Jump to content

Becoming No One: Rereading Arya III


Lyanna Stark

Recommended Posts

Thank you and great work yourself.

First, Sandor makes sure to teach Arya how to kill a man (he doesn’t know that she’s quite an expert already). Is he feeling that before the end of their journey he will have to ask her for the gift? I think he does…

That line struck me as quite ironic as well, particularly when combined with Sandor's boast early in AGOT that he had killed his first man when he was twelve. It appears that he still does not fully realize who he's dealing with.

Sandor has appeared in the string of mentors she has had so far, yet it seems to me that he teaches her things she already know. In conjunction with what you mentioned that being a warrior in the end doesn't amount to much, I think he stands more as a lesson than a teacher. That picture will be complete in the next chapter, so more on that then.

It also seems that Arya has already caused far more death than she herself realizes. Between her releasing Nymeria into the wild, saving Jaqen, Rorge and Biter and leaving the Hound's helmet for Rorge to find and his subsequent assault at Saltpans and raising Lady Stoneheart it makes for three spectres of terror she has unleashed on the Riverlands. No wonder the Ghost of Highheart thought she smelled of death.

Link to comment
Share on other sites

SCR and JAO - Someone earlier in the reread linked Arya to Artemis. Arya is very like Artemis (Diana in the ROman Pantheon) in that she is the goddess of the hunt, likes to run with a pack of wild beasts, is associated with water and the moon. . . Many parallels. Another thing that Artemis is associated with is birth. She is the goddess associated with midwives and birthing mothers. Artemis assists in the transition from the womb to life outside of it. Because birthing is difficult for both the unborn child and the mother and can often result in death of one or both, part of Artemis' duties is to assist in the transition to death. Essentially, she becomes a midwife to life after death and that transition from life to death.

The gift of "mercy" is, in a way, like assisting in the transition from life to death. Arya, like Artemis, is becoming a midwife in this regard.

Link to comment
Share on other sites

One other thing - What do you think about Sandor's preference for wine? He prefers the grape to the grain? Is it an oblique reference to (since I'm going Greek here) Dionysus? He is running through the woods with a "wild" girl, after all. Or perhaps could it be an allusion to the priesthood?

:dunno:

Link to comment
Share on other sites

One other thing - What do you think about Sandor's preference for wine? He prefers the grape to the grain? Is it an oblique reference to (since I'm going Greek here) Dionysus? He is running through the woods with a "wild" girl, after all. Or perhaps could it be an allusion to the priesthood?

:dunno:

I don't know. Maybe wine is just stronger, I guess.

I can't think of Sandor as a dionysiac figure; if there is one, Tyrion fits better, I think.

Anyway, going Greek, I 've noticed that Arya has a few parallels with Hermes as well. Hermes is, among many things, the psychopomp, the guide that conducts the souls to the afterlife. There are more, but are better depicted in the Braavos chapters (especially Cat of the Canals) so I 'll leave it for then.

Link to comment
Share on other sites

I don't know. Maybe wine is just stronger, I guess.

I can't think of Sandor as a dionysiac figure; if there is one, Tyrion fits better, I think.

Anyway, going Greek, I 've noticed that Arya has a few parallels with Hermes as well. Hermes is, among many things, the psychopomp, the guide that conducts the souls to the afterlife. There are more, but are better depicted in the Braavos chapters (especially Cat of the Canals) so I 'll leave it for then.

Thank you. Interesting ideas, especially with regard to Hermes.

Link to comment
Share on other sites

Arya XIII - Summary

This is the final Arya chapter in A Storm of Swords. The events within it occur in three different locations: The inn; the river; and the Saltpans.

Part One: The Inn

Arya recognizes the inn.

Outside the inn on a weathered gibbet, a woman’s bones were twisted and rattling at every gust of wind.

I know this inn
. There hadn’t been a gibbet outside the door when she had slept here with her sister Sansa under the watchful eye of Septa Mordane, though.

It is the same inn where she stayed on her way to King’s Landing. It is the same inn near the banks of the Trident where Rhaegar fought and died. It is the same inn where she fought with Joffrey over his treatment of the butcher’s boy Mycah. It is the same inn where she ran away with Nymeria, only to be found four days later by Jory without her beloved direwolf.

Arya’s response, when she recognizes the inn, seems more than appropriate. She says, “We don’t want to go in . . . there might be ghosts.” She doesn’t want to enter, but Sandor insists. He wants wine so much that he doesn’t even bother to hide his easily recognizable face. Arya thinks that now would be her best opportunity to run away, but doesn’t. She follows him into the inn.

There are ghosts indeed at this inn. Upon entering the inn, Arya realizes all too quickly that everyone within it knows Sandor. She knows some of the patrons, too: the soldiers. Two of the soldiers are Gregor’s men; Polliver and The Tickler. They are accompanied by a very drunk, young squire sporting a large pimple on his nose.

Sandor orders his longed for wine and very quickly the inn is emptied of other patrons and servers. Only Sandor, Arya, and Gregor’s men remain at the bar. There is a bit of discussion. Polliver tells them that Gregor is gone from Harrenhal, summoned to King’s Landing by the Queen. Also, they learn King Joffrey is dead. Tyrion and Sansa, now husband and wife, are suspected of Joffrey’s murder. Tyrion is captured, but Sansa eluded it. Sansa “killed the King with as spell and changed into a wolf with big leather wings like a bat and flew out the window. . .” In addition to this news, Arya and Sandor that Harrenhal was taken from the sellswords, Vargo Hoat’s men, and almost all of the remaining folk at the castle were put to the sword. Finally, the Blackfish, Arya's uncle is under siege at Riverrun and likely to succumb any day.

The last bit of big news concerns the fact that "Arya" has been found and is being sent to marry “Bolton’s Bastard.” Sandor finds this extremely funny, probably because during this conversation he has been drinking heavily. Sandor then asks about the Saltpans. This provokes Polliver. He says, “Would you put to sea without bidding your brother farewell? . . . Ser would sooner you return to Harrenhal with us, Sandor. . . “

Sandor’s response is, “Bugger that. Bugger him. Bugger you.” Needless to say, fighting commences. In sum, Sandor is wounded in his neck, the lobe of his ear and his thigh. Arya fights bravely, taking out the pimple boy first with a stone goblet and then his own knife, then attacks The Tickler. Arya stabs The Tickler over and over again all the while repeating the same questions he had asked the villager at the God’s Eye. With every question she stabs.

Sandor, although he kills Polliver, is badly injured. The Squire is also mortally wounded. The Squire begs for mercy and Arya gives it to him with her recovered Needle. They leave the inn with wine and the Squire’s cloak to treat Sandor’s wounds.

Part Two – The Trident

After leaving the inn, Sandor and Arya avoid the King’s Road and head to the Trident. There they find a “natural fort” of rocks and willow trees. Arya treats Sandor’s wound with boiled wine and bandages from the Squire’s cloak. Later as Arya lies don to sleep she says her prayer. She leaves out three names formerly on her list: Polliver, the Tickler and Joffrey. She thinks that with Sansa gone, there are no more Starks but her. Finally, after her prayer and thoughts she realizes that she left Sandor off her list. She whispers, “The Hound” and says “Valar morghulis.”

The next day they try to move on toward the Saltpans, but Sandor is too ill. He falls off his horse, Stranger, instead of dismounting. Sandor asks her if she “remembers where the heart is,” as she is admiring Needle and thinking of killing him. She denies thinking of killing him. However, Sandor knows better. He growls, “Don’t lie. . . I hate liars. I hate gutless frauds even worse. Go on do it.” Sandor then goes on to admit he killed Mycah and laughed about it. He begins to sob as he expresses guilt over not protecting Sansa. He asks for mercy. She tells him he doesn’t deserve it.

Instead of giving him mercy, Arya mounts her horse, Craven and begins to leave. He taunts her one last time, saying, “A real wolf would finish a wounded animal.” Arya thinks: Maybe some real wolves will find you,” but she says “You shouldn’t have hit me with an axe. . . You should have saved my mother.” She rides away and never looks back.

Part Three – Saltpans

Arya arrives at the Saltpans six days later. She sees three ships in the harbor. One of the ships is a salt sea trader with purple hull and sails. She realizes that she will have to sell her horse, Craven, and does. She doesn’t get very much for her mare and tack, as the stable woman knows that both horse and tack are stolen.

Arya goes to the purple ship and offers its captain what little money she has for passage north. The trader refuses her money and won't take her north because of pirates and tells her he is heading home. Arya asks where his home is. He tells her home is the Free City of Braavos. His ship is the Titan’s Daughter.

Once Arya hears the destination, she pulls out the iron coin that Jaqen H’gar gave her and offers it to the captain. Arya says the words, “Valar morghulis.” The captain responds with, “Valar dohaeris,” and offers her a cabin.

Link to comment
Share on other sites

Arya XIII – Analysis

As noted above, this particular chapter is in three different parts. As this lends itself to a pleasant form, I will follow it and proceed chronologically.

The Inn –

The Inn at the Crossroads is an important site. As noted above it is this inn that is in GoT, Sansa I, where the trouble between the sisters and Joffrey begin. It is also the same inn in GoT where Catelyn (Catelyn V) captures Tyrion Lannister and later where Tyrion reunites with his father, Tywin, and learns he is to act as Hand to Joffrey (Tyrion IX). Although neither Sansa in GoT, nor Arya in the present chapter, refer to it by name, one can easily infer it by its location near the famous battle ground on the banks of the Trident in Sansa I, as well as the “gibbet” containing the bones of a woman (the former innkeep, Masha Heddle).

As the name suggests, “crossroads,” is generally a place where one must make a choice as to which direction one takes. On a symbolic level, crossroads are places where disparate ways converge, like the cardinal directions on the face of a compass. As such, a convergence or an intersection, the crossroads reflects not only a union of divergent ways, but also a splitting or parting of such ways. It is the meeting point of the X and Y axis in mathematics from which infinite possibilities may be plotted. In folklore, it is the place where one may chose to sell one’s soul to the Devil.

Like the chapters which precede this one, Arya must make a choice. First, she chooses to remain with Sandor and not leave him before they even enter the inn.

She would never have a better chance to escape. She could ride off on Craven and take Stranger, too. She chewed on her lip. Then she led the horses to the stables and went in after him.

Then she chooses to assist him not only in his fight with Gregor’s men. At first, when the fight begins, she “takes a step backward.” However, when she sees the squire start to join Polliver and The Tickler in the fracas, she makes her choice to aide Sandor by throwing the stone goblet directly into the squire’s pronounced pimple. Arya’s choice to continue further with her assistance is revealed in her thoughts, when she sees how sloppy and uncoordinated his fighting is and realizes Sandor’s had too much to drink. “He drank too much too fast with no food in his belly.” It is at this point she notices The Tickler making his way to Sandor. She decides to assist Sandor again and throws another goblet at The Tickler, but misses him.

At this point, The Tickler joins Polliver and slashes the back of Sandor’s neck. Arya thinks, “They’re killing him” and tries to throw the archer’s dagger at The Tickler. The thrown dagger finds no purchase. She misses again.

With the reappearance of the squire, sans pimple, she fully commits to fighting to save Sandor. She stabs the squire as easily as she stabbed her first kill, the KL stable boy. She “smells” The Tickler’s fear. And because The Tickler is preoccupied with Sandor: “It was the easiest thing in the world for Arya to step up behind him and stab him.”

At this point, Arya’s choice to help Sandor is clear. Yet, she chooses something in addition to assisting Sandor. She chooses vengeance. When Arya stabs The Tickler over and over again, repeating his questions to the villages with every thrust, it reveals her choice.

A couple more thoughts about the Inn –

This chapter reminds me of some lines from Eliot’s Little Gidding:

What we call the beginning is often the end

And to make an end is to make a beginning.

The end is where we start from.

The inn is the place of separation for the Starks. It begins in GoT for Arya and Sansa at this inn. Both girls are separated from their direwolves around this inn. The troubles for both girls with Joffrey begin around this inn. In many ways, Sandor’s admiration for Sansa, as “Joffrey’s dog”, begins here which in turn perhaps increases his attention to Arya as her sister. After all, Sandor knows her when others who ought to do not, i.e. Gregor.

It seems so fitting that Martin would choose to solidify Arya’s commitment to Sandor in this special place. All three of them have a real history here which resonates throughout the remaining story.

The Trident & the Saltpans –

A couple of thoughts about Arya with Sandor at the river and in the Saltpans and I’ll leave off.

Revenge and regret while we gather at the River –

Notably, Arya has the opportunity to take revenge upon Sandor once they’ve left the inn. She doesn’t. Instead she continues her help by tending to his savage wounds. Sandor even “begs” her to avenge “her little Michael.” She refuses Sandor mercy. This seems very mean spirited, especially when we have her “excuses” for not giving him mercy: not saving her mother and hitting her in the head with the axe. However, as she has chosen to “save” him, it may suggest she can’t bear to see him die.

Sandor’s “slip” with Mycah’s name is an interesting one. The name “Michael” is the name of the archangel who throws Satan out of Heaven. Also, in the middle ages, Saint Michael becomes the patron saint of chivalry.

Finally, at the riverbank, Sandor shows his regret over Sansa expressed by “sobbing.” It is one of the most moving scenes in the books. It shows his deep longing for absolution, for forgiveness.

Purple Sails, The Titan’s Daughter, and the iron price –

The color purple is the color of royalty. It is a mix of the color red, the color of blood, passion, and fire with the color blue, the color of reason, sadness and the cold. Consequently, the combination of red and blue symbolically expresses the mystical union of the ideal and the real; heaven and earth; or the union of opposites. Interesting that this color on this particular ship leads Arya to the House of Black and White, or a place where life and death are worshiped.

The Titan’s Daughter –

The ship has an interesting name with regards to Arya’s character as she is very much like the titan, Leto’s daughter, Artemis. Like Artemis, Arya is a maiden, loves the hunt (in the guise of Nymeria), the moon, (this becomes more apparent later), and is an independent spirit. Certainly, there are distinctions with the goddess Artemis, but the similarities do not seem coincidental and neither does the name of the ship that will carry her to Braavos.

The Iron Price –

The iron coin pays for Arya’s passage from the Saltpans. It brings to mind the Greyjoy’s mantra regarding paying the iron price for something as opposed to paying the gold price. The Iron Islands place combat and conquest over trade and purchase. Traditionally, the element iron is linked to the planet Mars, probably because it rusts, turns red just like the planet.

Iron, and its tendency to rust when exposed to air, especially air containing water vapor, will eventually transform completely and, given enough time will leave nothing but rust behind. The transformation is the process of oxidation where iron becomes iron oxide. I hope that this isn’t the “iron price’ she will pay. Although, the coin presented to the captain with the words, “all men must die” indicates transformation from life to death.; from one state to another; from iron to rust.

Link to comment
Share on other sites

Arya traveling on a the purple Titan's Daughter, seem to suggest to me she will belong to Braavos, that she is somehow going home. The Purple Harbor is the harbor for Braavosi only.

Interesting.

Link to comment
Share on other sites

So many interesting points and no time to comment properly... One thing about the Titan's Daughter, and I hope for more tomorrow.

I believe that the name of the ship points to the previous Sansa's chapter, where she became Alayne, the natural daughter of a man whose family sigil is the Titan of Braavos. It could be forshadowing of a sort, as the two sisters enter a different, and parallel to each other's, phase in their respective stories.

Link to comment
Share on other sites

As I interpret her refusal to grant mercy to the Hound, it's a way of saying "Mercy is a gift reserved for those who've reached the end of their journey. You don't deserve it because you haven't yet truly atoned." I think the Hound takes it this way; hence the Gravedigger.

Link to comment
Share on other sites

Good job with the Crossroads and St. Michael reference

Not much to add other than that there is another Charon reference, where Arya gives the captain a coin for passage across the water to the HoBW.

Link to comment
Share on other sites

Nice write up, Blisscraft.

This chapter is so well written. I love the way the suspense is built and drawn out. An unidentified "they" know Sandor that instills a silence in the Inn. Arya knows them too. The sword seems very much like Needle but Martin holds back the confirmation. The squire mouths off to Sandor to the distinct fear of these two men. We know they have a history and a hatred but no idea what form it will take. Sandor mentions the fate that awaits the innkeeper and then everyone vanishes. The suspense and the tension are brilliantly done. Sandor himself only studies the boy and says "Then he shouldn't drink" but from the scene that's painted through Arya's eyes it comes across as a rather dire threat.

I confess I cackled maniacally on my first read when Arya stabbed the Tickler.

The rapport Sandor and Arya have is interesting. They do make an odd couple the dog and wolf riding Stranger and Craven. Sandor orders two cups and pours her some wine before he starts asking questions about Sansa.

Despite finding two people on her list she wants to leave. Her losses have deadened even her rage and not even seeing her Needle rekindles it.

The Titan's Daughter is an interesting name because it may imply a connection to Sansa. If LF is the giant based on the Titan of Braavos sigil then Sansa is currently posing as the Titan's daughter.

Link to comment
Share on other sites

So many interesting points and no time to comment properly... One thing about the Titan's Daughter, and I hope for more tomorrow.

I believe that the name of the ship points to the previous Sansa's chapter, where she became Alayne, the natural daughter of a man whose family sigil is the Titan of Braavos. It could be forshadowing of a sort, as the two sisters enter a different, and parallel to each other's, phase in their respective stories.

It's so true about Sansa. . . . and yet, the little purple trader takes Arya away. I'm not sure what to make of it, but your idea about parallel is a sound one. It's something to think about. . . I'll try not to hurt myself.

As I interpret her refusal to grant mercy to the Hound, it's a way of saying "Mercy is a gift reserved for those who've reached the end of their journey. You don't deserve it because you haven't yet truly atoned." I think the Hound takes it this way; hence the Gravedigger.

I like this idea, too. The Hound isn't spriritually ready, is he? Also, in another parallel with Sansa, Sandor sobs over the song he took from Sansa in a CoK. The song she sang to him begins, "Gentle Mother, font of mercy. . ."

Ragnorak - I agree about Martin's writing, especially in this chapter. The entry into the inn has a very "Spaghetti Western" feel to it. I can almost hear the saloon doors swinging on their hinges as Arya and Sandor enter. The player piano stops. And every bar patron turns menacingly towards the intruders. There is stillness and an audible silence broken by the clink of metal.

Any thoughts about Sandor's tears? It's interesting that it takes a minute or so for Arya to recognize that he is "sobbing." Also, any thoughts about ghosts? Ghosts seem to follow Arya the way they follow Paulie "Walnuts" Gaultieri in the Sopranos.

Finally, "cackled maniacally" did you? I would like to hear that. You must explain why. I am intrigued.

Also, thank you FE and Ragnorak.

Link to comment
Share on other sites

First, Blisscraft, this was amazingly beautiful, insightful and really wondefully written analysis. As always, well done.

In this chapter, GRRM tangled the web between Stark sisters so tightly, that entire symbolic imagery works in that way. From Sandor`s death closely where Lady died, to mercy, given by Sansa, and reused by Arya, all the way to purple color, the color of royalty, and in a way here, it`s the color of death. Sansa`s pirple hairnet brought death to Joffrey, as Arya was sailing on the ship with purple sails, marking the start of her road towards FM. Also, just purple color suignifies the consequent loss of identity. Sansa became Alayne, after entire incident with hairnet, as Arya will start her apprenticeship after getting off the purple sails. In a way, it beautifully signifies the lost of royal status, and transition into something else - bastard and FM. This chapter symbolically foreshadows the connection between two sisters, and the bond they share.

Again, as always, congratulations on great analysis, Blisscraft. It was indeed pleasure to read it.

Link to comment
Share on other sites

Ragnorak - I agree about Martin's writing, especially in this chapter. The entry into the inn has a very "Spaghetti Western" feel to it. I can almost hear the saloon doors swinging on their hinges as Arya and Sandor enter. The player piano stops. And every bar patron turns menacingly towards the intruders. There is stillness and an audible silence broken by the clink of metal.

I 'm now reading the chapter immagining close-up shots and having Morricone's music playing in my head :)

Link to comment
Share on other sites

Archived

This topic is now archived and is closed to further replies.

Guest
This topic is now closed to further replies.
×
×
  • Create New...