Ser Creighton Posted September 28, 2013 Share Posted September 28, 2013 An inside look at Martin’s patternThe biggest struggle I have faced with this is not the patterns or the key which will go unchanged except for a minor detail to pattern one and some cleaning up. The biggest struggle I have found is not if the patterns exist and if the key works, it’s the name and what it is. I have always stated in my OP that I am not sure what it is. But I am going to attempt to clarify this from a purely literary standpoint. Most posters have not struggled with the patterns or key, but with the idea of what it is. I myself admit that cryptogram and code are not the best words. However when applying a number, pattern, and verbal text it was really difficult to come up with a term.From a literary perspective what has Martin done and why? Why? Why? Why? People want to know why an artist does something. I can't address the why, only Martin can. But I can address the “what” and maybe that will help. Call the patterns whatever you want I don't care what you call them or anyone calls them. Let me be clear again, this is an assertion, not a claim to fact. What are these patterns? Are they really patterns? At their core, they are simply a combination of motif, what I believe is Martins personal Hendiatris, basic writing principles, and the use of rhetorical devices. These are combined to create a personal literary device for the author. Would Martin be the first author to do this? No, not by a long shot, Dickens, Dante, Poe , Blake, Whitman, and many more have done similar things. What are the patterns? Let me start with this "Winter is coming." You all know those words. Is it one of the patterns I am referring to? Nope. What does it mean? It just means "Winter is coming." It's going to snow and get cold, there is no allegory there, no allusion, no abstract. Just snow and cold right? We all know that's not right. Did Martin tell you it meant something different? No. Everyone figured it out by how he used it in the books. Brans 3rd eye, does Bran have 3 eyes? Physically no but in the abstract, yes he does. And that's what I would like you to do, I don't want you to just look at the surface but go deeper, there are layers to writing just like there are layers within the patterns. So it begins with 3, the number 3. Is 3 just a number in his books? No, the number 3 is synonymous with death in Martins books. It's a motif in the series, and he uses it heavily. So 3 = death. It's a simple motif. Writers always use a motif, here we see Martin using one.Martins Hendiatris "Stranger. Danger. Death." What this looks like is a simple Hendiatris or ascending tricolon. It's not all that different from "Ranger. Wildling. Other." Both are used with the 3 motif, but here there is a pattern or a framing device if you will. You can see it being applied to not only the rule of 3 but Martins own use of 3 as well. The rule of three. People are more likely to absorb information if it is used in 3's. It often show progression much like an ascending tricolon or Hendiatris does. Dickens used it in a “Christmas Carol” to imply “Past, Present and Future.” Dante used it in the “Inferno” in Canto XIII to imply “torture, schism, and estrangment.” It’s a combination of rhetorical, principle and motif. Verbal, much the way Poe used an auditory heart beat in the "Tell tale heart" to symbolize guilt, Martin uses a combination of Verbal text, rhetorical, and principle writing devices, and motif to frame the patterns. "Stranger. Danger. Death." "Stranger, corn, corn." "Corn. Danger, corn." "Corn. Corn. Death." When a pattern appears in the text, the words in the pattern work on multiple levels. You have a surface layer, you read it just the way it sounds. You may have implications of something being said in the pattern. Acknowledge what has been written and push past that, the patterns act like a single reference allusions, each pattern alluding to one part of his Hendiatris. While the words still have meaning, I am asking you to look past it, at the pattern itself. You need to think in the abstract. The author is using multiple rhetorical devices and literary devices to add depth to the scene and give the reader another message, another meaning to what is being implied, another depth to what is being relayed in that scene. There is the surface of the scene and there is the abstract. The author is using multiple writing principals, literary and, rhetorical devices to relay a message with his 3 patterns. Imagery, Abstract, Allusion, Motif, rule of 3, the Hendiatris all play a part in this. That is what rhetorical devices are for, he is adding depth, relaying messages, and creating, suspense, tension, fear, foreboding, and drama.Think about this for a minute, even if you understand the patterns and you know how to read them, you won't know the truth till it happens, you can never be 100 percent till something happens. The heart beat in the "Tell Tale Heart," the bells and cough of Fortunato in the "Cask of Amontillado" the simple use of abstract principles in writing. Do those short stories not create suspense? At best Martins patterns will just generate more emotion, not less, it adds drama and emotion on multiple layers, and adds another layer of depth to a scene. Why do it? Why does an artist do anything? Did Poe run around explaining the heart beat to anyone, was Dante like ok let me explain the Inferno and Devine comedy? Hey Monet what's up with the hay stacks? I am not saying Martin is on their level or anything, but artists create, there is more to writing than just words.I have been told that Martin is too good to apply a device in books to relay an abstract message to the readers. Just to be clear Martin is not too good to apply on any of these devices, he is good because he does apply them. These patterns I believe are his device; they are applied with a rhetorical structure, style, and strategy and combine with motif, and basic writing principles. That is in fact good writing.The key. (“) Quotation Marks: The code begins and ends with quotation marks. “Snow. Snow. Snow.” Verbal:The patterns are spoken, a character says it, and it is verbal text.3 it really is the magic number. The base of the patterns is nothing more than a 3 part repetitive linear abab pattern which I will now show you. The key is based off these simple patterns “A, A, A.” “A, A, a.” “A, a, a.” “a, a, a.” Again the base of the patterns looks like this “Word. Word. Word.” It is a simple repetitive 3 pattern. A word, 2 words, a phrase it doesn’t matter. It’s the pattern that matters. The word, words, or Phrase always repeat three times. Punctuation While the 3 pattern is the base, it is the punctuation that adds, significance, meaning, action, and event. The use of the punctuation is not all that different from its normal application in writing. They give shape to the structure of the pattern and ascend in importance much the way a tricolon does. Upper vs. lower case The words or phrases may appear in upper and lower case. This is used to create or give different meaning to the pattern and can tell you how important the moment, event or person is or is not. The more upper case words the more important the moment. This also implied in punctuation. He is just giving a little more depth to the abstract message he is relaying.All “CAPS”: Big, would be the operative word here. Someone or something physically big. (,) The comma, is used in a lesser moment, death, event. “take, take, take,” (.) The period, is used for mid-level moments, deaths and events. “Mormont. Mormont. Mormont.”(!) The exclamation mark, this represents the most important moments. When you see these in the pattern it is important and when you see three like this “Hodor! Hodor! Hodor!” it is major. (?) The question mark, indicates uncertainty, it questions. The more question marks the more uncertainty about an event, moment, death, object. “Corn? Corn? Corn?” Something is beingquestioned heavily. The question mark is often used to break the meaning of the code or cancel the code itself.(Italics and clues) Sometimes the code has clues imbedded within it that can help point you to what it is about or not about. Be clever here; look at the passages around the code. “Lady Tully, Lady Tully, Lady Roslin Tully”. “Dragonglass. Dragonglass. Dragon glass”The descriptive text break: is used to alter the pattern, it represents Time. This event is in the future “Corn,” The raven cried “Corn. Corn.” The reverse of the pattern “Corn. Corn,” the raven cried. Corn.” Is the past. The pattern has some variants that Martin uses to maintain punctuation so the meaning of a three pattern is not interrupted. “Corn!” Cried the raven. “Corn! Corn! Corn!” The descriptive text break is not verbal so while it is between the patterns the pattern is not verbally broken. The descriptive text break may also contain clues so don’t just ignore it. Unbroken 3 pattern, without a descriptive text break “corn, corn, corn.” The pattern is always in the moment. Multiple words in the pattern or broken patterns: Sometime multiple words appear in the pattern. “Take it. Take it. Take it.” The pattern matches so not a big deal and yes you can have two or more words in a pattern. But what happens when they don’t match, or something changes? “Bugger that. Bugger Him. Bugger you.’ Sometimes multiple people or things are marked by the code. What is important is that the first word matches, it always sets the pattern. Sometimes we see an odd pattern “Dragonglass. Dragonglass. Dragon glass.” In this case you kind of have to look at it and figure out what it means; the subject in this case was Sam’s Dragonglass dagger. Do you remember what happened to the dagger? It broke.The Scene When the three patterns appears in a scene think of it as a marker. It is pointing to this scene, the pattern can tell you what to look for and the scene itself will have the clues you need to understand what is being relayed to the reader. Martin can make it tricky, but believe me the key will help you read it. The patterns themselves will often have clues about the scene and the subject and what to look for. The Subject A person, place, or thing can appear as the word in the pattern. It is not always the subject but will be a clue about them. Look through the passage to spot the clues. “Joffery! Joffery! Joffery!” Joffery is the subject. “Lady Tully, Lady Tully, Lady Roslin Tully” Roslin is not the subject note the use of italics. Lady Tully was actually the recipient of this code. If no subject is named in the code, then the scene itself will contain the subject and it is up to you to figure out who or what it is, though Martin generally makes it pretty simple to find the subject. The Patterns. Pattern 1“Corn, corn,corn.” The Stranger, it’s an ill omen. Headed to danger or a bad direction, A dangerous choice. In a scene a character may be making a choice and then this appears the choice is leading the character to danger. This is not life threatening and points to somewhat important moments. This pattern is not about the future it is in the moment. A choice is usually being made with this pattern. Varients of this pattern, “Corn,” descriptive text break. “Corn, corn, corn” What is happening now bodes ill for the future. Pattern 2“Corn. Corn, corn.” The Danger. It is about danger. Varients of this pattern “Corn,” descriptive text break. “Corn, corn.” This is the future version of this pattern. The reverse of this pattern is the past. What is happening now is creating a danger for the future of a subject.Pattern 3“Corn. Corn. Corn.” The death, by far the most significant and important of the 3 base patterns. When totally identical this means one thing and one thing only. Death. This is the death pattern. A person, place or thing, are all subject to this code, from the Red wedding, to the destruction of an item, a battle a person, even a name. Learn to read the patterns and you will know who is going to die or if someone has died. Death itself may not be just one person but an entire battle with lots of death, the clues will be in the pattern and or around it within that scene. The pattern will often point you to just what it is about.Varients: “corn,corn,corn.” This indicates a minor death. Some nobody, often times this is like the guys wearing Red shirts on Star Trek. “Corn. Corn. Corn.” A significant death, battle. Jeor Mormont, a supporting character, the battle at Crasters.“Corn! Corn! Corn!” The event code, this is the big one. This code is reserved for major moments in the book. The future pattern of this relayed information about the red wedding, the death of Ned Stark, Joffery Baratheon, the battle at the Fist etc… When you see this code pay attention it is very important.The death pattern also has all the text break variations telling you future, past or present.Varients. Future “Corn, the raven cried. Corn. Corn.Alternate future “Corn!” The raven cried. Corn! Corn! Corn! Event Horizon This is the most significant of all the patterns, it can point the reader to some of the biggest events in the books. What a shock they all revolve around death.The Broken code, sometimes you see a three patterned but it is broken or contained in another pattern. Basically not the perfect match to the above patterns, “say, you, you, you,” or “I say, ho, ho, ho” when you see the broken codes it indicates near death experience, or that something is close to death. Patchface uses this pattern all the time. But Jon has also been the subject of this pattern. Along with Myrcella, Sam, and Loras Tyrell. It almost looks like a death pattern but not quite. Trick Codes: Sometimes a code looks like a perfect death code, yet no death occurs. “Arya, Arya, Arya,” Why no death. Look within the scene the code was given, not too far from it you will see the word in the code appear with a question mark and it will also be verbal “Arya?” These are a little tricky at first. So far I have only found 4, and it was always a single word pattern. On all three occasions the word itself is verbally questioned in the scene. And that is important, not within the chapter, but within the scene. One interesting way he used this floater was at Crasters after all these people got killed. Once at Sam and once at Mormont. Sam as we know lived and given what was coming, I would suspect we have not scene the last of Mormont, though I am pretty sure he has pretty blue eyes now.Examples of the patterns. I know most want to see the Kill patterns, so I will be focusing on those and the almost kill codes here. Though I am still leaving a few of the 1st and 2nd patterns up. I will start with the third pattern or kill pattern.Pattern 3, the Death:AGoT chapter 52: Jon is summoned to Mormont's solar and upon entering. Ned Starks future pattern. ""Corn" the bird shrieked. "Corn! Corn! Corn!"" This is when Jon is given the letter about King Robert being dead and his father imprisoned for treason. The subject is the letter about Ned and again we see the descriptive text break after the first corn signifying the future. Each Corn is capitalized and the exclamation mark is used 3 times. This can only mean a major event involving death. Are the italics a clue, unsure, Jon is thinking about his father in italics. The biggest clue here is the code itself, death and something major. As they are there to discuss the letter, the subject becomes evident, Robert is dead leaving only Ned.The Red Wedding codeACoK ch. 4: “”Hodor came lumbering in shouting "Hodor! Hodor! Hodor!"" The Walders are shrieking "red murder" here. Note the wording, they are shrieking "red murder" and it is the Freys. Both Walders are shrieking at the wolves and the Freys and Starks were playing a game of lord of the crossing.This is a great example how the clues are placed around the code. Note that the first Hodor before the descriptive break is not spoken but does not need to be it is not the kill pattern it is just there to set the future pattern. And as you can see by the pattern this is an event horizon. So it is major. ASoS Ch. 60 This code was found by TreeHugger “Joffery’s kill pattern”"Margaery!" the hall shouted back at him. "Margaery! Margaery! To the queen!" This would seem like Margaery is the subject, but Margaery while a decent character is not on the level of the event pattern at least not at this point in the story. The descriptive text is a clue here. First let’s look at the pattern; this is the variant future pattern. The pattern is complete because the verbal text is never actually broken when spoken; here it is also used to set the descriptive text break. You want to take note that the pattern is slightly odd in that the last quotation mark is outside the three pattern. That is another clue, this is not Margaery. You can also look at the quote right before the passage begins “To my wife the queen!” This shows again Martin leaving subtle clues within and around the codes. Most important is who they are shouting at. They are shouting at Joffery.ASoS Ch. 74 The hound is confronted by the Tickler, Polliver. "Bugger that. Bugger him. Bugger you." This is a mid-level kill code, the pattern is unbroken by descriptive text, this indicates that this is happening now. Now what is important here is the first word, the pattern is actually Bugger it may seem odd mixed with the other words but "Bugger" is in caps and the first word sets the pattern. There are a few more patterns just like this that I will get to. Note that the code points out the subjects, you know the hound is not going to die or Arya, this is not a major event code. It tells you simply “him” and “you” These are simple patterns and what we see is Martin maintain his motif of death and 3.ASoS Prologue: Mormont is giving a speech at the fist to the men of the Watch and the then the raven ""Men!" His raven screamed. "Men! Men!"" The men of the watch are the subject as indicated by the pattern. The code indicates the future with the descriptive text break. This is the first battle against the others and lots of deaths are involved, while not the red wedding the Others are still major enough to warrant this pattern.ASoS ch. 18: Sam just offed Puddles (an Other), using his Dragonglass dagger. "Dragonglass," they call it. Dragonglass. Dragon glass." It's all caps, full Death pattern with a text break indicating the future. Note the last word in the pattern is broken. What happeded to Sams dagger? Martin tells you the subject and what is going to happen to in a very clever way and that will happen in the future. But what is really important and you have to look closely is that the text break is verbal. I didn’t even notice till recently, it’s Sam’s near death code in the future. This why you need to look closely at the patterns, it’s a near death code and indicates what is part of the that story, the broken dagger.ASoS Prologue; Mormont is speaking with Chett, ""The raven stood on his shoulders bobbed its head and echoed, "Meat. Meat. Meat."" Chett dies. This is in the moment.AGoT chapter 19: The death patterns are not over yet but I wanted to show you how they can pattern together. Jon goes to see Jeor who has a letter for him, Mormont hands Jon the letter. ""Corn," it muttered in a raucous voice. "Corn, corn."" "Jon's fingers traced the outline of the direwolf in the white wax of the broken seal." The subject is the sigil of house Stark, it took me a minute as the letter is from Robb and is about Bran. The descriptive text break following the first corn signifies the future. At this point in the story house Stark was not at war, the danger is great and one bad choice can cause disaster. Jon rushes to Tyrion and picks him up and the letter is about Bran waking up. And there is the Danger to house Stark, Bran and Tyrion. Tyrion is blamed for what happed to Bran and we know how it turned out for house Stark. ACoK ch. 28: "Hodor!" he shouted. "Hodor! Hodor!" This actually Bran using Hodor name. The text is broken with one of Martins descriptive text Breaks. This is an event pattern, that will take place in the future and it is big. The location is the heart tree, Bran soon asks Hodor to take him to Maester Luwin. Did Luwin warrant this pattern? Luwin does not Warrant the pattern but the events around his death do.ACoK Chapter 34: The Night's watch is sitting at the fist of the firstmen trying to decide on a plan. Jon is serving wine. ""He took a cup from Jon's tray, tried a swallow of wine, and gave a brusque nod of approval. His raven hopped down his arm. "Corn," it said. "Corn. Corn."" This is a simple future death code of a mid-level character. This is telling you what will happen to Mormont in the future. ASoS Chapter 33: The battered remains of the great ranging have returned to Crasters the discussion of Craster's hidden food is taking place, tension is high. Craster actually had a choice here, he could of given them more food. He didn't and then. "Corn. Corn. Corn." death is certain. Mormont and Craster are named right after this. What is important here is that there is no text break, so this is happening now. Note the punctuation, why are they all capitalized, instead of "Corn, corn, corn." Once again the 3 pattern emerges, the time is now and death is certain. This is death at Crasters. Mormont actually got his own very specific death pattern upon his death, spoken by Sam to him as he closed Mormonts eyes. This scene also contains 2 floaters (Corn?), one aimed at Sam by the raven and one at Mormont. So while dead we probably have not seen the last of Mormont.ADwD Ch. 52 Dany is at the pits and the fights are about to begin“Mhysa, Mhysa, Mhysa,”The fights are about to begin, the deaths are minor. The comma is the indicator of the impotance of the deaths or deaths. While Mhysa is used it is not even close to a code that would be given for Dany or a main POV to die. What’s interesting is Martin uses commas and no italics even though he indicates in the text the crowd is shouting to the point the stadium is shacking.That’s it for the death patterns for now, there are more and I will post them, but I am moving on to the other codes. The reply section contains a lot more of these codes among others.The broken patterns or almost death.ASoS Ch. Ch 45. Cats death code sort of‘Lady Tully, Lady Tully, Lady Roslin Tully.’Now for Cat who is a main POV you would expect and Event Horizon code, but Cat is not really dead, she is sort of dead. This takes place right before the Red Wedding. Note the use of italics, in the passage Cat is also shown thinking in Italics. Also note that Martin uses single quotation marks and not double, the code is broke and does not match very well. However in the code you can see the victim, look past the name. The subject in the scene is not Roslin. Remember the first word sets the pattern and is repeated 3 times. The Victim is in fact Lady Tully. But the code indicates near death or almost killed. You know what happened to Cat.ADwD chapter 69 Stannis not dead"Tormund roared at that as well. ""Eat," the raven said darkly, flapping its black wings. "Corn? Corn? Corn?"" Right after this Jon is told he has a letter, the pink letter. This is a great code. “Eat,” is actually setting the future pattern here, while spoken it is not actually part of the three code, it is however in quotation marks. But the word is wrong this code is broken. It is an almost death code, however this is not for Jon the subject is the letter or the death within the letter. “Corn? Corn? Corn?” death is in question here. And the Code indicates near death, future. How did I identify the letter, look at the descriptive text break. The raven is speaking and the descriptive break the raven spoke darkly and it points out it’s black wings, Dark wings, dark words. It can be that simple.AFoC Ch. 13: ""All. She knelt to kiss his lips. "All, my love, my true love, my sweet love."” At first glance this looks like a Death pattern for a second. But the code is broken so it doesn’t matter right? All is the first word and sets the pattern, but is only repeated twice. Note how “my” is the three pattern, in this code. It’s an almost death. But who? Well look at the clues around the pattern, who is speaking, what does Arieanna want? She want’s Myrcella and she tells you just that. Myrcella is the last word in the passage and it is framed oddly in the books. Noticing the code here is hard, finding the subject was easy. This also has a future code pattern, set with the use of “All” Almost killed in the future and what happened to Myrcella. These kinds of patterns are more advanced and it takes time to learn how to spot them. Patchface uses the broken codes all the time.The fire, the treason, the mount. I originally thought these were the three treasons but upon closer examination these are the middle parts of Danys 3 fires prophecy, and I apologize for the confusion. They appear in the same passage of the books, in the order given.The Fire for death Code 1. "Mhysa!" a brown skin man shouted out at her. He had a child on his shoulder, a little girl, and she screamed the same word in her thin voice "Mhysa!" "Mhysa!" This is almost a kill code but it has one extra line in the discriptive text. Almost a death but not a death. Note the man and the little girl. Notice how Martin makes the little girl the focus. Much like a man who said his little girl was killed by Drogon. But this does not say anyone died. My guess is the man is being black mailed and his daughter is a hostage, but not dead. Dany assumes she is dead and has 100 candles lit in her name. The fire for death, not all that different than common religious practices, and excepted traditions. The Treason of gold Code 2. "Mhysa!" they called. "Mhysa! MHYSA!" Almost a kill code again but the all caps ruins it. So again an almost death. But who? The first clue is the all caps, it's all big and he almost died. Strong Belwas. The location the fighting pits, why did Dany open them? Because of gold. Right after this is said Strong Belwas Grunted and growled in dismay. The mount to Dread "Mother," they sang, their fingers brushing her legs as she flew buy. "Mother, Mother, Morther!"Dany is riding a horse at the time and the bells are ringing in her hair. Those are the clues. The prophecy does not start when Dany escapes the fighting pits. It occurs when Dany comes across the Dothraki in the sea of grass. It’s then that she mounts Drogon for the second time. She mentions the bells multiple times in her scene. It’s then that Dany rides the mount to dread. Who does she run into, a bunch of Dothraki. It’s a future code and it is a death code. The exclamation mark indicates an event though not huge. Just a guess and everyone already kinds of figures this, but we are going to get some extra crispy dothraki.With the middle part of the prophecy about to be fulfilled I believe that marks the end of the middle of Dany’s story. Next up the 3 loves. Sorry for the confusion there I am just going through so many puzzles so fast, I didn’t give this one the time it deserved. I am also learning more about the puzzles and there nuances as I go.You didn’t think I would leave out Patchface did you?"Away, away" the fool sang. "Come with me beneath the sea, away, away, away." The first two “away” are separated by the descriptive text break. And first it looks like a danger code. This is the very rare past pattern. This pattern can be seen in a WOW preview chapter as well. While not a death pattern it is both a broken ill omen pattern, a past code and a broken death code. Shireen is standing with Patchface. However note that the “away, away, away” while broken the word sea is not in the past code. If I had to read it just using the code. Ill omen, from the past, beneath the surface, death future. I think this will be a prediction by me. The grey death is returning. To be proven in WoW. The danger patterns.ACoK ch 16: ""Hodor." Beaming genially, Hodor looked from one Frey to the other, oblivious of their taunting. "Hodor, hodor?" Little Walder's mount whickered."" This is important to the code there is a question mark. Hodor is looking at both the Walder's but Little Walder is in fact named. The question mark is on the last hodor which if you notice is lower case. Little Walder is making some bad choices in life. It’s important to note that the name Hodor appears in the descriptive text break, however it is not spoken. The pattern is set with the first Hodor “Hodor.” The question mark indicates uncertainty.AGoT ch 12.“No, no, no” Robert said.This is the first use of the Ill omen pattern in the books that I know about. Robert wants Ned to ride with him so they can talk. Doesn’t seem like much but Robert wants to talk about Dany and killing her. This begins the initial rift between the two. While not a lot of danger it does indicate this is heading in a bad direction.The reply section contains several more examples of the patterns, a prediction section, and a section on the use of 3 on sigils. Thank you for reading and for all those that have helped. I hope you found this interesting and that you will give Martins device a try. The key will help you get started and so will the examples, but it’s up to the reader to apply their own mind to this. You may have slightly different interpretations of what he is relating, who is the subject, what is the subject etc… If you believe it or not it doesn’t matter, all I suggest is for people to try to applying the key to his device. Revision 8 is locked after hitting its 20 page limit and then some but can be found here if anyone wants to review the reply section. Though I warn you it is long and it was an evolving thread. So you can kind of skip the first 10-11 pages if you want to see some of the examples that are in the reply section. There are dozens of them. http://asoiaf.westeros.org/index.php/topic/96129-corn-code-revision-8-the-game-of-thrones-exposed/ Link to comment Share on other sites More sharing options...
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