stormcloudrising - Tumblr blog

stormcloudrising · 4 months

Text

The Secret Song of Florian and Jonquil Part 10: The Shrouded Lord and a Mermaid's UnKiss

December 24, 2023

Shrouded Lord_AI Generated Image by Nuevoimg_123rf

I ended last chapter with an excerpt from 1 Peter that referenced Christ as the Living Stone and proposed that George was using the legend of the Shrouded Lord in the book to mirror the biblical one. And as I discussed previously, the myth of the Shrouded Lord is in the story to inform upon Jon’s resurrection. So, with that said, let’s jump right back in to talk about Jon Snow, the Living Stone and the kiss of life coming his way.

JON, THE SHROUDED LORD AKA, THE LIVING STONE

The sound of a kiss is not so loud as that of a cannon, but its echo lasts a great deal longer. —Oliver Wendell Holmes

We first hear mention of the Shrouded Lord in A Dance with Dragon where after the urging of Illyrio, Tyrion boards the Shy Maid to travel to Volantis with Griff and Faegon. While travelling on the Rhoyne, Haldon and Duck regal Yollo (Tyrion) with dark tales of the legendary pirates in the area.

Haldon gave him a thin smile. "If we should encounter the Lady Korra on Hag's Teeth, you may soon be lacking other parts as well. Korra the Cruel, they call her. Her ship is crewed by beautiful young maids who geld every male they capture." This time Duck laughed, and Haldon said, "What a droll little fellow you are, Yollo. They say that the Shrouded Lord will grant a boon to any man who can make him laugh. Perhaps His Grey Grace will choose you to ornament his stony court." Duck glanced at his companion uneasily. "It's not good to jape of that one, not when we're so near the Rhoyne. He hears." "Wisdom from a duck," said Haldon. "I beg your pardon, Yollo. You need not look so pale, I was only playing with you. The Prince of Sorrows does not bestow his grey kiss lightly." His grey kiss. The thought made his flesh crawl. Death had lost its terror for Tyrion Lannister, but greyscale was another matter. The Shrouded Lord is just a legend, he told himself, no more real than the ghost of Lann the Clever that some claim haunts Casterly Rock. Even so, he held his tongue. — A Dance with Dragons - Tyrion III

Four important things are revealed to us with the first mention of this mysterious figure. First, we find out that The Shrouded Lord is a Stone Man who lives in the Sorrows. Stone men are of course those in the last stages of greyscale who live in area of the Rhoyne where a thousand years previously, Garin is said to have called down the curse on the dragon lords of old.

Secondly, Tyrion associates him with Lann the Clever, the ancient ancestor of the Lannisters from the Age of Heroes who was said to have winkle Casterly Rock from the Casterlys with only his wits. Martin is usually implying something when he mentions these ancient figures in the text, and I have a couple of ideas why he had Tyrion think of Lann at this moment. One, I will write an essay on at another time, but the second reason is because I think his plan was to have Tyrion meet The Shrouded Lord, and it would have been Gerion, his missing uncle who disappeared when he went looking for the lost Lannister Valyrian sword, Brightroar.

George did write a chapter where Tyrion met The Shrouded Lord but decided not to include it in the books. Here is what he said about the discarded chapter.

“It’s a swell, spook, evocative chapter, but you won’t read it in Dance. It took me down a road I decided I did not want to travel, so I went back and ripped it out. So, unless I change my mind again, it’s going the way of the draft of Lord of the Rings where Tolkien has Frodo, Sam Merry and Pippin reach the Prancing Pony and meet a weatherbeaten old hobbit ranger named “Trotter.” —George R R Martin

The popular fandom reason for the deletion of the chapter is that there was too much magic in the scene. I think that this is a good take and quite possibly part of the reason for the deletion. George’s writing is centered on the character and the magic is secondary. There will be a big input of magic in the story, but that will be towards the end, and so the chapter with The Shrouded Lord might have been a bit too early.

All of this makes sense but only up to a point because there have been heavily magical scenes in the story already such as the birthing of Dany’s dragons, and her visit to the HOTU. Also, in ADWD, George gave us three magical scenes…Varamyr's attempt to body jump Thistle; Arya’s introduction to the magical faces of the Faceless Men; and Bran’s first visit inside the weirwood net.

That’s a lot of magical scenes in one book and so maybe George thought that Tyrion’s encounter with The Shrouded Lord was one too many. I tend to think that the true reason the chapter was pulled is because George felt it revealed too much about Jon’s resurrection, and he wasn’t ready to show his hand yet. There is also the fact that if Tyrion did meet The Shrouded Lord, Martin would have had to give him greyscale. This is something he may have been planning to do but decided against and chose to give it to Jon Con instead.

The third interesting thing we find out is that The Shrouded Lord will grant a boon to all who will make him laugh. This is important symbolism as it has to do with why there are as many fools appearing throughout the books as they are whor*s. I’m not going to go into the explanation about fools here as this chapter is already extremely long. However, I will again direct you to Crowfood’s Daughter excellent video essay on the subject.

Finally, we find out that the mysterious figure of the Sorrows is known by three names. In addition to The Shrouded Lord, he is also called His Grey Grace and The Prince of Sorrows. It just so happens that I can show you how all these names apply to Jon. His Grey Grace is obvious as he quite likely will be considered a king…at least for a while. I’ve also showed you last chapter why Jon's symbolic color is grey; and if he does get greyscale like I’ve proposed, part of him will have the grey scaly stone like scars of the disease.

So, what about the other two names. Well let’s start first with The Shrouded Lord.

Generally, when I see a representation of The Shrouded Lord in a video or featured in an essay, it’s of the standard fantasy image of a man in shadow wearing a grey cowl like those worn by monks…similar to the one I used for the header image of this essay. But here’s the thing. Yes, a cowl can be loosely considered a shroud but it would be at the bottom of the list of synonyms.

A shroud is more properly defined as, “a length of cloth or enveloping garment in which a dead person is wrapped for burial.” And the most famous one in all history is the Shroud of Turin, purportedly, the burial cloth of Jesus that is said to have his face imprinted or ingrained in it.

Shroud of Turin, Public Domain

Understanding this meaning of shroud as a burial cloth, one can immediately see that the Shrouded Lord is quite possibly dead. Of course, as there is no cure for greyscale once it has reached the point that you are considered a stone man, it may just be symbolism. Also, as he is given the title Lord, one can also extrapolated and say that he is considered the ruler of the dead…a kind of Hades like figure. Or maybe even, regarding the story…a Night’s King like personage.

As he’s using the word shroud, that’s so closely identified with Jesus, one can also assume that George might want the reader to associate this mysterious figure from the Sorrows with his own created Christ like figure…one Jon Snow.

You’re probably saying, interesting analogy, but it doesn’t mean that The Shrouded Lord is meant to tell us about Jon’s resurrection or even has anything to do with him. And to that I say, it gets better. I missed it the first time I read the book but when I re-read A Dance with Dragons several years ago, something hit me when I reached the chapters where The Shrouded Lord is mentioned. In making the association with the Shroud of Turin, my mind immediately wondered whether George was symbolically associating The Shrouded Lord with Christ.

Having already recognized that he had set Jon up as the Christ like figure in the books who would be resurrected, I then considered the strong possibility that he was trying to tell us something about Jon’s resurrection, but I wasn’t immediately sure what the connection could be. The fact that the Shrouded Lord was a stone man and thus had greyscale; and Shireen who for some inexplicable reason, Martin also gave greyscale and then place at the Wall where she was in contact with Jon, told me that I was on to something, but again, what did it mean? And then the memories of my years of Sunday school and sitting in too many Episcopalian church services to remember kicked in and I knew the answer. I remembered.

Christ, the Living Stone!

Jesus was prophesized to be the Living Stone. Here we get the first reference in Isaiah 28:16

16 So this is what the Sovereign Lord says: “See, I lay a stone in Zion, a tested stone, a precious cornerstone for a sure foundation; the one who relies on it will never be stricken with panic.

And then again in the Psalms 118:22.

The stone the builders rejected has become the cornerstone; 23 the Lord has done this, and it is marvelous in our eyes.

And here in 1 Peter, we get the full prophecy.

4 As you come to him, the living Stone—rejected by humans but chosen by God and precious to him— 5 you also, like living stones, are being built into a spiritual house to be a holy priesthood, offering spiritual sacrifices acceptable to God through Jesus Christ. 6 For in Scripture it says: “See, I lay a stone in Zion, a chosen and precious cornerstone, and the one who trusts in him will never be put to shame.” 7 Now to you who believe, this stone is precious. But to those who do not believe, “The stone the builders rejected has become the cornerstone,” 8 and, “A stone that causes people to stumble and a rock that makes them fall.” They stumble because they disobey the message—which is also what they were destined for. 9 But you are a chosen people, a royal priesthood, a holy nation, God’s special possession, that you may declare the praises of him who called you out of darkness into his wonderful light. 10 Once you were not a people, but now you are the people of God; once you had not received mercy, but now you have received mercy. —1 Peter 2:4-10 NIV

This is the answer to the question that many in the fandom have pondered. Why did George make greyscale a part of the story? A plague is understandable. After all, his story takes place in a Middle Ages type setting when plagues were prevalent, but why one that turned its victims into living stones.

Now we know! Jesus was the Living Stone who died and was resurrected to save man. In ASOIAF, Jon is the Christ like figure who will die and be resurrected to be the savior of man. And thus, he needed to have living stone symbolism. He needed to be a living Stone and thus, George needed a way to turn him into a stone man.

In the bible, Jesus as the Living Stone is symbolic, but George made it literal for his story. This is why he invented greyscale; gave it to Shireen; and placed her at the Wall.

We now see how two of the three monikers assigned to the mysterious figure known as The Shrouded Lord can be directly connected to Jon Snow, our in-world risen Christ. He is His Grey Grace, and he is The Shrouded Lord. What about the third…the Prince of Sorrows? As George is also using it as a sobriquet for his in-world figure, it must also be connected to Jesus. Let’s look again at the Book of Isaiah for the answer.

2 For he shall grow up before him as a tender plant, and as a root out of a dry ground: he hath no form nor comeliness; and when we shall see him, there is no beauty that we should desire him. 3 He is despised and rejected of men; a man of sorrows, and acquainted with grief: and we hid as it were our faces from him; he was despised, and we esteemed him not. 4 Surely he hath borne our griefs, and carried our sorrows: yet we did esteem him stricken, smitten of God, and afflicted. 5 But he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him; and with his stripes we are healed. 6 All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all. —Isaiah 53:2-6 KJV

This passage reminds me a bit of the tale Old Nan told Bran about the Night's King and how all records of him were destroyed and his very name forbidden; and later how Ygritte told Jon that Snow was an evil name. I would say the two are related.

Isaiah saying that Christ was not comely in our eyes also reminds me of Sansa saying that Florian was homely. The bible verse also shows us that Christ was known as a man of sorrows. Not quite the same wording as Prince of Sorrows, but then again, Jesus is also called Prince several times in other books of the bible, and Jon is quite possibly a prince in the books.

13 The God of Abraham, and of Isaac, and of Jacob, the God of our fathers, hath glorified his Son Jesus; whom ye delivered up, and denied him in the presence of Pilate, when he was determined to let him go. 14 But ye denied the Holy One and the Just, and desired a murderer to be granted unto you; 15 And killed the Prince of life, whom God hath raised from the dead; whereof we are witnesses. —ACTS 3 13-15

_____

5 And from Jesus Christ, who is the faithful witness, and the first begotten of the dead, and the prince of the kings of the earth. Unto him that loved us, and washed us from our sins in his own blood. —REVELATIONS 1:5

And of course, he is known as the Prince of Peace. Now that we see how the three monikers connect to both Jesus and Jon, what about Jon’s resurrection? Might the myth of The Shrouded Lord give us some idea about his resurrection? Yes. Yes, it does, because there just so happens to be a resurrection portion of the myth that symbolically plays out with Tyrion, Sansa’s motley attire husband.

The legend of The Shrouded Lord first appears in A Dance with Dragon, the same book where Jon is killed. We first read about Garin and the curse he called down on the dragon lords of old and how the ruins of Chroyane turned into the Sorrows in TWOIAF, which was published two years after ADWD.

Lomas Longstrider wrote of the drowned ruins of Chroyane, its foul fogs and waters, and the fact that wayward travelers infected with greyscale now haunt the ruins—a hazard for those who travel the river beneath the broken span of the Bridge of Dream.

However, that was not the first time the name Garin appeared in the text. It first appeared in A Feast for Crows and is the name of one of Arianne’s childhood friends who participated in her attempt to crown Myrcella queen. After their plot is rooted out by Doran, Garin is initially sent to Ghaston Grey.

During her next bath, she spoke of her imprisoned friends, especially Garin. "He's the one I fear for most," she confided to the serving girl. "The orphans are free spirits, they live to wander. Garin needs sunshine and fresh air. If they lock him away in some dank stone cell, how will he survive? He will not last a year at Ghaston Grey." —A Feast for Crows, Princess in the Tower

According to Arianne, “Ghaston Grey was a crumbling old castle perched on a rock in the Sea of Dorne, a drear and dreadful prison where the vilest of criminals were sent to rot and die.” Sea of Dorne is filled with so much symbolic implications with the potential use of two homonyms on George’s part, Sea of Dawn or even See of Dawn, but that’s a discussion for another day. The name is also likely another homage on George’s part to his favorite fairy tale, Beauty and the Beast, as Gaston, Belle’s proverbial suitor falls to his death in the sea below during his fight with the Beast.

Ghaston Grey does sounds like the perfect symbolic prison to send a prisoner named after the ancient Rhoynar prince who called down the greyscale plague upon the dragon lords. Garin is an Orphan of the Greenblood, the descendants of Nymeria and the Rhoynar who decided to remain on the rivers and not settle on Dornish land. And so, it makes symbolic sense that he was imprisoned in the “sea.” I mentioned Garin because originally, A Feast for Crows and A Dance with Dragons was one gigantic book before it was split into two by the publisher. And so, events in the two books are basically taking place around the same time. This shows that when George introduced the myth of The Shrouded Lord in the book where Jon dies, he was already thinking of Garin and the Rhoynar.

My regular readers probably think it’s boring the number of times I repeat in my essays that George is always consistent in his use of symbolism. I repeat it often because with the depth of symbolism built into the story, it’s amazing that he never drops the ball. And because I felt strongly that Florian and Jonquil were the ancient Night’s King and Corpse Queen, and Jon and Sansa their modern-day counterpart, when I figured how The Shrouded Lord connected to Jon and his resurrection, I was stumped by Florian’s motley armor.

I knew it had to be important because when the Tyrion drowning scene played out in the Sorrows, where he played the role of the Jon/Shrouded Lord character, he was wearing motley clothing. But I was stumped at what Motley might have to do with the Shrouded Lord and stone. That is, until I recently watched one of Crowfood’s Daughter ironborn videos and discovered that she had figured out the answer. Motley represented stone.

You can watch the video, Bless Him with Stone here, but what Amanda figured out is how motley is connected to stone. Motley as we are shown in the text is how the costumes of fools are described, and by connecting this to the real-world Harlequin fool from medieval history, Amanda hit on something interesting.

She discovered that there is a real-world disease called, Harlequin Ichthyosis, that’s very like greyscale. Also called fish scale disease, it got its name from the Greek word, ichthys, which translate as fish.

Harlequin Ichthyosis

With this discovery and the connection to motley and fools in mind, Amanda soon discovered in the text that George compares the scars from Shireen’s greyscale to Patchface’s motley costume.

Grand Maester Pycelle gaped at him, aghast. "Surely you do not mean to suggest that Lady Selyse would bring a fool into her bed?" "You'd have to be a fool to want to bed Selyse Florent," said Littlefinger. "Doubtless Patchface reminded her of Stannis. And the best lies contain within them nuggets of truth, enough to give a listener pause. As it happens, this fool is utterly devoted to the girl and follows her everywhere. They even look somewhat alike. Shireen has a mottled, half-frozen face as well." Pycelle was lost. "But that is from the greyscale that near killed her as a babe, poor thing." — A Clash of Kings - Tyrion III

Mottle as Amanda’s research also showed is from the 17th century and is a back formation of motley. From there, it was then easy for her to make the connection to Florian the Fool.

This morning the puppeteers were doing the tale of Florian and Jonquil. The fat Dornishwoman was working Florian in his armor made of motley, while the tall girl held Jonquil's strings. "You are no knight," she was saying as the puppet's mouth moved up and down. "I know you. You are Florian the Fool." "I am, my lady," the other puppet answered, kneeling. "As great a fool as ever lived, and as great a knight as well." —The Hedge Knight

___

"You hope to buy your way back into her favor by presenting her with me. An ill-considered scheme, I'd say. One might even say an act of drunken desperation. Perhaps if I were Jaime … but Jaime killed her father, I only killed my own. You think Daenerys will execute me and pardon you, but the reverse is just as likely. Maybe you should hop up on that pig, Ser Jorah. Put on a suit of iron motley, like Florian the—" —A Dance with Dragons, Tyrion IX

If George wants us to consider greyscale and motley in the same terms, then does that mean that Sansa’s favorite knight did not wear a motley suit of armor, but rather had greyscale. As soon as I got to this point in Amanda’s video, I knew that I had my answer about how stone connected to Florian, because it had to be if Jon, the modern-day Florian was The Shrouded Lord of the story. Eureka!

One thing I discovered in my research, which Amanda didn’t mention and so I’m not sure if she is aware is that there is a condition very similar to Ichthyosis called Livedo reticularis but more commonly known as mottled skin. It’s not as deadly or life threatening as Ichthyosis, but it does look somewhat similar.

Mottled Skin

Mottled skin causes a bluish-red, lace-like patter under the skin. Also known as Livedo reticularis, this condition happens when deoxygenated blood pools beneath the skin’s surface. This condition has many causes, including cold exposure and chronic medical conditions. —Cleveland Clinic

You can see from the picture below how similar it is to Ichthyosis. You know who else I wondered about when I read this description for mottled skin, Cold Hands. I wonder what his face and the rest of his skin looks like under his hood and cloak. But that’s a theory for another day.

One other thing Amanda’s video showed is that when you pull up mermaids on the wiki, you get a “see also” reference to Ichthyosis. It is called the fish scale disease and so that makes sense, but consistent symbolism people. Symbolism.

A MERMAID'S UNKISS

Now that we’ve discussed The Shrouded Lord, and how his myth is in the story to tell us about Jon’s resurrection as the symbolic risen Christ, let’s finally get to that resurrection and how Sansa will be smacked dab in the middle of it, something I’ve proposed for years.

Melisandre is what I like to call a shiny apple. George’s way of hiding the truth in plain sight. Because Thoros, another Red Priest brought Beric back, the fandom assumes Mel will do the same for Jon…especially as they went that route in the show.

Don’t get me wrong, she’s at the Wall because she has a role to play but it won’t consciously or unconsciously be about bringing Jon back. Although when it happens, other characters will think it was her, and she’ll likely take the credit, but it won’t be her. Mel is at the Wall to burn Shireen which will in some magical way, result in Jon getting greyscale.

I have a broad idea of how it will play out, which I will get into at the end. Mel won’t bring Jon back because what the tale of The Shrouded Lord tells us is that the return of the fiery dragon lord will be a cold one.

I have been saying for years that Jon and Sansa are the modern Florian and Jonquil and that George is telling their story through their interactions with other characters who act as stand-ins for each. In the case of Jon, Ygritte, the lover of songs, and Val, the non-maiden who Jon rejects when she looks like an icy, white hair ice queen, but thinks is loveliest thing he’s seen in a long while when she comes out of the trees of the haunted forest with her hair looking like dark honey and Ghost at her side.

As I pointed out in The Evolution of Val an essay I wrote several years ago, dark honey is dark brown in color with red highlights. A color very similar to the chestnut Sansa has been dying her hair as she hides out in the Vale. But she’s running out of dye and her red hair is symbolically beginning to peek out.

In Sansa’s arc, the role of Jon is being played by the Sandor Cleghane, the Hound. This is the angry Jon that will return with his wolf Ghost now literally a part of him. Jon will be savage like the Hound. This is why Sandor is given the Hound moniker. It’s to suggest a wolf hound…aka Jon.

Sandor’s burnt face also is there to foreshadow Jon’s face being burnt and likely where the greyscale will enter his dead body as I speculated above. This will likely happen in his funeral pyre. In Deep Geek has a great video about something like this happening. You can watch it here. Jon’s face being burnt at some point was also foreshadowed during his first meeting with Ygritte in the chapter that mirrors Sansa and Sandor on top of the Red Keep during the fiery battle of the Blackwater.

It all seemed to happen in a heartbeat. Afterward Jon could admire the courage of the wildling who reached first for his horn instead of his blade. He got it to his lips, but before he could sound it Stonesnake knocked the horn aside with a swipe of his shortsword. Jon's man leapt to his feet, thrusting at his face with a burning brand. He could feel the heat of the flames as he flinched back. Out of the corner of his eye, he saw the sleeper stirring, and knew he must finish his man quick. When the brand swung again, he bulled into it, swinging the bastard sword with both hands. —A Clash of Kings, Jon VI

Sansa calmed the Hounds spirit when she sang him The Mother’s Hymn. And just as she tempered the Hound, she will do the same for beastly Jon, like Belle did to the Beast in George’s favorite fairy tale.

In, Do Direwolves dream of the Weirwood Net, I discussed and showed the textural evidence that suggests the bond mates of House Stark can access the weirwood net. This is important because I believe that when Jon called out to Ghost upon his death, their spirits merged, and Ghost took them into the weirwoods, and it is here that he will encounter Sansa and she will give him the kiss of life. There is a magical component that of course has yet to be revealed by the author, but textural clues suggests that this is what will happen. So, let’s now discussed those clues.

Sansa, like many other characters is an unreliable narrator. One of the biggest pieces of evidence to support this is the infamous UnKiss, as the fandom calls the kiss, she remembers sharing with the Hound.

Alla had a lovely voice, and when coaxed would play the woodharp and sing songs of chivalry and lost loves. Megga couldn't sing, but she was mad to be kissed. She and Alla played a kissing game sometimes, she confessed, but it wasn't the same as kissing a man, much less a king. Sansa wondered what Megga would think about kissing the Hound, as she had. He'd come to her the night of the battle stinking of wine and blood. He kissed me and threatened to kill me, and made me sing him a song. —A Storm of Swords, Sansa II

The kiss Sansa remembers, never happened. We the reader watch the scene play out on the page and we know there was no kiss between her and the Hound. She thinks of the kiss that never happened for a second time later in the book when having a conversation with Myranda.

She thought of Tyrion, and of the Hound and how he'd kissed her, and gave a nod. "That must have been dreadful, my lady. Him dying. There, I mean, whilst . . . whilst he was . . ." — A Feast for Crows - Alayne II

Why is Sansa remembering a kiss that never happened? A fan asked GRRM via email back in 2002, and this was his response.

“Well, not every inconsistency is a mistake, actually. Some are quite intentional. File this one under “unreliable narrator” and feel free to ponder its meaning.” —So Spake Martin

Some in the fandom has taken Sansa’s memory of the kiss that never happened as Sansa having romantic feelings for the Hound. However, I don't think that's it. Yes, Martin, has admitted that he has played with this aspect, but I feel confident it’s not because he intended any romance between the two.

Why do I say that Martin is not going to write Sansa having romantic feelings for the Hound? Because one of the core themes of the story is the evil practice of marrying girls before they are even of age to men old enough to be their fathers and often their grandfathers. Sandor Cleghane is old enough to be Sansa’s father being just a few years younger than Ned. Plus, Sandor assaulted and terrorized Sansa. George is not going to turn around now at the end of the story and create a romance between a child and a grown man who terrorized her.

Also, and this is important, we are shown on the page and told in the text that Sansa prefers boys her age. There is Joffrey before he showed himself to be a monster; Loras, the fake Rhaegar stand-in; and Waymar Royce, the Jon stand-in. And if that is not sufficient evidence, Sansa in her own words tells us that she prefers men close to her age.

"I suppose," Sansa said doubtfully. Beric Dondarrion was handsome enough, but he was awfully old, almost twenty-two; the Knight of Flowers would have been much better. Of course, Jeyne had been in love with Lord Beric ever since she had first glimpsed him in the lists. Sansa thought she was being silly; Jeyne was only a steward's daughter, after all, and no matter how much she mooned after him, Lord Beric would never look at someone so far beneath him, even if she hadn't been half his age. —A Game of Thrones, Sansa III

Jeyne has a crush on Beric, who is almost 22. Sansa who is 12 at the time, the same age she is when the UnKiss with the Hound supposedly took place, thinks Beric is too old, and that Loras, the Knight of Flowers who is 16 and just 4 years older than her would be much better. At the start of the story, Sandor Cleghane is 28. Why would Sansa have romantic feelings for him when she thought that Beric who is 6 years younger than the Hound was too old. Makes no sense. George is showing us that Sansa’s interest lies in boys her age.

However, GRRM has admitted that he’s been playing with the idea of something romantic between Sansa and Sandor, and so one must ask why? I think the answer is because Sandor is a stand-in for Jon, and what Sansa is remembering is not a kiss between her and Sandor but rather one between her and Jon.

In the chapter 8, I discussed why mermaids and dragonflies are symbolic sea dragons and how George has positioned Sansa as representing both. I also covered why Nagga, the sea dragon the Grey King slew was his mermaid wife and how that meant that Elenei, the mermaid wife of Durran Godsgrief should also be considered a sea dragon. However in the Durran/Elenei legend, the mermaid wife likely save her mate from drowning by giving him the kiss of life.

Then I discussed why sea dragons and mermaids represent the missing female greenseers of the story and why Nissa Nissa/Corpse Queen/Grey King’s mermaid wife was the first sea dragon and the first greenseer who was female. All of this led me to revisiting the textural clues that point to Sansa being the mermaid/sea dragon of the story and the missing female greenseer.

Legends say that mermaids or sirens as they are sometimes called often lure sailors to their death via drowning.

"A touch of fear will not be out of place, Alayne. You've seen a fearful thing. Nestor will be moved." Petyr studied her eyes, as if seeing them for the first time. "You have your mother's eyes. Honest eyes, and innocent. Blue as a sunlit sea. When you are a little older, many a man will drown in those eyes." Sansa did not know what to say to that. —A Feast for Crows, Sansa I

However, sometimes they will be a savior as in the case of the Little Mermaid, and Elenei saving Durran.

And now let’s look at what Sansa being a greenseer and the UnKiss might have to do with the resurrection of Jon Snow, the Shrouded Lord of Living Stone.

“We are made of blood and bone, in the image of the Father and the Mother,” said Septa Lemore. “Make no vainglorious boasts, I beg you. Pride is a grievous sin. The stone men were proud as well, and the Shrouded Lord was proudest of them all.” The heat from the glowing coals brought a flush to Tyrion’s face. “Is there a Shrouded Lord? Or is he just some tale?” “The Shrouded Lord has ruled these mists since Garin’s day,” said Yandry. “Some say that he himself is Garin, risen from his watery grave.” “The dead do not rise,” insisted Haldon Halfmaester, “and no man lives a thousand years. Yes, there is a Shrouded Lord. There have been a score of them. When one dies another takes his place. This one is a corsair from the Basilisk Islands who believed the Rhoyne would offer richer pickings than the Summer Sea.” “Aye, I’ve heard that too,” said Duck, “but there’s another tale I like better. The one that says he’s not like t’other stone men, that he started as a statue till a grey woman came out of the fog and kissed him with lips as cold as ice.” A Dance with Dragons, Tyrion V

In one of the myths told to Tyrion about The Shrouded Lord, he is said to have started as a stone statue until a cold kiss from a grey woman awakened or one might say, resurrected him. And as I’ve shown, the legend of the Shrouded Lord in only in the story to tell us about Jon’s resurrection. Thus, Jon’s resurrection should also involve a cold kiss from a woman in grey.

As we see from Melisandre’s vision, there is a mysterious girl in grey destined to connect with Jon. Sansa is this girl in grey. George has also inexplicably written a mysterious kiss into Sansa’s arc that supposedly never took place. I proposed that this kiss, or UnKiss as the fandom likes to call it is the one that will be tied to Jon’s resurrection, and it takes place in the weirwood net where Sansa will temper the savaged Jon and like Elenei did with Durran, save him from drowning in the green sea.

As we’re dealing with the weirwoods where time is circular, the kiss may have already happened, or Sansa could be seeing a future event. Nonetheless, the fact that she has memory of it is another clue that she is a greenseer. However, because she’s traumatized and the kiss is between her and her “brother” whose face is likely burnt, making him look more like the Hound, she has confused his identity in her mind.

I said above that George loves religious myths, but do you want to know what else he loves…fairy tales. And there are abundant references to such tales throughout the text.

Many essays have been written by others in the fandom about this topic, but the two I want to talk about here are Beauty and the Beast, and The Little Mermaid because those two are heavily prevalent in Sansa’s arc and in the resurrection of The Shrouded Lord…especially the mermaid linkage.

The original Little Mermaid by Hans Christian Andersen’s is very different from the Disney version so beloved by children, and George has merged the two in his version of the story. In Andersen’s version, mermaids live for hundreds of years and if the Little Mermaid (in the story, she is not given a name) is able to gain the love of the human prince, she will be fated to live out her days as a human. She will have a shorter life span but will gain a human soul. In ASOIAF, George gives us this tale of the fair Elenei.

The songs said that Storm's End had been raised in ancient days by Durran, the first Storm King, who had won the love of the fair Elenei, daughter of the sea god and the goddess of the wind. On the night of their wedding, Elenei had yielded her maidenhood to a mortal's love and thus doomed herself to a mortal's death, and her grieving parents had unleashed their wrath and sent the winds and waters to batter down Durran's hold. His friends and brothers and wedding guests were crushed beneath collapsing walls or blown out to sea, but Elenei sheltered Durran within her arms so he took no harm, and when the dawn came at last he declared war upon the gods and vowed to rebuild. —A Clash of Kings, Catelyn III

By the way, as I discussed in my Of Sansa Stark and Alayne Stone series, Elenei is a variant of Alayne, the name Sansa is hiding out under in the Vale as the daughter of the Merlin(g) King.

In both Andersen’s and George’s version of the tale, the mermaid saves the man from drowning. The mermaid also saves a man from drowning in the Disney version, but there is also the added detail of a kiss. While the sea witch, named Ursula in the Disney version mandates that the little mermaid must gain the prince’s love in the Andersen tale, the cartoon changes it to a kiss.

Martin has woven a life-giving kiss into his story as well with the tale of Elenei, the ironborn’s kiss of life, and even that of the R’hllorist cult with Thoros life giving the kiss to Beric and him in turn passing it on to Cat. And as we see, George has also woven it into the legend of The Shrouded Lord.

“Aye, I’ve heard that too,” said Duck, “but there’s another tale I like better. The one that says he’s not like t’other stone men, that he started as a statue till a grey woman came out of the fog and kissed him with lips as cold as ice.”

Unsurprisingly, a stone statue is also a key element in both the Andersen original, and the Disney version of The Little Mermaid. In the original, the little mermaid finds the statue before she rescues the prince from drowning. It’s her first experience with anything from the human world and so, the statue becomes a prize possession. When she later rescues the prince, she realizes that he looks just like her statue, and this is part of what precipitates her falling for him.

On the other hand, in the Disney version, she finds the statue after she rescues the prince and it becomes a sign for her that she should follow him to the human world and this precipitates her visit to Ursula the sea witch.

We see that George has heavily built the tale of the Little Mermaid into his sea dragon and Shrouded Lord myths. So, what does all of this have to do with Jon’s resurrection, Sansa, and The Shrouded Lord?

Funnily enough, the very next Tyrion chapter after we first hear about The Shrouded Lord, the Shy Maid finally makes it to the Sorrows and is attacked by the Stone Men, leading to the near-death drowning experience of Sansa’s motley dressed husband and the answer to the question is provided. Let’s look at this chapter.

Chroyane_by Philip Straub_The World of Ice and Fire

“The Shy Maid moved through the fog like a blind man groping his way down an unfamiliar hall. Septa Lemore was praying. The mists muffled the sound of her voice, making it seem small and hushed. Griff paced the deck, mail clinking softly beneath his wolfskin cloak.” —A Dance with Dragon, Tyrion V

Make note that Griff (Jon Connington) is wearing a wolfskin cloak, marking him as a symbolic wolf in the scene. This next excerpt is pretty long, but it is needed so that one can see all the symbolism and order of events playing out.

“Just saying a thing does not make it true. Who better to raise Prince Rhaegar’s infant son than Prince Rhaegar’s dear friend Jon Connington, once Lord of Griffin’s Roost and Hand of the King?” “Be quiet.” Griff’s voice was uneasy. On the larboard side of the boat, a huge stone hand was visible just below the water. Two fingers broke the surface. How many of those are there? Tyrion wondered. A trickle of moisture ran down his spine and made him shudder. The Sorrows drifted by them. Peering through the mists, he glimpsed a broken spire, a headless hero, an ancient tree torn from the ground and upended, its huge roots twisting through the roof and windows of a broken dome. Why does all of this seem so familiar?” “Straight on, a tilted stairway of pale marble rose up out of the dark water in a graceful spiral, ending abruptly ten feet above their heads. No, thought Tyrion, that is not possible. “Ahead.” Lemore’s voice was shivery. “A light.” All of them looked. All of them saw it. “Kingfisher,” said Griff. “Her, or some other like her.” But he drew his sword again. No one said a word. The Shy Maid moved with the current. Her sail had not been raised since she first entered the Sorrows. She had no way to move but with the river. Duck stood squinting, clutching his pole with both hands. After a time even Yandry stopped pushing. Every eye was on the distant light. As they grew closer, it turned into two lights. Then three. “The Bridge of Dream,” said Tyrion. “Inconceivable,” said Haldon Halfmaester. “We’ve left the bridge behind. Rivers only run one way.” “Mother Rhoyne runs how she will,” murmured Yandry. “Seven save us,” said Lemore. Up ahead, the stone men on the span began to wail. A few were pointing down at them. “Haldon, get the prince below,” commanded Griff.”

The large stone hand is like the symbolic hand of God hearing Tyrion’s words and passing judgment because just as they pass it, things get a bit crazy as some type of magic kicks in. Rivers only run one way except for in ASOIAF. Even their dialogue as they pass the bridge again is the same, but with differences.

The leap had shattered one of his legs, and a jagged piece of pale bone jutted out through the rotted cloth of his breeches and the grey meat beneath. The broken bone was speckled with brown blood, but still he lurched forward, reaching for Young Griff. His hand was grey and stiff, but blood oozed between his knuckles as he tried to close his fingers to grasp. The boy stood staring, as still as if he too were made of stone. His hand was on his sword hilt, but he seemed to have forgotten why. Tyrion kicked the lad’s leg out from under him and leapt over him when he fell, thrusting his torch into the stone man’s face to send him stumbling backwards on his shattered leg, flailing at the flames with stiff grey hands. —A Dance with Dragons, Tyrion V

Tyrion knocked Young Griff down to protect him, but the stone man gets away and goes for the boy again.

“Stand aside!” someone shouted, far away, and another voice said, “The prince! Protect the boy!” The stone man staggered forward, his hands outstretched and grasping. Tyrion drove a shoulder into him. It felt like slamming into a castle wall, but this castle stood upon a shattered leg. The stone man went over backwards, grabbing hold of Tyrion as he fell. They hit the river with a towering splash, and Mother Rhoyne swallowed up the two of them. As he’s dragged to the bottom of the river by the stone man, Tyrion thinks, “there are worse ways to die than drowning.” And then we get this ending passage. I’ll haunt the Seven Kingdoms, he thought, sinking deeper. They would not love me living, so let them dread me dead. When he opened his mouth to curse them all, black water filled his lungs, and the dark closed in around him.

Tyrion, Sansa's motley wearing husband almost drowns in the green sea, and as it happens, he thinks of haunting the Seven Kingdoms as a dead man. I wonder what or better yet, who that might be foreshadowing?

When next we see Tyrion, he’s waking up and remembers dreaming of getting a grey kiss from the Shrouded Lord.

“He dreamt of his lord father and the Shrouded Lord. He dreamt that they were one and the same, and when his father wrapped stone arms around him and bent to give him his grey kiss, he woke with his mouth dry and rusty with the taste of blood and his heart hammering in his chest. “Our dead dwarf has returned to us,” Haldon said. “Tyrion shook his head to clear away the webs of dream. The Sorrows. I was lost in the Sorrows. “I am not dead.” —A Dance with Dragons, Tyrion VI

He then comments on his surroundings and we get this passage.

He was on the Shy Maid, Tyrion saw, under a scratchy blanket that smelled of vinegar. The Sorrows are behind us. It was just a dream I dreamed as I was drowning. “Why do I stink of vinegar?”

Why does he smell of vinegar? This bit is extremely important, and I will tell you why shortly. It’s George and his bloody consistent symbolism and another clue that he’s playing with the idea of Jon as Christ, the Living Stone.

Tyrion discovers that he was pulled from the river by Jon Con, and Septa Lemore then saved him. It was likely her kiss of mouth-to-mouth resuscitation that he mixed up with one from the Shrouded Lord in his dream.

“Lemore has been washing you with it. Some say it helps prevent the greyscale. I am inclined to doubt that, but there was no harm in trying. It was Lemore who forced the water from your lungs after Griff had pulled you up. You were as cold as ice, and your lips were blue. Yandry said we ought to throw you back, but the lad forbade it.” —A Dance with Dragon, Tyrion VI

As Crowfood’s Daughter stated in her video, Septa Lemore is a bit of an exhibitionist who likes to bathe naked in the river in sight of all…kind of like a mermaid; and Jonquil and her sisters when Florian viewed them in the Maiden Pool. Tyrion enjoyed watching Septa Lemore a few times. Thus, she is the symbolic mermaid stand-in for Sansa who gives Tyrion, the stand-in for the Shrouded Lord/Jon the icy kiss to bring him back to life. The fact that Tyrion is Sansa’s husband just completes the symbolism.

Tyrion and Griff are both stand-ins for Jon in the Sorrows scene. We've talked about Tyrion, but let's also look at what happens to Jon Con after he goes into the sorrows to rescue the little Lannister?

The symbolic wolf in the scene who just happens to have the same name as Jon Snow, is the one to get greyscale, the disease which turns one into a stone man.

If my theory that The Shrouded Lord’s purpose in the story is to tell us about Jon’s resurrection, then Jon Con is not just a symbolic wolf in the scene, but also a symbolic dragon. He was also closest to Jon's father Rhaegar as Tyrion mentions. So, it makes perfect sense that he’s the one to get greyscale in the waters where Garin called down a curse on the dragon lords of old.

As we are talking about Garin’s curse, Tyrion’s fall into the Sorrows may have proven that he’s not a Targaryen, because if he was, I think that he would have gotten greyscale. There is something magical about the Sorrows. The stone men ignored the Shy Maid as it travel through the Sorrows, and the pole boat had almost made it out the foggy landscape when Tyrion started talking about knowing that Young Griff was Rhaegar’s son, and the next thing you know, boat seem to be back where it started and they were again passing The Bridge of Dreams and this time, they were attacked by the stone men.

This plays into my theory that the story is about circular time and events are repeating but with differences…almost like different timelines. However, what I want to point out here is that on their second trip through the Sorrows when the stone men attacked, if you read the passage, they went right for Young Griff. It’s almost as if something heard Tyrion’s story and realized that there was someone with dragon blood on the boat.

So, about that vinegar. After all the evidence that shows how the description of the Shrouded Lord echoes that of the risen Christ, would you still be surprised if I tell you that vinegar also plays a part in Christ’s crucifixion?

In each of the 4 Gospels, Matthew, Mark, Luke, and John, it is stated that the soldiers at the crucifixion offered Jesus sour wine when he said he was thirsty. Sour wine is vinegar. In fact, in one of the gospels, it is said that Jesus is given sour wine to drink while the others refer to it as vinegar because that is basically what sour wine is…vinegar.

they gave Him sour wine mingled with gall to drink. But when He had tasted it, He would not drink. —Matthew 27:34 KJV

36 “And one ran and filled a spunge full of vinegar, and put it on a reed, and gave him to drink, saying, Let alone; let us see whether Elias will come to take him down.” 37 With a loud cry, Jesus breathed his last. —Mark 15:36-37 KJV

36 The soldiers also came up and mocked him. They offered him wine vinegar 37 and said, “If you are the king of the Jews, save yourself.”— Luke 23:36

28 Later, knowing that everything had now been finished, and so that Scripture would be fulfilled, Jesus said, “I am thirsty.” 29 A jar of wine vinegar was there, so they soaked a sponge in it, put the sponge on a stalk of the hyssop plant, and lifted it to Jesus’ lips. 30 When he had received the drink, Jesus said, “It is finished.” With that, he bowed his head and gave up his spirit. — John 19:28

Sour wine was the only type of wine that soldiers would have had available to them. For this reason, some biblical scholars have argued that as it was the only thing they had to give, it was meant as a succor and not an insult. Others have argued the opposite. The reference to vinegar is not only in the 4 gospels. It is also referenced in Psalms 69.

The Psalms are part of the Old Testament and were written by King David. However, modern biblical scholars have argued that there were other writers of these group of songs. Psalms 69 is a lament, and as it is part of the Old Testament while the Gospels and the life of Christ are distilled in the New Testament, it is also seen as a prophecy of the suffering of Christ, and this is why it is associated with his crucifixion. In the Episcopalian Church, it is recited during Good Friday services, the day of Christ’s crucifixion.

It is too long for me to include, but I do want to post a few lines. You can read the full Psalms here.

1 Save me, O God; for the waters are come in unto my soul.

2 I sink in deep mire, where there is no standing: I am come into deep waters, where the floods overflow me.

14 Deliver me out of the mire, and let me not sink: let me be delivered from them that hate me, and out of the deep waters.

15 Let not the waterflood overflow me, neither let the deep swallow me up, and let not the pit shut her mouth upon me.

21 They gave me also gall for my meat; and in my thirst they gave me vinegar to drink.

As you can see, in the Psalm that is believed to prophesize the coming of Jesus to save us from our sins, water is used to foreshadow drowning. Although in the Psalms, the drowning is more spiritual in nature. On the other hand, in George’s tale, water is used to symbolize drowning in the green sea/weirwood net, which is what will be happening to Jon as his spirit resides in Ghost and he’s taken into the weirwood net.

It's Sansa, whose symbolic color like Jon, is grey because she is a daughter of House Stark; and thus, is wearing that color in Melisandre’s vision; and who happens to have red Night’s Queen hair, who will save Jon from drowning.

In part 3 of this series, I discussed the textural evidence that suggests the corpse queen was a redhead. However, a non-textural but still important clue to back up this idea is that in western art, mermaids are traditionally featured as redheads. There is no reference to hair color in the Andersen tale, but Disney’s famous Ariel is a redhead.

A Mermaid by John William Waterhouse

Let’s now recap the Tyrion chapters set in and around the Sorrows that occur in ADWD, the book where Jon Snow is killed and his spirit merges with his wolf and goes into the weirwood net as foreshadowed in the Varamyr prologue. We get several chapters that both foreshadows Jon’s resurrection and that he will get greyscale that turns one into a stone like figure.

First, we get the story of the leader of the stone men, The Shrouded Lord that echoes that of the real world risen Christ who was called the Living Stone. Jon Snow is symbolically set up as the Christ like figure in ASOIAF.

There is also Jon Con, who just happens to have the same name as Jon Snow; and who just happens to be wearing a wolfskin cloak before he goes into the Sorrows; being the one to get greyscale…a disease that turns one into a stone man.

And we have Sansa, who George has strongly set up as a symbolic mermaid/sea dragon and who I argue is the missing female greenseer in the story associated with a mysterious kiss that has already happened; or possibly is still to occur. A kiss that she remembers happening with the Hound, but all evidence points to there not being anything of a romantic nature between them. There is also the fact that Sandor’s story mirrors Jon and he’s set up as the Jon stand-in in Sansa’s arc.

We have the tale of the Shrouded Lord starting out as a stone statue and being given life by the kiss from a grey woman who had lips as cold as ice. This woman’s cold lips and her grey color can’t help but make one think of the corpse/night’s queen. And further to the grey woman who kisses the Shrouded Lord, in the same book, we hear of Melisandre’s vision of a mysterious girl wearing Stark colors and coming to Jon at the Wall.

There is also all the mermaid symbolism in the text of them rescuing a drowning male, and how this symbolically plays out with Septa Lemore saving Tyrion in the scene where he acts as the stand-in for the Shrouded Lord. A scene that also echoes that of Christ’s crucifixion and resurrection with the use of vinegar.

I could go into detail of how Sansa’s interaction with Dontos, the stand-in for Florian in her arc also symbolically mirrors that of a mermaid saving a man from drowning, but this chapter is already overlong. As a result, I will again suggest that you watch Crowfood’s Daughter video, The Grey King’s Mermaid Wife for more details.

Now that I’ve discussed all the clues that suggest Sansa will have a role to play in Jon’s resurrection as well as why the Shrouded Lord is a stand-in for Jon, you might wonder how I think his return will play out.

Well, I think that Melisandre will have a role to play in the events, but she won’t be fully responsible for his return. With her, it will be more of an accident. I think that the kiss between Sansa and Jon will take place out of time in the weirwood net, and it will in some way, magically push Jon back into his body, but he will bring some of Ghost’s savage nature with him.

On the Melisandre angle, I think that she will burn Jon. She keeps asking R’hllor to show her Stannis but all she sees is Snow. She’s seeing Jon both literally and symbolically. Her vision includes a lot of snow which has begun to fall, but as we know, and saw in the TV show, ashes can also look like snow, and that’s what Mels is seeing around Jon.

Stannis tells Justin Massey that rumor may reach them that he is dead. Will that be true or not is not the subject for now, but I think that it’s possible that Melisandre may entertain this idea when she continues to be unable to see him in the fire, and even with his death, she continues to see Jon Snow in the flames.

Maybe this will lead her to recognizes that snow can sometimes look like ashes and then she comes to the realization that she should burn Jon. The Nights Watch and Wildings who will join to dispatch those who kill Jon would want to burn his body in either case to prevent it turning into a wight.

And this is where the prophecy of waking dragons from stones will come in. As far as Melisandre is concern, that hasn’t yet happened, and so in her quest to help the missing Stannis, she may see the burning of Jon as the way to make it so. She asks for Azor Ahai, but the flames keep showing her Jon Snow. Yes, Jon is dead, but maybe she thinks the R’hllor is telling her that the burning of his body will still lead to Azor Ahai, who she believes is Stannis.

Also, while she doesn’t know about Jon’s connection to Rhaegar and that he also has Targaryen blood, the Starks come from a long line of ancient kings and his brother was recently crowned king. Thus, to her, Jon also has king’s blood. But she needs two kings to wake the dragon, and that’s where Shireen comes in.

Shireen is not a king, but she is Stannis heir and has king’s blood. And so, Melisandre has her two kings to wake a dragon. Jon Snow and Shireen. It won’t be very difficult for Mels to convince Selyse to burn her daughter to the cause…especially if it will help Stannis. The queen is a devout fanatic. Does Melisandre think she will be waking a real dragon from stone? Possibly, but who knows. The point is that she’s doing it because she thinks it will help Stannis.

The interesting thing is that the Wildings and the remaining Nights Watch brothers won’t do anything to stop it. The Wildings will be the ones primarily in charge, and as we see from Val, they already think that Shireen should not be alive because of her greyscale. So, they won’t stop Melisandre from burning her.

Where will all of this take place? Radio Westeros has a great theory that Jon’s pyre will be in the weirwood grove of nine where he and Sam said their vows. It’s a great theory and makes a lot of sense, and so, I wouldn’t rule it out. However, I also wouldn’t rule out Jon’s pyre being at the Nightfort.

As I’ve said throughout this series, Jon and Sansa will be this timeline’s version of the Night’s King and corpse queen. As these two ancient figures are so associated with the Nightfort, it seems like Jon’s resurrection should take place there, but I don’t know what reason Melisandre would have to take the body there to burn…unless Castle Black is destroyed.

Shireen and Jon will burn in the same pyre or ones next to each other and while Jon’s body will be frozen initially, the heat will melt it and open the wounds given to him by his murder. And the greyscale ashes from Shireen will enter the wounds, giving him greyscale just as he’s being pushed back into his body and awakens. And, we have the dragon waking from stone.

While the details maybe different, I think that the ideas behind what some will call a hairbrained theory is sound when you consider that Jon must get greyscale if he is to become the Shrouded Lord and personify the Living Stone that was Jesus. The wine at the Wall is even called sour and so I would not be surprised to see that playing a part in his resurrection as well.

The other boys gathered round the eight who had been named, laughing and cursing and offering congratulations. Halder smacked Toad on the butt with the flat of his sword and shouted, "Toad, of the Night's Watch!" Yelling that a black brother needed a horse, Pyp leapt onto Grenn's shoulders, and they tumbled to the ground, rolling and punching and hooting. Dareon dashed inside the armory and returned with a skin of sour red. As they passed the wine from hand to hand, grinning like fools, Jon noticed Samwell Tarly standing by himself beneath a bare dead tree in the corner of the yard. Jon offered him the skin. "A swallow of wine?" Sam shook his head. "No thank you, Jon." —A Game of Thrones, Jon V

Note how Sam who is no longer at the wall and wasn’t there for the mutiny and so won’t be there for Jon’s resurrection is written as separate from Jon and the other boys in the scene. Martin and his consistency.

So to recap, in the same book that Jon Snow, the Christ like figure of the story is murdered, and path to resurrection foreshadowed in the Varamyr prologue, George also gives us the myth of The Shrouded Lord, a stone statues that is brought to life by the cold kiss of a grey woman... a legend which mirrors the resurrection of real world Jesus.

George also places Shireen, the child who carries the greyscale disease that causes men to turn to stone at the Wall next to dragon blooded Jon. ln in the same book, Melisandre also get's a vision of a mysterious girl in grey traveling through the snow to Jon...a girl that strong clues suggests is Sansa. All of these elements that mirror the Shrouded Lord legend coalescing around Jon Snow. Happenstance? I say no.

As we wind things down, let’s revisit the question of why George wrote greyscale into his story? Well, as I’ve just shown, he did it so that Jon, the Jesus like figure in the story can mirror the real world risen Christ as the Living Stone. However, on a deeper philosophical level, I think that he wrote greyscale into his tale to show that organize religion…especially one with a deify figure at the head can be a plague upon the people.

George questions things…especially dogma, knowing that there are often no answers to the universal questions we all ask. While he may no longer believes the religious teachings he was taught in his youth, they have had a major influence on him and his writings. He loves the lore of the Christian faith and various world religions, and that’s why his stories are filled with so much mythology.

Nonetheless, he also recognizes that much evil has been done in the name of religion since the first such organization showed its face upon the world thousands of years ago. It doesn’t matter what the religion has been. Evil has been done in its name. This is because organize religion otherizes people. It creates an us versus them dichotomy. And if you are not part of the us, then you must be “other,” with all that it implies.

You don’t belong. Your beliefs are wrong. You’re a sinner…etc. This theme about the evilness at the heart of organize religion and the deification of individuals is at the core of ASOIAF. I think it’s what D&D attempted to capture in their ham-fisted way on the show with Dany. Worshiping glorified God-like figures is never a good thing.

However, as I’ve stated, there is a dichotomy to the idea because to be human is to be part of a group…to be part of a community where we recognize each other’s wants and need; where we protect and provide for each other. But to paraphrase Hamlet, here’s the rub, because being part of a group always without fail leads to some form of organize religion. And so, what do you do!

Well, we’ve come to the end of this chapter, and we’re getting closer to the end of the series…probably only another couple of chapters. Next time, we are going to go to some dark places as I show you why what happened to Sansa on the show is not out of the realms of possibility in the books. Not with Ramsay of course; and it may not be physical in nature, but more mental…like what Varamyr attempted with Thistle. However, I do think that dark days are ahead for Sansa before she sees the dawn. I can’t tell you when the next chapter will be here because I must psych myself up to go to that dark place and write it. I also have a lot upcoming in the New Year, and so it might not be for several months, but it will be come.

So what does everyone think of the theory that Jon is the Shrouded; Sansa the girl in grey; and the Unkiss tied to Jon's resurrectin.

All comments welcome. Until next time.

ETA on 12/26 to fix a few typos and grammatical errors and also to add the two recap paragraphs.

#sansa stark #jon snow #asoiaf #jon x sansa #house stark #asoiaf meta #my meta #sansa stark meta #florian and jonquil #jon snow meta #the shrouded lord #the girl in grey #girl in grey #jon the living stone

35 notes · View notes

stormcloudrising · 4 months

Text

The Secret Song of Florian and Jonquil- Part 9: The Grey Ghost and the Girl in Grey

December 23, 2024

This latest chapter was meant to be in one part, but it has turned out so long, I’ve decided to split it into two. Thus, today you are getting first part titled, The Grey Ghost and the Girl in Grey. Tomorrow, I will be posting part 2, and as a preview of what we will be covering, it will be entitled, The Shrouded Lord and a Mermaid's UnKiss. And so, without further ado, let’s begin.

Jon and Sansa by Arantza Sestayo for the 2023 ASOIAF Calendar

I begin this chapter with a question. Can a dead man get Greyscale?

A strange and provocative question to be sure, but I think it’s an important one that has not been but should be considered by the fandom. I say this because while I’ve seen an abundance of videos and read numerous essays about why greyscale is in the story, none seem to ask what I think is the most important question surrounding the topic, and that is why is Shereen at the Wall? More importantly, why does she have greyscale?

Why is Shireen being at the Wall important? Well, greyscale is said to be a curse called down by Garin on the dragon lords of old Valyria, and there are three dragons of note in the series. Dany, Faegon (whether he’s truly Aegon’s son or a Blackfyre descendant, he has dragon blood), and Jon. Let’s also include the Baratheons in this mix, as they also have dragon blood, which could be one of the reasons why Shireen has greyscale. But there may be a more important one.

The Volantenes and their Valyrian kin put them to the sword—so many that it was said that their blood turned the great harbor of Volantis red as far as the eye could see. Thereafter the victors gathered their own forces and moved north along the river, sacking Sar Mell savagely before advancing on Chroyane, Prince Garin's own city. Locked in a golden cage at the command of the dragonlords, Garin was carried back to the festival city to witness its destruction. At Chroyane, the cage was hung from the walls, so that the prince might witness the enslavement of the women and children whose fathers and brothers had died in his gallant, hopeless war...but the prince, it is said, called down a curse upon the conquerors, entreating Mother Rhoyne to avenge her children. And so, that very night, the Rhoyne flooded out of season and with greater force than was known in living memory. A thick fog full of evil humors fell, and the Valyrian conquerors began to die of greyscale. —The World of Ice and Fire - Ancient History: Ten Thousand Ships

Curiously enough, all the dragon blooded in the story are tied to the greyscale arc. Faegon via Jon Con, who has the disease; Dany is not directly tied to it yet, but she will be when her story intersects with Faegon and Jon Con; and then there is Jon who is connected to greyscale via Shireen Baratheon who is a survivor of the disease and has the marks to show it.

So again, why is Shireen, who has greyscale at the Wall. She’s Stannis’ daughter, but obviously there’s no need for her to have greyscale. No need that is, unless George needed someone with the disease to be in contact with dragon blooded Jon Snow, and so the question again becomes why, and can a dead man get greyscale.

Obviously as I’m proposing the question, I think the answer is yes, a dead man can indeed get greyscale. And obviously, I’m not talking about any dead man, but rather the special snowflake of the series who has been foreshadowed to rise from the dead, one Jon Snow. This is because Jon Snow is the Shrouded Lord and Shireen is at the Wall to give him greyscale and make him, the “Living Stone.”

Do I mean that Jon is the mysterious man of legend that lives in the Sorrows. Absolutely not. While Martin once intended to have Tyrion meet that figure, I don’t think that he will ever appear on the page. No, what I’m saying is that the legend of the Shrouded Lord from the Sorrows is in the story to inform and clue us in on Jon’s resurrection.

You are no doubt saying that this is a ridiculous theory and that the myth of the Shrouded Lord has nothing to do with Jon. I say that it and the inclusion of greyscale in the story has everything to do with Jon Snow, and I think that by the end of this chapter, many of you may come to agree.

This latest chapter has been six years in the writing. I started writing the theory 6 years ago, even before I wrote the first chapter of the Florian and Jonquil series. It’s one of many essays I’ve started but have not completed because once I started the F&J series, I realize that most of the half-written essays tied into the Florian and Jonquil mothership.

Some I’ve completed as earlier chapters in the series and a couple I’ve written as standalone essays. Still, I always knew that the chapter about the Shrouded Lord had to be part of the F&J series, because it’s a key part of the legend of the original characters and their modern-day counterpart, Jon, and Sansa.

I don’t think that I must go into the reasons Sansa is the Jonquil of the story because it should be obvious to all. There are also many clues that point to Jon being the modern-day Florian, including the fact that George obviously named the character after Saint Florian, the Roman soldier who became the patron saint of firefighter, who was killed when a rock was tied to him and he was thrown into a river to drown. As you continue to read this chapter, you will see that the stone and drowning aspect of the Saint Florian legend will be of major symbolic importance to my theory.

It makes perfect sense that George named his Florian after the man firefighters view as their patron saint because textural evidence suggests that the ancient Florian also fought against fire and it’s strongly hinted at in the books, that a returned Jon will lead the forces of ice against that of fire.

If you are still not convinced that Jon is the modern Florian of the story, consider this other real-world Florian whose story is strongly echoed in Jon’s arc.

Florianus (Marcus Annius Florianus; died 276), also known as Florian, was Roman emperor in 276, from July to September. He was the maternal half-brother of his predecessor, Tacitus, who was proclaimed emperor in late 275, after the unexpected death of Emperor Aurelian. After Tacitus died in July 276, allegedly assassinated as a consequence of a military plot, Florianus proclaimed himself emperor, with the recognition of the Roman Senate and much of the empire. However, Florianus soon had to deal with the revolt of Probus, who rose up shortly after Florianus ascended the throne, with the backing of the provinces of Egypt, Syria, Palestine, and Phoenicia. Probus took advantage of the terrain of the Cilician Gates, and the hot climate of the area, to which Florianus' army was unaccustomed, to chip away at their morale. Because of this, in September 276, Florianus' army rose up against him and killed him. —Wikipedia

Does this story about Emperor Florianus remind you of anything? Florian became emperor after the murder of his half-brother, and ruled for just three months before he was killed by his men. Except for the different circumstances, this is basically Jon’s story with the murder of his “half-brother” Robb; and him rising to be Lord Commander of the Night’s Watch before he like Emperor Florian was killed by his men soon after he takes on the leadership role.

I mentioned Florian and Jonquil at the onset of this chapter because this series is obviously about them, but their identity and symbolism is especially key to this chapter. However, before I get deep into the explanation of why Shereen is at the Wall to give Jon greyscale and why Jon is the Shrouded Lord of the story, let’s first discuss Jon’s symbolic color.

JON SNOW, THE GREY GHOST

Grey Ghost by René Aigner

Color is important in ASOIAF. George uses color over and over to give clues to his monomyth at the heart of the story. This is primarily done though sigils. However, characters are associated with colors as well, and that often has meaning in the story.

There is what I think is a mistaken theory from some in the fandom that Jon’s symbolic color is black. It is not. Jon’s color is tried and true Stark grey. It’s understandable why some may think his color is black. After all, he’s a black brother of the Night’s Watch and when he first leaves to join that order, he has this conversation with Robb.

Robb looked relieved. "Good." He smiled. "The next time I see you, you'll be all in black." Jon forced himself to smile back. "It was always my color. How long do you think it will be?" "Soon enough," Robb promised. He pulled Jon to him and embraced him fiercely. "Farewell, Snow."—A Game of Thrones - Jon II

Sadly, this moment was the last time Jon and Robb saw each other alive. In the passage, Jon tells Robb that black was always his color, but we know that’s not what he wanted. All Jon ever wanted was to be a Stark. He wanted to stand and represent the grey wolf of the house. And he wanted to follow his “father” as Lord of Winterfell. Yes, he loved Robb and would never have done anything to hurt him, but in his heart of hearts, he wanted what Robb had.

The thing is that George shows us over and over that Jon is more Stark-like than any of Ned’s kids. He looks the most like Ned and the ancestral Starks. He has Ned’s disposition, and he has the matriarchal genes of the Starks through his mother Lyanna, where Ned’s kids’ matriarchal heritage come from the Tullys. Most importantly, Jon has Ghost, the white wolf. And who is Ghost?

When he finally put the quill down, the room was dim and chilly, and he could feel its walls closing in. Perched above the window, the Old Bear's raven peered down at him with shrewd black eyes. My last friend, Jon thought ruefully. And I had best outlive you, or you'll eat my face as well. Ghost did not count. Ghost was closer than a friend. Ghost was part of him. —A Dance with Dragons - Jon III

Over and over in the text the connection between Jon and Ghost is emphasized. It’s the same for the other Stark kids and their direwolves bond mates. The human and the direwolves are two sides of the same coin once the bond is made.

Jon wondered where Ghost was now. Had he gone to Castle Black, or was he was running with some wolfpack in the woods? He had no sense of the direwolf, not even in his dreams. It made him feel as if part of himself had been cut off. Even with Ygritte sleeping beside him, he felt alone. He did not want to die alone. — A Storm of Swords - Jon V

When Ghost and Jon are separated by the Wall, Jon feels as if a part of him had been cut off. Even Ygritte beside him couldn’t lessen the loss of Ghost because Jon and his direwolf are one. They are one, and they are grey. This is one of the major symbolic reasons why Martin gave Jon the white direwolf.

Yes, Ghost’s name foreshadows Jon’s death and return, but his color in combination with Jon’s black brother symbolism make the two who are one, grey not black. So, while I understand why some in the fandom think of Jon’s color as black as an echo of Drogon, thus marking him as Dany’s mate, that is the wrong interpretation. Jon is the Grey Ghost.

If you doubt that Jon’s color is grey, consider the story that Martin gives us in The Princess and the Queen, which was further developed in TWOIAF about one of the wild dragons on Dragonstone.

Dragonstone’s three wild dragons were less easily claimed than those that had known previous riders, yet attempts were made upon them all the same. Sheepstealer, a notably ugly “mud brown” dragon hatched when the Old King was still young, had a taste for mutton, swooping down on shepherd’s flocks from Driftmark to the Wendwater. He seldom harmed the shepherds, unless they attempted to interfere with him, but had been known to devour the occasional sheepdog. Grey Ghost dwelt in a smoking vent high on the eastern side of the Dragonmont, preferred fish, and was most oft glimpsed flying low over the narrow sea, snatching prey from the waters. A pale grey-white beast the color of morning mist, he was a notably shy dragon who avoided men and their works for years at a time. The largest and oldest of the wild dragons was the Cannibal, so named because he had been known to feed on the carcasses of dead dragons and descend upon the hatcheries of Dragonstone to gorge himself on newborn hatchlings and eggs. Would-be dragontamers had made attempts to ride him a dozen times; his lair was littered with their bones. —The Princess and the Queen

Grey Ghost, sometimes referred to as “the” Grey Ghost was one of the three wild dragons on Dragonstone during the previous Dance with Dragons. He along with Sheepstealer and Cannibal were considered wild dragons because they were never ridden. Also, doesn't the use of the in front of his name almost seem like a title...something similar to "the Stark," "the Ned,” “the Great Jon,” or “the Night’s King."

While Sheepstealer was said to have hatched during the youth of King Jaeherys and some of the small folks said Cannibal was on Dragonstone prior to the arrival of the Targaryens, there is no information given on the birth of the Grey Ghost. However, all indication is that he was a young dragon because of how he met his demise.

It was about this time that a battered merchant cog named Nessaria came limping into the harbor beneath Dragonstone to make repairs and take on provisions. She had been returning from Pentos to Old Volantis when a storm drove her off course, her crew said … but to this common song of peril at sea, the Volantenes added a queer note. As Nessaria beat westward, the Dragonmont loomed up before them, huge against the setting sun … and the sailors spied two dragons fighting, their roars echoing off the sheer black cliffs of the smoking mountain’s eastern flanks. In every tavern, inn, and whorehouse along the waterfront the tale was told, retold, and embroidered, till every man on Dragonstone had heard it. Dragons were a wonder to the men of Old Volantis; the sight of two in battle was one the men of Nessaria would never forget. Those born and bred on Dragonstone had grown up with such beasts … yet even so, the sailors’ story excited interest. The next morning some local fisherfolk took their boats around the Dragonmont, and returned to report seeing the burned and broken remains of a dead dragon at the mountain’s base. From the color of its wings and scales, the carcass was that of Grey Ghost. The dragon lay in two pieces, and had been torn apart and partially devoured. —The Princess and the Queen

It is at first believed that the Grey Ghost was killed by Cannibal because the black wild dragon was known to eat dragon eggs and kill and eat smaller dragons on Dragonstone. However, in this instance, Cannibal was innocent of the crime. We later find out that the dragon that was guilty of killing Grey Ghost was none other than King Aegon’s Sunfyre.

And there Aegon might have remained, hidden yet harmless, dulling his pain with wine and hiding his burn scars beneath a heavy cloak, had Sunfyre not made his way to Dragonstone. We may ask what drew him back to the Dragonmont, for many have. Was the wounded dragon, with his half-healed broken wing, driven by some primal instinct to return to his birthplace, the smoking mountain where he had emerged from his egg? Or did he somehow sense the presence of King Aegon on the island, across long leagues and stormy seas, and fly there to rejoin his rider? Some go so far as to suggest that Sunfyre sensed Aegon’s desperate need. But who can presume to know the heart of a dragon? After Lord Walys Mooton’s ill-fated attack drove him from the field of ash and bone outside Rook’s Rest, history loses sight of Sunfyre for more than half a year. (Certain tales told in the halls of the Crabbs and Brunes suggest the dragon may have taken refuge in the dark piney woods and caves of Crackclaw Point for some of that time.) Though his torn wing had mended enough for him to fly, it had healed at an ugly angle, and remained weak. Sunfyre could no longer soar, not remain in the air for long, but must needs struggle to fly even short distances. Yet somehow he had crossed the waters of Blackwater Bay … for it was Sunfyre that the sailors on the Nessaria had seen attacking Grey Ghost. Ser Robert Quince had blamed the Cannibal … but Tom Tangletongue, a stammerer who heard more than he said, had plied the Volantenes with ale, making note of all the times they mentioned the attacker’s golden scales. The Cannibal, as he knew well, was black as coal. — The Princess and the Queen

During the period of the Dance, Sunfyre was described as a young dragon. Like Grey Ghost, the year of Sunfyre’s hatching is not mentioned in the books. However, even though he was described as young, he had to be bigger in size than the Grey Ghost as even with injured wing, he was able to kill the wild dragon. This tells us that Grey Ghost was likely younger than Sunfyre. Thus, Grey Ghost can be considered a young dragon as Jon would be as well.

As he was a young dragon and born on Dragonstone, he had to have been of the same lineage as the other Targaryen dragons. However, and this is of symbolic importance, he was wild. He was never ridden by a Targaryen, and so while he was “of them,” he was not “one of them.” This is of vital importance when you consider that he met his demise battling a Targaryen dragon of the same lineage.

Jon Snow is the Grey Ghost dragon. Like his animal counterpart, he is of Targaryen lineage, but will never be one of them. Grey Ghost’s battle with Sunfyre, a Targaryen dragon during the first Dance is also a key clue that Jon and Dany, the current Targaryen in the story will be in conflict. The rumor that Cannibal was the dragon that killed Grey Ghost may also foreshadow Jon facing off against that dragon or one like him in the future, but that’s a tinfoil theory for another day.

For now, let’s just acknowledge that George wrote the story of Grey Ghost into the story to point to Jon and what he represents in the story. His symbolic color is grey, not black and like the Grey Ghost, we will discover, that he also has a penchant for fish, because George didn’t just add that little bit to the legend by mere happenstance.

©HBO Game of Thrones

SANSA STARK, THE GIRL IN GREY

Among her many symbolic representations, Sansa Stark is also a symbolic fish. This symbolism she gets from her mother’s Tully heritage. As I discussed in the previous chapter, she is also a symbolic sea dragon, and in the story, when George talks about sea dragons, he’s talking about mermaids and vice versa. And again, I’m not talking about actual mermaids and sea dragons, but rather the symbolic representation of the female greenseers who first ruled the green sea or what the fans called the weirwood net. There is so much sea dragon/mermaid symbolism surrounding Sansa in the text, that it’s not even funny.

Petyr absconds with Sansa on the galley, the Merling King with a golden-crowned merman blowing on a seashell horn as the figurehead. Littlefinger seems to own the galley as his man Oswell Kettleback is the captain and Petyr seems to use it on a regular basis. Thus, when he and Sansa depart Kings Landing on the galley, Petyr is the symbolic merling king in the passage. Then he gets to the Vale, and makes Sansa pretend to be his daughter Alayne Stone thus making her the daughter of the merling king.

George then does something genius in the Vale arc to reinforce the symbolism. He has Petyr kill the merlin queen and usurp her rulership, which she was carrying out in the name of her son. What made Lyssa, the merlin queen you ask? Well note that that I didn’t say that she was the merling queen. I instead said that she was the merlin queen. Merlin without the g.

This is because the merlin, as in the blue falcon bird is the sigil of House Arryn. This is one of the genius ways George uses word play to emphasize his symbolism. Petyr is both the symbolic Merling King of the sea, and the Merlin King after he kills Lyssa and takes over as the Lord Protector in the Vale. This is also why Ursula Upcliff the ancient Vale figure, who is named after the character from the Little Mermaid can have said that she was the bride of the Merling King. She was likely for however brief a time married to one of the Kings of the Vale.

There is even a myth in the Vale of the Winged Knight, their ancient ruler being a friend of mermaids.

There is an overabundance of frozen sea dragon/mermaid symbolism in the Vale, and George for whatever reason, plopped Sansa who some in the fandom ridiculously argue is not that important a character right smacked in the center of it. Let me now discuss the girl in grey.

There is a popular theory in the Jonsa fandom that Sansa is the true girl in grey Melisandre saw in the fires coming to Jon at the Wall. While Mels did not have the vision on the show, they did merge Sansa’s storyline into that of Jeyne Poole and Alys Karstark and had her reunite with Jon at the Wall.

As I’ve stated on prior occasions, I have several problems with this theory playing out as proposed. First, Sansa being the girl in grey at the Wall would be a case of Martin pulling that rabbit out of the hat one too many times, and that’s not the way he writes.

First, the girl in grey was thought to be Arya. We the reader knew that it was not but Jon didn’t. Then Alys Karstark showed up and he thought she was the one that Melisandre saw in her vision. Stannis now thinks that’s Jeyne is Arya and he’s sent her to Jon at the Wall, and so you have another girl showing up. I don’t think George’s writing style leads to him going to that well for a 4th time.

Another reason that I don’t think the girl heading to the Wall is Sansa is because in the books, there will be no such merging of storylines like on the show. Also, when Sansa leaves the Vale, she will be taking the Knights of the Vale with her as she heads north. She won’t need to run to the Wall to Jon to for protection. Finally, part of Sansa’s arc as the Persephone of the story is to be stolen by the northern Lord of the Underworld, the symbolic Hades of the story.

Now having said all that, I’m going to surprise you by saying that I do think that Sansa is the girl in grey from Melisandre’s vision. I’ve confused you, haven’t I? Well, let me try to explain.

In the past when I’ve been asked my opinion about the girl in grey theory, I’ve tried to keep my answer to the part of the theory that had to do with her reunion with Jon at the Wall. I’ve done this because saying, “I don’t think she will reunite with Jon at the Wall, but I do think she is the girl in grey” would have required me to go into detail on what I meant.

This is something I was not prepared to do, because I was not quite ready to discuss the Shrouded Lord theory. However, now that I’ve finally gotten to this specific chapter of the series, I can reveal my thinking because Sansa being the girl in grey is central to the theory.

Melisandre often misinterprets her visions, as we see with the one about the towers by the sea.

Visions danced before her, gold and scarlet, flickering, forming and melting and dissolving into one another, shapes strange and terrifying and seductive. She saw the eyeless faces again, staring out at her from sockets weeping blood. Then the towers by the sea, crumbling as the dark tide came sweeping over them, rising from the depths. Shadows in the shape of skulls, skulls that turned to mist, bodies locked together in lust, writhing and rolling and clawing. Through curtains of fire great winged shadows wheeled against a hard blue sky. _____ "We've had a raven from Ser Denys Mallister at the Shadow Tower," Jon Snow told her. "His men have seen fires in the mountains on the far side of the Gorge. Wildlings massing, Ser Denys believes. He thinks they are going to try to force the Bridge of Skulls again." "Some may." Could the skulls in her vision have signified this bridge? Somehow Melisandre did not think so. "If it comes, that attack will be no more than a diversion. I saw towers by the sea, submerged beneath a black and bloody tide. That is where the heaviest blow will fall." "Eastwatch?" Was it? Melisandre had seen Eastwatch-by-the-Sea with King Stannis. That was where His Grace left Queen Selyse and their daughter Shireen when he assembled his knights for the march to Castle Black. The towers in her fire had been different, but that was oft the way with visions. "Yes. Eastwatch, my lord." —A Dance with Dragons, Melisandre I

As many in the fandom have deduce…especially after the release of the Forsaken chapter, the two towers in Melisandre’s vision are the ones in Oldtown, which Euron will soon be attacking. She has seen Eastwatch-by-the-Sea and knows that those towers look different from the ones in her visions. However, because she misinterprets things and thinks the vision is about the Wildings attacking, she quickly agrees with Jon when he asks if the towers were at Eastwatch.

She also thinks that Stannis is the Azor Ahai figure from her visions even though her visions show her Jon when she asks. She’s convinced herself that it must be Stannis because he was the Lord of Dragonstone, and all the discrepancies don’t sway her. She’s also making assumptions in her thinking of the girl in her vision, but more on that in a moment.

Alys’ arrival at the Wall does seem on the surface to fit the vision describe Melisandre, as she arrives on a horse almost dying under her. This is exactly how Melisandre described the horse in her vision, and so Jon assumes it’s Arya when he’s first awoken and told of Alys’ arrival at Castle Black. “Arya. Jon straightened. It had to be her. “Girl,” screamed the raven. “Girl, girl.” “Ty and Dannel came on her two leagues south of Mole’s Town. They were chasing down some wildlings who scampered off down the kingsroad. Brought them back as well, but then they come on the girl. She’s highborn, m’lord, and she’s been asking for you.” “How many with her?” He moved to his basin, splashed water on his face. Gods, but he was tired. “None, m’lord. She come alone. Her horse was dying under her. All skin and ribs it was, lame and lathered. They cut it loose and took the girl for questioning.” A grey girl on a dying horse. Melisandre’s fires had not lied, it would seem. But what had become of Mance Rayder and his spearwives? “Where is the girl now?” —A Dance with Dragons, Jon IX

However, George does something strange when Jon visits Alys in that he never tells us the color of her clothing even though it was such an important point in the vision. He has Jon note them in a wet heap on the floor, but he doesn’t have him comment on the color, which is strange when “the girl in grey” is all that’s been in his thoughts.

“Maester Aemon’s old chambers were so warm that the sudden cloud of steam when Mully pulled the door open was enough to blind the both of them. Within, a fresh fire was burning in the hearth, the logs crackling and spitting. Jon stepped over a puddle of damp clothing. “Snow, Snow, Snow,” the ravens called down from above. The girl was curled up near the fire, wrapped in a black woolen cloak three times her size and fast asleep. She looked enough like Arya to give him pause, but only for a moment. A tall, skinny, coltish girl, all legs and elbows, her brown hair was woven in a thick braid and bound about with strips of leather. She had a long face, a pointy chin, small ears.” —A Dance with Dragons, Jon IX

This omission of the color of her clothing seems deliberate on George’s part…especially as he made them wet. As we know, some colors can look different when wet. For instance, reds can appear brown or black depending on the shade; and it can be difficult to tell if grey is black or vice versa. This seems as if George wants the reader to wonder whether Alys were indeed grey.

Another possible clue that the girl in the vision wasn’t Alys is the location of Karhold in relation to Castle Black. Karhold is Southeast of Castle Black. The fastest route for Alys to take would have been a straight shot east of Last Hearth through the Gift, up to Mole’s Town and over to Castle Black. It makes no sense for her to go out of her way to travel west to approach Castle Black from Long Lake as Melisandre says about the girl in the vision.

The Long Lake route would only make sense if Alys was indeed coming from Winterfell, but as she isn’t Jeyne and was coming from Karhold, that approach would make no sense. Plus, to get west of Long Lake, she would have had to cross the Last River, go through the Lonely Hills, and then also cross the lake to get to the western shore. This is a long way to travel when one is trying to reach a specific destination quickly. Plus, how exactly would Alys have crossed the Last River and the Long Lake.

There is also the fact that she was found by the Night’s a couple of miles south of Mole’s Town. This is proof that she came the route I suggested would have been the most direct to take from Karhold, and thus could not have been the girl in grey from Melisandre’s vision because as you can see from the map, the landscape looks nothing like what Mels described to Mance.

“Did your fires show you where to find this girl?” “I saw water. Deep and blue and still, with a thin coat of ice just forming on it. It seemed to go on and on forever.” “Long Lake. What else did you see around this girl?” “Hills. Fields. Trees. A deer, once. Stones. She is staying well away from villages. When she can she rides along the bed of little streams, to throw hunters off her trail.” He frowned. “That will make it difficult. She was coming north, you said. Was the lake to her east or to her west?” Melisandre closed her eyes, remembering. “West.” “She is not coming up the kingsroad, then. Clever girl. There are fewer watchers on the other side, and more cover. And some hidey-holes I have used myself from time—” He broke off at the sound of a warhorn and rose swiftly to his feet. All over Castle Black, Melisandre knew, the same sudden hush had fallen, and every man and boy turned toward the Wall, listening, waiting. One long blast of the horn meant rangers returning, but two … —A Dance with Dragons, Melisandre I

Melisandre tells Mance that the girl was Jon’s sister and she was escaping from Winterfell. Based on how she described the landscape, Mance made what he thought was the correct assumption because the girl in grey supposedly was coming from Winterfell. If the girl in grey is not Alys, might it have been Jeyne Poole who did indeed escape from Winterfell? Well, no!

First off, from the moment she escapes, Jeyne is never alone. She escapes with Theon and is soon captured by Mors Crowfood and sent to Stannis in the Wolfswood. Then as we see in TWOW preview chapter, Stannis in turn sends her to Jon at the Wall with 7 of his knights, Alysane Mormont, 12 horses, and several Black Brothers. Thus, there is no way that Jeyne is the girl in grey of the vision.

Stannis nodded. “You will escort the Braavosi banker back to the Wall. Choose six good men and take twelve horses.” ______ “Oh, and take the Stark girl with you. Deliver her to Lord Commander Snow on your way to Eastwatch.” Stannis tapped the parchment that lay before him. “A true king pays his debts.” Pay it, aye, thought Theon. Pay it with false coin. Jon Snow would see through the impostesure at once. Lord Stark’s sullen bastard had known Jeyne Poole, and he had always been fond of his little half-sister Arya. “The black brothers will accompany you as far as Castle Black,” the king went on. “The ironmen are to remain here, supposedly to fight for us. Another gift from Tycho Nestoris. Just as well, they would only slow you down. Ironmen were made for ships, not horses. Lady Arya should have a female companion as well. Take Alysane Mormont.” —The Winds of Winter, Theon I

I supposed Justin Massey and the other men travelling with him could be killed as they travel to Castle Black and Jeyne escapes and must make it the rest of the way on her own, but then one must ask what thematic purpose would that serve? I don’t mean what storyline purpose does it serve for Jeyne to arrive at the Wall. They are several. Rather, I mean what would be the purpose of her arriving alone and being the girl in grey…especially as Alys has already arrived at Castle Black and been mistakenly thought to be the girl in grey by Jon. No, Jeyne is not the girl from Melisandre’s vision.

Can the girl the true Arya Stark? Doubtful as she is halfway across the continent in Braavos, and all clues in the text that when she returns to Westeros, it will be to the Riverlands. This makes it very doubtful that she will reunite with Jon or any of the other Starks before A Dream of Spring, the last scheduled book in the series.

So, if the girl in grey is not Alys, Jeyne or even the real Arya, who is she? I say that it’s Sansa. However, just as she misinterpreted events in her vision about the two towers by the sea to be about Eastwatch, Melisandre is mistaken about the vision being about someone coming to Jon at the Wall. Rather, I think that she’s seeing events surrounding Sansa in the Vale as she tries to escape unfolding events after the Tourney of the Winged Knight.

Why is the vision not Sansa going to Jon at the Wall but of her in the Vale? Well for her to be going to the Wall, so many beats of the story would have to play out first, and like with Arya, it couldn’t happen before A Dream of Spring. Also, when Sansa goes north, she will not be travelling alone. She will have the Knights of the Vale with her, and so like Jeyne Pool, even if she goes to the Wall, she won’t be alone. And there is the fact that the Wall will likely have fallen by then.

Remember I said that Melisandre was making assumptions. What I meant is that she made it seem to Jon and Mance as if she had several visions of the girl in grey, when in fact, she had only one quick brief vision.

She came up with her own reasons of why the girl in the vision was Jon’s sister…likely because she wanted the Lord Commander to owe her a favor. She as much as thinks this. She also came up with a reasoning why the girl in grey was staying away from villages, and riding along the beds of streams. It’s not that she is necessarily wrong in her reasoning, but it is another example of how she puts her spin on things and often misinterprets the meaning of her visions.

The girl. I must find the girl again, the grey girl on the dying horse. Jon Snow would expect that of her, and soon. It would not be enough to say the girl was fleeing. He would want more, he would want the when and where, and she did not have that for him. She had seen the girl only once. A girl as grey as ash, and even as I watched she crumbled and blew away. —A Dance with Dragons, Melisandre I

White Walker Queen Sansa by AmyArts93n_DeviantArt

While I don’t think in Melisandre’ the girl in grey is approaching the Wall, there is one way, I think it could be the case, and that is if the vision is of Sansa and Jon reuniting in the weirwood net. Their reunion could be at the Wall in the weirwoods because after all, Old Nan did tell Bran that the Nights King first saw his corpse queen from the top of the Wall.

George has incorporated several Chekov guns into Sansa’s Vale arc that will go off in TWOW…most during the Tourney of the Winged Knights. There is the collapse of the Giant Lance causing an avalanche to descend on those attending the tourney at the Gates of the Moon. George has foreshadowed this happening from as far back as the Tourney of the Hand in the first book, and Oberyn’s battle with the Mountain in A Storm of Swords.

Lucifer Means Lightbringer also has a great theory that the Long Night was cause by the red comet knocking one of the previous two moons, in this case, the fire moon out of alignment and shards of it descending as meteors. This is what led to the Qartheen myth Doreah told to Dany.

LML proposes that the returned red comet heralds the coming of a similar event, which will cause the new Long Night, and there are strong textural clues to support this theory.

"A trader from Qarth once told me that dragons came from the moon," blond Doreah said as she warmed a towel over the fire. Jhiqui and Irri were of an age with Dany, Dothraki girls taken as slaves when Drogo destroyed their father's khalasar. Doreah was older, almost twenty. Magister Illyrio had found her in a pleasure house in Lys. Silvery-wet hair tumbled across her eyes as Dany turned her head, curious. "The moon?" "He told me the moon was an egg, Khaleesi," the Lysene girl said. "Once there were two moons in the sky, but one wandered too close to the sun and cracked from the heat. A thousand thousand dragons poured forth, and drank the fire of the sun. That is why dragons breathe flame. One day the other moon will kiss the sun too, and then it will crack and the dragons will return." —A Game of Thrones, Daenerys III

This time around, the shards to impact Planetos will be from the icy moon, which is the lone remaining moon in the sky. However, the icy moon won’t break up or be pushed out of alignment as was the case with its fiery sister, but pieces of it will descend to Planetos and cause the new Long Night. The icy moon can’t be destroyed because that would also mean the destruction of Planetos. As I queried in Why are the Others Back, the fact that the icy moon remained in the sky while the fire moon was destroyed is probably what protected Planetos from total destruction during other Long Nights, and maybe of symbolic importance in regard to the Others.

It's still to be determined whether returning comet or the meteor shower will be a natural occurring event or something precipitated by magical means. As this is a fantasy story, and the red comet has already moved away from Planetos, I suspect there will be some type of magical event that will call it back.

Unlike LML, I think a shard of the icy moon will hit in the Vale with impact on the Giant Lance, precipitating the avalanche. As I discussed in previous essays, descending from the Eyrie via the three waycastles of Sky, Snow, and Stone is like riding down on a meteor with the vaporish tail at the top (Sky), the icy snowy interior/middle (Snow), and the stony head (Stone) that will impact on Planetos.

You can view LML’s Long Night theory at on his YouTube channel here. And to read more about an avalanche hitting during the Tourney of the Winged Knight, please read Sweetsunray’s essay here. While her interpretation of events is different from mine, I think that she hit the nail on the head regarding the foreshadowing of the avalanche, and it was from her that I first picked up on the idea.

Other Chekov’s guns slated to go off are Petyr having Harry the Heir killed during the tourney; the revelation that Alayne Stone is Sansa Stark; Shadrach attempt to kidnapped Sansa; and of course, the Mountain Clans attacking during the tourney. Keeping all that in mind, let’s again look to see whether there is anything in Melisandre’s vision that might point to the girl in grey being Sansa.

Funnily enough, the description that Melisandre gives that Mance interprets to be the Long Lake area, could be a description of the Mountains of the Moon in the Vale. In fact, if you look at the area around Long Lake and the MOTM on a map, you will see that they look very similar as both are mountainous fertile regions.

Hills. Fields. Trees. A lake. Unlike in the North and other areas of Westeros, we have not yet been given the names of any of the lakes or rivers in the Vale. However, we know from the map that there are plentiful. Plus, as the Vale is one of the most fertile places in Westeros, and produces much of the area food, we know that they must have an abundance of water.

There is certainly a lot of water flowing from Alyssa’s Tears before it’s frozen during the winter months. Legend tells us that the water from the waterfall turns into mists before it reaches the Vale proper, but we know that can’t really be the case, and somewhere in the mountains…and likely through a cave system, water flows down from Alyssa’s Tears to the valley below.

Aside from the area around Long Lake being similar in terrain to that of the one around the Mountains of the Moon, you might be asking, what else in Melisandre’s vision suggests it might be of Sansa in the Vale?

Well, there is the curious mention of stones. Why stones? The area in her vision, which supposedly looks like Long Lake is a mountainous terrain as the northern mountains are to the east. However, Melisandre already mentioned there were hills in the vision, and while not quite the same as a mountain, the word is sometimes used as a stand-in. Mance himself makes this connection with his belief that she’s talking about the Long Lake area.

Might she be talking about mountains when she mentions stones? It’s not out of the realm of possibilities but is certainly a weird turn of phrase when hills were mentioned previously. So, if not hills or mountains, to what might stones refer?

Could the word be a hint to Alayne Stone, the pseudonym that Sansa is currently using while she pretends to be Petyr’s bastard daughter? I think that is certainly part of the answer. You’re probably saying that Melisandre refers to stones as in the plural form, not singular as in one person, which would be the case if it was about Sansa. To that I would say that all the bastards of the landed gentry in the Vale are referred to as Stone, and that could be where the plural reference comes in.

Nonetheless, there is one possible additional explanation for the Stone reference.

"Little boyman," Shagga roared, "will you mock my axe after I chop off your manhood and feed it to the goats?" But Gunthor raised a hand. "No. I would hear his words. The mothers go hungry, and steel fills more mouths than gold. What would you give us for your lives, Tyrion son of Tywin? Swords? Lances? Mail?" "All that, and more, Gunthor son of Gurn," Tyrion Lannister replied, smiling. "I will give you the Vale of Arryn." A Game of Thrones - Tyrion VI

Tyrion has armed the Mountain Clans with steel. It’s why they are more brazen in their attack, and why they have become the woe of the Vale.

Littlefinger stroked the neat spike of his beard. "Lysa has woes of her own. Clansmen raiding out of the Mountains of the Moon, in greater numbers than ever before . . . and better armed." "Distressing," said Tyrion Lannister, who had armed them. "I could help her with that. A word from me . . ." —A Clash of Kings, Tyrion IV

Winter is coming for everyone, including the Mountain Clans, and they must prepare. With their new castle forge steel, they are raiding more in preparation, and the upcoming tourney provides them with a perfect opportunity to test out their new weapons against some of the leading warriors of the Vale and gather provisions for winter at the same time.

His dream of selling Arya to Lady Arryn died there in the hills, though. "There's frost above us and snow in the high passes," the village elder said. "If you don't freeze or starve, the shadowcats will get you, or the cave bears. There's the clans as well. The Burned Men are fearless since Timett One-Eye came back from the war. And half a year ago, Gunthor son of Gurn led the Stone Crows down on a village not eight miles from here. They took every woman and every scrap of grain, and killed half the men. They have steel now, good swords and mail hauberks, and they watch the high road—the Stone Crows, the Milk Snakes, the Sons of the Mist, all of them. Might be you'd take a few with you, but in the end they'd kill you and make off with your daughter." —A Storm of Swords, Arya XII

With steel in their hands, the clans have united in ways they never did before, and it just so happens that one of the leading ones, led by Gunthor son of Gurn are the Stone Crows, and so we have another explanation for reference to stones in Melisandre’s vision.

One of the members of the Stone Crows was Shagga who along with Timett of the Burned Men and Chella Black Ears were Tyrion’s guards. They all would recognize Sansa. Shagga and the other Stone Crows who travelled with Tyrion to the capitol remained in the kingswood after the Battle of the Blackwater and Tyrion’s later downfall. They may still be there or they may have made it back to the Vale.

Whether Shagga has returned to the Vale or not, Timett, Chella, and other members of the Burned Men and Black Ears have and they will recognize Sansa when they see her at the tourney and during the fighting afterwards. They will know that she is Tyrion’s wife and know what she represents. And if they recognize Sansa, she will know them in turn.

As the clans seem to be working together more, even if Shagga is not present, the news of Sansa’s identity will likely be shared with Gunthor and the Stone Crows as he seems to be one of the central leaders of the clans and was the one who brokered the deal with Tyrion.

Is the Mountain Clans a threat to Sansa? At the end of the day, I don’t think they will be. I suspect that they will end up being her guards as foreshadowed in A Clash of Kings.

It was as if her face were an open book, so easily did the dwarf read her hopes. "Do not take Oxcross too much to heart, my lady," he told her, not unkindly. "A battle is not a war, and my lord father is assuredly not my uncle Stafford. The next time you visit the godswood, pray that your brother has the wisdom to bend the knee. Once the north returns to the king's peace, I mean to send you home." He hopped down off the window seat and said, "You may sleep here tonight. I'll give you some of my own men as a guard, some Stone Crows perhaps—" "No," Sansa blurted out, aghast. If she was locked in the Tower of the Hand, guarded by the dwarf's men, how would Ser Dontos ever spirit her away to freedom? "Would you prefer Black Ears? I'll give you Chella if a woman would make you more at ease." "Please, no, my lord, the wildlings frighten me." He grinned. "Me as well. But more to the point, they frighten Joffrey and that nest of sly vipers and lickspittle dogs he calls a Kingsguard. With Chella or Timett by your side, no one would dare offer you harm." "I would sooner return to my own bed." A lie came to her suddenly, but it seemed so right that she blurted it out at once. "This tower was where my father's men were slain. Their ghosts would give me terrible dreams, and I would see their blood wherever I looked." —A Clash of Kings, Sansa III

Sansa turned down Tyrion when he made the offer of having the members of the mountain clans protect her, but I suspect her response will be different in the future, because just as Jon is brokering a peace between the Northern Houses and the Wildings, Sansa will do the same for the Mountain Clans and the Houses of the Vale.

Jon also could be a part of Melisandre’s stony mystery, but the answer to that will come later. And what about the deer. Martin didn’t just have Mels mention that name for no reason, and so, what might that name have to do with Sansa.

Well, as George has used anagrams on many occasions in the text, one can look at deer and see that it’s reed spelled backwards, and so could potentially hint at Howland finally appearing on the page. There is a fandom theory that he is Shadrich, but there are too many holes in that premise for me. Plus, nothing we’ve seen of the Mad Mouse fits the father described by Jojen and Meara. If Howland Reed is in the Vale to help Ned’s daughter, he’s not Shadrich. However, as the theory is out there, I had to mention it.

As I proposed in Ser Shadrich of the Shady Glen, the Mad Mouse is a Faceless Man…possibly even wearing the face of the first of their kind. And I do think that it’s quite possible that the deer Melisandre saw in her vision could be referring to the Mad Mouse. How you ask?

It so happens that there is a mammal called a mouse deer, but I don’t think it’s that type the text is referring to. A mouse deer is a cute fawn like animal. No, I think that George is quite possibly using the deer in Melisandre’s vision to refer to deer mice, the little rodent so named because its fur looks like that of a deer. As I discussed in the Shadrich essay, Faceless Men are compared to mice over and over in the text.

Now that we’ve discussed why Jon’s symbolic color is grey, and why Sansa is the girl in grey, let’s briefly talk about Martin and his love of Christian myths.

GRRM, THE LOVER OF CHRISTIAN MYTHS

The Episcopalian Church is the American offshoot of the Church of England (Anglican Church). It formed after the American revolution because priests in the newly independent nation were still required to swear allegiance to the British monarchy as head of the Anglican Church. Today, the ruling British monarch is still the head of the Church of England as they have been since Henry VIII split the church off from the Catholic Mother Church so that he could divorce and remarry whenever he wanted.

Unlike the Catholic Church which has a Pope who rules over the worldwide congregation and is considered the head of the Christian faith, the Church of England have regional bishops and archbishops who are leaders of their region and unlike catholic cardinals do not have to report to a central head. However, there are different tiers of leadership, and the most senior ranking member of the English church is the Archbishop of Canterbury who reports to the ruling monarch.

The structure the American Episcopalian Church is very much like that of the Church of England with a presiding Bishop as its titular head, but of course without the monarchy above him. It, like the Anglican Church is also very steep in the tradition of the Catholic Church. However, there are differences in the two churches and their Catholic counterpart from which they formed.

The most obvious difference is that in the Anglican and Episcopalian churches, the clergy are allowed to marry. Women are also allowed to be priests while only men are granted that honor in the Catholic church. One other major difference I want to mention is that the doctrine of the Catholic church is heavily centered around the Holy Mother, while the Jesus the son is more the focus of the Anglican and Episcopalian branches.

Other than those major differences, the Catholic and Episcopalian churches are similar in their pageantry. Both called their baptism into the faith, confirmation; both have kids as acolytes; the Catholic church has the Breviary while Episcopalian uses the Book of Common Prayer; the prayers for the different holy days are also very similar…the Apostles Creed vs the Nicene Creed among others.

I went into a brief discussion of the Catholic vs Episcopalian churches because George was confirmed and raised as a Catholic when he was young. He is no longer a practicing Catholic and could be described as more of an agnostic than an atheist. In fact, I may have heard him in an interview described himself as such, but I’m not positive if I’m remembering such an interview or if it’s just my opinion based on reading his writings.

However, it’s obvious in his writings that he loves religion…not necessarily the religious aspect or the wars that have been fought in the name of various religions. Rather, I think that he loves the myths around which all religions are based.

As George was confirmed and raised as a Catholic, I was confirmed and raised as an Episcopalian. I wasn’t an acolyte, but my brother and sister were. Every Sunday, the three of us had to attend Sunday School, and although, I no longer go to church every Sunday—and truthfully only attend services a few times a year, I’m still a member of the Episcopalian church, and can recite by heart all the prayers and homilies I learned as a child. When people ask me about the difference between the two churches, I don’t go into the detail explanation I just gave you. I basically describe being an Episcopalian as being Catholic without the guilt. That’s pretty much it in a nutshell…LOL.

Being an Episcopalian is one of the reasons that I recognize George’s heavy use of much Catholic doctrine and biblical myths in ASOIAF. This includes myths recognized and discussed by the fandom over the years such as the doctrine of the seven who are one of the Faith of the Seven mirroring that of the Trinity of the Christian faith; the ironborn’s legend of the Grey King descending to sit at the right hand of the drowned god just as in Christianity, Jesus is said to have ascended to sit at the right hand of God the Father.

In Part 1 of, Do Direwolves Dream of the Weirwood Net, I even discussed how Petyr’s killing of Joffrey echoes that of Samson’s killing of the young lion. There are other examples I’ve discussed in different essays, and some I’ve recognized but have not touched upon. However, what I want to discuss now is how one such biblical myth is baked into the legend of The Shrouded Lord as the representation of Christ in the story.

Again, I don’t mean the figure Tyrion is told about while sailing through the foggy stretch of the Rhoyne called the Sorrows. I am talking about Jon Snow, the true Shrouded Lord, aka the Prince of Sorrows, aka, His Grey Grace.

There is no character as much the focus of the Christian symbolism at play in the story as Jon Snow. He is the risen Christ of the story. It’s the reason for his grey symbolism, and I think it’s why George added the legend of the Shrouded Lord to the tale in A Dance with Dragon, just as Jon was being killed. It was to foreshadow and set up his eventual resurrection.

Aside from the foreshadowing of Jon’s resurrection George layers throughout the books, one of the most popularly accepted clues by the fandom that Jon is the Christ figure of the story is of course the legend of the Last Hero and his 12 companions, which mirror the real world one of Jesus and his 12 disciples. On the show, they also had Jon and a gang of 12 go behind the Wall on the wight hunt. I highly doubt that anything even similar will play out in the books, but there likely will be an event involving Jon and a group of 12, and maybe even a 13th, which will become clear shortly.

However, there is one scene that I don’t see discussed that is symbolically very important to the foreshadowing of events surrounding Jon’s symbolic resurrection, and it is the magical scene that takes place outside of Craster’s keep. I discussed it previously in Part 5 of my essay series, Of Sansa Stark and the Glass Menagerie and in a shorter excerpt in Waking in a Winter Wonderland. For expeditious purposes, I’m going to copy a bit of that essay here.

He woke to the sight of his own breath misting in the cold morning air. When he moved, his bones ached. Ghost was gone, the fire burnt out. Jon reached to pull aside the cloak he’d hung over the rock, and found it stiff and frozen. He crept beneath it and stood up in a forest turned to crystal. The pale pink light of dawn sparkled on branch and leaf and stone. Every blade of grass was carved from emerald, every drip of water turned to diamond. Flowers and mushrooms alike wore coats of glass. Even the mud puddles had a bright brown sheen. Through the shimmering greenery, the black tents of his brothers were encased in a fine glaze of ice. So there is magic beyond the Wall after all. He found himself thinking of his sisters, perhaps because he’d dreamed of them last night. Sansa would call this an enchantment, and tears would fill her eyes at the wonder of it, but Arya would run out laughing and shouting, wanting to touch it all. “Lord Snow?” he heard. Soft and meek. He turned. Crouched atop the rock that had sheltered him during the night was the rabbit keeper, wrapped in a black cloak so large it drowned her. Sam's cloak, Jon realized at once. Why is she wearing Sam's cloak? "The fat one told me I'd find you here, m'lord," she said. A Clash of Kings - Jon III

There is so much symbolism in the above passage and I wish that I could unpack it all, but I’ll have to give you the crib notes version. Jon wakes to aching bones…almost as if he was awakened from the dead. He notes that Ghost is gone from besides him and then pulls back his cloak (a symbolic door) to go outside. Jon is the Christ like figure in the story and so the cloak he hung over the “rock” is symbolic of the stone that sealed Jesus in his tomb, which of course will take on additional meaning later when Jon is killed and returns to the land of the living.

Jon crept beneath the stone, symbolic of Christ existing the tomb and stands in the realm of the afterlife. His brothers/disciples are still asleep because it is not yet their time to join him in the icy afterlife. He is alone in this icy landscape and thinks that there is magic beyond the Wall after all. He then thinks of his sisters and how they would react to the scene. Arya would run out laughing and wanting to investigate everything, but Sansa, she would cry at the wonder of it all. I’m going to come back to Sansa’s reaction later, because it’s very important, but for now, let’s talk about what happens next. It turns out that Jon is not alone in the icy landscape of the early morning.

Jon hears someone call his name, but they don’t refer to him by his name of Jon, but rather by the moniker of Lord Snow mockingly assigned to him by Alliser Thorne. Note how Martin italicizes Lord Snow for emphasis. This is because in the scene, the title positions Jon as the risen Christ like figure. He is the King of Kings and Lord of Lords.

He turns and sees Gilly wearing a black cloak sitting on top of the rock that sheltered him during the night. Symbolically, it is as if Gilly sheltered him while he slept. It also implies that potentially, she could have been why he awoke. Maybe she made a sound; maybe she willed him awake because she needed to speak to him.

Jon wonders why Gilly is wearing a cloak so large it almost “drowns” her. He then realizes it’s Sam’s cloak and wonders why she’s wearing it. I’ll tell you why Jon. It’s because in the scene, Gilly is the symbolic Mary Magdalene who was the first to know that Christ had risen from the dead. Her wearing Sam’s cloak positions her as a female member of the Night’s Watch as Mary Magdalene was said to be Christ’s 13th disciple.

It of course also positions Gilly as a symbolic Nights Queen/Persephone/original blue winter rose to Jon’s Nights King/Hades character. Even her name has icy Night’s Queen connotations as we discover when she tells it to Jon.

"I don't even know your name." "Gilly, he called me. For the gillyflower." "That's pretty." He remembered Sansa telling him once that he should say that whenever a lady told him her name. He could not help the girl, but perhaps the courtesy would please her. "Is it Craster who frightens you, Gilly?" A Clash of Kings - Jon III

Here is a description of the gillyflower from the wiki.

Matthiola incana is a species of flowering plant in the cabbage family Brassicaceae. Common names include Brompton stock, common stock, hoary stock, ten-week stock, and gilly-flower. The common name stock usually refers to this species, though it may also be applied to the whole genus Matthiola. The common name "night-scented stock" or "evening-scented stock" is applied to Matthiola longipetala. —Wikipedia

As we see, the gillyflower is also known as night-scented stock or evening-scented stock. Another name for it is also hoary stock. Very icy and almost most straight out of the Long Night. Sounds like the perfect flower stand-in for the blue winter rose in the scene. Notice also that Sansa’s name comes up for the second time in the chapter…this time when Gilly tells Jon about her icy sounding name.

Considering the association flowers have with romance, and the fact that the gilly flower is also called night and evening scented stock, one can argue that the name also has lady of the evening connotations. I will return to this and the hoary nature of Gilly’s name shortly but for now, I want to talk briefly about a scene that echoes the Jon magical one…this time from Sansa’s viewpoint.

Several times in the text, George writes mirror scenes for Jon and Sansa. These includes Sansa’s scene with the Hound on the top of the ramparts during the Battle of the Blackwater as they look out over the burning of the city. In the scene, the Hound puts his sword to Sansa’s throat. In the very next chapter, we get a re-enactment of this scene from Jon’s POV when he first meets Ygritte. The emphasis is again put on fire, and this time, it’s Jon who puts his sword to Ygritte’s neck.

Another mirror scene is when Sansa is interrogated by the Queen of Thorns and in the very next chapter Jon is interrogated by the King Beyond the Wall. The elements and content of the two chapters perfectly matches up. It’s almost as if the Jon chapter is a continuation of the Sansa one. Or rather, it’s as if Jon’s chapter gives you the answer or at least some of them to the question raised in Sansa’s. I discussed both the scenes with the Hound and Ygritte, and Olenna and Mance in Sansa and Sandor, and Jon and Ygritte. It’s one of my earliest essay series, and while I’ve since come to different interpretation of a few of the points, overall, I’m still behind the basic theory.

I mentioned these scenes to draw attention to the Sansa one that mirrors the one Jon has in the magical realm beyond the Wall. They don’t follow each other as with the two I just mentioned and in fact, occurs in different books, but George does write them to mirror each other and obviously wants you to think of them in unity.

When she opened the door to the garden, it was so lovely that she held her breath unwilling to disturb such perfect beauty. The snow drifted down and down, all in ghostly silence, and lay thick and unbroken on the ground. All color had fled the world outside. It was a place of whites and blacks and greys. White towers and white snow and white statues, black shadows and black trees and dark grey sky above. A pure world, Sansa thought. I do not belong here. Yet she stepped out all the same. Her boots tore ankle deep holes into the smooth white surface of the snow, yet made no sound. Sansa drifted past frosted shrubs and thin dark trees, and wondered if she was still dreaming. Drifting snowflakes brushed her face as light as lover’s kisses, and melted on her cheeks. At the center of the garden, beside the statue of the weeping woman that lay broken and half-buried on the ground, she turned her face up to the sky and closed her eyes. She could feel the snow on her lashes, taste it on her lips. It was the taste of Winterfell. The taste of innocence. The taste of dreams. ASOS Sansa VII, Chapter 80

As he does with so much of their character arcs, GRRM wrote this Sansa scene to echo Jon’s from the haunted forest. In a way, it’s a continuation of that scene because where Jon stopped short of seeing Sansa enter the death realm, here she steps out into it. Both wake from having dreams of their family. We don’t learn much of either dream except that both included Arya. We’re told that Jon’s dream included Sansa as well and so we’re left wondering whether hers also included him or even if possibly the two were of the same event. We also know that for both, it is a dream of home.

In Jon’s scene, he wakes, notes that Ghost is gone from besides him and then pulls back his cloak (a symbolic door) to go outside. I’ve already discussed the symbolism of him exiting from under the rock and so won’t do so again. Sansa on the other hand, opens a real door to enter the garden and is greeted by a ghostly silence as the snow falls. GRRM’s brilliance shines through here as he ties the two scenes together as soon as Sansa enters the garden.

Ghost is the silent direwolf who never makes a sound. In fact, the words ghost and silent appears together in 21 paragraphs in the various books and each time, the reference is to Jon’s direwolf. And so, Martin connects Jon’s frozen forest scene with Sansa’s winter Eyrie wonderland by making it seem as if Ghost has symbolically left Jon’s side to be at Sansa’s. But Ghost is not just a direwolf, he’s Jon as well and he brings the snow with him, which brushes Sansa’s face as soft as a lover’s kiss.

Martin continues the kiss imagery as Sansa describes feeling the snow on her lashes and tasting it on her lips. It’s almost as if she’s receiving butterfly kisses. The melting snowflakes on Sansa’s cheeks also echoes the tears that Jon mentions she would shed if she saw the magical icy realm beyond the Wall. In fact, Sansa’s reaction to the similar scene in the Eyrie, is just how Jon thought she would react.

She didn’t want to step out, which makes sense because she’s the Persephone character and while the time for her to descend is approaching, it’s not quite here yet.

I referenced the Sansa Eyrie scene not just to show the connection between Jon’s in the haunted forest, but also to show that there has been an idea of a kiss between the two percolating in background of their arcs. This is very important as I believe that when it happens, it will play a role in Jon’s resurrection. However, before I get to that bit of the theory, let’s briefly revisit Mary Magdalene.

Mary Magdalene in a landscape by Annibale Carracci

There are different versions of the crucifixion and resurrection of Christ in the four gospels but the common denominator in all is the presence Mary Magdalene at his death, burial and as one of the first witnesses of his empty tomb.

In some telling of the story, Mary is one of the three women who discover the stone removed from the tomb of Christ. They enter to find the body gone and the presence of an angel who tells them that Christ has risen and they should go and spread the word to his disciples. In two other gospels they don’t enter the tomb but an angel rolls away the rock and tells them that Christ has risen. Jesus then appears to them and tells them to go and notify the disciples that he has risen and to meet him in Galilee. And in the Gospel of John, Mary goes to the tomb alone and it is there that the Christ appears to her.

According to John 20:1–10, Mary Magdalene went to the tomb alone when it was still dark and saw that the stone had already been rolled away. She did not see anyone, but immediately ran to tell Peter and the "beloved disciple," who came with her to the tomb and confirmed that it was empty but returned home without seeing the risen Jesus. According to John 20:11–18, Mary, now alone in the garden outside the tomb, saw two angels sitting where Jesus's body had been. Then the risen Jesus approached her. She at first mistook him for the gardener, but, after she heard him say her name, she recognized him and cried out "Rabbouni!" (which is Aramaic for “teacher"). She tried to touch him, but he told her, "Don't touch me, for I have not yet ascended to my father.” Jesus then sent her to tell the other apostles the good news of his resurrection. The Gospel of John therefore portrays Mary Magdalene as the first apostle, the apostle sent to the apostles. —Wikipedia

Mary Magdalene like the 12 disciples is a major part of the Christian myth about the Christ. Like with the tale of Christ’s resurrection, there are many different versions to the biblical myths surrounding Mary Magdalene—including the earlier belief that she was a repentant prostitute. She is often conflated with Mary of Bethany or the sinful woman who washed Christ’s feet as referenced in the Gospel of Luke. And there are some biblical scholars who believe that there was some type of romantic relationship between Christ and Mary.

Another woman of whom Mary Magdalene is confused is Mary of Egypt, the prostitute who later became a saint. In fact, in some Medieval paintings, Mary Magdalene and Mary of Egypt are rendered in similar manner with a skull to signify their penitence, which no doubt contributed to the confusion between the two.

Whores play an important role in ASOIAF. They show up over and over in background scene but also in central roles as with Shae, and Tasha, Tyrion’s offscreen wife. Female characters are also often assigned that derogatory moniker. As a woman, it can sometimes be uncomfortable to read. However, I don’t think that George is doing it to be controversial or that he’s a sexist writer.

There is a symbolic and very important purpose behind all the reference to whor*s in the story. I think George is playing off the rumors about Mary Magdalene. House Darry from the Westeros forum and the once hopping Twitter myth-head fandom may have discovered the symbolic importance of whor*s in the story. He may have discovered why George has Tyrion asked the question, “where do whor*s go?”

House Darry proposes that often when George references whor*s, he is playing with the word hoar as in hoarfrost and icy. And ultimately, it’s to tell us something about the Others. Figuring out the answer to Tyrion’s question may provide an answer about what happened to Nissa Nissa and the Night’s Queen. You can read the thread on the forum here. I fully endorse his theory and advise reading as the thread as it contains some thought-provoking ideas.

This I believe is why George named Gilly after the gillyflower, which as we saw is also called hoary stock. The Matthiola longipetala, species of the flower, is called evening or night scented stock because its blooms and gives off their fragrance at night and wilts during the day. It’s also cold resistance. Gilly is not the Nights Queen of the story, but George often symbolically writes her as such to provide clues about the true NQ character and so it makes sense that the flower from which her name comes is cold resistant and associated with the night. This is GRRM, as I always say, being consistent with his symbolism.

Many in the fandom often joke about George having a thing for redheads in real life and that’s why there are so many in his stories. I think that he may even have jokingly acknowledged this in an interview, pointing out how his wife is a redhead. In his stories, his leading female characters are often redheads and this is true in ASOIAF as well. But here, he goes one step further and often makes his background characters redheads as well…especially the whor*s.

There is an abundance of female whore*s who show up in the background of scenes who are described as redheads. In part 3 of this series, I discuss this phenomenon, and the clues in the Hedge Knight and other books in the series that point to the corpse queen being a redhead, as well as the first blue winter rose of House Stark. Funnily enough, as seen in the above image, in classical art, Mary Magdalene is usually depicted as a redhead. You can see several representations of Mary in art at the Fitzwilliam museum.

An interesting image of Mary is not a full fledge painting but the charcoal drawing by Dante Rossetti, he of the perpetual redheads in his painting. It is titled, Mary Magdalene at the Door of Simon the Pharisee. While done in charcoal and not paint, one can immediately see Dante’s style and recognize that if done in color, he would have painted Mary as a redhead as he did most of the women in his art.

Mary Magdalene at the Door of Simon the Pharisee by Rossetti

Rossetti rendered Mary who is wearing a garland of roses that she pulls from her head as a prostitute trying to reach Christ and being blocked by others. What is interesting is that Rossetti was also a poet and he wrote a poem to accompany the drawing, the words of which suggests that while he might have been describing a spiritual love, it’s possible that he also believed there was a romantic relationship between Christ and Mary.

Oh loose me! Seest thou not my Bridegroom's face That draws me to Him? For his feet my kiss, My hair, my tears He craves today: – and oh! What words can tell what other day and place Shall see me clasp these blood-stained feet of His? He needs me, calls me, loves me: let me go!

According to Wikipedia, Mary Magdalene is mentioned by name twelve times in the canonical gospels, more than most of the apostles and more than any other woman in the gospels. In several of the gospels left out of the bible at the Council of Hippo, a closer relationship between Mary and Jesus is described in a way that may or may not have been romantic. For brevity’s sake, I’m copying and pasting the excerpt from the Wiki, including the passage from the Gospel of Phillip, which is one of the ones left out of the bible.

The Gospel of Philip uses cognates of koinônos and Coptic equivalents to refer to the literal pairing of men and women in marriage and sexual intercourse, but also metaphorically, referring to a spiritual partnership, and the reunification of the Gnostic Christian with the divine realm. The Gospel of Philip also contains another passage relating to Jesus's relationship with Mary Magdalene. The text is badly fragmented, and speculated but unreliable additions are shown in brackets: And the companion of the [saviour was] Mary Magdalene. [Christ] loved Mary more than [all] the disciples, [and used to] kiss her [often] on the [–]. The rest of the disciples [were offended by it and expressed disapproval]. They said to him, "Why do you love her more than all of us?" The Saviour answered and said to them, "Why do I not love you like her? When a blind man and one who sees are both together in darkness, they are no different from one another. When the light comes, then he who sees will see the light, and he who is blind will remain in darkness." —Mary Magdalene, Wikipedia

Whether the kisses Christ gave to Mary were different from those given to the other disciples, and thus possibly signifying a romantic relationship between Mary and the historical Jesus will never be known but it is clear why over the centuries, there have been many who have considered it a strong possibility. However, I do believe that George is playing with this idea in the text regarding the Nights Queen and the very strong possibility that she was a redhead. He has folded the myth of Jesus and Mary Magdalene into ones about mermaids, sea goddess and a kiss of life.

In the last chapter, I discussed how the legend of the Grey King and his mermaid wife mirrors that of Elenei and Durran Godsgrief with both being about a female greenseer and her husband. In the Grey King version of the myth, he killed his mermaid/greenseer wife to access the green sea/weirwood net. On the other hand, the legend of Durran Godsgrief and Elenei, his mermaid wife is just the opposite. In it, the wife saves the husband from drowning in the green sea with the kiss of life.

All these myths about mermaids, sea gods, and the kiss of life are in the story to inform us not just about events during, and leading up to the last Long Night, but also about the same leading up to the next one. And as Amanda from Crowfoods daughter showed in her ironborn video essay series, the myths are also tied to those of the Shrouded Lord.

Amanda did such a great job with the theory that I’m not going to go over it again, but will simply provide the link to ironborn series so that you can watch the videos yourself.She talks about the influence of the Little Mermaid on the legends in question; Tyrion’s near death in the Sorrows; Florian and Jonquil; and the Shrouded Lord amongst other topics.

Now, I will show you how all these myths in question are about Jon’s resurrection and Sansa’s involvement in it, because as I’ve been saying this entire series, they are the Florian and Jonquil of the current tale.

However, that will have to wait until the next chapter because this essay has grown so long, I must split it in two. But I will leave you with a preview of Jon Snow the risen Christ in the story with this excerpt from 1 Peter 2:4-6 that describes Jesus as the Living Stone.

4 As you come to him, the Living Stone—rejected by humans but chosen by God and precious to him— 5 you also, like living stones, are being built into a spiritual house to be a holy priesthood, offering spiritual sacrifices acceptable to God through Jesus Christ. 6 For in Scripture it says: “See, I lay a stone in Zion, a chosen and precious cornerstone, and the one who trusts in him will never be put to shame.”

Next chapter, we will look at the evidence that shows that George is using the myth of the Shrouded Lord to mirror that of Christ the Living Stone and why Jon is the representation of both in the story.

ETA 12/24 to reflect the updated name for the next chapter from "the Infamous UnKiss, to a Mermaid's Unkiss.

#sansa stark #jon snow #asoiaf #jon x sansa #house stark #asoiaf meta #my meta #sansa stark meta #florian and jonquil #the shrouded lord #the living stone #girl in grey

35 notes · View notes

stormcloudrising · 4 months

Note

I mean it's worth mentioning that Mirri exploited the grief of a fourteen-year-old girl, one who attempted to save and protect her, taking both her husband and her child (and therefore her security and stability in the society she was still pretty new to, as well as getting a lot of the slaves Dany saved from worse fates killed) in the process. I'd probably kill someone for that too. And if I knew I'd get a dragon out of it? Fuck that bitch if I can't have my son I'm having a dragon.

Like yeah it's not great but per the moral standards of this series Dany is pretty good

I've already explained, Mirri didn't kill Drogo, and Dany knows Mirri didn't kill Rhaego.

As for Dany's age meaning she isn't responsible for her actions:

"Unsullied!" Dany galloped before them, her silver-gold braid flying behind her, her bell chiming with every stride. "Slay the Good Masters, slay the soldiers, slay every man who wears a tokar or holds a whip, but harm no child under twelve, and strike the chains off every slave you see." She raised the harpy's fingers in the air . . . and then she flung the scourge aside. "Freedom!" she sang out. "Dracarys! Dracarys!" (ASOS, Daenerys III)

Dany ordered her men to kill kids younger than that.

And Dany "saved" Mirri? They burned and murdered and pillaged and raped throughout her village. Dany thinks of it all as the cost of the throne ie Dany's ambition demands it. You don't have to agree with each POV, every thought they have. Sometimes you are meant to judge them. Listen to Mirri's perspective on being saved:

"I spoke for you," she said, anguished. "I saved you." "Saved me?" The Lhazareen woman spat. "Three riders had taken me, not as a man takes a woman but from behind, as a dog takes a bitch. The fourth was in me when you rode past. How then did you save me? I saw my god's house burn, where I had healed good men beyond counting. My home they burned as well, and in the street I saw piles of heads. I saw the head of a baker who made my bread. I saw the head of a boy I had saved from deadeye fever, only three moons past. I heard children crying as the riders drove them off with their whips. Tell me again what you saved." "Your life." Mirri Maz Duur laughed cruelly. "Look to your khal and see what life is worth, when all the rest is gone."(AGOT, Daenerys IX)

And then what does Dany do? She takes Mirri's life.

"You will not hear me scream," Mirri responded as the oil dripped from her hair and soaked her clothing. "I will," Dany said, "but it is not your screams I want, only your life. (AGOT, Daenerys X)

Dany didn't save anything. She took. She repeatedly benefits from other people's suffering.

You can convince yourself to be cool with this, but the author isn't. He didn’t intend for audiences to work themselves into moral pretzels to avoid condemning Dany or realize where her story is going.

Here is what he said of some famous Dany essays:

And here are some quotes about Dany from those essays:

(link)

This is not a hero.

#excellent post #mirri maz duur #dot chat #the writing is on the page #anti daenerys

179 notes · View notes

stormcloudrising · 4 months

Text

Question on next chapter in the Florian and Jonquil series.

I am about 2 pages away from completing the next chapter in the Florian and Jonquil series. It's the longest chapter ever in the series, and usually, I would split it in two. I think it's going to bottom out at about 21K words, unless during editing I cut it down. However, it really needs to be one chapter because all the prior chapters have been leading up to this one...especially the last three.

In it, I cover the girl in grey and give my explanation for Melisandre's vision; the UnKiss; Jon's resurrection and Sansa's part in it, which has been sitting out there for the entire series, but especially since AFFC and ADWD.

This maybe my favorite chapter of the entire series as I finally get to reveal what I've been leading up to all along. It's a dozy of a theory that I believe answers one of the major questions that's been in the fandom for years, and which no one, "I think" have provided a reasonable explanation.

My question is whether to post it this weekend. With it being a long holiday weekend , will anyone be around to read it, and will anyone even read it to begin with. Long form essays don't seem to get much views on Tumblr or anyplace any more.

What does everyone think? Should I post this weekend or leave it until after the holidays?

#jon x sansa #florian and jonquil #thoughts on this and that #questions

19 notes · View notes

stormcloudrising · 4 months

Note

Nice find and analogy.

"The queen wore a high-collared black silk gown, with a hundred dark red rubies sewn into her bodice, covering her from neck to bosom."- Sansa(AGOT IV).

"Joff wore plush black velvets slashed with crimson, a shimmering cloth-of-gold cape with a high collar, and on his head a golden crown crusted with rubies and black diamonds."- Sansa(AGOT V).

"He(Joffery) was in crimson samite, his black mantle studded with rubies, on his head his heavy golden crown."- Sansa(ACOK VIII).

"Tyrion wore a doublet of black velvet covered with golden scrollwork, thigh-high boots that added three inches to his height, a chain of rubies and lions' heads."- Sansa(ASOS III).

Lannisters are wearing Targ colors in Sansa chapters. Could it mean something other than Lannisters are standin for Targs?

And I'll paste in an anon, too:

I found something interesting in Sansa chapters. When Sansa was called to write letters to Robb, Cersei was wearing black gown with rubies. When Sansa goes to court to plead mercy for Ned, Joffery was wearing black and gold with rubies in his crown. During her marriage with Tyrion, he was wearing black and red dress with rubies chain. All are invoking Targ image and trying to exploit Sansa. Cersei pretending to be a just queen, Joffery a just king and Tyrion being a good husband.

(related to this convo)

I agree with both of you that the Targ colors have an interesting habit of creeping up in pivotal moments for Sansa. I could describe the Joffrey and Tyrion instances as examples of a Stark maiden being taken advantage of by a prince who charms her with a song, and a suitor/husband who has ulterior motives. So, yes, it is more than just a general connection to Targs, I think Lyanna is woven into this.

I can’t remember lines to indicate that Sansa knows the extent of Tyrion’s ambition, that if she were to give him a son, her life would be endangered, but we know her life would be, so it kinda reads as another connection to Lyanna who died as a result of Rhaegar's desire for a third head of the dragon.

Before we have joked about Cersei's dress referencing Rhaegar, and I actually do think it's intentional:

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. (AGOT, Eddard I)

The queen wore a high-collared black silk gown, with a hundred dark red rubies sewn into her bodice, covering her from neck to bosom. They were cut in the shape of teardrops, as if the queen were weeping blood. (AGOT, Sansa VI)

We could say that’s far fetched, except, in Sansa's first chapter Rhaegar and his rubies are quite pivotal, and the Trident incident leads to her losing Lady. What's important about that is that Sansa's pleas for Lady's life remind Ned of Lyanna:

He could still hear Sansa pleading, as Lyanna had pleaded once. (AGOT, Eddard IV)

One might say the two Stark girls are deliberately associated by the author. 😊

So we get Rhaegar and his Rubies when Sansa suffers a great loss, Rhaegar and his rubies when she realizes her prince doesn't care about her, Rhaegar and his rubies when she is forced to "betray" her family, Rhaegar and his rubies when she is forced into an unwanted marriage….I mean, I'm not saying reading this as Lyanna’s story is the only way to read those descriptions, but it's a very interesting way to see them!

#r+l=j #sansa stark #lyanna stark #sansa and lyanna #dot chat

53 notes · View notes

stormcloudrising · 5 months

Note

But why do you think jonsa wasn’t more foreshadowed if they’re the main romantic pairing?

Well, I think we have comparable foreshadowing, often as a positive contrast to Jonerys foreshadowing which the entire fandom believes is the big romance of the series, so I’m gonna challenge your premise and argue that it isn't the lack of foreshadowing for Jonsa that you're noticing, but the fandom's refusal to accept it. I believe that's because Jonsa is a threat to their priors (Jon and Dany are the heroes, they will meet, fall in love, and defeat the Others together, something that is impossible to believe when Martin says things like this) rather than it being a fair evaluation of the existence or merit of our foreshadowing.

Below I'll point out a few kinds of foreshadowing/examples and present the similar Jonsa version so you can see what I mean.

The premise for Jonerys seems to be that every similarity in their arcs is a parallel, but they are actually contrasts if you read closely (fedonciadale's post about that), and Sansa too has parallels with Jon as you can see in @thewindsofwolves's beautiful parallel series. Their similar journeys are also captured in this gifset and this gorgeous art, and it is certainly intentional, as Sansa seems to pattern Alayne in part on Jon ie we're being told she's getting to experience parts of his life. And, unlike Dany whose plan to conquer Westeros puts her at odds with the Starks, Sansa and Jon are written as having the same, very simple, compatible dream,

If I give him sons, he may come to love me. She would name them Eddard and Brandon and Rickon, and raise them all to be as valiant as Ser Loras. And to hate Lannisters, too. In Sansa's dreams, her children looked just like the brothers she had lost. Sometimes there was even a girl who looked like Arya. (ASOS, Sansa II) I would need to steal her if I wanted her love, but she might give me children. I might someday hold a son of my own blood in my arms. A son was something Jon Snow had never dared dream of, since he decided to live his life on the Wall. I could name him Robb. (ASOS, Jon XII)

If we're looking for a romance, foreshadowing that is about a personal relationship, this seems pertinent? And then there's Jon's desire to rebuild Winterfell, and the scene of Sansa literally building it out of snow:

Winterfell, he thought. Theon left it burned and broken, but I could restore it. Surely his father would have wanted that, and Robb as well. They would never have wanted the castle left in ruins. (ASOS, Jon XII) The snow fell and the castle rose. Two walls ankle-high, the inner taller than the outer. Towers and turrets, keeps and stairs, a round kitchen, a square armory, the stables along the inside of the west wall. It was only a castle when she began, but before very long Sansa knew it was Winterfell. (ASOS, Sansa VII)

Those two, back-to-back chapters, are absolutely full of parallels. They share a dream, and upon their reunion, will have a common purpose. I'll also link my post about how Sansa's forced marriage to Tyrion has connections to Jon's relationship with Ygritte, and @stormcloudrising's post about the similarities between the interactions of Sansa and the Hound & Jon and Ygritte. There are tons of these, but you get the idea. If we're looking for parallels between experiences, we have them.

Now, a popular method of finding foreshadowing is chapter order, but Jonsa has that too. Here's a 2018 post by @julibf that talks a bit about it, and @istumpysk's ASOS recap talks about that here and here.

There are two moments I've seen Jonerys shippers point to quite often as foreshadowing. Jon and the moon, Dany and the wolf. But the thing is, Sansa is the sun, and one of the "Jonerys" (Jon and the moon) passages has Jon running away from the moon to the cave with the sun (fedonciadale's post about that). The wolf moment also has a Jonsa contrast:

Off in the distance, a wolf howled. The sound made her feel sad and lonely, but no less hungry. As the moon rose above the grasslands, Dany slipped at last into a restless sleep. (ADWD, Daenerys X) All around was empty air and sky, the ground falling away sharply to either side. There was ice underfoot, and broken stones just waiting to turn an ankle, and the wind was howling fiercely. It sounds like a wolf, thought Sansa. A ghost wolf, big as mountains. (AFFC, Alayne II)

Far be it from me to say that Dany hearing a wolf but being lost to her desires and Sansa hearing a wolf, a ghost wolf, and finding it an overwhelming presence (mountain) means something, but if one does, the other does too. And if we're reading them both as foreshadowing, I think there are some reasonable, and unreasonable conclusions to draw from them. So, you can see why imo the fandom employs a double standard in how they weigh the merits of foreshadowing and interpret one as nonexistent and the other as real and positive.

Another oft referenced bit is Dany's vision of the blue flower and the dream of the shadowy lover, so I'll link some analysis of those that I think is far more...uh, shall I say, contextualized. There are @agentrouka-blog's posts on Winter Roses here and here, and her tag for it if you're interested in really exploring it thoroughly. There’s fedoncidale's post about it, her post about the shadowy lover, and @ladyofasoiaf's spec about how the shadow lover foreshadowing is actually Euron.

Oh, and I almost forgot Val who I've seen brought into the picture as foreshadowing for Dany, but there's a funny thing with her hair which again, if we're gonna look at her hair color and say she's a stand-in for Dany, we should be able to look at it and say, ok, but that means over here she's a stand-in for Sansa, and besides, the connotations for Jonerys there are very bad as discovered by @wintersnow39.

Basically, I don't think there's a lack of foreshadowing, I think there's simply a bias in the fandom that rejects Jonsa foreshadowing while happily accepting incredibly similar foreshadowing for other couples.

#If we get TWOW

120 notes · View notes

stormcloudrising · 5 months

Text

Reblogging because as usual, in writing a long essay, there are always typos and or grammatical errors that you miss the first time around. I'm sure that I'll read it again in a month, and catch others that I missed on second reading as well.

I also added a couple of sentences here and there for clarification purposes.

Secret Song of Florian and Jonquil Part 8: Jenny of Oldstones and her Prince of Dragonflies

Jenny of Olstones by Jesse Ochse

This latest chapter is in response to an anonymous ask for additional information on a question I answered here, about what would have happened to Sansa if Lady was not killed. In responding to the question, I referenced how the show heavily used the dragonfly motif in Sansa’s costumes and what that implied about her story on the show that D&D didn’t carry through on, but more importantly about her arc in the books.

My response to the question elicited a request for further expansion on my comment about dragonflies and Sansa. It is a good question, and one I debated whether to answer at this time because to do so would reveal two theories I’ve been planning to propose in upcoming chapters of the series.

For many different reasons, it has taken me a long time to complete the series. Part of it has to do with the time constraints of my job, but a bigger cause is probably the difficulty in getting up the energy or excitement to write an in-depth analysis when George is taking so long to deliver the next book.

Nonetheless, I am going to answer the anonymous question, and I will propose one of my theories here as well because the question got my essay writing juices flowing again. Thus, though it was not planned, before the super rush of the holiday season gets here and the writing juices stops flowing, here is Chapter 8 of my Florian and Jonquil series.

It is slightly out of order, as this topic was scheduled for 2 to 3 chapters hence. However, it is not that out of place to follow the last chapter. And so, it’s time for Jenny of Oldstones, and her Prince of Dragonflies. I will attempt to show you how the legend of Jenny and her Prince rhymes with that of Florian and Jonquil and as a result, with Jon and Sansa.

"You may read it here. It is old and fragile." He studied her, frowning. "Archmaester Rigney once wrote that history is a wheel, for the nature of man is fundamentally unchanging. What has happened before will perforce happen again, he said.” A Feast for Crows – The Kraken’s Daughter

You may wonder why I am quoting Asha’s nuncle words about Archmaester’s Rigney’s teachings here, and it would be for two reasons. First, while Archmaester Rigney’s comment is George paying homage to Robert Jordan and the Wheel of Time, his words have great meaning in the story of ASOIAF. The past or rather events do repeat in ASOIAF, but not exactly. I would say that instead of a complete repetition, events in the story rhyme…possibly because of alternate timelines, but that’s for another chapter. It’s why we find echoes of the same story repeating over and over in the text and in-world historical references.

The second reason I’m including the quote from an Ironborn is because their myths…specifically that of Nagga the sea dragon has important implications in the story of Jenny; and Duncan, her Prince of Dragonflies. And as I will shortly show you, Ironborn myths…specifically the one about Nagga answers the question posed to me about dragonflies.

More importantly, this ancient myth has implications in the tale of Florian and Jonquil and thus ultimately leads us back to the current incarnation of those characters, Jon, and Sansa.

Before I get into answering the question about dragonflies, let me again state what I do in almost every essay, and that is, George like many great writers writes in symbolism—except he takes it up to the 9th degree. As a result, this is one of the main ways I analyze ASOIAF. It’s not the only way to look at his magnum opus, but if you understand this, and you’re a fan of symbolism, whether mythological, literary or your garden variety type, I think you can discern clues and or pick up on possible answers to the great mysteries of the books.

I also suggest reading, if you have not done so previously, the earlier chapters of my Florian and Jonquil series. It’s not necessary to read all at this time, but you should especially read Chapter 7, Parts 1 and 2. In those chapters, I break down a lot of the symbolism that implies Sansa is a greenseer as well as discuss how this symbolism closely ties her to Nissa Nissa and the corpse queen, the two ancient female figures at the center of the book’s great mystery. This idea that Sansa is a greenseer heavily ties into the symbolism of the dragonflies.

In the two previous chapters of the series, I also discussed how Sansa’s name is a full anagram Nassa, which in Latin means weir, and how that and her little bird moniker among many other things, ties her to Nissa Nissa and implies that she’s a secret unknowing goddess of the weirwoods.

As you read this essay series, you should also always keep in mind that George has set up his weirwood net as a hive; and there is a hive mind theme running throughout. The interesting thing about hives is that they have queens, not kings. This is one of the ways you know that the legend of Ellyn Eversweet and the King of the Bees is a tale of usurpation of the rights of the woman. We know this because there is no such thing as a King Bee.

I also referenced Ravenousreader’s brilliant essay about George’s symbolic use of the sea as a stand-in for the astral plane to which the weirwoods grant access, and how Patchface mad rantings about “under the sea” are about what the fandom calls the weirwood net. You can read RR essay in this westeros.org thread here.

By the way, her theory was written years before it was confirmed on the show in season 6 Episode 2 when Bloodraven describes travelling the astral plane of the weirwoods to Bran as being “beneath the sea.”

Bloodraven to Bran: “It's beautiful beneath the sea, but if you stay too long, you will drown.”

Bran: I wasn’t drowning. I was home.

You can watch the clip from the show here at 2:42.

youtube

Of course, we’re not talking about real drowning because we’re not talking about a real sea. Rather George is using the sea as a metaphor for his astral plane version of the river of time.

Bran is not drowning because he’s being trained on how to properly swim the green sea. That’s part of the reason why they are so many dreamers impaled on icy spires in his first weirwood dreams. They couldn’t swim the green sea. There is other symbolism in the passage about the dreamers that have to do with the icy spires I may get to another time, but the point I’m trying to make now is that the green sea is dangerous to traverse…especially for those without training. You can become trapped by the weirwoods.

I mention RR’s essay so that you can understand that often when George references the green sea or other natural water tributaries in the text, he’s talking about the weirwood net and you should be on the lookout for symbolic greenseer activities. Often, these scenes symbolize someone trying to sneak into the green sea/weirwoods; escape from the weirwoods; or being trapped by the weirwoods, which are gnarly bridges across the green sea and can grant access to the special ones—the greenseers.

So, when you see a myth in the text like the Ironborn one about the Grey King, and his battle with Nagga, the great female sea dragon which he slew, you should stop and consider if there is more implied in that tale than that of a king killing a giant sea monster. Let’s look at what we’re told about this legend.

Grey King Battles Naga; Complete Guide to Westeros - Game of Thrones - Season 1 Blu-ray Edition

The deeds attributed to the Grey King by the priests and singers of the Iron Islands are many and marvelous. It was the Grey King who brought fire to the earth by taunting the Storm God until he lashed down with a thunderbolt, setting a tree ablaze. The Grey King also taught men to weave nets and sails and carved the first longship from the hard pale wood of Ygg, a demon tree who fed on human flesh. The Grey King's greatest feat, however, was the slaying of Nagga, largest of the sea dragons, a beast so colossal that she was said to feed on leviathans and giant krakens and drown whole islands in her wroth. The Grey King built a mighty longhall about her bones, using her ribs as beams and rafters. From there he ruled the Iron Islands for a thousand years, until his very skin had turned as grey as his hair and beard. Only then did he cast aside his driftwood crown and walk into the sea, descending to the Drowned God's watery halls to take his rightful place at his right hand. —The World of Ice and Fire - The Iron Islands: Driftwood Crowns

George names his Nagga sea dragon after the real world mythological Naga of South Asian culture who are seen as demigods.

In various Asian religious traditions, the Nagas are a divine, or semi-divine, race of half-human, half-serpent beings that reside in the netherworld (Patala), and can occasionally take human or part-human form, or are so depicted in art. —Wikipedia

In Indian religions, Patala (that which is below the feet), denotes the subterranean realms of the universe – which are located under the earthly dimension. Patala is often translated as underworld or netherworld. — Wikipedia

Nagas are associated with bodies of waters such as tributaries, rivers, lakes, seas, and wells. They are also seen as guardians of treasure. In George’s world of ASOIAF, the weirwood net is the underworld, and what greater treasure might there be to guard than one that could give access to immortality. Keep this thought, as well as the fact that they are said to sometimes take half human form in mind as I will come back to both later.

The Ironborn gives us a legend about their ancient king killing a sea dragon. Were there such things as giant sea dragons in ancient Westerosi history, and might they still exist? Possibly. After all, the story has giant flying fire breathing dragons.

However, that’s not the point of the legend. Keeping in mind that George uses the sea to symbolize the weirwood net, might the Grey King’s slaying of Nagga be there to tell us something else. Might it be there to tell us not about a battle between a king and a sea monster, but rather about one in or over access to the green sea/weirwood net. Let’s see what else the books tell us about this legend.

On the crown of the hill four-and-forty monstrous stone ribs rose from the earth like the trunks of great pale trees. The sight made Aeron's heart beat faster. Nagga had been the first sea dragon, the mightiest ever to rise from the waves. She fed on krakens and leviathans and drowned whole islands in her wrath, yet the Grey King had slain her and the Drowned God had changed her bones to stone so that men might never cease to wonder at the courage of the first of kings. Nagga's ribs became the beams and pillars of his longhall, just as her jaws became his throne. For a thousand years and seven he reigned here, Aeron recalled. Here he took his mermaid wife and planned his wars against the Storm God. From here he ruled both stone and salt, wearing robes of woven seaweed and a tall pale crown made from Nagga's teeth. —A Feast for Crows - The Drowned Man

There is an overabundance of symbolism and clues drop by George in the above passage. I could have bolded the entire chapter, but I only did a few lines for this discussion. Here we see that Aeron’s thoughts about Nagga and the Grey King build upon what we’re told in the World Book. What I especially want to discuss now is his thought that Nagga’s stone ribs look like the trunk of great pale trees. Hmmm! Great pale trees…where might we have seen such a reference before?

The sun was sinking below the trees when they reached their destination, a small clearing in the deep of the wood where nine weirwoods grew in a rough circle. Jon drew in a breath, and he saw Sam Tarly staring. Even in the wolfswood, you never found more than two or three of the white trees growing together; a grove of nine was unheard of. The forest floor was carpeted with fallen leaves, bloodred on top, black rot beneath. The wide smooth trunks were bone pale, and nine faces stared inward. The dried sap that crusted in the eyes was red and hard as ruby. Bowen Marsh commanded them to leave their horses outside the circle. "This is a sacred place, we will not defile it." —A Game of Thrones, Jon VI

Nagga’s bones sound and awful lot like the limbs of a weirwood tree, but is that just happenstance? Let’s dig a bit more.

They seated the hedge knights well below the salt, closer to the doors than to the dais. Whitewalls was almost new as castles went, having been raised a mere forty years ago by the grandsire of its present lord. The smallfolk hereabouts called it the Milk house, for its walls and keeps and towers were made of finely dressed white stone, quarried in the Vale and brought over the mountains at great expense. Inside were floors and pillars of milky white marble veined with gold; the rafters overhead were carved from the bone-pale trunks of weirwoods. Dunk could not begin to imagine what all of that had cost. —The Mystery Knight

If those passages are not enough to convince you that the famous bones of Nagga are not of a giant sea dragon, but rather a weirwood tree cut down by Grey King to build his longhall, don’t forget that we have a more recent record in the text of an Ironborn king cutting down weirwoods to do just that. I’m of course talking about Harren the Black.

In his pride, Harren had desired the highest hall and tallest towers in all Westeros. Forty years it had taken, rising like a great shadow on the shore of the lake while Harren's armies plundered his neighbors for stone, lumber, gold, and workers. Thousands of captives died in his quarries, chained to his sledges, or laboring on his five colossal towers. Men froze by winter and sweltered in summer. Weirwoods that had stood three thousand years were cut down for beams and rafters. —A Clash of Kings - Catelyn I

The Grey King’s crown is another clue that Nagga’s bone are the limbs of a petrified weirwood. Note up above, it was said to be made from Nagga’s teeth and yet we also get this passage from the world book that seems to contradict this idea.

The Grey King built a mighty longhall about her bones, using her ribs as beams and rafters. From there he ruled the Iron Islands for a thousand years, until his very skin had turned as grey as his hair and beard. Only then did he cast aside his driftwood crown and walk into the sea, descending to the Drowned God's watery halls to take his rightful place at his right hand. The World of Ice and Fire - The Iron Islands: Driftwood Crowns

So was the Grey King’s crown made from the teeth of a sea dragon, or was it made of wood? George put the icing on the cake regarding Nagga’s bones being a petrified weirwood with this little bit about Galon Whitestaff, a past ironborn priest.

The power wielded by these prophets of the Drowned God over the ironborn should not be underestimated. Only they could summon kingsmoots, and woe to the man, be he lord or king, who dared defy them. The greatest of the priests was the towering prophet Galon Whitestaff, so-called for the tall carved staff he carried everywhere to smite the ungodly. (In some tales his staff was made of weirwood, in others from one of Nagga's bones.) —The World of Ice and Fire - The Iron Islands: Driftwood Crowns

In some tales Galon’s staff was made of weirwood and in others from Nagga’s bones. Seems obvious that George is deliberately conflating the two and wants the reader to do the same. What other evidence is needed?

The petrified bones of some gigantic sea creature do indeed stand on Nagga's Hill on Old Wyk, but whether they are actually the bones of a sea dragon remains open to dispute. The ribs are huge, but nowise near large enough to have belonged to a dragon capable of feasting on leviathans and giant krakens. In truth, the very existence of sea dragons has been called into question by some. If such monsters do exist, they must surely dwell in the deepest, darkest reaches of the Sunset Sea, for none has been seen in the known world for thousands of years. So say the legends and the priests of the Drowned God. —The World of Ice and Fire - The Iron Islands: Driftwood Crowns

Those maesters, always questioning and discounting the ancient myths, but this time, they might be on to something.

This is all pretty strong evidence that Nagga’s bones are the limbs of a cut down weirwood and not those of a sea dragon. However, while not the bones of a sea dragon, there is one other option other than just a cut down weirwood tree, and this one may make more sense.

As proposed by many in the fandom, the bones that Aeron views upon the hill might be the petrified remnant of the Grey King’s longship, carved from the cut down weirwood tree.

A demon tree of hard “pale wood” that is said to have fed on human flesh. As there are major clues that men were sacrificed to the weirwoods in the books, this passage seems to imply that the Grey King’s longship was also made of that special wood. Ygg is of course, George’s homage to Yggdrasil, the world tree of Norse mythology.

Viking Longship wreck - Roskilde Viking Ship Musem

It was there beneath the arch of Nagga's ribs that his drowned men found him, standing tall and stern with his long black hair blowing in the wind. "Is it time?" Rus asked. Aeron gave a nod, and said, "It is. Go forth and sound the summons."— A Feast for Crows - The Drowned Man

As you can see, a Viking longship more closely matches up to the arch of Nagga’s ribs than would be the case of an actual tree. Also, as Crowfood’s Daughter has pointed out in her awesome video essay series on the ironborn, for trees to remain curved or arched in the manner of Nagga’s ribs, they would need to retain their limbs of leaves.

We also see from this Jon’s passage that longships would have the shape of Nagga’s bones.

He swiveled the eye east and searched amongst the tents and trees till he found the turtle. That will be coming very soon as well. The wildlings had skinned one of the dead mammoths during the night, and they were lashing the raw bloody hide over the turtle's roof, one more layer on top of the sheepskins and pelts. The turtle had a rounded top and eight huge wheels, and under the hides was a stout wooden frame. When the wildlings had begun knocking it together, Satin thought they were building a ship. Not far wrong. The turtle was a hull turned upside down and opened fore and aft; a longhall on wheels. — A Storm of Swords - Jon IX

And as Jaime notes in ADWD, weirwood trees or the wood it generates never rot. It simply turns to stone over millennium.

"The Brackens poisoned it," said his host. "For a thousand years it has not shown a leaf. In another thousand it will have turned to stone, the maesters say. Weirwoods never rot." — A Dance with Dragons - Jaime I

There are lots of other passages in the text where boats are compared to sea dragons, including the one Petyr uses to take Sansa to the Vale. However, we are specifically discussing the Grey King, and so we’ll leave those other comparisons alone for now. Nonetheless, I’m sure that you can see that the textural evidence supporting the theory that Nagga’s bones are those of a petrified weirwood longship is quite strong.

You’re probably now asking yourself, what does the ironborn’s holy relic on Old Wyk whose legend is built around the myth of the Grey King slaying of a sea dragon have to do Florian and Jonquil or more specifically, the original question about dragonflies. That’s a good question, and so let me attempt to answer.

I said up above that battles in the sea or the pools of water are often meant to represent battles in the weirwoods or over the weirwoods to gain entry to their magic. So, if Nagga was not really a sea monster, but instead a weirwood tree or a longship made of weirwood, does this mean that the battle described in the Grey King legend was one such event? More importantly, if Nagga’s bones is a weirwood longship, who or what did the Grey King slay? You can cut down a tree, but would it be described as slaying? I don’t think so.

Let’s look at what else the books tell us about this Ironborn legend to see if we can discover the answer.

From the Aeron passage posted above, we discover that “Nagga had been the first sea dragon, the mightiest ever to rise from the waves.” We also find out in TWOIAF that the Grey King was said to reign for a thousand years and seven. In the books, when you hear of figures living for such a long time, one immediately wonders whether they were born greenseers or gain access to the weirwoods in some manner.

In the case of the Grey King, I think the answer is the latter. He was able to gain access to the trees. If this was the case, how did it happen? You may have missed it above when I posted the excerpt because I didn’t bold the text but another piece of his legend may give us a clue.

What is described in the passage is basically the Grey King symbolically stealing the fire of the gods and using it to set a weirwood ablaze. In mythology, stealing the fire of the gods is about gaining knowledge…often that of immortality. And in ASOIAF, immortality comes via the weirwoods.

When you recognize that aspect of the myth, you can see that the Grey King legend is that of a man stealing the knowledge of the weirwoods, and the ones he stole if from were the old gods—the greenseers.

So, how did the Grey King steal the fire of the gods? Well, his mermaid wife; his battle with the Storm God, and another ancient myth may provide the answer.

The legends surrounding the founder of House Durrandon, Durran Godsgrief, all come to us through the singers. The songs tell us that Durran won the heart of Elenei, daughter of the sea god and the goddess of the wind. By yielding to a mortal's love, Elenei doomed herself to a mortal's death, and for this the gods who had given her birth hated the man she had taken for her lord husband. In their wroth, they sent howling winds and lashing rains to knock down every castle Durran dared to build, until a young boy helped him erect one so strong and cunningly made that it could defy their gales. The boy grew to be Brandon the Builder; Durran became the first Storm King. With Elenei at his side, he lived and reigned at Storm's End for a thousand years, or so the stories claim. (Such a life span seems most unlikely, even for a hero married to the daughter of two gods. Archmaester Glaive, himself a stormlander by birth, once suggested that this King of a Thousand Years was in truth a succession of monarchs all bearing the same name, which seems plausible but must forever remain unproved.) The World of Ice and Fire - The Stormlands: House Durrandon

Durran and Elenei, Complete Guide to Westeros - Game of Thrones - Season 1 Blu-ray Edition

The legend of Durran Godsgrief and his wife Elenei has a lot of similarity to that of the Grey King and his mermaid wife. Too many for it just to be mere happenstance. It seems obvious that George wants us to consider the two, side by side, and so, what might he be trying to tell us?

They both married daughters of the sea. In the Durran myth, we learn that his wife Elenei was the daughter of the sea god while the Grey King is said to have married a mermaid. Both Duran and the Grey King also battled against gods…the latter against the storm god, while the former was said to have war against the sea god.

Taking the similarities of the two legends into account, it seems obvious that Elenei like the wife of the Grey King, was herself a mermaid, and that’ why she’s often depicted in this way in fan art. She is even depicted as a mermaid in the Complete Guide to Westeros featurette on the blue-ray edition of Game of Thrones Season One, which we have to assume was approved by George.

In GRRM’s mythological world of ASOIAF, mermaids are merlings and their leader is the Merling King. And he is considered a god. He is the sea god to who sailors pray.

Thirty different gods stood along the walls, surrounded by their little lights. The Weeping Woman was the favorite of old women, Arya saw; rich men preferred the Lion of Night, poor men the Hooded Wayfarer. Soldiers lit candles to Bakkalon, the Pale Child, sailors to the Moon-Pale Maiden and the Merling King. The Stranger had his shrine as well, though hardly anyone ever came to him. Most of the time only a single candle stood flickering at his feet. The kindly man said it did not matter. "He has many faces, and many ears to hear." — A Feast for Crows - Arya II

The interesting thing is that in real world mythology, and I suspect George is doing the same in ASOIAF, mermaids are sea nymphs. In some real-world cultures, they are called mermaids, and in others, sirens. And like in George’s tale, they are usually described as daughters of river or sea gods.

In many real world cultures such of those on the Asian and African continents, sea dragons such as Nāgas or the Watatsumi/Ryūjin of Japanese culture can take human or half human form…you know like the mermaids of our story. These sea dragons are also considered deities. They are sea gods.

As I’ve stated, George writes in symbolism, and there are multiple layers to his story. When he tells us historical legends, there is the surface story that you can read and interpret exactly as written and then there is the deeper symbolism that provides answers to the book’s mysteries. Usually, this hidden layer is about the weirwoods and events of the past.

The myths about Durran Godsgrief and the Grey King are two such legends that are filled with much deeper meaning and reveal much about ancient events. On the surface, they are traditional societal creation myths.

However, when you consider that the green sea and bodies of water are George’s way of symbolizing the weirwood net, as written about by rravenousreader, and confirmed on the show by Bloodraven, one can see that on a deeper level, these two legends are about accessing the weirwoods.

So, if Elenei was a mermaid who could assume both human and half human shape as is implied by her being a daughter of the sea god and the legend of her relationship with Duran, it means she was also a sea dragon. And if Elenei was a sea dragon, it also means that the Grey King’s mermaid wife was one as well. This revelation tells us a lot because, if Nagga’s ribs are not those of a sea dragon, but the petrified remains of the Grey King’s longship, which was made from the weirwood he set ablaze; as you can’t slay a tree, it can only mean that the sea dragon he slew to access the knowledge of the gods, was his mermaid wife.

Grey King and his mermaid wife by Justin Sweet for the 2024 ASOIAF Calendar

Nagga was his both his mermaid/greenseer wife and her weirwood tree. This is how he gained access to the weirwoods and immortality and was said to live for 1000 years and seven. This is why there are so many clues that the remains of Nagga on Old Wyk are those of a ship. It’s to tell us that the Grey King’s killing of his mermaid wife gave him the access and the knowledge to sail the green sea.

I’ve listened to and read many theories that discuss the likelihood that Nagga’s bones are either those of a weirwood tree and or a longship. What I’ve never seen is the theory I propose here that the Grey King killed his wife. This is not to say that the theory does not exist. After all, there are tons of theories about the story that I have not read, but back to Nagga.

As George is always consistent in his symbolism, this is why in Asha’s Wayward Bride chapter, the trees are always written as attacking her and the other ironborn. The trees memories are eternal, and they remember the actions of the Grey King.

Men and mounts alike were trotting by the time they reached the trees on the far side of the sodden field, where dead shoots of winter wheat rotted beneath the moon. Asha held her horsemen back as a rear guard, to keep the stragglers moving and see that no one was left behind. Tall soldier pines and gnarled old oaks closed in around them. Deepwood was aptly named. The trees were huge and dark, somehow threatening. Their limbs wove through one another and creaked with every breath of wind, and their higher branches scratched at the face of the moon. The sooner we are shut of here, the better I will like it, Asha thought. The trees hate us all, deep in their wooden hearts. — A Dance with Dragons - The Wayward Bride

Now there are no weirwoods mentioned in this passage, but there are weirwoods in Deepwood Motte. And throughout this Asha chapter, there are repeated passages that make it seem as if the trees are alive and out to get the ironborn. Northmen even cover themselves in branches and attack Asha’s party. It’s as if the trees see the ironborn as the enemy.

As an aside, I love The Wayward Bride chapter and it’s one I heavily recommend re-reading. Asha ran away from the man Euron promised her to as a bride…hence the title. However, if you re-read, instead of thinking of Asha as “the wayward bride,” think instead of her as “the weirwood bride,” and you will see the echoes of a story about a runaway magical bride in the ancient past. The chapter title is one of George’s best uses of wordplay in the series.

No, I’m not saying that Asha is a greenseer, only that the chapter is there to tell us about events past and present events surrounding a “weirwood bride” who may have run off to escape her husband or fiancé, or else been “stolen” away by her lover. Re-reading the chapter with this idea in mind is a smorgasbord of symbolism and clues about events, but back to the tale at hand.

Further to the idea that the trees remember and have it in for the ironborn, it’s quite likely that the Grey King did not escape punishment when he killed his sea dragon wife. It is very interesting that Nagga’s jaws became the Grey King’s throne. When you look at how his skin is described as turning as grey as his beard, and him sitting inside Nagga’s mouth, it’s as if he’s trapped within the jaws of death.

Grey King on his throne by Arthur Bozonnet for TWOIAF

This symbolism makes sense as weirwoods are traps for the unwary. That’s why George named it after a real-world weir, which is a trap for fish. So, while the Grey King killed the first greenseer, he did not get off scot-free. He was instead trapped by Nagga’s maw. He was trapped by the weirwoods.

This idea is echoed in images of the primordial Aztec Goddess Tlaltecuhtli.

One of Tlaltecuhtli’s most distinctive features is her gaping maw, showing flint knives for teeth and a protruding tongue. Her hands and feet are often clawed, bringing to mind both predatory birds and carrion-eaters. Above she is pictured with skull masks at her elbows and feet as well as in her hands. Her birth-giving posture connects her to frog imagery. The open mouth of the Tlaltecuhtli can be seen as a tomb — or as a womb. On the first page from the Tonalámatl de los Pochtecas the Earth Goddess appears, jaws wide, teeth exposed. Out of her mouth grows the tree of life. The tree of life growing from these jaws of death completes this picture of the earth as womb and tomb, and of the mouth and eating as analogous to birth and death. —Sacred Tours of Mexico

The ironborn believe that their Drowned God and Grey King are separate entities. I would argue that they are the same and this separation of the two on their part is simply confusion about the myth that developed over the millennium. The Grey King who slew his mermaid wife and the Drowned God who turned her bones to stone are one and the same because the two acts are separate descriptions of the same event. He’s both because he failed in his quest to take over and rule the weirwood net. He was trapped and drowned in his attempt to sail the green sea.

She fed on krakens and leviathans and drowned whole islands in her wrath, yet the Grey King had slain her and the Drowned God had changed her bones to stone so that men might never cease to wonder at the courage of the first of kings. Nagga's ribs became the beams and pillars of his longhall, just as her jaws became his throne. —A Feast for Crows – The Drowned Man

The Grey King built a mighty longhall about her bones, using her ribs as beams and rafters. From there he ruled the Iron Islands for a thousand years, until his very skin had turned as grey as his hair and beard. Only then did he cast aside his driftwood crown and walk into the sea, descending to the Drowned God's watery halls to take his rightful place at his right hand. —The World of Ice and Fire - The Iron Islands: Driftwood Crowns

Sea dragons may or may not exist in the mythical world of ASOIAF, but we likely will never see one on the page. This is because the true purpose of their legend in the story is to tell us about female greenseers. They act as symbolic stand-ins for female greenseers, the original dragons of the green sea and provide clues on what happened to them.

Those of you who have read my previous essays likely remember my theory that because of the hive mind aspect of the weirwoods, we can deduce that the weirwood net was originally built around a queen, because as I noted, hives do not have kings. The sea dragon in the Grey King legend is said to be the first of its kind. Thus, the greenseer mermaid wife slew by the Grey King was also the first greenseer.

You also likely know my theory that Nissa Nissa was the first greenseer. If my theory about his mermaid wife being the sea dragon slew by the Grey King is correct, one can also see how this legend echoes that of Azor Ahai killing his wife Nissa Nissa; the Bloodstone Emperor usurping and killing his sister wife, Amethyst Empress; and the Winged Knight usurping Ellyn Eversweet. The latter being a tale of usurpation is not one I’ve seen discussed anywhere else in the fandom, and so you can read about it here.

How can all these ancient legends be of the same wife killing event, and why so many different names for the characters. Originally, I thought that the similarities and variations in the legends were a case of a world changing monomyth such as the great flood of our real-world myths appearing in so many different cultures. It could also be George simply creating different myths to drop clues for the reader to piece together. Both still maybe the case.

However, in the last few years, after reading more about GRRM’s other books, and reading a couple, I’ve come to embrace the idea that he’s playing with the theme of time travel that runs through many of his previous works. I think that we might be dealing with the same world changing event echoing through multiple timelines of the great cosmic ocean…hence the different names and the use of spiral motifs in both the books and show.

Messier 61 in Constellation Virgo taken by camera on Hubble Telescope

The weirwoods, as we saw on the show and is hinted at in the books, are a time travel mechanism. A greenseer doesn’t physically travel through time, but they can send their consciousness into the past, and quite likely the future. As we see with Bran and Hodor, strong ones can have an impact on individuals who exist outside the river of time, and this means they can affect the timeline.

Bran is only the latest of many greenseers, one who has not yet joined with the hive mind. As such, I think it’s shortsighted to assume that he is the only such greenseer throughout history who has had an impact on or tried to change the timelines…especially since men—in the masculine gained access to the trees.

George is a chess player, and he has set up his story as a great chess match. Who the two great players are still must be determine, but one only must look at the Others, as well as Euron’s arc to see a couple of the possibilities.

In fact, as we see in this passage, which I’ve read a million times and totally missed until watching Crowfood’s Daughter recent video on the “The Third Head of the Dragon,” one of these entities may already be in contact with Euron.

I had a love once too. Victarion's hands coiled into fists, and a drop of blood fell to patter on the floor. I should beat you raw and red and feed you to the crabs, the same as I did her. "You have sons," he told his brother. "Baseborn mongrels, born of whores and weepers." "They are of your body." "So are the contents of my chamber pot. None is fit to sit the Seastone Chair, much less the Iron Throne. No, to make an heir that's worthy of him, I need a different woman. When the kraken weds the dragon, brother, let all the world beware." "What dragon?" said Victarion, frowning. "The last of her line. They say she is the fairest woman in the world. Her hair is silver-gold, and her eyes are amethysts . . . but you need not take my word for it, brother. Go to Slaver's Bay, behold her beauty, and bring her back to me." —A Feast for Crows - The Reaver

As Amanda asks in the video, who exactly is him that Euron speaks of? He’s speaking in third person, and so although we know he plans to rule over the charnel pits as a new god, he’s not talking about himself. Might it be the other chess player. It’s certainly possible. With the reference to Dany’s amethyst eyes, Euron’s possible association with Asshai and glass candles, I would say it’s the Bloodstone Emperor entity.

Here is the interesting thing about these repetitive ancient versions of the monomyth; there seems to be two versions of the tale of the female greenseer and her husband. One version is dark as with the ones I mentioned above including that of the Grey King killing his mermaid wife; and Azor Ahai killing Nissa Nissa where the kiss from husband to wife is of the steel variety.

The other version has softer romantic overtones as with Durran and Elenei; Florian and Jonquil; and yes, even the Night’s King and his corpse queen. There has been no indication thus far in the text that the male figures in these tales killed their female partner. In fact, their legends are just the opposite.

Even the tale of Brienne’s ancient ancestor, Galladon of the Morne is an echo of this ancient monomyth. However, it’s not quite clear where this legend falls. One wants to say it’s a more positive aspect of the myth because George names the male after the heroic Sir Gallahad of Arthurian fame, and we are told of the myth from Brienne, one of the most heroic personages in the entire series.

"Why would I lie?" she asked him. "Every place has its local heroes. Where I come from, the singers sing of Ser Galladon of Morne, the Perfect Knight." "Ser Gallawho of What?" He snorted. "Never heard o' him. Why was he so bloody perfect?" "Ser Galladon was a champion of such valor that the Maiden herself lost her heart to him. She gave him an enchanted sword as a token of her love. The Just Maid, it was called. No common sword could check her, nor any shield withstand her kiss. Ser Galladon bore the Just Maid proudly, but only thrice did he unsheathe her. He would not use the Maid against a mortal man, for she was so potent as to make any fight unfair." — A Feast for Crows - Brienne IV

However, the Galladon/Maiden legend does have aspect of the darker side of the myth such as her gifting the “perfect knight” with an enchanted sword and “losing her heart” to him. Also note the comment that no regular sword could withstand her kiss. Lots of Nissa Nissa echoes in that passage, and George does like to upend traditional myths.

We’ve spent much time discussing sea dragons and mermaids and why they represent the seemingly missing female greenseers from the story, and now it’s time to move on to dragonflies, but before I do that, I want to briefly mention a bit of history about the Starks.

Even this did not give Winterfell dominion over all the North. Many other petty kings remained, ruling over realms great and small, and it would require thousands of years and many more wars before the last of them was conquered. Yet one by one, the Starks subdued them all, and during these struggles, many proud houses and ancient lines were extinguished forever.

Amongst the houses reduced from royals to vassals we can count the Flints of Breakstone Hill, the Slates of Blackpool, the Umbers of Last Hearth, the Lockes of Oldcastle, the Glovers of Deepwood Motte, the Fishers of the Stony Shore, the Ryders of the Rills...and mayhaps even the Blackwoods of Raventree, whose own family traditions insist they once ruled most of the wolfswood before being driven from their lands by the Kings of Winter (certain runic records support this claim, if Maester Barneby's translations can be trusted). Chronicles found in the archives of the Night's Watch at the Nightfort (before it was abandoned) speak of the war for Sea Dragon Point, wherein the Starks brought down the Warg King and his inhuman allies, the children of the forest. When the Warg King's last redoubt fell, his sons were put to the sword, along with his beasts and greenseers, whilst his daughters were taken as prizes by their conquerors. The World of Ice and Fire - The North: The Kings of Winter

If you analyze all the House names mentioned above, you will notice something in common about them, they all seem to be located at or close to water, or in deep forests where weirwoods would grow. Of course, there is no proving it unless George confirms the theory, but I would argue that these ancient houses that were conquered by the Starks were likely strong in either skin changing or greenseer abilities. And they held on to and married the daughters of the houses they conquered. This is why warg and greenseer abilities are so strong within the family. They have added the ability to their gene pool on many occasions over the generations.

Their war against the Warg King and the COTF at the suggestively named Sea Dragon Point is also very telling for all the reasons we previously discussed about sea dragons. And as we would expect, we see from this Wayward Bride passage that Sea Dragon Point is associated with weirwoods.

Asha tried to picture herself abed with Erik Ironmaker, crushed beneath his bulk, suffering his embraces. Better him than the Red Oarsman or Left-Hand Lucas Codd. The Anvil-Breaker had once been a roaring giant, fearsomely strong, fiercely loyal, utterly without fear. It might not be so bad. He's like to die the first time he tries to do his duty as a husband. That would make her Erik's widow instead of Erik's wife, which could be better or a good deal worse, depending on his grandsons. And my nuncle. In the end, all the winds blow me back toward Euron. "I have hostages, on Harlaw," she reminded him. "And there is still Sea Dragon Point … if I cannot have my father's kingdom, why not make one of my own?" Sea Dragon Point had not always been as thinly peopled as it was now. Old ruins could still be found amongst its hills and bogs, the remains of ancient strongholds of the First Men. In the high places, there were weirwood circles left by the children of the forest. "You are clinging to Sea Dragon Point the way a drowning man clings to a bit of wreckage. What does Sea Dragon have that anyone could ever want? There are no mines, no gold, no silver, not even tin or iron. The land is too wet for wheat or corn." I do not plan on planting wheat or corn. "What's there? I'll tell you. Two long coastlines, a hundred hidden coves, otters in the lakes, salmon in the rivers, clams along the shore, colonies of seals offshore, tall pines for building ships." A Dance with Dragons - The Wayward Bride

Note that the name of the peninsula is Sea Dragon Point as in a singular dragon, not plural. Also, notice how George casually throws in that wood for building ships can be found there. That George, always consistent.

I’ve talked a lot about sea dragons, mermaids, and ancient ironborn myths when this is supposed to be a chapter on Jenny and her Prince of Dragonflies; and how the two relate to Florian and Jonquil, and Jon and Sansa. Why so much ironborn?

Well, I went in-depth into the Grey King myth because I had to show you that seas dragons represent female greenseers. I had to show you instead of just telling you so you see my reasoning. More importantly, I had to do it this way so you will see the connection when I tell you that in the story, dragonflies should also be seen as sea dragons.

Dragonfly - earth.com

In fact, dragonflies are literal sea dragons, because in addition to having the word dragon in their name, they are also born in the sea. Female dragonflies lay their eggs in water, primarily swampy areas like bogs and swamps. Dragonflies spend practically all their life around such water.

The female lays eggs by tapping the surface of the water repeatedly with her abdomen, by shaking the eggs out of her abdomen as she flies along, or by placing the eggs on vegetation. In a few species, the eggs are laid on emergent plants above the water, and development is delayed until these have withered and become immersed. They take about a week to hatch into aquatic nymphs or naiads which moult between six and 15 times (depending on species) as they grow. Most of a dragonfly's life is spent as a nymph, beneath the water's surface. —Wikipedia

By the way, nymph comes from Ancient Greek and means bride.

Another interesting thing about the dragonfly is it is one of the few insects that can fly in all direction…forwards, backwards, up, down, and sideways. Thus, you can see that as sea dragons, they are the perfect symbolic representation of greenseers—individuals who can send their consciousness forward and backwards in time as it were.

This ability to fly in all directions is also present in a certain “little bird.” In fact, it’s the only bird that has this ability. The bird in question would be the hummingbird. Knowing George, do we think this is just happenstance…especially as the little bird is a popular sight in the American West and Southwest, with Arizona and New Mexico major stops in their migration progress.

The hummingbird reference is just an additional anecdote that supports my theory about Sansa being a greenseer, which I discussed here. Let me tell you another one about dragonflies that also has to do with New Mexico and the American Southwest, where we know that our author has lived for over 40 years.

Many fans have pointed out that the tale of Hades and Persephone play an important symbolic role in ASOIAF. I’ve gone further and pointed out how this legend is baked into the myth of the Nights King and his corpse queen. I’ve discussed how Arya’s childhood memory of the kids playing in the crypts wherein Jon covered himself in flour and stepped out of the crypt like a ghost does not just foreshadow his death, but also positions him as Hades, the King of the underworld, and Sansa who runs away in fear as Persephone. You can read all about this theory here.

I’ve discussed how Persephone was kidnapped from the Vale of Nysa, and what that potentially means when you consider the story of Nissa Nissa. I also covered how in Biblical times, the Vale of Nysa was mountainous and swampy, which echoes the area surrounding the river Styx that leads to the realm of Hades. This area was very like the Neck of ASOIAF, which is the entry point to the Northern underworld.

I’ve talked about how the real-world honey making Nysa deciduous also grows in bogs and swamps. If, as I’ve proposed, the corpse queen is a symbolic sea dragon because she’s a female greenseer and is also the Persephone character of the story, then it makes sense that she’s heavily associated with water, just as Sansa is via her Tully heritage.

As we see in the text, every time the word dragonfly is mentioned, it is associated with water. This includes reference to Oldstones in the Jenny and Duncan legend as that ruined stronghold sits on a hill above the blue fork of the Trident. Note that it sits above the “blue” fork giving it icy symbolism. As I keep saying, George is never not consistent with his symbolism.

The galley skimmed the water like a dragonfly, her oars rising and falling in perfect time. Ser Rodrik held the rail and looked out over the passing shore. "I have not been the most valiant of protectors."— A Game of Thrones - Catelyn IV

The galley was skimming downriver, a great wooden dragonfly. The water around her was churned white by the furious action of her oars. — A Storm of Swords - Jaime I

The sun was overhead, the world still and hot. Midges swarmed in the air, and a dragonfly floated over the stream, darting here and there. And the grass was moving when it had no cause to move. —A Dance with Dragons

To say again, dragonflies are symbolic sea dragons. And in the story, the myth of the sea dragon is one about the usurpation of the first greenseer who was female. So, when on the show we saw Petry give advice to Sansa that could have come straight out of the greenseer training handbook, it was hinting at something. This dialogue was the type that one would expect to come from Bloodraven to Bran, who we know is a greenseer.

You can watch the clip here, but I’ve transcribed the dialog below.

Don’t fight in the North or in the South. Fight every battle everywhere, always in your mind. Everyone is your enemy. Everyone is your friend. Every possible series of events is happening all at once. Live that way, and nothing will surprise you. Everything that happens will be something that you’ve seen before. —A Game of Thrones, Season 7, Ep 3

That is the advice you give to a greenseer in training. It’s also how great chess players think. What happens right after this scene with Petyr and Sansa, Bran the greenseer arrives. Now some will say that the comment from Petyr was to introduce Bran in the next scene but as I’ve always said, there were a million and one ways for them to have set up Bran and Sansa’s reunion without that piece of dialogue. This advice that perfectly describes a greenseer was not needed from Petyr to Sansa of all people.

This scene was one of the ways D&D hinted at Sansa’s greenseer abilities on the show without coming out and saying so. This is because to do so, would have upended their decision to have a Jon and Dany romantic relationship on the show, something I steadfastly believe won’t happen in the books.

Some other clues were the ringing of the bells all day at her birth, Arya’s, “she’s smarter than anyone I know, which came out of nowhere” and most importantly, the continued use of the dragonfly motif in her costumes. They were basically shouting in silence; Sansa is a sea dragon/greenseer.

The show incorporated dragonflies into Sansa’s costumes in so many different instances and ways, that it’s clear it wasn’t just happenstance but deliberate on their part. It was embroidered into dresses; worn as a necklaces and pins; and of course, her Season 8 dress of scales shimmered like dragonfly wings. Many fans have commented on the use of sea dragon motif in her costumes before me, including @castaliareed who wrote about the dragonfly influence on her leather armor here. I really loved that fine.

Now, I want you to remember all the clues I and others in the fandom have discussed that point to Sansa being the Persephone of the story. Would you then be surprised if I told you that there is a dragonfly named after the Greek Goddess.

Aeshna persephone, Persephone's darner, is a species of dragonfly in the family Aeshnidae. It is found in northern Mexico and the southwestern United States. Its natural habitats are rivers and intermittent rivers.—Wikipedia

You can read all about its discovery in Arizona in 1954 here, but I copied a brief section below, because when I read the passage, I immediately saw echoes in a passage from the world book.

Aeshna persephone is most closely related to A. palmata, and appears to be confined to Arizona, whereas palmata has not been taken in that state. The name is suggested by the habitat of this large and colorful dragonfly. In contrast to the sunny streams and ponds favored by most of its North American congeners, it inhabits mountain streams which are lighted by the sun’s rays for only a few hours each day, though it ascends periodically through the forest gloom to the sun-lit mountain slopes.—Biodiversity Heritage Library

Aeshna Persephone Darner

The passage above suggests that the Persephone dragonfly got its name from the dark mountainous area where it was discovered. Except for no mentions of swamps, and I wouldn’t be surprised if some of the rivers are such as that’s the natural habitat of dragonflies, the description reads a lot like the dark mountainous region of the river Styx that leads to Hades, which supports the theory I’ve proposed above.

Also, and this is very important, let’s not forget that our author has lived in New Mexico, smacked dab in the middle of the region that’s the native habitat for the Aeshna Persephone for over 40 years.

Dragonflies, like hummingbirds are prevalent in the American Southwest and are sighted all over the area. There are tours to their breeding grounds and hiking trails named after them all over the area. There is even a popular tourist attraction called Dragonfly Sanctuary Pond, the first of its kind in the country at the Albuquerque Bio Park in New Mexico.

Do we really think that George is not aware of the Persephone darner when he is so well read and knowledgeable, but more importantly has placed the myth of Hades and Persephone at the core of his ASOIAF legend of the Nights King and corpse queen. And it’s not just the inclusion of H&P myth, he also added dragonflies as an important symbol of his magical greenseers.

Yes. I think that it’s safe to say that George is aware of the Aeshna Persephone dragonfly.

The passage from the article discussing the discovery of the Aeshna Persephone also reminds me of this passage from the world book. I’m not sure it means anything, but the article was written in 1961 and so I’ve wondered if George came across it in his research. There is a fandom theory that Asshai was once the capital of TGEOTD, and thus would have been where the Bloodstone Emperor and the Amethyst Empress resided. Like I said, I’m not sure it means anything. In this instance, likely just happenstance, but I thought I would mention it.

On its way from the Mountains of the Morn to the sea, the Ash runs howling through a narrow cleft in the mountains, between towering cliffs so steep and close that the river is perpetually in shadow, save for a few moments at midday when the sun is at its zenith. — The World of Ice and Fire - The Bones and Beyond: Asshai-by-the-Shadow

So, let’s finally talk about Jenny and Duncan, her Prince of Dragonflies beginning with this passage from The Hedge Knight.

A hedge knight must hold tight to his pride. Without it, he was no more than a sellsword. I must earn my place in that company. If I fight well, some lord may take me into his household. I will ride in noble company then, and eat fresh meat every night in a castle hail, and raise my own pavilion at tourneys. But first I must do well. Reluctantly, he turned his back on the tourney grounds and led his horses into the trees. On the outskirts of the great meadow a good half mile from town and castle he found a place where a bend in a brook had formed a deep pool. Reeds grew thick along its edge, and a tall leafy elm presided over all. The spring grass there was as green as any knight's banner and soft to the touch. It was a pretty spot, and no one had yet laid claim to it. This will be my pavilion, Dunk told himself, a pavilion roofed with leaves, greener even than the banners of the Tyrells and the Estermonts. His horses came first. After they had been tended, he stripped and waded into the pool to wash away the dust of travel. "A true knight is cleanly as well as godly," the old man always said, insisting that they wash themselves head to heels every time the moon turned, whether they smelled sour or not. Now that he was a knight, Dunk vowed he would do the same. He sat naked under the elm while he dried, enjoying the warmth of the spring air on his skin as he watched a dragonfly move lazily among the reeds. Why would they name it a dragonfly? he wondered. It looks nothing like a dragon. Not that Dunk had ever seen a dragon. The old man had, though. Dunk had heard the story half a hundred times, how Ser Arlan had been just a little boy when his grandfather had taken him to King's Landing, and how they'd seen the last dragon there the year before it died. She'd been a green female, small and stunted, her wings withered. None of her eggs had ever hatched. "Some say King Aegon poisoned her," the old man would tell. "The third Aegon that would be, not King Daeron's father, but the one they named Dragonbane, or Aegon the Unlucky. He was afraid of dragons, for he'd seen his uncle's beast devour his own mother. The summers have been shorter since the last dragon died, and the winters longer and crueler."— The Hedge Knight

I included this long passage from The Hedge Knight not just to show a reference to a dragonfly in the text but to also show how George answers Dunk’s question while seemingly talking about the last fire dragon.

This is one of those passages I mentioned to be on the lookout for when you see a water reference in the text. In this instance because a dragonfly is present in the scene, you should pay particular attention. It’s basically a scene symbolizing the green sea/weirwood net.

Let’s start with how Dunk leads his horses into the “trees,” symbolically the weirwood net. And what does he find there, nothing but greenery because it’s the green sea. Spring grass as green as any knight’s banner; a tall elm tree with sprouting leaves even greener than the banners of House Tyrell and Estermont of Greenstone.

Interesting choice of house banners to reference…one that has “a rose” in a field of green, and the other that utilizes George’s favorite animal, a turtle, also in a field of green. Sigils that can be said to be floating in a sea of green.

I could also go into detail and post excerpts about real-world myths from many different regions of the world wherein ships are considered the horses of the sea, but you will have to just take my word for it. Thus, when Dunk takes his horses into the trees/green sea, you can symbolically see them as ships or sea horses sailing the green sea.

Where is all this greenery located? Well, it symbolizes the green sea and so, as one would expect, it’s next to a body of water. In this case, a stream that forms into a pool from which Dunk takes a bath.

Reeds are also growing deep along the edges, which tells you that this stream is also swamp/wetland like because that’s where reeds grow. And what is flying around in this green sea, a dragonfly…a sea dragon. Then Dunk wonders what’s difference between dragons and dragonflies. Why does the latter have that name when it looks nothing like a dragon?

As he’s wont to do, George gives the answer while seemingly talking about the last fire dragon. He incorporates the answer into all the green symbolism of the scene. Dragonflies maybe small, but they are green dragons of the green sea, and whatever happened to the original sea dragon, the first of her kind is why the weather has been out of whacked for thousands of years.

There is one other passage from The Hedge Knight that I want to mention because I think it’s one of the most important clues about the entire series. It’s the one where Prince Maekar offers Dunk a place in his household.

"That can be changed," said Maekar. "Aegon is to return to my castle at Summerhall. There is a place there for you, if you wish. A knight of my household. You'll swear your sword to me, and Aegon can squire for you. While you train him, my master-at-arms will finish your own training." The prince gave him a shrewd look. "Your Ser Arlan did all he could for you, I have no doubt, but you still have much to learn." "I know, m'lord." Dunk looked about him. At the green grass and the reeds, the tall elm, the ripples dancing across the surface of the sunlit pool. Another dragonfly was moving across the water, or perhaps it was the same one. What shall it be, Dunk? he asked himself. Dragonflies or dragons? A few days ago he would have answered at once. It was all he had ever dreamed, but now that the prospect was at hand it frightened him. "Just before Prince Baelor died, I swore to be his man."

Dragonflies or dragons? The conflict at the heart of the series. The sea dragons/dragonflies had access to the weirwoods and the fire dragons in the form of Azor Ahai, the Bloodstone Emperor and many other symbolic representations wanted access, which led to the killing of the first sea dragon/greenseer.

In a way, Dunk’s choice was a symbolic “hedging” of his bet or rather, putting off the decision. He chose the dragonfly, but he took the dragon prince with him. And later, he does fully make the dragons his choice, which leads to his death.

On the other hand, Jenny’s Duncan was a dragon who chose to be a dragonfly, but he never quite gave up his connection to his fire heritage, which also led to his death. However, I don’t think that Duncan’s Prince of Dragonflies’ moniker is just about him choosing Jenny over the dragon crown. And this is where my second theory of this chapter comes in.

I think it’s quite possible that George gave Duncan that moniker to indicate that he was a greenseer, or at least had the untapped potential. It could be why he sought out the Ghost of High Heart, which I think is what happened and how he met Jenny.

The GOHH is a woods witch and with her diminutive stature and association with High Heart, a location that was sacred to the COTF, and is centered around a major weirwood grove, she is likely either a Child of the Forest, or a human/COTF hybrid. George has not yet answered that question, but with her green dream visions, he clearly wants her associated with the COTF.

Thus, it makes sense for a dragon prince with sea dragon/greenseer abilities to be associated with the COTF for training as was the case with Bloodraven. Now, before anyone says that there is no way that Duncan could have been a greenseer, I would say to remember Bloodraven and their family heritage.

Duncan’s mother was Black Betha Blackwood while Bloodraven’s was Melissa Blackwood. The greenseer gene is strong within the Blackwoods. It’s why they war with the Starks in ancient times and were chased out of the North. It is from his Blackwood mother that Bloodraven inherited the greenseer gene, and so Duncan having the gene as well is a very real possibility.

Was Jenny also a greenseer? This can’t be ruled out considering the hints that she might have been related to the GOHH…possibly even a daughter or granddaughter. We don’t get much of a description of Jenny except that she wore flowers in her hair, which seems to be George wanting the reader to associate her with being a forest nymph.

She’s described as being strange and as a witch. Her connection to the GOHH would seem to suggest that she might have been a woods witch as well. She’s also closely associated with Oldstones, which is a full anagram for lodestone. A lodestone is a magnetic stone and in fantasy literature, it often has magical properties. So, Jenny could have been magical as well.

However, in this instance, I think that Duncan might have been the one with the ability and his Prince of Dragonflies moniker might indicate that he was in training, just as Bran, “Prince of the Green” is being trained by Bloodraven. Jenny might have been the lodestone that brought him to his mentor, the GOHH. But as I said, I would not be shocked if she also had magical abilities because it would fit thematically.

And those flowers she wore in her head, I think that there were probably wild white roses that she found on the grave of her ancestors.

Yet in the center of what once would have been the castle's yard, a great carved sepulcher still rested, half hidden in waist-high brown grass amongst a stand of ash. The lid of the sepulcher had been carved into a likeness of the man whose bones lay beneath, but the rain and the wind had done their work. The king had worn a beard, they could see, but otherwise his face was smooth and featureless, with only vague suggestions of a mouth, a nose, eyes, and the crown about the temples. His hands folded over the shaft of a stone warhammer that lay upon his chest. Once the warhammer would have been carved with runes that told its name and history, but all that the centuries had worn away. The stone itself was cracked and crumbling at the corners, discolored here and there by spreading white splotches of lichen, while wild roses crept up over the king's feet almost to his chest. — A Storm of Swords - Catelyn V

As we find out in this Sansa chapter from AFFC, the tale of Jenny and her Prince might be very similar to that of Florian and Jonquil in its sadness.

If the Eyrie had been made like other castles, only rats and gaolers would have heard the dead man singing. Dungeon walls were thick enough to swallow songs and screams alike. But the sky cells had a wall of empty air, so every chord the dead man played flew free to echo off the stony shoulders of the Giant's Lance. And the songs he chose . . . He sang of the Dance of the Dragons, of fair Jonquil and her fool, of Jenny of Oldstones and the Prince of Dragonflies. He sang of betrayals, and murders most foul, of hanged men and bloody vengeance. He sang of grief and sadness. — A Feast for Crows - Sansa I

This passage which references both Florian and Jonquil, and Jenny and her Prince of Dragonflies also mentions the Dance of the Dragons. We know that while Jenny’s story involved dragons, it did not involve a Dance of Dragons, at least not of the fiery type. And it did involve betrayal.

We also discover in The Hedge Knight, that all the adjectives Sansa uses to describe the songs sung by Marilion could also be used to describe the legend of Florian and Jonquil. This includes betrayals; murder most foul; and a Dance of Dragons between two brothers with a woman at the center of the conflict.

I think that the latest Dance with Dragons will play out between Jon and Dany and Sansa will have a major role in this arc, because as I’ve been preaching throughout this essay series, she and Jon are the Florian and Jonquil of this iteration of the story.

However, as I noted when discussing the passage from The Hedge Knight above, not recognized by many is that there is also a dance between the sea dragon of the dragonfly variety and the fire dragon at play in the story. It’s been there since the fire dragon killed the sea dragon millennium ago to gain access to the weirwoods, and it’s a dance that continues through all the timelines iterations. And with that, let’s wind down this chapter.

In Part 2 of The Bear and the Maiden Fair, and in this brief snippet, I discussed why Sansa’s Tully heritage and other textural symbolism positions her as a sea dragon waiting to be awaken. Left alone, weirwoods don’t rot. They petrified and are turned to stone. The same can be said of weirwood goddesses. They may sleep and hibernate, but goddesses sometimes awaken. Weirwood goddesses or sea dragons sometimes awaken from stone, or better yet, awaken from under the name of Stone.

Don’t you ever wonder why George gave her a false moniker and a hidden princess storyline where she needs to awaken to reclaim her identity. It’s interesting when there is a major prophecy in the text about waking dragons from stone, and such prophecies usually have multiple and layered meanings…especially if as I’ve proposed, Sansa is the Sea Dragon Behind the Glass, as in a sleeping greenseer.

In his dream, Bran falls from the Winterfell eyrie and Bloodraven tells him to fly or die, meaning awaken to his full potential or die in the attempt as the was the case of many other dreamers who attempted to cross the weirwood bridge to the green sea. It’s not specifically stated in the dream that Bran is falling from the eyrie, but it’s implied with his habit of climbing to the top to feed the crows as he does to the one in his dream, as well as in his memory of Jaime pushing him. Then later in A Storm of Swords, George puts Sansa at the top of the Eyrie in the Vale and we get this scene.

So lovely. The snow-clad summit of the Giant's Lance loomed above her, an immensity of stone and ice that dwarfed the castle perched upon its shoulder. Icicles twenty feet long draped the lip of the precipice where Alyssa's Tears fell in summer. A falcon soared above the frozen waterfall, blue wings spread wide against the morning sky. Would that I had wings as well. A Feast for Crows, Alayne I

You do have wings Sansa, and you will fly…possibly both symbolically and literally.

To the original questioner, I hope this very long essay answers your question of why dragonflies are important in the story and what it implies about Sansa’s arc. The length was necessary because I really had to go into the ironborn Grey King myth to show the symbolic importance of sea dragons in the story and why dragonflies should be considered the same.

And with that, we come to the end of Chapter 8. The next chapter is going to be a fun one, and I’ve been looking forward to writing it for almost 6 years. In fact, I first started writing it about 6 years ago…even before the Florian and Jonquil series. It was only after I started the latter series that I realized the two were connected.

For this reason, I tabled the essay, until I got to the right part of the Florian and Jonquil series to introduce the theory. I didn’t expect to be doing it now, but the query about dragonflies which led to a discussion of the Grey King and other topic provides a perfect segue. I can’t tell you the name of the chapter as that would be a big spoiler. I will say that many will find it surprising, but it’s been one of George's shinny apples sitting out there in plain sight all along. Oh, and yes, I will be discussing the infamous unkiss.

#sansa stark #jon snow #asoiaf #asoiaf meta #my meta #house stark #sansa stark meta #florian and jonquil #jenny of oldstones #prince of dragonflies #duncan targaryen

45 notes · View notes

stormcloudrising · 5 months

Text

Secret Song of Florian and Jonquil Part 8: Jenny of Oldstones and her Prince of Dragonflies

December 7, 2023

Jenny of Olstones by Jesse Ochse

More importantly, this ancient myth has implications in the tale of Florian and Jonquil and thus ultimately leads us back to the current incarnation of those characters, Jon, and Sansa.

Bloodraven to Bran: “It's beautiful beneath the sea, but if you stay too long, you will drown.”

Bran: I wasn’t drowning. I was home.

You can watch the clip from the show here at 2:42.

youtube

Of course, we’re not talking about real drowning because we’re not talking about a real sea. Rather George is using the sea as a metaphor for his astral plane version of the river of time.

Grey King Battles Naga; Complete Guide to Westeros - Game of Thrones - Season 1 Blu-ray Edition

George names his Nagga sea dragon after the real world mythological Naga of South Asian culture who are seen as demigods.

Nagga’s bones sound and awful lot like the limbs of a weirwood tree, but is that just happenstance? Let’s dig a bit more.

Those maesters, always questioning and discounting the ancient myths, but this time, they might be on to something.

As proposed by many in the fandom, the bones that Aeron views upon the hill might be the petrified remnant of the Grey King’s longship, carved from the cut down weirwood tree.

Viking Longship wreck - Roskilde Viking Ship Musem

We also see from this Jon’s passage that longships would have the shape of Nagga’s bones.

And as Jaime notes in ADWD, weirwood trees or the wood it generates never rot. It simply turns to stone over millennium.

Let’s look at what else the books tell us about this Ironborn legend to see if we can discover the answer.

So, how did the Grey King steal the fire of the gods? Well, his mermaid wife; his battle with the Storm God, and another ancient myth may provide the answer.

Durran and Elenei, Complete Guide to Westeros - Game of Thrones - Season 1 Blu-ray Edition

In GRRM’s mythological world of ASOIAF, mermaids are merlings and their leader is the Merling King. And he is considered a god. He is the sea god to who sailors pray.

Grey King and his mermaid wife by Justin Sweet for the 2024 ASOIAF Calendar

I love this latest painting by Justin Sweet of the Grey King and his mermaid wife. I especially love the suggestion that she was a redhead, but back to the story at hand.

Grey King on his throne by Arthur Bozonnet for TWOIAF

This idea is echoed in images of the primordial Aztec Goddess Tlaltecuhtli.

The Grey King built a mighty longhall about her bones, using her ribs as beams and rafters. From there he ruled the Iron Islands for a thousand years, until his very skin had turned as grey as his hair and beard. Only then did he cast aside his driftwood crown and walk into the sea, descending to the Drowned God's watery halls to take his rightful place at his right hand. —The World of Ice and Fire - The Iron Islands: Driftwood Crowns

Messier 61 in Constellation Virgo taken by camera on Hubble Telescope

In the softer versions of the myth such as the one with Elenei and Duran Godsgrief, the female greenseer seems to have protected their mate...that is protected them from dying in the green sea. That is why Duran survived so many storms sent against him by the storm god. He drowned but like the myth of the Little Mermaid and her prince, he was given the kiss of life and brought back by his wife.

This is where I differ from Amanda and her wonderful video essay series about the Grey King. I don't think that his mermaid wife gave him the kiss of life. He killed her and she trapped him in the green sea...hence the Drowned God myth of the ironborn. And as he often does, George also gives us the opposite side of the myth in the same legend as we see in the ironborn doctrine of "what is dead will never die," and their practice of the "kiss of life."

Another tale that mirrors the ancient monomyth of the Azor Ahai/Nissa Nissa figures is the tale of Brienne’s ancient ancestor, Galladon of the Morne. However, it’s not quite clear where this legend falls. One wants to say it’s a more positive aspect of the myth because George names the male after the heroic Sir Gallahad of Arthurian fame, and we are told of the myth from Brienne, one of the most heroic personages in the entire series.

Nonetheless, the Galladon/Maiden legend does have aspect of the darker side of the myth such as her gifting the “perfect knight” with an enchanted sword and “losing her heart” to him. Also note the comment that no regular sword could withstand her kiss. Lots of Nissa Nissa echoes in that passage, and George does like to upend traditional myths.

Dragonfly - earth.com

By the way, nymph comes from Ancient Greek and means bride.

The galley was skimming downriver, a great wooden dragonfly. The water around her was churned white by the furious action of her oars. — A Storm of Swords - Jaime I

You can watch the clip here, but I’ve transcribed the dialog below.

You can read all about its discovery in Arizona in 1954 here, but I copied a brief section below, because when I read the passage, I immediately saw echoes in a passage from the world book.

Aeshna Persephone Darner

Yes. I think that it’s safe to say that George is aware of the Aeshna Persephone dragonfly.

So, let’s finally talk about Jenny and Duncan, her Prince of Dragonflies beginning with this passage from The Hedge Knight.

And those flowers she wore in her head, I think that there were probably wild white roses that she found on the grave of her ancestors.

As we find out in this Sansa chapter from AFFC, the tale of Jenny and her Prince might be very similar to that of Florian and Jonquil in its sadness.

You do have wings Sansa, and you will fly…possibly both symbolically and literally.

With that, we come to the end of Chapter 8. The next chapter is going to be a fun one, and I’ve been looking forward to writing it for almost 6 years. In fact, I first started writing it about 6 years ago…even before the Florian and Jonquil series. It was only after I started the latter series that I realized the two were connected.

And so I leave you with this quote from Aeron Greyjoy.

"The Storm God in his wrath plucked Balon from his castle and cast him down, and now he feasts beneath the waves in the Drowned God's watery halls." He raised his hands. "Balon is dead! The king is dead! Yet a king will come again! For what is dead may never die, but rises again, harder and stronger! A king will rise!" —A Feast for Crows, The Prophet

Yes. What is dead does rise harder and stronger, and a king shall indeed rise. Actually, two shall rise but only one will do so by the "kiss of life," and it's not Euron. Oh, and yes, I will be discussing the infamous unkiss.

#sansa stark #jon snow #asoiaf #asoiaf meta #my meta #house stark #sansa stark meta #florian and jonquil #jenny of oldstones #prince of dragonflies #duncan targaryen

45 notes · View notes