see him as a symbolic uncle for Jon, at any rate. Similarly, Elia Sand is a symbolic aunt for Arianne, as she bears the same name as Elia Martell. So we have an uncle guiding Jon and an aunt guiding Arianne.

At the end of their cave "journeys," Jon kills Qhorin and Arianne's voice echoes "died, died, died" to Elia.

(I have to add craven and cavern to the puns and wordplay list to be explored. We've already noted the craven/raven wordplay, and the cave seems to be playing the role of the raven here, with the word repeated three times as Mormont's raven also tends to repeat its utterances.)

The "gutting" reference arises again, as you point out. Rattleshirt wants to gut Jon. The person who sold the horses to Arianne said that Connington's scavengers might pay for horses with a signed paper but, "there’s others who would just as soon cut your belly open and pay you with a handful of your own guts."

Which brings me back to a third chapter I see as related to these cave journeys, ACoK Bran VII:

To save people from having to follow the link, here's the meat of what I found a couple of months ago:

Many details in this chapter are parallel to elements of the ACoK, Jon VIII chapter.

  • Fire in opening paragraphs
  • Shadows?
  • Smoke?
  • Eating raw horse meat
  • Dark stone tunnel
  • Making torch
  • Using torch to light the way
  • Feeling safe underground
  • Moving in a single file line
  • One step and then another
  • Surrounded by stone “fathers” (vs. mother mountain)
  • Death of sharp mentor
  • Shaggy Wildling woman       
  • Departure into the unknown

Almost all of these elements are present in the Arianne chapter except, possibly, the death of a sharp mentor and the shaggy wildling woman. (Sharp and Shaggy is another post - there's a link in the Bran VII post.) Unless the (presumed) death of Quentyn Martell counts as the death of a mentor - the reader knows about it but Arianne does not. Quentyn had been sent to "infiltrate" the Targaryen invasion by presenting himself as a groom for Daenerys. Like Qhorin, he seems to have died; the mission is left for Arianne to complete by marrying Aegon. (Or maybe Arys Oakheart counts as her dead mentor?)

Edit: Actually, it might make sense that "Elia" is the dead mentor and, possibly, also the "wild" woman. Aunt Elia Martell died many years before Arianne entered the cave, of course. But she did successfully "infiltrate" the Targaryens by marrying Rhaegar. Knowing how canny and competent Martell / Sand women are, I have always suspected there is more to Princess Elia than the sickly, passive victim people seem to recall. So Princess Elia is the dead mentor, and cousin Elia Sand is the wild woman. Arianne wonders why her father sent cousin Elia along on this mission and the explanation is that he knew a literary motif needed to be fully played out. ;) (Or that Arianne's journey of growth and self-discovery required her to take certain steps in interacting with symbolic characters.)

Arianne doesn't eat raw horse meat, but she does buy horses early in the chapter.

I'm also interested to note that Elia is found up to her waist in a black pool. GRRM uses the phrase "pools of shadow" to describe the eyes of Qhorin and of the direwolf Shaggydog. There is some blindness symbolism in this chapter, with the blind fish and with Arianne scolding Elia about being "as good as blind" if her torch had gone out. I even wonder about Arianne's friend Daemon being a Maester Aemon symbol, with his similar name. He does show the way and call Arianne's attention to the carved faces in the chamber, acting as a sort of maester of the cave, if you will.

In the Bran VII chapter, Bran and his traveling companions emerge from the crypt and find Maester Luwin gutted and dying in the gods wood. So there's the gutting motif again. Maester Luwin is also the one who had introduced Bran and Rickon to obsidian he had in a jar in his chambers. Which brings us back again to ACoK, Jon IV.

There's definitely a pattern to all this! Does Arianne find anything that resembles dragonglass in her chapter?

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Bookmarking this to come back to later (a few days after work cools off) because I have just started an Arianne reread because I realized I had forgotten much of her story line.

In general, there are many similarities between the north and Dorne, a little more loosely between Arianne and Jon, but the places and the broad strokes... yeah, it's there.

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The reference to a "gutting" before someone makes a journey helps me to realize that we should be looking at Samwell Tarly and Gilly and her baby's journey after Jeor Mormont and Craster are both gutted in the mutiny at Craster's Keep. From the Wiki:

. . . violence erupts in the keep, with some Night's Watch men believing that Craster is holding out on the food he provided for the Watch, and others harboring mutinous intentions toward Lord Commander Mormont. Craster and Jeor are both killed in the mutiny. Before Jeor dies he gives Sam his dying wish, that his son, the exiled Ser Jorah Mormont, join the Watch.[2]

Sam is forced to flee, joined only by Gilly and her newborn.They make it as far as a village Sam believes to be Whitetree but are then attacked by wights, including a reanimated Small Paul, who attacks Sam first. Sam fights him off and stabs him with the dragonglass dagger, but it proves ineffective. Desperately, Sam strikes him with a piece of charred wood, which catches him on fire, killing him. They run, but are beset by additional wights, and are saved at the last moment by Coldhands.[12]

Gilly and Sam are led back to the wall by Coldhands, who has informed them that there will be one in the Nightfort that must be sent to him. Entering the Nightfort through the castle's Black Gate, Samwell encounters Bran Stark, along with Hodor, and Meera and Jojen Reed, all of whom he leads back to Coldhands.[13]

Small Paul plays the role of the horse in Sam's journey, having carried him much of the way from the Fist to Craster's Keep before he was attacked and killed by the Other. The important fire element becomes part of the journey when it is used to "kill" the reanimated Small Paul. It looks as if the eating of the horse meat occurs only in the Jon and Bran chapters, which may be GRRM's way of emphasizing the direwolf angle for the Starks. Arianne buys horses and Sam Tarly "kills" a dead horse (who is probably a Hodor parallel, but that may be a topic for another post).

Another thought: Arianne's group eats a brace of hares for dinner before overnighting in their cave. Jon and Sam (and Ghost) eat Gilly's breeding pair of rabbits before spending their first night at Craster's Keep.

A previously-unidentified element of the pattern also becomes clearer: the vow. Jeor asks Sam to get Ser Jorah to join the Night's Watch. Qhorin asked Jon Snow to repeat his vow to the Night's Watch. Arianne asks cousin Elia to swear on her father's bones that she will be subservient and meek.

The "surrendered maidenhead" aspect of the journey is embodied by Gilly, who will become Sam's lover on the next part of their journey, on the ship to Braavos and then to Old Town.

The passage through the cave / tunnel toward a king could be fulfilled when Sam and Gilly reach Bran (or, I suspect, Meera), but it could be that Sam's role in helping Jon become the next Lord Commander fulfills this aspect of the pattern. I also have a suspicion that Gilly's baby will grow up to be a king figure, like his father.

The most interesting aspect of Sam's journey, to me, is the role of Coldhands. If the guide in the journey is supposed to be an uncle or aunt, how is Coldhands connected to Sam? Or to Gilly?

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Seams, your list of parallel elements is brilliant!  Fear ties some of these characters together by their tales. 

 

In TWOW Arianne II chapter, what struck me in the cave scene as symbolic was Elia’s behavior.  We know that she took a torch, and she feels safe in the cave (check, check), but what about her catching two fish? 
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Their passageway led down to a still black pool, where they discovered the girl up to her waist in water, catching blind white fish with her bare hands, her torch burning red and smoky in the sand where she had planted it.

“You could have died,” Arianne told her, when she’d heard the tale. She grabbed Elia by the arm and shook her. “If that torch had gone out you would have been alone in the dark, as good as blind. What did you think that you were doing?”

I caught two fish,” said Elia Sand.

 

Arianne fears a reversal here; instead of Elia catching the fish, darkness in the earth could capture the girl.  I think it is important that Arianne sees it as her responsibility to protect the girl from being caught by the darkness, and from Feathers the guy she was caught kissing later in the chapter.  However, that might get me in over my head with connecting the ‘surrendered maidenhead’ stories of Elenei, Ygritte, Gilly, Lyanna, the Stark daughter that Bael impregnated, etc.  I will just say that in my opinion, Arianne’s inner dialogue goes to the tale of Elenei as though it is a source of her fears.  I suppose there are also fears of what happened to Rhaegar’s wife (her namesake) echoing through the cave.  And I’ll come back to the fears, but first…

I took some time to peruse the other post and reread the Bran VI chapter in COK.

P.S. Seams the post in the Direwolves Don’t Cry thread has ‘Bran VII’, but I think it’s actually Bran VI.  :huh:

The gutting is missing… unless we personify the First Keep.  When fire demolishes a building it may be said to have been gutted.  When I reread Bran VI, the chapter where the fellowship of Bran emerges from the Winterfell crypts, I found fewer parallels to Arianne II than expected. For example, I couldn’t find any elements that paralleled the fish catching in Bran VI.  Unless Bran was the fish, caught in Summer’s skin.  Also, it isn’t clear to me that there is a guide as they set out in Bran VI.  Lastly, Maester Luwin took a spear between the shoulders during the sack of Winterfell; I can’t find anything that indicates he was gutted. :unsure: We know that Osha helped him die, but it happens off-scene in the books because we’re in Bran’s POV and Meera dutifully led the kids away.

I decided to check another Bran chapter- the one where Sam allows Bran and his friends through the moonlit gate at the Nightfort, and Seams, posted this:

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The reference to a "gutting" before someone makes a journey helps me to realize that we should be looking at Samwell Tarly and Gilly and her baby's journey after Jeor Mormont and Craster are both gutted in the mutiny at Craster's Keep.

For whatever reason, we are being led in a similar direction here as we were with the Jon VIII chapter parallels.  I’m drawn to Sam too, yet I have not looked to Craster’s Keep.  Instead…


 

I noticed that in Bran IV SoS, the journey through the gate at the Nightfort, Bran is haunted by Old Nan’s tales of the Rat King and the Mad Axe.  Bran’s fears build and almost get the best of him. Note what happens as Bran is startled awake by Sam, Gilly, and the baby as they ascend the well.  Interestingly, Meera caught Sam in her net like a floppy fish and tried to jab him in the gut.

 

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Meera made a disgusted sound. "Stop flopping around. If you tear my net I'll throw you back down the well. Just lie still and I'll untangle you."  <snip>

I didn't know you'd throw a net on me or stab me in the stomach." He (Sam) touched his belly with a black-gloved hand. "Am I bleeding? I can't see."

"It was just a poke to get you off your feet," said Meera. "Here, let me have a look." She went to one knee, and felt around his navel. "You're wearing mail. I never got near your skin."

 

Just before this journey through the well, Meera roasts fish she caught in the river on the fire instead of eating horse or rabbit.  These details might lead to something, especially the horse/Hodor connection.


 

As you pointed out, the role and relationship of the cave guides are very interesting. :D

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Maybe Qhorin is a symbolic version of Benjen? I see him as a symbolic uncle for Jon, at any rate. Similarly, Elia Sand is a symbolic aunt for Arianne, as she bears the same name as Elia Martell. So we have an uncle guiding Jon and an aunt guiding Arianne.

Sam and Jon are brothers of the Night’s Watch, so there is some room to play with how Bran is related to his guide.  Blood relationships are void for the brothers according to the NW tradition.   Coldhands doesn’t quite fit Old Nan’s tales of greenmen, and he doesn’t have the abilities of a Sworn Brother.   He is neither fish, nor flesh, nor a good red herring.  He’s a forest guide aiming to deliver Bran to Bloodraven, in a way that is similar to Jojen.  Are his ravens inhabited by CotF? 

In the Nightfort there is a transfer of the guide role from Jojen to Sam.  They were as good as blind.  As they descend the stairwell we have the imagery of the moonlight following them and Jojen asks Sam if they need torches- but in this journey they use a hand on the wall instead.  Why?  Maybe they don’t need fire light because Sam is their sword in the darkness & light that brings the dawn.  I agree-the vows are an element in this pattern.  Or, he could be similar to Daemon/Aemon in his maester-like wisdom.

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It was a long way down. The top of the well was bathed in moonlight, but it grew smaller and dimmer every time they went around. Their footsteps echoed off the damp stones, and the water sounds grew louder. "Should we have brought torches?" Jojen asked.

"Your eyes will adjust," said Sam. "Keep one hand on the wall and you won't fall."

 

Or, maybe torchlight would spoil the way the weirwood door glows- the Black Gate isn’t black:

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A glow came from the wood, like milk and moonlight, so faint it scarcely seemed to touch anything beyond the door itself, not even Sam standing right before it.

I wonder if there is symbolic significance that ties some journeys to a torch bearer and other journeys to moonlight.

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