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About GloubieBoulga

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  1. GloubieBoulga

    Re-reading Sansa's last chapter, ASOS

    I.A FIRST CLASS BURIAL WARNING : Quote from the chapter Sansa VII ASOS are in purple color. Before enter the subject, I'll make a little point about the Eyrie, where the chapter takes place : - The Eyrie means hawk/eagle's nest : it's a bird's place - They are the highest castle of Westeros, very hardly accessible, so physically "out of the world". - "Out of the world" symbollically too, and I give some elements : to join the Eyrie you need to pass through the castle "Gates of the Moon". In ASOIAF, "gates" are passages from one world to another and the character who passes through a door changes his/her "state" in the same time. So, there is the Black Gate at Fort Night, a mouth which swallows Bran and his companions (Bran becomes a greenseer beyond the Wall), or regurgitates Sam, Gilly and the babe (permitting that they survive); there is the Bloody Gate with the story of the singer Tom : the symbol is here a humoristic birth and the gate a vagina. Third example - another birth - when Jaime escapes from Riverrun, passing throw a gate (the Water Gate) completely drunk, with the mancles as a umbical cord and the cloak as a placenta; at dawn, he is like a newborn discovering the living world with his senses (Jaime I ASOS), and Brienne compared to a milk cow plays the nurse/the mother. After the Gates of the Moon, you must pass through 3 keeps, Stone, Snow and at least Sky. Litteraly, the Eyrie are beyond the sky. Bonus, from the bottom, the castle is invisible for the eye even if you know its place under the mountain Giant's Lance and beneath the waterfall Alyssa's Tears : . the white light can be linked to Bran's vision : For my purpose here, I'll notice the flight of Bran-bird, up and far that ends "deep", so at the complete opposite (up and down) : in fact, Sansa's chapter will show same mix where up=down. I'll also notice Jon "the bastard" as a litteral Snow-White in his ice coffin. The mention of the memory seems for me essential, because all present characters are telling us a part of an ancient and original story, a Stark story, illustrating this sentence : -As we came back to Snow-White throw Jon, we can also notice the 7 towers of the Eyrie, like 7 gods, but like 7 dwarves, giant when you are in the castle but little ("daggers", not "swords") if you are far enough. But daggers as a defense or as a threat ?No evidence with GRRM. Bonus : the white daggers in sunlight are 7 little lightbringer... oh nooooo ! 6 are too more ! But 6 will come back in Sansa's chapter. 1.Wolf's time at the Eyrie She awoke all at once, every nerve atingle. For a moment she did not remember where she was. She had dreamt that she was little, still sharing a bedchamber with her sister Arya. But it was her maid she heard tossing in sleep, not her sister, and this was not Winterfell, but the Eyrie. And I am Alayne Stone, a bastard girl. The room was cold and black, though she was warm beneath the blankets. Dawn had not yet come. Sometimes she dreamed of Ser Ilyn Payne and woke with her heart thumping, but this dream had not been like that. Home. It was a dream of home. The Eyrie was no home. These are first words of the chapter, saying that the scene begin before dawn, when the night is the coldest (and the blackest, following the common belief). It is the wolf's time. "Dawn" in its own short sentence is highlighted ; this recalls us the main concern of the saga, the Long Night and the (second ?) Battle of the Dawn to put an end to eternal winter. In this way, Sansa's narration is a part of the global internal mythology of ASOIAF. If I'm not able to predict Sansa's participation to an hypothetical huge battle (to be honest, I'm not interested with), I can see that an individual and violent battle has for long time begun for Sansa, in her heart and her mind, and the battle seems lost ! If Winterfell and the Eyrie are totally different at first sight (geography, location, color, land, and so on...) Sansa's dream makes a direct connection between them. Plus, Eyrie are described as a dead castle, as a grave, and our princess awake in a bedchamber "cold and black"; the other locations "cold and black" are at Winterfell : the pool at heart tree's feet (Catelyn I AGOT) and the graves of dead Stark in the crypt (cold and black are associated in other circumstances, but they all repeat the theme of the pool - Dany pregnant bathing in the lake Womb of the World (Dany V AGOT) - or of the grave - Arya in the Red Keep feeling Varys and Illyrio emerging from a well of darkness or touching the skulls of the dead dragons (Arya III AGOT)). So the Eyrie are here a particular face of Winterfell : not the Winterfell that Sansa liked when she was a child, the one idealized through her dreams, but the "frozen hell" reserved to the Stark : This is the Winterfell as heart of winter. And Sansa is the dreamer wanting to escape the cruel reality by sleeping and dreaming "beneath the blankets". The post isn't achieved yet, I will edit it later.
  2. GloubieBoulga

    Best theory you've ever heard

    Just one for one day, I'll read it tomorrow ^^ I think I'll finish the year !
  3. So they said, “We cannot hide her away in the black ground.” And they had made a coffin of clear glass, so as to be looked into from all sides, and they laid her in it, and wrote in golden letters upon it her name, and that she was a King’s daughter. Then they set the coffin out upon the mountain, and one of them always remained by it to watch. And the birds came too, and mourned for Snow-white, first an owl, then a raven, and lastly, a dove. Now, for a long while Snow-white lay in the coffin and never changed, but looked as if she were asleep, for she was still as white as snow, as red as blood, and her hair was as black as ebony.(Grimm, the tale of Snow-White) Up here where the slope was steepest, the steps wound back and forth rather than plunging straight down. Sansa Stark went up the mountain, but Alayne Stone is coming down. It was a strange thought. (Alayne II AFFC) Hi everyone ! I'll purpose here a litterar analysis of the chapter Sansa VII ASOS, which is the very last one of the 3rd book, just before the epilogue and first LSH's appearance. The following analysis is a translation/adaptation of a long study in 4 parts in my personnal blog, consecrated to litterar analysis of ASOIAF for people who speak french (the 4th isn't achieved yet, or truer : it's achieved but I diidn't let it online because I must entirely rewrite it). I began to work on the parallelisms between Sansa Stark and Snow-white more than 2 years ago, with this particular chapter, in which I saw first princess Sansa dying and proceeding to her proper burying in a snow/ice/glass castel with the help of the so ambivalent giant - small man Littlefinger. I re-visited my first analysis one year later, but it needed a 3rd re-working to have a certainly not perfect, but coherent stuff, and quite different from what I wrote 2 years and a half ago. Specials thanks to @Seams, @ravenous reader, for so many details i wasn't able to see last year, for pointing puns, wordplay and similarities between events/facts/pictures which seemed opposite at first sight, and for your true love for the text ! To @The Fattest Leech for Bran/Pinocchio and @sweetsunray for the essay on the Bear and the Maid, both opening for me some different and stimulating perspectives. Even if my proper way isn't, I think you'll recognize some trails of your own reflexions/work. Let's go for the introduction : Snow-White isn't the ultimate word to explain Sansa : we'll see that GRRM uses the trope to write his own interpretation of the story, as a real litterar project, always with huge internal coherence in the storytelling and in the symbolism = both reading are strongly imbricated, that's why I used Snow-White's trope as my "red thread". So, Sansa Stark as Snow-White is the unfortunate princess successively mistreated by bad queens (Cersei and Lysa) after the father's death (Ned), protected by a hunter (the Hound) and some dwarves (Tyrion... and Littlefinger), and waiting desperatly for her promised prince (the fair (and fake) Aegon ?). Ok, that's the first sight, or Sansa's dream. The reality and the text are a bit more complex and I confess I had some surprises with the roles, especially with Snow-White and her promised prince. I choosed this chapter (Sansa VII ASOS) because it concludes a long cycle which began with AGOT : the fall of the powerfull house Stark. All Starks are yet dead really or symbollically and/or disappeared. The pack is dispatched, Winterfell destroyed and winter is coming. In a way, the Stark are before all people in the heart of their long night. In this chapter, the reader discovers also who murdered lord Jon Arryn, murder which whas the reason why Eddard Stark went south as king's hand, the beginning of all the tragedy. The chapter is built in two parts - we could say in 2 acts - each part following same schem : 1. a meditative solo from Sansa in her bedchamber 2. the call of something (the snow)/someone (Lysa throw Marillion) which makes her going outside the bedchamber 3. A trio/trial (Sansa/snow/LF and Sansa/Marillion/Lysa) begins 4. A "forth" character enters and put an end to the trio/trial by a brutal and destructive act (Robert Arryn destroying the snow castle and LF ejecting Lysa out of the scene). My analysis will simply follow the order of the text Here is the general plan : I.A FIRST CLASS BURIAL 1.Wolf's time at the Eyrie (Sansa wakes up) 2.The Warrioress Maiden in the Garden (she goes out in the courtyard/garden) 3. Prayers of the Snowmaiden (she begins to play with the snow) 4. The Frozen Queen (building of the snow castle) II. A DANCE WITH SUITORS 1. "Come-into-my-castle" (LF is helping) 2. Biting, kissing, wedding (LF is "helping", part 2 !) 3. Robert the Heir (Sweetrobin's entry) 4. "Maiden and Monsters" (destruction of the castle) III. THE TRIAL 1. Interlude (Sansa's return in her bedchamber) 2. Birds of misfortune, watchers of the dead (Marillion enters) 3. Frozen lice, frozen heart (in the great hall of the Eyrie) 4. Icy eye, justice's eye, (Sansa faces Lysa sitting in the weirwood throne) IV. THE LAST DANCE 1. Tell me the truth, all the truth (Lysa's confessing her misfortunes) 2. The monster beyond-the-door (the "lesson" of the moondoor) 3. Oh F... holy S...! My husband ! (LF enters) And at least... a general conclusion First part tomorrow, because it's time to sleep here now ^^
  4. GloubieBoulga

    Best theory you've ever heard

    You made my day ! This is just perfect !
  5. GloubieBoulga

    Genetic coding- 100% real world or fantasy for literature?

    +1 And note that GRRM is insistant with the (symbolic) link he makes between Val and the bear's stuff : - she is sent by Jon to find Tormund Giantsbane/Husband to Bears (a bear (father) character like Jorah with Dany or Jeor Mormont with the sworn brothers) - she goes out wearing a bearskin (brown and grey) : (funnily, Sam during AGOT also appears as a she-bear, especially when associated with the moon) - she comes back wearing bearskin (white) Definitely nothing to do with genetic, but with litterature.^^
  6. GloubieBoulga

    Upstairs, downstairs.

    I have a proposition for up and down : considering Patchface's songs "under the sea...", I had the idea to imagine a mirror, so down is only reflection for up (and up for down) Here is an picture which shows perfectly what I want to say : https://cdn.pariscityvision.com/media/catalog/product/cache/2/image/755x433/9df78eab33525d08d6e5fb8d27136e95/m/l/ml2-01-mont-saint-michel_4.jpg
  7. GloubieBoulga

    Is Craster a Casterly? - Now with plot-relevance!

    Surely a bit crackpot for how I see the whole serie, but an interesting one because the text allows it very well (even with LF's birth year, and imo more than Tyrion Targaryen). By the way, if it's not at the end the reality, the metaphoric reading works (and for me makes perfectly sense, because I think that all actual characters are "re-playing" a part of the ancient Stark's story, the story of their origins ^^) !
  8. GloubieBoulga

    Is Craster a Casterly? - Now with plot-relevance!

    The quote reminds me the ascending to the Eyrie, where lies queen Alyssa's statue, Alyssa who weeps without end ("sorrow's theme; and same with Lysa and the tears of Lys). Could the Shrouded lord be in "reality" a lady ? As you make the link with Jaime's descending dream, there is another where he meets her mother as a shrouded/hooded and weeping woman. And what must we think of lady Stoneheart, definited as a "hooded woman" ? In a way, Jaime will meet a shrouded lord/lady.
  9. GloubieBoulga

    Is Craster a Casterly? - Now with plot-relevance!

    I totally agree with that. For me the "shit" serves to hide some shame/dirty or deadly secret, but lies and crimes were required for that ("the things I do for love"), and inevitably, it smells dung (if it's not dung, the smell is excessive and suspect : Varys plays a lot with that) : the Lannister have the twincest and all consequences (the bastards heirs); Craster hates to be recalled he is a bastard : in a kind of way his practice of incest is also a manner to obtain "pure blood". LF isn't a bastard but don't assumes his "low" born, so he changes his sigils, neglects his castle as if it weren't his home and plays the cuckoo, killing/provoking the fall of some people to take their place (Eddard for ex). But I actually see all these stories as "metaphores" for the real story of the Starks, Winterfell and the Wall (dephts of Casterly Rock are also echoing dephts of Winterfell): GRRM just applies them to other characters and buildings and as readers we see exactly what he wants we see ^^ (but perhaps I'm totally wrong with my Stark's focus) By the way, I think you explore a very interesting and important theme here, which asks central questions. Thanks !
  10. GloubieBoulga

    So, what's your head canon?

    - Arya will successively receive 3 names as a faceless : Euron Greyjoy (or Victarion, depends on who will be associated to Dany), Daenerys Targaryen and finaly Arya Stark. - One dragon will never have a ride, and Viserion and Rhaegal will fight eachother, One will die - Winterfell will be definitely destroyed in a flood - Stark of Winterfell are originaly bastards and never had wolf's blood in their veins by birth : they stole it by "magic" - Other(s) don't want to invade Westeros, they/he/she just want to have revenge against the "3 Eyed-Crow" for some actually unknown reason and probably regain something/someone they/she/he lost long long time ago (= husband ? wife ? children ?). - Neither Jon, nor Dany nor Bran will survive the serie, but noone amongst the other characters will know for sure their fate (perhaps only Arya will know but won't never tell it), so stories will "start" about their return in the future. Only stories and legends, of course ^^
  11. GloubieBoulga

    Is Craster a Casterly? - Now with plot-relevance!

    If you're looking for the other part of the couple for Tywin Lannister, I would say lord Stark : - the link with the wolf's blood tends to hide us strong links with other "blood", and the bear is one of them. For exemple, when she has built the snow Winterfell, Sansa appears like a bear cub; same metaphore of the bear when she goes down to the Gates of the moon (Alayne II AFFC). Another exemple during the Benjen Jon and Tyrion's travel to the Wall : I don't know if Benjen is really regretting something or if Tyrion just likes to imagine that's the case, but Lannister appears hera clearly as greedy and full of an envy well hidden beyond their pride. - In Tywin's case, Ice takes the place of Mormont's personnal axe : the ax isn't really a gift but an extortion from Craster, the false friend of the Watch (thanks to @sweetsunray for her brilliant essay about the bear), who gives informations that Qhorin Halfhand obtains in another way, and that conduct the Watch to the trap of the Fist. - Eddard Stark appears also as the bear "enslaved" and "hurt" by the goat Littlefinger, if you consider LF's castle at the Fingers as built on sheep's dung (LF bears also his little pointy barb like a goat): Great catch, I like it ! But to answer to @Lollygag purpose, if the parallelisms between Tywin and Craster seems for me obvious (and very well exposed here), I'm not convinced by the conclusion "Craster is a Casterly" = LF has also a castle built on a hill of dung/sheep's pellet (and he provoques Eddard/the bear's death before he steals his daughter) but we won't theorize about him as hidden heir of Lann nor the Casterly). Imo, the Craster's and Tywin's stuff are both variations about one part of the Stark's untold story (like Lann the clever and the Casterly also are)
  12. GloubieBoulga

    Bran's weirwood visions

    At the Whispers there one, during a Brienne's chapter (AFFC). Also in Arianne II TWOW (preview), there are severals in the woods, young and wild.
  13. Yes, that's for me the important point because "realism" in litterature is a part of the illusion : in that way male characters aren't more realistics than female but they all are built to be narratively coherent and believable as humans. Sometime, the narrative purpose contradicts the character and that where is the limit to realism. Or perhaps it is a way to reveal inner contradictions of human's heart ^^ Someone mentioned Asha's rape by Qarl the Maid in ADWD and sure, her pleasure is totally unrealistic and sends a false message to young people who have no sexual life's experience. But in a litterar point of view, the scene replays the short scene between LF and Sansa at the Eyrie with the snow Winterfell, and that tells us about LF as a true raper for Sansa (no matter if he only kisses her, the intention is an appropriation) and about Sansa's ambivalence : she's at this moment like a slave who tries to find a psychologic way to suffer his slavery with the less damages as possible, because he/she doesn't feel strong enough to gain his/her own liberty, which seems more dangerous. Sansa is in this situation far more realistic than Asha ^^
  14. GloubieBoulga

    Where Whores Go

    Perhaps your link stays here : "bastard blood" is "black blood" and Snow is a name for winter's bastards.
  15. Effectively I didn't think to her first time because Daenerys gives her consent and Drogo doesn't force it. But after, the text is explicit : there is no consent from Dany, Drogo takes his pleasure and wounds her without taking care, that's rape, I don't know how to name it with another word. It's linked to her feeling of lowness, yes, but that is litterature^^