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About GloubieBoulga

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  1. GloubieBoulga

    There must Always be a Stark at Winterfell

    Perhaps the answer is more simple than we imagine : because without a Stark, Winter is coming. ^^ In the serie, we can observe that autumn and then winter are arriving after Stark's departure : Eddard with the girls in AGOT and autumn begins slowly. Then Robb leaves too, and to finish Bran and Rickon. When Theon comes back with the Bolton, winter is at Winterfell, and becomes the center of a huge snowy tempest. Coming back in the past, we can also observe that the long summer arrived when Ned and Catelyn had children at Winterfell = when the number of Starks was growing. Before that, there was winter, when Benjen remained the only Stark at Winterfell, during the war against Mad Aerys. Spring seemed to arrive when Brandon briefly came back to Winterfell after his journey with the Ryswell, and so on...
  2. And also with Jon non executing Ygritte. So it could happen a third time. Just one question : why Bran couldn't be the one "executed" and looking in the eyes his executioner ?
  3. GloubieBoulga

    [Spoilers] Shadow (baby) warriors and Syrax

    It's an interesting possibility, according to what Melisandre says about shadows (and she knows some little things about them !) : "Every man who walks the earth casts a shadow on the world. Some are thin and weak, others long and dark. You should look behind you, Lord Snow. The moon has kissed you and etched your shadow upon the ice twenty feet tall." (Jon VI, ADWD) and : She was stronger at the Wall, stronger even than in Asshai. Her every word and gesture was more potent, and she could do things that she had never done before. Such shadows as I bring forth here will be terrible, and no creature of the dark will stand before them.(Melisandre, ADWD)
  4. And here's the proof : "The mountain is your mother," Stonesnake had told him during an easier climb a few days past. "Cling to her, press your face up against her teats, and she won't drop you." Jon had made a joke of it, saying how he'd always wondered who his mother was, but never thought to find her in the Frostfangs. (ACOK, Jon VI)
  5. GloubieBoulga

    The aftermath of Others invasion

    For what we can read during 5 books, for the moment, lords and houses are just the first contributors to their own extinction. Making war each other, they don't need Others at all. Plus, knowing how GRRM likes to put down some litterature's cliche, we could bet that there will never be an Other's invasion : at the end of ADWD, a very hard winter is already on Winterfell, and the snow arrives in the south (Riverlands, King's Landing...), though the Others didn't pass the Wall, so...
  6. While beginning to read, I thought the "time for wolves" was announcing a kind of revenge for the Stark. But later, you have the story of the winged-wolf prisoner of the stone (in Winterfell), so time of wolf could also represent a new freedom for wolves. The "dream of spring" for me is a focus on the "dreamer" - the greenseer - trapped in his tree's roots, who will never see the sun again and is condemned to dream the life. So imo, the reader and some (many ?) characters will see the spring, but the greenseers won't.
  7. GloubieBoulga

    End game predictions for all the characters?

    Mmh Bran : killed in his tree by Jon and Daenerys (Daenerys with Drogon burning the heart tree of Wonterfell, and Jon with a dagger in the heart as the "gift of mercy") Jon : traumatized, he will walk in the land and his corpse will be found with the dagger in the hand when the spring will be there. Daenerys : burnt and eat by Drogon (in fact Arya will imitate what Jaqen did with Weese and his dog at Harrenhal). But maybe people won't believe it and think that she and her dragon are gone, like they did in Meereen. They will wait for their return... one day. Possibly, the ambiguity will remain also for the reader. Arya : the last name she will receive as a Faceless woman will be "Arya Stark". So, she will kill Arya Stark and live herself under a new identity. I pass for the choice of this new identity, queen of a kingdom (like Nymeria) or queen of an inn marrying a smith, possibilities are large. Vicatrion : killed by Euron. In fact, Euron will take his body, after he took his wife and his glory. So Euron will have a second life in Victarion's body. Victarion/Euron : killed by Arya. The man who wants to surpass the gods killed by a servant of the Manyfaced. How ? A last fly and a fall, of course. The mouse killing the giant. Sansa : Changes her name definitely. Like Arya, she can survive as queen of a kingdom or mistress of an orphan's inn married to a certain smith who will love her for who and what she is and not for her possession. Another possibility is to marry again Tyrion, this time a true marriage. Tyrion : I imagine he will survive, but I see for the moment to many issues to chose one against the others. Stannis, Melisandre, Shireen, Selyse : they will all die at Fort Night, and that will be the definitive fall of the Wall. Robert Strong : killed by Brienne, when Jaime will kill Cersei (the couple Brienne/Jaime against the couple Robert Strong/Cersei), so no Cleganebowl for me ! Brienne : she will survive, but for what ? That could be funny if she marry Tyrion and have a lot of children at the end. Or lady commander of the new Kingsguard. Or both in the same time, just to cut down a bit more taboo ! Jaime : I don't know. I don't see him living after Cersei's death. So, dead or some old hedge knight. Davos : I only hope he will survive (but I hope ot above all for his sons, especially Devan)... though I can't decide one or another issue Jorah Mormont : he is a father bear for Daenerys, and father bear are made to die one day (Ned, Jeor, for example), so I don't expect that he will survive. I fear something very sad. The Martell : ouch. I imagine a true tragedy for all of them, dying one by one (even if Arianne could really reach the IT at one moment), and Doran the last, killed by Areo or Ellaria Sand (or his wife Melario) or lift alone with his sickness. Sarella seems to be the only one with some chance of survival because she doesn't take part to Doran's plans. Myrcella : a silent sister ? Rickon : if he is lucky, he will survive, but under another name, not as Rickon Stark. Illyrio : will offer his life to the HOBAW, to pay Dany's assassination. Dolourous Edd : ok, this one predicted his own death : the very last of the Night's watchers
  8. GloubieBoulga

    TURNING POINT?? - A song of ice and fire

    Also for me, that was the fall of Winterfell by Ramsay - it was the very biggest surprise I had during my first reading - and following that, the disaster of the Mormont's expedition beyond the Wall. I found there the same tragic way that I had found in Silmarillion.
  9. GloubieBoulga

    Wake Dragons From Stone = Sword in the Stone

    Yes, mounting a dragon, but for that, he needs a free and alive dragon. And we can't be sure that Rhaegal or Viserion both will survive or be free when Jon will meet Dany (if they have a real meeting one day).
  10. Jon predicted his own death, I fear, mocking Arya (Arya I, AGOT): When the spring thaw comes, they will find your body with a needle still locked tight between your frozen fingers.
  11. GloubieBoulga

    Re-reading Sansa's last chapter, ASOS

    II. A DANCE WITH SUITORS 4- "Maiden and Monsters" This is the last part of the snow castle's analysis, regarding its destruction. This one is a bit longer than the others but also clearer regarding the internal parallelisms : it's not possible to be exhaustive, so I chosed 3 of them. "Maiden and Monsters" is one of the other games played by the children of Westeros, like "come into my castle". We have a glimpse of it in a chapter of Davos, in ASOS, and it seems that the game consists of a chase between a "princess", a "monster" and a "saving prince". The rules are not described by GRRM, but the theme does not come out of the "real" stories, those told in the saga. In this case, with his doll depicting a giant who wants to enter the castle, Robert symbolically mixes the two games - M&M and Come into my Castle - with a bit tragic success : "It's not so great." The boy knelt before the gatehouse. "Look, here comes a giant to knock it down." He stood his doll in the snow and moved it jerkily. "Tromp tromp I'm a giant, I'm a giant," he chanted. "Ho ho ho, open your gates or I'll mash them and smash them." Swinging the doll by the legs, he knocked the top off one gatehouse tower and then the other. It was more than Sansa could stand. "Robert, stop that." Instead he swung the doll again, and a foot of wall exploded. She grabbed for his hand but she caught the doll instead. There was a loud ripping sound as the thin cloth tore. Suddenly she had the doll's head, Robert had the legs and body, and the rag-and-sawdust stuffing was spilling in the snow. Lord Robert's mouth trembled. "You killlllllllled him," he wailed. Then he began to shake. So here is the giant in action: he is the one who comes to free the princess from her frozen hell, the hand of the prince literally promised, since this prince must also marry the imprisoned Snow White. However, we will notice that the princess does not seem delighted, and for good reason : she is suffering the rape of her future husband. Robert's gesture with his phallus puppet is the counterpart of Littlefinger's, who previously subtly introduced (it remained a symbolic rape by the absence of explicit consent), and the metaphor is already present during Sansa's marriage with Tyrion: "I am," the Imp confessed, "but not so drunk that I cannot wait to my own bedding." He hopped down from the dais and grabbed Sansa roughly. "Come, wife, time to smash your portcullis. I want to play come-into-the-castle." (Sansa III, A Storm of Swords) However, the "giant dwarf" Tyrion had not followed his promise once alone with Sansa, assuming a protective rather than a destructive part. Indeed, he japed to escape the "ceremony" of bedtime, king Joffrey explicitly intending to take advantage of it to rape Sansa; and at the same time Tyrion escape the vindictiveness of the little king whom he had just threatened to castrate following his humiliating words and gestures for the bride (I won't come back to castration's theme, just note that princess Sansa is surrounded by castrated "princes" and "knights", and that she is the direct or indirect cause of the castration; her words cut). It is also amusing to note that if legends attributes the building of the real Winterfell to giants, it is a giant that comes to demolish it. This destructive giant is a picture that appears several times in the saga, and I will focus on three of them in particular, because they contain the same roles, but dispatched differently, despite a similar challenge, namely a crown (and a princess, of course) : - a) The giants at the Wall First there is the giant Wun Wun who had crossed the Wall and been commissioned by Jon Snow to protect Val, the "wildling princess", whom Stannis wanted to marry to the next suzerain of the North, in order to seal the alliance with the Wildlings. To conquer his crown, Stannis did the same thing in the North as the Lannisters : he needed a castle, a marriage, and the "foundation" of a strong lordly dynasty. The castle Stannis is targeting is Winterfell. While he was working to win it back, he entrusted the promised princess to the custody of Jon Snow, Lord Commander of the Night's Watch, the "jail-crow". And Val is housed in a tower, guarded by a giant, like the princess of a tale. Val seems to be attracted to Jon, who is not only a crow, but also a bastard wolf, and when she returns to be a prisoner after finding Tormund, she is dressed in a white bear skin with a weirwood's brooch, and accompanied by Ghost, Jon's direwolf. Here is our bear princess wanting her bastard-wolf. A bastard-wolf prisoner of a raven (by studying the confrontation between Lysa and Sansa, we'll see the "raven queen", out from Snow White's tale) From above came the sudden sound of wings. Mormont's raven flapped from a limb of an old oak to perch upon Jon's saddle. "Corn," it cried. "Corn, corn, corn." "Did you follow me as well?" Jon reached to shoo the bird away but ended up stroking its feathers. The raven cocked its eye at him. "Snow," it muttered, bobbing its head knowingly. Then Ghost emerged from between two trees, with Val beside him. They look as though they belong together. Val was clad all in white; white woolen breeches tucked into high boots of bleached white leather, white bearskin cloak pinned at the shoulder with a carved weirwood face, white tunic with bone fastenings. Her breath was white as well … but her eyes were blue, her long braid the color of dark honey, her cheeks flushed red from the cold. It had been a long while since Jon Snow had seen a sight so lovely. (Jon XI, ADWD) Jon notices his blue eyes and red cheeks. We find exactly the same themes and characters-types as in the snow-castle's scene, but dispatched over Jon's entire narrative arc: the castle to be (re)built (theme multiplied by Jon's concern to restore and replenish all the "castles" along the Wall), the bear princess who wants her bastard wolf, both being prisoners of a crow (for Jon, this is his oath), the colours of the weirwoods and those of the Others, and finally a "savior" and a giant whose roles are reversed, since the "savior" is in reality a predator, and the giant a defender... at least according to Jon's point of view (let's bet that ser Patrek was considering Jon as a predator and a cruel jailer). Indeed, at the end of ADWD, the knight Ser Patrek probably tried to penetrate the princess' tower, and when Jon arrives on the scene, the giant holds Ser Patrek by one leg and smashes his head against the walls of the tower, as if he was holding a doll, let's read the text: The screaming had stopped by the time they came to Hardin's Tower, but Wun Weg Wun Dar Wun was still roaring. The giant was dangling a bloody corpse by one leg, the same way Arya used to dangle her doll when she was small, swinging it like a morningstar when menaced by vegetables. Arya never tore her dolls to pieces, though. The dead man's sword arm was yards away, the snow beneath it turning red. (Jon XIII, ADWD) Two little remarks : 1/Val is in Hardin's tower and Alayne Stone will be betrothed by LF to Harrold Hardyng (with the "hard-" synonym of "strong", surely the wordplay was already noticed). 2/Ser Patrek is "swinging like a morningstar" and he wears a star on his coat of arms : with the "bleeding star" we could say he is a "prince promised" sacrificed, one of those knights trying to deliver the princess (like those who try to keep excalibur from the stone) and failing. Note that ser Patrek lost his sword arm. This scene also takes place when Jon has decided to break his vows and help another princess trapped in a tower (in Winterfell), his sister Arya Stark - in reality the poor Jeyne Poole, Sansa's former childhood friend, who was forced to take Arya's identity to wed the "beast in human skin" Ramsay Bolton. In other words, the fight between the "bastard wolf"(the one from the pack) and the "crow" (the Night's Watcher) also takes place inside Jon : by breaking his vows, the wolf has freed himself from the crow to gallop rescuing his princess, and was murdered by some of his sworn brothers. For the added detail, Bowen Marsh, one of the main conspirators, is nicknamed "the Old Pomegranate" because of his always red face, a small nod to Snow White's apple. For irony, the conspirators could have killed the "crow's part" when they intended to kill the "wolf's part", but we quit Snow White's theme, so I won't explore it here. Back to Wun Wun's scene, it imitate Tyrion protecting with his words Sansa from Joffrey's assaults, and in the same time Sweet Robin breaking down Winterfell's gates, while Jon/Snow White imitates Sansa trying to stop him. Note that in ASOS, Jon and his sworn brothers are fighting wildlings and giants who try to pass the Wall. After the first battle, Jon is sent to Mance to kill him (or be killed by Mance) and he looks at the battlefield : There were other corpses too, strewn amidst broken barrels, hardened pitch, and patches of burnt grass, all shadowed by the Wall. Jon had no wish to linger here. He started walking toward the wildling camp, past the body of a dead giant whose head had been crushed by a stone. A raven was pulling out bits of brain from the giant's shattered skull. It looked up as he walked by. "Snow," it screamed at him. "Snow, snow." Then it opened its wings and flew away. (Jon XI, ASOS) Here is another giant with crushed head, like Sweet Robin's doll. He died trying to smash the gates of the Wall. There is also an eating and speaking raven (yes, we will explore the raven queen theme with Lysa !). Jon being the Lord Commander of the Night Watch - his head -, we could also see the Watch as Snow White buried in his coffin-Wall (the oath and the cloak are symbols of marriage in the saga, and the sworn brothers literally marry the "spirit of the crow" by taking their vows and a black cloak), who rips off the "giant's" head by killing Jon, repeating Jeor Mormont's murder beyond the Wall. And we are lucky with the metaphor, appearing that at one moment Melisandre shows to Jon the giant shadow he casts on the Wall, in the light of the moon : "Every man who walks the earth casts a shadow on the world. Some are thin and weak, others long and dark. You should look behind you, Lord Snow. The moon has kissed you and etched your shadow upon the ice twenty feet tall." Jon glanced over his shoulder. The shadow was there, just as she had said, etched in moonlight against the Wall. A girl in grey on a dying horse, he thought. Coming here, to you. Arya. (Jon VI, ADWD) The kiss of the Moon Maid changes the men into giants who defend her. But who is the Moon Maid ? Is she really Snow White or is she a young raven queen ? To resume the symbollic the Night's Watch represents the dead princess, her dead bastard and the jailer's crow, where the Wall is the giant that keep her/them "safe" in an icy jail, them progeny, savior and murderer. The continuation of the events in Castle Black is still pending, while the situation is explosive. Logically, some of the sworn brothers and the Wildlings should kill each other, and Castle Black should suffer almost total destruction, but it will be necessary to wait until the next volume to find out, and GRRM knows how to spare surprises. In any case, it seems to me that the Night's Watch is condemned to destruction, and the Wall to the fall (an avalanche or a slower melting, with drowning castles of the Watch as a result) : both are as worn out and weakened as Sweet Robin's rag doll. -b) The giant at the Red Keep The second picture I will mention is part of the pre-saga story, when a good fifteen years earlier, the Mountain - alias Gregor Clegane, the giant knight and Hound's brother - smashed against a wall in the Red Keep the head of little Rhaegar's son (who died on the battlefield), Aegon Targaryen, and raped his mother, the princess of Dorne Elia, before killing her too. Gregor Clegane is Tywin Lannister's sworn knight, the "monster" manipulated by a "clever man". We find our same characters, with the capture of a castle and a crown at stake, but it seems that the episode does not take place at the same time as the destruction of Sansa Castle, but before its construction, which is marked by the murder of children: Gregor's story would be that where the invoked giant will kill the descendants of a king so that the clever man ("man" is for Tywin Lannister, but I think that originally there is a clever "raven queen") who manipulates him ensures the power of his own lineage. Then Tywin will make his daughter a queen by marrying her to the new king. A cold and dead queen for her husband: Oh, Cersei is lovely to look at, truly, but cold... the way she guards her cunt, you'd think she had all the gold of Casterly Rock between her legs! (Robert Baratheon to Eddard, in Eddard VII, AGOT) This king husband is gradually becoming puppet king, his court invaded by Lannister and himself drowned by drinking and feasting, until this scene reported by Jaime, where we see that like the queen, the king was symbolically dead long before his last hunting trip: "That was Raymun Darry's bedchamber. Where King Robert slept, on our return from Winterfell. Ned Stark's daughter had run off after her wolf savaged Joff, you'll recall. My sister wanted the girl to lose a hand. The old penalty, for striking one of the blood royal. Robert told her she was cruel and mad. They fought for half the night . . . well, Cersei fought, and Robert drank. Past midnight, the queen summoned me inside. The king was passed out snoring on the Myrish carpet. I asked my sister if she wanted me to carry him to bed. She told me I should carry her to bed, and shrugged out of her robe. I took her on Raymun Darry's bed after stepping over Robert. If His Grace had woken I would have killed him there and then. He would not have been the first king to die upon my sword . . . but you know that story, don't you?" He slashed at a tree branch, shearing it in half. "As I was fucking her, Cersei cried, 'I want.' I thought that she meant me, but it was the Stark girl that she wanted, maimed or dead." The things I do for love. "It was only by chance that Stark's own men found the girl before me. If I had come on her first . . ." (Jaime IV, AFFC) Let's note for completing the "dead king" the return of the same themes : past midnight the mogwai turning to gremlins a mad queen (this time daughter of a clever man) against a wolf, and Jaime as the brave knight defending his beloved queen and finally losing his sword hand (like ser Patrek). Briefly, the queen and the crown were well poisoned gifts, but they turned against the clever man Tywin, who was forced to support his grandson Joffrey, despite his obvious madness, and whose violent behaviour with princess Sansa would cause the Lannisters to fall as a result of snowballing: I mean, if Sansa hadn't confirmed to Margaery Tyrell - King Joffrey's new promised princess - and her so sweet grandma' Olenna that Joffrey was a cruel and unpredictable monster, he probably wouldn't have been murdered (by the Tyrell). Joffrey - as Sweet Robin destroyed the snow castle by his convulsions - will weaken the Lannisters' house by his gratuitously cruel behaviour, before his death precipitates the fall by the bursting of his facade cohesion. Joffrey's death is followed by Tyrion's trial, concluded by a new head exploded by Gregor Clegane, the head of Elia's brother Oberyn Martell. It's also followed by Jaime refusing Casterly Rock and chosing his vows as white knight, plus Tyrion's and Cersei's obsessive hatred. The Blackwater and the Red Wedding didn't save the Lannister, at the end. Moreover, Joffrey's poisoning and the confusion caused allowed princess Sansa to be freed from the Red Keep. And Gregor Clegane, changed into Robert Strong, will lose his head. -c) The giant at the Trident Finally, the third picture of a smashing giant is that of Lord Robert Baratheon (before he became king), in whose honour Robert Arryn was named, in love with his warhammer, with whom he killed Rhaegar: They had come together at the ford of the Trident while the battle crashed around them, Robert with his warhammer and his great antlered helm, the Targaryen prince armored all in black. On his breastplate was the three-headed dragon of his House, wrought all in rubies that flashed like fire in the sunlight. The waters of the Trident ran red around the hooves of their destriers as they circled and clashed, again and again, until at last a crushing blow from Robert's hammer stove in the dragon and the chest beneath it. When Ned had finally come on the scene, Rhaegar lay dead in the stream, while men of both armies scrabbled in the swirling waters for rubies knocked free of his armor. (Eddard I, volume 1 A Game of Thrones). Here the dragon is both, the three-headed ruby dragon that adorned Rhaegar's armor and Rhaegar himself, and it is the warhammer that replaces the doll. By digging this third reminiscence, we notice that in the present we have a Stark, a Robert and a Littlefinger/Baelish who once had fun playing dragon knights and "Prince of dragonflies" with the young Tully girls at Riverrun ("Prince of dragonflies" was the nickname of an heir Targaryen who had renounced to the throne after his marriage with a commoner). She had played at being Jenny that day, had even wound flowers in her hair. And Petyr had pretended to be her Prince of Dragonflies. Catelyn could not have been more than twelve, Petyr just a boy. (Catelyn V, volume 3 A Storm of Swords) In the past, we had a Robert (Baratheon), a Stark (Lyanna) and a singer Targaryen (Rhaegar). In other words, Sansa seems to be reenacting Lyanna's situation between two suitors, one subtle hunter and singer and the other with a quite brutal strength. It is also interesting to note that Robert Baratheon is strongly associated with summer, through his appetite for life and his reproductive strength (he literally sows his bastards). However, its excesses have their drawbacks: his procreative power does not reach his own home, and his strength is suffocating or drying for others, as deadly as an excessive winter. For example: Cersei "mocked" at her wedding night (Robert calls her "Lyanna") becomes a cold queen. Robert deflowered a cousin of his brother Stannis' wife's, on the wedding night, in the wedding bed, and Stannis' marriage would give only one sick fruit, princess Shireen. If I don't think there is a real cause-and-effect relationship between these two facts, the link is clearly established from a symbolic point of view and at least from the point of view of the mystic queen Selyse : it is nothing less than a castration in which one (Robert) assumes the power of the other (Stannis) without anyone benefiting from it, since in the end the child who is born (Edric Storm) risks dying sacrificed; the little interest that Stannis shows in sexuality is also his response to the excesses of his older brother. The hard winter is the brother of the hot summer, two sides of the same coin ! However, as with the two previous pictures, if the protagonists are the same, the moment told doesn't seem the same. Killing the "last dragon" (aka Prince Rhaegar)- who had seduced and kidnapped his promised princess Lyanna - and seizing his throne, did not bring Robert any luck, because Lyanna died and the solar wife who replaced her turned out to be as cold as a corpse; and every night, he also relived in his dreams the moment he killed his rival, as if he was cursed : the tragic story can find no end and is infinitely replayed : that's the deadly curse. Although at first sight Robert Baratheon did not have any of the symbolic characteristics of the crow - and Rhaegar as a winged dragon with black armour and as a singer gets closer to it - it is nevertheless he who suffers the "curse" and dwindles over time, the kingdom breaking up in the same movement, as evidenced by the colossal debt of the Crown, which also has its symbolic value, and of which Littlefinger seems the main architect as master of coins ! A man like Petyr Baelish, who had a gift for rubbing two golden dragons together to breed a third, was invaluable to his Hand. Littlefinger's rise had been arrow-swift. Within three years of his coming to court, he was master of coin and a member of the small council, and today the crown's revenues were ten times what they had been under his beleaguered predecessor . . . though the crown's debts had grown vast as well. A master juggler was Petyr Baelish. Oh, he was clever. (Tyrion IV, ACOK) In other words, the fruits are stolen by the "clever man" who feeds on them and thrives on corpses... like the scavenger bird that is the crow. After the clash of kings and the storm of swords, crows can feast. After he won the Iron Throne, Robert Baratheon took his mentor, the surrogate father and old bird Lord Jon Arryn, as his Hand. If Jon Arryn is not depicted at all as a thief or a liar (he is seen as the exact opposite), he carries with him a sterility ("the seed is weak"!) that contaminates all his close entourage, starting with his young and unfortunate wife, mother of a very sickly child after many miscarriages. It's him again - he knows about weddings! - who negotiates Robert's with Cersei Lannister, and then introduces Littlefinger to the court. In short : the strong Stag (replacing here the direwolf) was surrounded and finally drowned by many clever symbollic birds. His seed was strong only out of the Red Keep. This exploration of three reminiscences showed us the permanence of certain patterns and typical characters. We have seen above Sweet Robin as the symbolic heir of a weakened lineage, but as Sansa's betrothed, he also plays the part of the giant puppet husband, the one who have to marry the "dead" princess, offering his strength and his corpse to the greenseer (the crow) who want her. And in turn, the giant is trapped by the deadly curse, he becomes a monster who give birth to monsters predating maiden. Maybe it's a chance for Tyrion that he didn't touched Sansa. --- Our dead princess trapped in her dream and hypnotized by it, fears that it will be broken and therefore defends her castle. However, far from succeeding, it precipitates its destruction, which resembles the functioning of prophecies made in GRRM : when one tries to fulfill them, they escape, but they catch up with those who want to avoid them. As for the ignorant, they may eventually benefit, even when the price paid seems very high. The scene of the Winterfell of Snow precisely realizes the vision that the old ghost of High Heart had described earlier in the saga to the members of the Brotherhood Without Banner: "(...)And then I dreamed again of this girl, killing a fierce giant in a castle built all in snow." (Arya VIII, volume 3 A Storm of Swords) I will not stop here on the entire vision of the Dwarf - which in my opinion tells more than just the anticipation of the Red and Purple Weddings and Sansa at the Eyrie - but on the picture of this decapitated giant finally announced in first Bran's visions : He looked south, and saw the great blue-green rush of the Trident. He saw his father pleading with the king, his face etched with grief. He saw Sansa crying herself to sleep at night, and he saw Arya watching in silence and holding her secrets hard in her heart. There were shadows all around them. One shadow was dark as ash, with the terrible face of a hound. Another was armored like the sun, golden and beautiful. Over them both loomed a giant in armor made of stone, but when he opened his visor, there was nothing inside but darkness and thick black blood. (Bran III, volume 1 A Game of Thrones) "Darkness" and "thick black blood" are echoeing to what comes out of the decapitated doll: It was more than Sansa could stand. "Robert, stop that." Instead he swung the doll again, and a foot of wall exploded. She grabbed for his hand but she caught the doll instead. There was a loud ripping sound as the thin cloth tore. Suddenly she had the doll's head, Robert had the legs and body, and the rag-and-sawdust stuffing was spilling in the snow. Since "black blood" is clearly associated with "bastard blood" in the saga, this idea of the strength of a robbed bastard wolf used for the benefit of another is repeated. There is a very concrete illustration of a giant creature used for its sole strength through Robert Strong, the late Gregor Clegane "resurrected" by Qyburn. The ripping of the doll is also a metaphor of castration, repeating the earlier metaphor with LF, when with Sansa they had shaped and erected the Broken Tower, whose top Sansa had grabbed to throw at his captor's face. Robert's violent crisis after the "death" of his giant doll (after his own mutilation, therefore) anticipates in my opinion one or more cataclysmic events of the saga. The first one I think of (and thanks to @sweetsunray for having pointed it long before) is an avalanche from the Giant's Spear that could destroy the Eyrie. Indeed, it is repeated more than once in the saga that the castle was impregnable... from below. But the possibility of an avalanche was mentioned in AGOT by Catelyn as she was climbing towards Arryn's Castle. It was also symbolically evoked through Sansa's point of view during the Tourney of the Hand: Gregor Clegane fell "like an avalanche" on the young new knight ser Hugh of the Vale and pierced his throat with his lance. The moons embroidered on the dead man's cloak are then dyed one by one with the blood flowing from the wound (considering all what already wrote here, I also see in the bloody moon all the "princess" maiden drowned successively by marrying the cursed Prince Promised : the old queen are replaced by the young, and so on and on whithout an end). The second cataclysm I think of is for the essential one : it's the destruction of Winterfell after the destruction of its monstrous heart tree and the "convulsions" of the prisoner(s) of that heart tree, the heirs and family who gave their blood to the tree and the stones of the castle (this includes the destruction of the Wall after the destruction of the Night Fort's weirwood). I believe that the "destruction" of the heart tree is part of Daenerys' visions at the HOTU : From a smoking tower, a great stone beast took wing, breathing shadow fire. . . . mother of dragons, slayer of lies . . . (Daenerys IV, ACOK) So... if I don't mistake about the original bastardize of the Stark of Winterfell, we could have here our lie. However, the chapter does not stop with the destruction of the castle and the crisis of the young Robert. Maester Colemon takes care of him, soothes him, recommends dreamwine so that he can sleep, and leeches to remove the bad moods of the blood. A symbolic death, but without pain and in dreams, the best that we could hope for Bran now. If my hypothesis about the destruction of Winterfell is correct, let's remember that at the end of ACOK, Maester Luwin dragged himself seriously wounded to the heart tree and asked Osha a last favor - probably the "gift of mercy" at the foot of the tree. As Maester Luwin studied "valyrian magic" at the Citadel, the choice of the weirwood to die is unlikely the result of chance. On the other hand, I won't comment on what Luwin was able to know exactly: the most likely, in my opinion, being that he performed his last possible act, betting on his post-mortem utility. Does it mean that Luwin's soul could later help the Bran boy to definitely rest in peace (like Colemon with Robert) ? Before being brought back to his room, Sweet Robin in tears has time to whisper that he hates "Alayne" and that she is a bastard. I suspect that there is here again a game of GRRM with two clichés: the truth that comes out of the children's mouths (he has already used it to reveal to Eddard Stark the bastardise of Joffrey, Myrcella and Tommen), and "crisis" are signs of "divine" possession after which the possessed delivers a word revealing one or several taboo truths. Sansa returned to her bastardise through Alayne could paradoxically be the first step for our maid towards a deliverance from the Stark curse, and the exit from the frozen and restless hell to which they seem promised after death. -Conclusion- Here is the conclusion of the "snow castle", but not for the chapter. They led the boy away. My lord husband, Sansa thought, as she contemplated the ruins of Winterfell. The snow had stopped, and it was colder than before. She wondered if Lord Robert would shake all through their wedding. At least Joffrey was sound of body. A mad rage seized hold of her. She picked up a broken branch and smashed the torn doll's head down on top of it, then pushed it down atop the shattered gatehouse of her snow castle. The servants looked aghast, but when Littlefinger saw what she'd done he laughed. "If the tales be true, that's not the first giant to end up with his head on Winterfell's walls." "Those are only stories," she said, and left him there. Applause. And back behind the scene, in the bedroom, by the fire. This conclusion of the episode is intriguing because the story could have ended before, with the death of the giant and the destruction of the castle-coffin, involving the deliverance of the princess, her husband, and the appeasement for their descendants victims of the same curse (remember the feast of the dead presided over by a wolf-headed man, whose vision Daenerys has in the Hotel des Nonmourants). However, Sansa is in turn taken by some fury that responds to the crisis of little Robert, grabs the doll's head and puts it to the end of a stick that she plants at one of the ruined doors of her castle. As she has just thought of Joffrey, this head on the ruined castle is an echo of her father's head on the ramparts of the Red Keep: Sansa takes revenge for the fall of her house and the destruction of her childlike world that had flavours of paradise, which underlay her desire to rebuild Winterfell, even in snow. I insisted a lot in my analysis on a symbolic interpretation, but it is obvious that Sansa's first motivation to build this snow castle is the desire to return home. Its destruction shattered the illusion of a return to a happy childhood and her dreams of a world of song: it also showed the real fragility of a Winterfell as a greenseer's dream. Like the Wall, holding out for centuries or even millennia is not a guarantee of eternity. It therefore seems to me very important in this sequence that the "post-mortem" punishment inflicted on the giant is Sansa's sole initiative, and that she reproduce the murder of her father: it is her first step for the gestation of a new woman and who should in the end renounce tales, songs and stories. Littlefinger is having fun, but he shouldn't. Indeed, he is precisely the specialist in lying stories, and the sticks in the snowy Winterfell did not prevent him from being destroyed. Playing the father is dangerous too. On the other hand, if his personal coat of arms is a mockingbird, that of his family represents the Colossus of Braavos, a giant statue that serves as a doorway to Braavos, but also as a lookout and defence. A legend reported by Arya tells that he is a giant who loves little girls, and at the sight of the colossus, she think : He could step right over the walls of Winterfell. Then the Titan gave a mighty roar. (Arya I, AFFC) Exactly Littlefinger entering the snowy Winterfell. In any case, now that our Snow White is dead and buried in her snow castle, she can enter the underworld for a face-to-face with the evil queen, and the final dance of Grimm's tale can take place
  12. GloubieBoulga

    What to ask GRRM?

    Did he see the Shrek movies ? If so, did he enjoy with and why ? (bonus question : did he read the book Shrek ! ?)
  13. GloubieBoulga

    Re-reading Sansa's last chapter, ASOS

    II. A DANCE WITH SUITORS 3. Robert the Heir "A castle!" The voice was loud, shrill, and childish. Littlefinger turned away from her. "Lord Robert." He sketched a bow. "Should you be out in the snow without your gloves?""Did you make the snow castle, Lord Littlefinger?" "Alayne did most of it, my lord." Sansa said, "It's meant to be Winterfell." "Winterfell?" Robert was small for eight, a stick of a boy with splotchy skin and eyes that were always runny. Under one arm he clutched the threadbare cloth doll he carried everywhere. "Winterfell is the seat of House Stark," Sansa told her husband-to-be. "The great castle of the north." "It's not so great." The boy knelt before the gatehouse. So this is Sansa's savior, the one who interrupted Littlefinger's pressing advances, the young Lord Robert Arryn, son of Lysa and her late husband, the old Jon Arryn. Before looking at his score, we will look at the costume and make-up, in other words, what his brief "description" reveals about his part in relation to our Snow White and his self-proclaimed savior. He has "splotchy skin" : if the term can refer to age spots - which would make it possible to interpret Sweet Robin as a character playing on the literary type of the old child full of knowledge and wisdom (by taking the opposite view), like Merlin was, for example, in some medieval novels - I think that the spots here are like freckles and in Westeros' beauty cannon, the freckles are a trait of ugliness (the captain's daughter Theon seduces when he returns to the Iron Islands has "splotchy" skin, and it's not to the young man's taste). It's not surprising to find this detail under Sansa's PoV, because she pays very close attention to appearances and Sweet Robin is supposed to marry her later. However, Sansa sees her cousin as the absolute anti-charming Prince, not sweet at all, and this so much that, later in the chapter, she will think that she still prefers to marry Tyrion a second time. Sweet Robin marrying Sansa, it's a bit like Snow White marrying Dopey, Sneeze or Grumpy from Disney: the dwarves are nice and funny, but they're not lights nor beauties. Robert, on the other hand, is not even nice or funny. Then, like Littlefinger earlier, his entrance is by voice, before we have the image. However, it does not occur to Sansa that he was observing before intervening, and the fact that he does not have gloves and his scream argue for the haste of the child who has just spotted a new thing and absolutely wants to play with it right away. If Robert is not a voyeur in itself, her mother was watching the scene from her window: Sansa saw her before like a flash, but we will learn later in the chapter that she saw Littlefinger's kiss. It's not impossible that she knowingly let her precious son escape so that he could interrupt her new husband's advances to another woman. Apart from this hypothesis, Robert shares many characteristics with the "bird" and "tree", in other words, the greenseer. I won't discuss here about Robin's power, I will only study the litterar/symbolic parallelisms : when she compares her young nephew Robert to Bran (only a year apart), Catelyn Stark sees the huge difference in physical and psychological maturity between the two boys; but by paying a closer attention, the reader is invited to notice the similarities between them and wonder about their meaning: 1- Bran and Robert are two young boys who dream of knighthood but whose physical condition prevents them from a warrior future. To fill this gap, Bran succumbed to the temptation to own the giant Hodor and manipulate him like a puppet. Robert has his rag doll, his "giant" (I will talk about it later). 2- Then there is his obsession with flight, which we see the first time we see it, in AGOT, when Catelyn brings Tyrion prisoner to the Val : Lysa organizes his trial and her son wants to "see the little man fly". There is a subtle and cruel irony in little Robert's request, after Tyrion's victory : "Can I make the little man fly now?" Across the garden, Tyrion Lannister got to his feet. "Not this little man," he said. "This little man is going down in the turnip hoist, thank you very much." (Catelyn VII, AGOT) Tyrion does not dispute Robert's desire to see "the little man" fly, he only disputes the fact of being himself the "little man". Littlefinger is also a little man, and if in the text he is called "small", he carries "little" directly in his nickname. And of course, Robert is also particularly small. A rather popular theory claims that Robert is Petyr Baelish's son rather than Jon Arryn's; if I don't think this is the case biologically, this hypothesis makes it possible to put forward a symbolic filiation, where the descendants of the dead princess would have inherited the physical weakness of the jailer, which should be compensated by some other strength, a part played here by the puppet that the boy carries everywhere. On the other hand, the threat of falling, together with the desire to fly (or "see flying"), remains underlying. "Stick of a boy" has a particular meaning in the context : we saw it before, "stick" is what Littlefinger and Sansa used to "strengthen" Winterfell; and it's also what Bran looks like when he's in a coma, both a little bird and a twig : She (Catelyn) was holding one of his hands. It looked like a claw. This was not the Bran he remembered. The flesh had all gone from him. His skin stretched tight over bones like sticks. Under the blanket, his legs bent in ways that made Jon sick. His eyes were sunken deep into black pits; open, but they saw nothing. The fall had shrunken him somehow. He looked half a leaf, as if the first strong wind would carry him off to his grave. (Jon II AGOT) Then, Robert is shrilling : "shrill" is rarely used in the saga, but is therefore associated with very particular characters, moments and images. I do not review here the twenty or so occurrences, I simply mention the most "speaking" ones: the first appearance of the word qualifies the cry of the Three-eyed Crow when during Bran's dream the Crow pierces his forehead with her beak; Bran awakes. Later in the saga, the same Bran does not seem to be able to take a strong and lordly voice (which is natural at first sight for a child in panic); instead, he appears like a little bird : "Mikken, you be silent." Bran tried to sound stern and lordly, the way Robb did when he made a command, but his voice betrayed him and the words came out in a shrill squeak. (Bran VI, ACOK) Lord Mormont's raven shrills too when he repeats "dead, dead, dead", while Mormont refers to the corpses of two rangers who attacked the sworn brothers in Castleblack; Jon himself had made such a cry just before fighting with one of the corpses. And also Lysa Arryn, during Tyrion's trial, when trying to condemn him for the death of Lord Jon Arryn (Lysa's husband) and for Bran's attempted murder. "Shrill" is used overwhelmingly for characters that have a real or metaphorical, momentary or lasting connection to crows and ravens. It expresses a fear or a warning that may take the form of an injunction. Finally, I will quote an interesting metaphor: The wind cut like a knife up here, and shrilled in the night like a mother mourning her slain children. (Jon VI, volume 2 A Clash of Kings) Jon is then in the mountains called "Icy Fangs", more precisely in the area of the Skirling Pass (the skirl is a shrill sound). The fangs and the ice, that's the mark of the "beast", it reminds us of the "spirit of the wolf" that I have already developed previously by evoking the figure of a bastard; but it also evokes the weirwoods whose largest can have their mouth wide open. The crows can also be deadly beast when they came by hundreds (and more) to slain zombies. The "mother's mourning" then could take on a particular resonance, that of a mother calling after her child devoured by a giant wolf or a weirwood (= a greenseer is gradually absorbed and digested by the weirwood to which he is attached). Is it a mother-crow who comes to hold the wolf accountable for eating her children? When in ACOK, Gilly - Craster's daughter and wife - comes one morning to ask Jon Snow for protection for herself and her future son who risks being sacrificed by Craster, she wears Samwell's black coat; when she returns without having obtained the protection requested, the black coat unfolds behind like crow's wings: "That's for the Old Bear to say, the one you call the Lord Crow. I'm only his squire. I do not choose the road I ride." "No." He could hear the defeat in her voice. "Sorry to be of trouble, m'lord. I only . . . they said the king keeps people safe, and I thought . . ." Despairing, she ran, Sam's cloak flapping behind her like great black wings. (Jon III, ACOK) Note a detail : in the south of the Wall, Mormont is called "Old Bear", and "Lord Crow" beyond ; this indicates for me the kind of wedding we were evoking above : the "bastard wolf" trapped in Winterfell is mixed with "crow's blood" (we have probably to add a pinch of "bear's blood" if we consider at least that the princess could be originaly a "bear princess"). The mixed nature can be seen in Longclaw, the Mormont's sword that Jeor gives to Jon Snow, whom he changed the pommel, the wolf's head taking the place of the bear's head. Is the "mourning mother" a mother-crow, wife of a wolf ? In Gilly's case, Craster is an avid ram, a crow's bastard son; but Gilly came to Jon Snow (a "weirwoody" bastard wolf - his giant wolf has the colours of the weirwoods - who once became a crow's offspring on the Wall) to be his "wife" in return for protection. Note that Catelyn - as wolf's wife - could also fit this part, and this make us turn back to Bran and Sweet Robin comparison : 3- ... which brings me to the next point, the special relationship with the mother: Bran is Catelyn's favorite child, she prayed to the Seven not to go to Port Real with her father and sisters, and Bran fell and died; Robert is Lysa's only child but she smolders him and kills her husband so she can keep her child with her. 4- Apart from what brings him closer to the "bird" children, and finally makes him an heir to the "falcon blood" of the Arryns (well, a falcon with a very poor appearance), little Robert has one last physical feature that links him at least symbolically to the legendary and ancient Queen Alyssa Arryn: his eyes are constantly weeping. The legendary Queen Alyssa Arryn had not weeped at the death of her family and had been condemned after her own death to weep until her tears reached the valley and fertilized it, in the form of the Cascade "Alyssa's Tears", visible and audible from the Eyrie, and which descends from the mountain the Giant's Spear. Little Robert is therefore ironically the heir to a thousand-year-old curse and condemned to weep without a break. Here again, this is to be compared with a feature of the Stark wolf and Arya's statement that "direwolves don't cry". Arya's refusal to cry corresponds to her desire to be "strong" like a real Stark, crying being for her weakness. Yet it is not the desire to cry that she misses, as well as Bran, who repeats himself more than once that he is almost a man and draws his strength from these attempts at self-persuasion. Poor Bran and poor Stark children ! What old curse must they bear, and what kind of tears could fertilize the north and put an end to eternal winter ? We will also learn at the end of this Sansa's chapter that the poison that killed Jon Arryn - the "Tears of Lys" - was poured by his wife Lysa, at Littlefinger's instigation. An undetectable poison because it is odourless, colourless and tasteless, and whose effects are similar to a devastating and debilitating disease, a kind of mirror for old Jon Arryn's attitude : he was never interested in his young wife or her distress, busy as he was by his function as the King's Hand. It is to this almost barren old husband who lost one after the other all his close heirs that we owe the sentence "the seed is strong", pronounced on his deathbed, probably about King Robert Baratheon's bastards, and that Lysa took for her very weak son. In short, Sweet Robin is posed here as the sacrificed heir of a deadly triad: a woman in perpetual mourning, a puppet husband emptied of his strength and a shadowy husband who poisons the couple with his advice and lies (his whispers), where the woman is replaced ad infinitum by a younger one who enters the circle by marrying the cursed offspring, and dies of mourn. In this configuration, Sansa Stark is well destined to die in the Eyrie with Lysa Arryn, and to be buried in her snowy Winterfell, just as the wolf Lady died in Trident and was buried in Winterfell. And to generate sons condemned to draw their strength not from themselves but from "giants" sacrificed for them. In the scene we are analyzing, Sansa became the new corpse queen in her ice castle, wife of a dead man and prisoner of a clever robber. The young Robert Arryn represents his descendants, the one by whom freedom could come... but at what price?
  14. GloubieBoulga

    Re-reading Sansa's last chapter, ASOS

    II. A DANCE WITH SUITORS 2- Biting, kissing and wedding She stood, towering over the great white castle. "I can't think how to do the glass roof over the gardens." Littlefinger stroked his chin, where his beard had been before Lysa had asked him to shave it off. "The glass was locked in frames, no? Twigs are your answer. Peel them and cross them and use bark to tie them together into frames. I'll show you." He moved through the garden, gathering up twigs and sticks and shaking the snow from them. When he had enough, he stepped over both walls with a single long stride and squatted on his heels in the middle of the yard. Sansa came closer to watch what he was doing. His hands were deft and sure, and before long he had a crisscrossing latticework of twigs, very like the one that roofed the glass gardens of Winterfell. "We will need to imagine the glass, to be sure," he said when he gave it to her. "This is just right," she said. So, Littlefinger the clever took advantage of Sansa's desire to infiltrate the snow castle. It should be noted that the "middle of the yard" can be understood as the yard of Winterfell as much as that of the Eyrie (or even the middle of a human body), and that the process of appropriation by Sansa was therefore not interrupted with the arrival of Littlefinger. Moreover, in the same movement as he tried to seize the castle and its lady by crossing the perimeter wall without being invited, she had him build the glass roof of the glass garden. Glass roof, you said? Isn't it rather the lid of the glass coffin in which Snow White is kept safe from predators until Prince Promised arrives? Or is it a metaphor for a wedding coat with which our mockingbird would cover his princess and steal her from the world ? the twigs are indeed intertwined as are the threads of a fabric or those of a spider web. I think for my part that the double function of the glass roof has to be taken into account, and that GRRM is interpreting the part of the Seven Dwarves in Snow White's tale with a disturbing ambivalence (the ambivalence is also present in Disney's movie, except the fact that the dwarves are never a threat for the princess) : Littlefinger holds Sansa prisoner in her canvas and substitutes himself for her husband and father, where Sansa is able to take advantage of the protection imposed to grow in strength, and take her true flight one day.... finally we hope so, for her ! We can note that the glass roof isn't really achieved : as LF says, there is only the web, the glass has to be imagined. In the optimistic interpretation, that could be a foreshadowing for Sansa flying out one future day and escaping the glass coffin (and her dreams). I also like to see in it another suggestion : the ancient maid really escaping the tower where she was trapped, like Jeyne Poole will do it at Winterfell, escaping from the monstruous Ramsay's hands (with the help of a dead man, Theon Greyjoy, a kind of bastard wolf rejected by both, his ironborn father and the Stark; also with the help of 6 women, one of them named Squirrel and taking her place; 6 women leaded by another "dead man", the bastard-crow-king Mance Rayder disguised as Abel the Bard, variation on Bael). Note that Alys Karstark escapes a wedding to, with the help of a grey mare and Jon Snow, the crow-bastard-"king" at the Wall... for another wedding with Sigorn : she changes her coat of arms : the silver sun becomes a fiery sun. Daenerys the silver queen on her Silver mare becomes a fiery sun with Drogon at the end of ADWD. Revenge seems following the escaping. Probably not for the better good, but that's another part of the story that we won't see in this last ASOS Sansa's chapter. So let's continue: after the glass roof, there's the primitive keep, and then the gargoyles. Let us stop for a moment on them, because of a character occasionnaly compared to a gargoyle (and this, from the first appearance, in the chapter Jon I, AGOT): Tyrion Lannister, Sansa's dwarf husband, who refused to rape her when he was allowed to do it as a legitime husband and she was willing to comply with her duty as a wife (following the rules of Westeros, obviously).This is another element of the hypothesis previously formulated on the glass roof. The castle's gargoyles are difficult to reproduce, so Petyr will propose to Sansa to get around the problem - to cheat in a way - by giving them the appearance of simple snow lumps. It is not fully a cheating because when it snows, the snow-covered gargoyles look like lumps, but symbolically, Petyr admits that he is not able to play the protective part of the gargoyles, but he will pretend, because it is "easy" for him: and in reality, he has never protected Sansa during his stay in Port-Real, he has only used her for his own purposes. Littlefinger doesn't have Tyrion's scruples. But he can't no more than Tyrion keeping the princess under his influence : the trapp has failures. And it seems that Snow White could wake up, but not for her loved bastard nor for the mocking bird (I wanted to write the Seven Dwarves !) And here is the final bouquet: The Broken Tower was easier still. They made a tall tower together, kneeling side by side to roll it smooth, and when they'd raised it Sansa stuck her fingers through the top, grabbed a handful of snow, and flung it full in his face. Petyr yelped, as the snow slid down under his collar. "That was unchivalrously done, my lady." "As was bringing me here, when you swore to take me home." Unambiguously, the new spouses in their new homes seem to heat each other, with the erection of the great tower, in order to have the many children promised by the tale. But here it is our warrior Maid who holds the handle: Littlefinger, by entering Winterfell without permission, took the place of the maid, which is metaphorically confirmed by the loss of his beard (when he enters the scene, it is recalled that he had it shaved at Lysa's request). Sansa can then play the Warrior who takes it and rapes her, by reversing roles (we can also see a reminiscence of an antic tale where the warrior-maid goddess Athena rejects the seed of Hephaïstos - the smith god - and throws it to the earth (Gaïa), who gives birth to Erichthonios, first king of Athene's city; Erichthonios has to mothers) : On the other hand, we must examine the Broken Tower itself : we learn in a chapter of Bran that the tower was lightning during a violent storm that caused its partial destruction, long before the saga (there is no certain date, the only known date being given by the very young Bran "at least 100 years before his father's birth"). This tower is also the refuge of crows, and therefore an anchor point for the greenseer; its shape reminiscent of a "lens of Myr" (like the one offered to the Starks by Lysa Arryn and recommended by Littlefinger in AGOT) and its first function as a watchtower make it a privileged real and symbolic observatory, from which a jailer would watch over his prisoners, or a "father" guardian would watch over his children and his descendants. Associated with the phallic symbol that the tower represents, the fact that it is broken also recalls a castration, such as that suffered by Theon after his capture by the bastard Bolton, Ramsay Snow, the new "trueborn lord of Winterfell". My first hypothesis would see in this broken tower the visible manifestation of the real or symbolic castration of the bastard wolf prince-prisoner of Winterfell - whose "strength" has been confiscated for the benefit of another - and consequently the sterility of the couple he forms with the princess, as well as the castrating and sterilizing role played by the crow (the crow is associated in the saga with lightning and wind, but I do not detail here, the article being already very long and the subject deserving its own study); but castration/sterilization can also be that of the "crow" and testify to the mute struggle between these two rivals within Winterfell, a struggle that is mythologized among the Ironborn, through the two rival gods, who are the Drowned God and the Storm God (represented by a crow). This "broken tower" appears as the answer of the princess who was raped despite the warning - "don't break it" recommends Sansa when Littlefinger asks if he can enter the castle. Sansa is here another Asha Greyjoy, the princess whose "husband" is an axe and whose "baby" a knife, weapons of power but also castrators. In ADWD, Asha plays an almost similar scene, but more openly violent, with a certain Qarl the Maid, who has no beard and who invites himself and his "peach fuzz" without permission into Asha's room: Qarl followed her up to Galbart Glover's bedchamber. "Get out," she told him. "I want to be alone." "What you want is me." He tried to kiss her. "Fuck yourself, you beardless boy." "I'd sooner fuck you." One quick slash unlaced her jerkin. Asha reached for her axe, but Qarl dropped his knife and caught her wrist, twisting back her arm until the weapon fell from her fingers. He pushed her back onto Glover's bed, kissed her hard, and tore off her tunic to let her breasts spill out. When she tried to knee him in the groin, he twisted away and forced her legs apart with his knees. "I'll have you now." "Do it," she spat, "and I'll kill you in your sleep." (...) "I am a woman wed," she reminded him, afterward. "You've despoiled me, you beardless boy. My lord husband will cut your balls off and put you in a dress." Qarl rolled off her. "If he can get out of his chair." The room was cold. Asha rose from Galbart Glover's bed and took off her torn clothes. The jerkin would need fresh laces, but her tunic was ruined. I never liked it anyway. She tossed it on the flames. The rest she left in a puddle by the bed. Her breasts were sore, and Qarl's seed was trickling down her thigh. She would need to brew some moon tea or risk bringing another kraken into the world. What does it matter? My father's dead, my mother's dying, my brother's being flayed, and there's naught that I can do about any of it. And I'm married. Wedded and bedded … though not by the same man. When she slipped back beneath the furs, Qarl was asleep. "Now your life is mine. Where did I put my dagger?" (The Wayward Bride, ADWD) Asha's husband is an old impotent lord and she was not present at her wedding. It was her uncle Euron Crow's eye who imposed marriage on his niece. Asha won't kill Qarl this time. Despite obvious differences, the scene from which I have just quoted an extract highlights certain details (Qarl beardless, for example) in order to highlight the fact that the Asha-Qarl couple plays to the same music as the Sansa-Littlefinger couple, but the first is explicit including in the question of descent and the transmission of a "blood", where the other is almost entirely symbolic. Let's add that Tyrion in her first battles armed herself with an axe (there is an explicit and humorous reference to the popular cliché from the role-playing games of the dwarf warrior armed with an axe, but GRRMartin also uses it as an internal reference) and that while she is a hostage in the Red Keep, Sansa keeps a small cheese knife in her dress to defend herself. The repetition of the same pattern indicates to me that these are variations on an original story, a story of the past whose repercussions are felt until the time of the saga. Following this interpretation, the story of Jon and Ygrid - especially between their bath in the cave and Jon's escape at the Queen Crowned Tower - also offers very many echoes around the themes of the bastard trapped in a castle and who would like to live there with his beloved from whom he is separated by a Wall (and a crown). With Jon, it is the bastard who is symbolically trapped in the crow, and the wild "princess" ("kissed by fire") who seeks to free him. For Jon too, the question of descent is all the more acute because his oath as a sworn brother of the Nightwatch is a symbolic castration. By pushing the symbolic reading a little further, Sansa in her snow coffin has become a full part of Winterfell and therefore of the bastard wolf who is already its master, and what she offers to Littlefinger is nothing more than the bite of the cold instead of a kiss. The snow flows down his neck, where the wolves bite men or beasts they want to kill (for example, the anonymous man who tried to kill Bran with a dagger that used to belong to Littlefinger, and whose throat was butchered by the anonymous wolf of the same Bran), so we can directly make a connection with the "bite" of Ice, the sword of the Stark lords that served in the saga for two decapitations : first for a fallen "crow" (a deserter of the Nightwatch, executed by the "wolf" lord of Winterfell, Eddard Stark), and second for a Stark wolf (Eddard) executed by Ilyn Payne, who has the appearance of an Other and was pushed underhand by a man of our mocking bird (Janos Slynt, who himself will end up as a black guard, beheaded by the bastard Jon Snow). There is indeed an underground struggle between the "spirit of the wolf" and the "spirit of the crow" and it is a promise of death that Littlefinger - giant compared to the snow castle - receives in full face : "(...)And then I dreamed again of this girl, killing a fierce giant in a castle built all in snow." (Arya VIII, volume 3 A Storm of Swords) Sansa's assimilation to Winterfell's "wolf's spirit" is clearly stated in the text: She wondered where this courage had come from, to speak to him so frankly. From Winterfell, she thought. I am stronger within the walls of Winterfell. In other words, Littlefinger is getting a return of the ice he helped create. Entering the princess' and her bastard's castle is not without danger, especially for birds, even if they helped the architect. In passing, I would add that the parallel between Winterfell and the Wall continues: the glass roof, the keep and the gargoyles can represent both the construction of the Wall and the establishment of the Nightwatch, both protective (for the kingdoms of the south) and jailer (for the "free peoples"). For the glass roof, Littlefinger took twigs of wood and intertwined them together, and he built the keep around a stick, but we know that at Fortnight - the oldest fortress on the Wall - there was a weirwood inside the Wall itself, a very old weirwood whose mouth opens and closes like a door. And the Wall is an ice grave in old legends (like the Seventy-nine) and in the present of the saga : in ADWD, Jon lets freeze there Cregan Karstark, who tried to force his niece Alys to marry; Jon also keeps two corpses there. This closely links the Wall and Winterfell, one of which cannot go without the other. After the icy bite, Littlefinger replies with his own: he kisses Sansa, the "snow maid", as he called her, almost as if he wanted to eat her: Sansa tried to step back, but he pulled her into his arms and suddenly he was kissing her. Feebly, she tried to squirm, but only succeeded in pressing herself more tightly against him. His mouth was on hers, swallowing her words. He tasted of mint. For half a heartbeat she yielded to his kiss . . . before she turned her face away and wrenched free. "What are you doing?" Petyr straightened his cloak. "Kissing a snow maid." The alert is hot for Sansa. Without surprise, we find an interesting reuse of the Delphian Apollo, who used the mouth of the pythia to make his oracles (there is also a whole imagery of the mint, a plant symbolically linked to the underground world of the dead, which grows in damp places and in the shade, exactly the opposite in the saga of the solar lemon, which Sansa loves in the pies): Littlefinger absorbs Sansa's words to infuse her with his own and make her his talking puppet. However, the kiss did not go so far as to wake the dead-and-buried-under-the-snow princess; on the contrary, it literally took her breath away, as if she would bury herself further in her tomb, as Littlefinger pointed out to her while trying to push her advantage: He smiled. "I wish you could see yourself, my lady. You are so beautiful. You're crusted over with snow like some little bear cub, but your face is flushed and you can scarcely breathe. How long have you been out here? You must be very cold. Let me warm you, Sansa. Take off those gloves, give me your hands." "I won't." He sounded almost like Marillion, the night he'd gotten so drunk at the wedding. Sansa is too well protected in her glass coffin - which Littlefinger helped to complete - like a beautiful greenhouse plant that will be able to wait until spring. Besides, this coffin is in Winterfell. In other words, inaccessible. But our manipulative master does not admit defeat, he returns to the charge in a more gallant and apparently less aggressive mode by proposing to warm up the beauty's cold hands. If our princess does not have black hands (Sansa's death is symbolic), the allusion to the black hands of the animated corpses remains transparent. This time Sansa explicitly refuses contact. In other words, our fool bird has not obtained the love of its lady, out of its reach, but failing that, it holds its body captive in the frozen kingdom of the dead, where it only has to stay forever, while the spirit wanders elsewhere... (where the hell did he go? Where do whores go ?) The "flushed face", contrasting with the white of the snow that covers the girl, reinforces the parallel with Snow White; to this, we must add an element that I have not yet mentioned: Sansa, under the identity of Alayne, Petyr Baelish's bastard daughter, has her hair dyed black. Beyond the reference, Sansa/Alayne/Snow White brings together in it the three colours that mark the journey of more than one hero of the saga: white, black and red. There is also another point I've already suggested : the red is the color for the blood, the vivid blood, and the fire : so, it could be that our Snow White was really woken up, but not for our bird. To finish, white and red are the colours of the weirwoods, which means that the "godless" garden at the beginning of the scene could have found its new goddess, or queen if you will, and a corpse queen like the legendary and mysterious corpse woman who seduced the no less legendary 13th Lord Commander of the Nightwatch. The latter captured this beautiful and cold dead woman, brought her back to Fortnight, proclaimed himself King with a Queen. King and Queen of the Night made a pact with the Others, it is said, and ruled for 13 years before being defeated by the Stark army, allied for this time with the King-beyond-the-Wall Joramun. As for black, it is the colour of bastardy. Bastards are everywhere, though... It should also be noted that Sansa is no longer a she-wolf or a lamb, but that the snow has transformed her into a "bear". The transformation will continue in the next book (AFFC), since the metaphor will be reused as Sansa descends from the Eyrie to the valley as Alayne Stone. The passage from wolf to bear is, in my opinion, far from insignificant, and the "bear princess" is a figure that we find linked to Jon Snow, first in the form of.... Samwell (especially in AGOT), but also through Daenerys Targaryen, rescued, protected and raised by two substitute fathers whom she nicknamed her "Old Bears". Let's say - to make it short - that here, the image associated with Sansa Stark is that of a princess buried in the distant past of the Starks, a "bear" prey of a bird who would have dressed her with a wolfskin coat (to pretend to be a "real wolf"), on the occasion of a wedding, and thus founded the lineage of the Winterfell Starks. The wolf skin must therefore be removed to reveal what it hides. The wolf Stark must die for the bear Stark to be born again (and not just the bear). Littlefinger, however, persisting in wanting to play the liberating Prince Charming and delighting a queen for him, a new character enters the scene to save Sansa from his jailer... and smash her coffin, her dream and her nightmare all at once, as was the beautiful and monstrous Joffrey. A child. The heir. Let's make place to Sweet Robin.
  15. GloubieBoulga

    Re-reading Sansa's last chapter, ASOS

    And now the ball begins : II. A DANCE WITH SUITORS 1- "Come into my castle" "Come into my castle" is a game played by children from fieffed or wealthy families that allows them to learn the names and coats of arms of different lineages. It associates the castle with the lineage, with a particular blood, so that entering the princess' castle is equivalent to the foundation of a new lineage or the appropriation of the "blood" carried by this princess. The legend of Lann the Clever - legendary ancestor of the Lannisters - perfectly illustrates this fact in one of its variants told in The World of Ice and Fire. Lann would have broken into the Casterly Fortress (Casterly Roc), slept with the king's daughters, before taking over Casterly Roc and founding the Lannister dynasty. In AGOT, another quoted legend reports this time that the golden blonde of the Lannisters did not come from the Casterly but from the fact that Lann stole rays from the sun ; "sun of my days" and "moon of my nights" is the couple formed by khal Drogo and Daenerys, which by extension could suggest that Lann stole the "power" of a "prince promised" to a princess (a casterly princess), and that he married the princess in question. Just as a parenthesis, the bride/wife stolen by a hero/god is a common theme that we find in Hercules' legend : Hercules is the son of queen Alcmene, Amphitryon's wife. She loved her husband and the god Zeus took the appearance of Amphitryon to bed with her (in Excalibur movie, Uther Pendragon uses same tricks to bed with Ygerne, Gorloet's wife. Excalibur movie is following some medieval variations about Arthur's legend). The trick don't bring dishonor nor misfortune, on the contrary : normally, the children became heroes and/or kings, or gods. But not really with GRRM : we find the schema of the tricky man who captures a princess inside her own castle and "founds" a dynasty in the story of Bael the Bard: Bael had taken up a challenge from King Stark (a certain Brandon, father of only one child, a daughter), entering Winterfell under a false name - Sigerryk "the deceiver" - and singing there all evening for the king. The charmed king had offered him the "most beautiful rose of his glass garden", Bael had kidnapped the princess, remained hidden with her in the crypts until she reappeared with a son... that the sick king had then recognized for his heir. We'll find the glass garden with Sansa. Bael is a singer and with the false name he chooses, he places himself on the side of lying birds. Lann is nicknamed the "clever" and this is precisely the word that the fool Patchface chose in his first appearance, to describe a great white raven, a man... and a fool : "Clever bird, clever man, clever clever fool," said Patchface, jangling. "Oh, clever clever clever fool." He began to sing. "The shadows come to dance, my lord, dance my lord, dance my lord," he sang, hopping from one foot to the other and back again. (Prologue, ACOK) (Remember the dancing shadows, we will speak about enchanting dance further, when we'll study the scene with Lysa). I won't here developp Patchface's stuff, it would bring me to far from my subject (but you can speculate about the "clever fool" and the "foolish wise man" mocked by a red and birdy Melisandre !), but I will keep the trio : bird, man and fool. Bird, man and fool are thus associated for their trick. This will be the case in the saga about Mance Rayder (who will disguise himself as Abel the Bard to infiltrate Winterfell incognito and remove the fake Arya Stark from the Bolton), but also about Jon Snow and his wolf, also associated with thief figures and weirwoods (the Ghost Wolf is white with red eyes, weirwood's colours, and qualified as "clever" by Dolourous Edd). Jon himself, as nightwatcher, is a "crow", a black bird. At the end of the Sansa's chapter we are analyzing, Littlefinger will be said "clever" by Lysa. To kidnap Sansa, he used the fallen knight Dontos (=the man), who became an official fool at Joffrey's court in exchange for his life (and who played Florian the Fool in love with his Jonquil to be better listened to by the girl who loved songs and stories). At the end, the foolish man is killed by Littlefinger's man, with a crossbow (carrels, like arrows, have penns, so I see special "bird's weapons"). So we have, in addition to the sacrificed bastard and the princess, the greenseer ("clever" man-bird-fool-tree) who desires her. Here he comes in: "Pack the snow around a stick, Sansa." Petyr Baelish, aka, Littlefinger, the lord protector of the Vale, husband of Lysa Arryn, responsible for the fall of Eddard Stark and the kidnapping of his daughter. "The mockingbird" who took his "protégé" into an eagle's nest ("Eyrie" means "eagle's nest"). The mockingbird is the coat of arms chosen by Petyr Baelish (and in Baelish, there is "Bael"). Our princess hears him speak before seeing him and immediately wonders how long he has been observing him, which places him on the side of the spy bird characters and whisperers: Varys the Spider with his little birds, the raven of the Lord Commander of the Nightwatch (also associated with the word "clever", and as if by chance, we have already seen earlier that Jon appeared as a Snow White on the Wall), Melisandre the red priestess (whose large skirts are compared to wings), and of course the Three-eyed Crow aka the greenseer that Bran is looking for. Here, Petyr Baelish is not talking Alayne Stone, his supposed bastard daughter, but to Sansa Stark (he says "Sansa"), whom he innocently offered to marry after the Lannisters had decided on the alliance with the Tyrells and the marriage between Margaery and Joffrey. (...) and wrote on her name in golden letters, in great, beautiful capital letters, under which they also wrote that she was a princess, the daughter of a king. ... says the tale of Snow White. The ambivalent Littlefinger addresses Sansa not as a father, but as a suitor who intends to teach life to a young girl through interposed metaphors: indeed, Sansa does not succeed in completing her castle, whose last elements are constantly collapsing and Petyr gives her the solution: the princess is missing a man, which is a little paradoxical because we saw above that the castle could represent this husband and this lordly authority, and that moreover its walls were made of a man's blood (I am obviously thinking of "snow"/snow - the bastard, which I have already mentioned well). What does Littlefinger mean? That the princess must have a lover - in addition to her husband - to deglaze her? That the husband is a puppet? A shadow? And that the puppeteer is the real partner? Or does it suggest something darker like a robbery (let's not forget the image of the dawn slipping into the garden "like a thief")? Here, the princess' real partner is suggested by the stick. Let's look at the rest of the dialogue and how Littlefinger gets into the ranks: She did not know how long he had been watching her, or when he had returned from the Vale. "A stick?" she asked. "That will give it strength enough to stand, I'd think," Petyr said. "May I come into your castle, my lady?" Come and dance with me, Sansa. If "come into my castle" is a childish game, the allusion is here clearly (at least for the reader) sexual, let's hear Tyrion at his proper wedding : "I am," the Imp confessed, "but not so drunk that I cannot attend to my own bedding." He hopped down from the dais and grabbed Sansa roughly. "Come, wife, time to smash your portcullis. I want to play come-into-the-castle." (Sansa III, ASOS) Unlike the bard Marillion and Prince Joffrey, Littlefinger asked permission. As for the word "strenght" : the adjectiv "strong" was formerly a synonym of "stark" (which once had the same meaning as German "stark", but has given way to "strong"). In other words, GRRM suggests through Littlefinger's words that Winterfell, the castle of the Stark, owes its solidity to a greenseer, or rather to its heart-tree, the weirwood of sacred wood (in Bran II AGOT, Winterfell is compared to a monstrous stone tree), and to "magic". Sansa was wary. "Don't break it. Be . . ." ". . . gentle?" He smiled. "Winterfell has withstood fiercer enemies than me. It is Winterfell, is it not?" After "Come to my castle", we can guess an allusion to another childish game in the saga, "Monsters and Girls", which also has a double meaning. The meaning of the verb "to break" is refers both to the rape of a woman and the fall of Bran Stark, the broken little boy who was supposed to build "bridges" between King Robert's children and those of the Starks.. And it is precisely the Winterfell "bridges" that Sansa cannot hold : their collapses make her shouting. The little Bran, the future greenseer fell and then failed to raise bridges between people. There may well be a very "Martinian" irony in the fact that Bran falls when he has just surprised a couple - Jaime and Cersei - making love (and whose man seems to be leading an assault), and that he is pushed by Jaime, described as "strong" on this particular occasion. For Bran, whose dream was to become a "powerful" knight, Jaime had first appeared as an absolute model: tall, handsome with his golden hair and armor, strong and of royal presence. It should be noted that these qualities are exactly the ones that Sansa had in mind for her prince charming and that she had thought she would find in Joffrey : He was all she ever dreamt her prince should be, tall and handsome and strong, with hair like gold. (Sansa I, AGOT) Littlefinger is precisely the opposite : little, weak (he failed to challenge Brandon Stark, once, and after that never wore a sword)... and surely cute in his way. He doesn't have gold in the hair, but some silver. How damn could he be strong enough to help Sansa achieving her castle ? How the greenseer did it for Winterfell ? I think we already have the answers : as for Bran compared to a stick after his fall, the greenseer is supposed to became wood with the time, so the weirwood tree and the greenseer are one (to heart that beat like one...); at Winterfell, the weirwood drank the blood of the sacrificed bastard, most probably his "wolf's blood", and so offers this strength to the castle... and his inhabitants, especially the Stark lineage. The story of Lann who stole the gold of the sun to transmit it to the heirs of the princess he married. "The seed is strong" recalled Jon Arryn, and Lysa about her weak and sick son Sweet Robin, promised to the princess Sansa. Not this seed, either. We'll examine in the next part if the suggestion of our fool bird was good and if the strength is with the Stark. For now, let's continue our analysis : Sansa does not answer to Petyr Baelish's question, and therefore does not formally invite him to enter. The robber then goes around the castle, like the bird of prey who circles in the sky looking for the opening, or the dominant one who marks his territory and observes... or like Theon Greyjoy entered Winterfell furtively, and through the godswood, with a handful of men, climbing the walls, and making himself master of the place by tricks, without fighting. *** Littlefinger then makes sure that he has guessed correctly by naming Winterfell, and evokes his dreams about him, dreams in which he always imagines him as a dark and cold place, and for good reason, that's where the girl he was in love with, Catelyn Tully, Sansa's mother, went. For Petyr, seen from the outside (he has not yet entered), his Princess Cat has buried herself and her life in the North. He walked along outside the walls. "I used to dream of it, in those years after Cat went north with Eddard Stark. In my dreams it was ever a dark place, and cold." "No. It was always warm, even when it snowed. Water from the hot springs is piped through the walls to warm them, and inside the glass gardens it was always like the hottest day of summer." She stood, towering over the great white castle. "I can't think how to do the glass roof over the gardens." (...) When he (LF) had enough, he stepped over both walls with a single long stride and squatted on his heels in the middle of the yard. I spent a long time thinking about what was at stake in this brief exchange about Winterfell's temperature, and I drew several conclusions from it, so I'll let you choose your favourite! First of all, in form, it is a transition between two stages of the construction of the snow Winterfell, at the same time as it prepares Littlefinger's entry into a territory that is forbidden to him; in concrete terms, it gives : from the outside the castle is frozen -> actually inside it's hot ("fy, freeze well outside") -> it's hot especially in the glass gardens, it's like summer -> omg, I don't know how to make glass gardens -> Littlefinger to the rescue "let me do it, little girl, I'll show you"... and hop, neither seen neither known, I confuse you, I enter the castle like a thief through the garden... (compare this to Theon Greyjoy taking Winterfell and sleeping in Eddard Stark's bed with a girl he seduced). Secondly, the opposition between the outside and inside of the castle, illustrated by the winter-summer opposition, is not without reminding us of some of Samwell's considerations during the long march to escape the First Men's Fist massacre: Shivering, Sam released his grip on the tree and eased himself down in the snow. It was cold and wet, he knew, but he could scarcely feel it through all his clothing. He stared upward at the pale white sky as snowflakes drifted down upon his stomach and his chest and his eyelids. The snow will cover me like a thick white blanket. It will be warm under the snow, and if they speak of me they'll have to say I died a man of the Night's Watch. (Samwell I, ASOS) It continues what we saw in first part about Sansa and the blankets, which are protection but also deadly in their way : under blankets, you just can't live, you hide and you dream, nothing more. Under snow blanket, Sam will die. The snowflakes "soft as a lover kiss" killed our princess Sansa Stark, and now she is burrying herself in the glass garden, with the help of a mocking bird. Poor Snow White ! Finally, a third possible reading of this brief exchange focuses on the capture of hot springs: they are the ones that give Winterfell its warmth and make it a kind of summer paradise in the heart of winter. We also know that glass gardens are used to grow fruits and vegetables that are inevitably lacking in winter, and in the event of a very cold and long winter (several years), they are a guarantee of survival. The hot water channeled inside the walls of the stone Winterfell plays the same role as the sticks in the snow Winterfell; in this mirror game, the hot springs become the "strength" captured for the real Winterfell, the " strength " that can be compared to the summer, the blood that irrigates a human body. We can find exactly the same pattern in the legend of the dragon of the seas, Nagga, which the ancient Grey King of the Iron Islands (from whom the Greyjoys claim to be descendants) allegedly killed, making her ribs the pillars of his palace, her jaw his throne and her teeth his crown, after the drowned god had changed these bones into stone and captured Nagga's fire to heat the palace. Literally, the Grey King lived in a maternal womb, which echoes both Daenerys locking her dragon children in the depths of his Great Pyramid in Meereen, and a replica served by Jaime Lannister to Catelyn Stark, when she visited him in his prison in Riverrun : "My son may be young, but if you take him for a fool, you are sadly mistaken . . . and it seems to me that you were not so quick to make challenges when you had an army at your back." "Did the old Kings of Winter hide behind their mothers' skirts as well ?" (Catelyn VII, ACOK) Jaime... Jaime... Jaime... Could the strength of the castle come from the princess ? Surely, the mocking bird want it. Catelyn just told Jaime not to take his son Robb for a fool. But "fool", Robb will be, however, by marrying Jeyne Ouestrelin despite his official promise to marry a Frey. A "folly of love", therefore, which will cost him his life at the Red Wedding (note also that in a way, Robb is also a robber who tricks Tywin Lannister). If we find the theme of the fool man (and "clever" because Robb has proved he was clever in terms of military strategy), we see with the image of the glass gardens the ambiguous figure of a protective and suffocating mother at the same time, exactly as Lysa can be (and as Princess Sansa would be later on?). All this gives a particular insight to the fact that after seeing the heart of winter during his comatose dream, Bran names his golden-eyed direwolf Summer. It is suggested that the heart of summer could also be in Winterfell, or even that the heart of winter and the heart of summer are one and the same thing, or that they form a tragic couple. Aspiration of summer and winter come together, as shown very well by the happy memories of Sansa's summer snowfalls. And now, as a consequence, Stark children are all that : strong, fool and clever. Next post will be to study the "wedding" between the princess and the greenseer/skinchanger (not yet the beding).