#jonquil (the legend)

[horizon-verizon]

Jonquil Tower is a symbol of romantic love. Caraxes cry smahing all windows is a symbol of broken heart of Daemon.

That's intentionally written to be romantic, as if it were Daemon himself screaming at her leaving.

I know we can find other explanations but this one is simplest and most likely. Why would George add all these details if didn't intend us to think about romance?

And especially if all other clues fit together to a romantic picture?

Singers compared the sudden marriage of King Jaehaerys I Targaryen and Queen Alysanne Targaryen to the great romance of Jonquil and Florian the Fool.

Florian the Fool saw Jonquil at a pool of water where she and her sisters were bathing and she fell in love with him. The site of their story and their love is a pool, not a tower. In the town of Maidenpool, there is a bathhouse called Jonquil's Pool. The tower is called Jonquil's Tower only because the entire town is dedicated to her, but the traditional and object of love symbolism is a pool of water. If GRRM wanted this to be a romantic thing, he could have chosen a much better location.

Finally, there is much too much reason more for me to believe that they didn't have an affair than this one small, easily argued-against detail, which loses its already infinitesimal significance after considering all the arguments against DawmonxNettles before the Jonquil Tower bit. I already gave a link about it, by darklinaforever, who compiled a list by several bloggers.

[stormcloudrising]

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

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.

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

Nagga's Hill by Lake Hurwitz © Fantasy Flight Games

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.

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 World of Ice and Fire - The Iron Islands: Driftwood Crowns

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.

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 World of Ice and Fire - The Iron Islands: Driftwood Crowns

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

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.

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.

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.

"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

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.

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.

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.

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.

[ilynpilled]

"The world is full of horrors, Tommen. You can fight them, or laugh at them, or look without seeing . . . go away inside."

There was very little that Jaime took seriously. Tyrion knew that about his brother

Jaime never thinks, he laughs at everything and everyone and says whatever comes into his head.

“You should think less about the future and more about the pleasures at hand.” “Stop that!” the woman said. Bran heard the sudden slap of flesh on flesh, then the man's laughter.

Tyrion Lannister was as good as his word. He left the rest unsaid; that King Robert would ignore him, Lord Tywin would ask if he had taken leave of his senses, and Jaime would only laugh.

I stopped in front of the throne, looking up at him. His golden sword was across his legs, its edge red with a king's blood. My men were filling the room behind me. Lannister's men drew back. I never said a word. I looked at him seated there on the throne, and I waited. At last Jaime laughed and got up.

“…and death is all around you but their swords move so slowly, you can dance through them laughing.”

Laughing, he dropped to his knees, plunged his head under the water, and came up drenched and dripping.

"Oh, very good." Jaime laughed. "Your wits are quicker than mine, I confess it. When they found me standing over my dead king, I never thought to say, 'No, no, it wasn't me, it was a shadow, a terrible cold shadow.'" He laughed again.

The pool from which the town took its name, where legend said that Florian the Fool had first glimpsed Jonquil bathing with her sisters, was so choked with rotting corpses that the water had turned into a murky grey-green soup. “Care for a bath, Brienne?” He laughed. “You're a maiden and there's the pool. I'll wash your back.”

Jaime sang "Six Maids in a Pool," and laughed when I begged him to be quiet

Steel met steel with a ringing, bone-jarring clang. Somehow Brienne had gotten her own blade out in time. Jaime laughed.

He laughed a ragged, breathless laugh. “Come on, come on, my sweetling, the music's still playing. Might I have this dance, my lady?”

“No,” she said, “no, you must live.” He wanted to laugh. “Stop telling me what do, wench. I'll die if it pleases me.” “Are you so craven?”

Harrenhal, and remembered that was to be their destination. That made him laugh aloud, and that made Timeon slash his face with a long thin whip. The cut bled, but beside his hand he scarcely felt it. “Why did you laugh?”

“Harrenhal was where they gave me the white cloak,” […] Aerys never let me joust.” He laughed again. “He sent me away. But now I'm coming back.”

Jaime had to laugh, no matter how it hurt.

"The knights of the Kingsguard are sworn to keep the king's secrets. Would you have me break my oath?" Jaime laughed.

Jaime had to laugh.

He turned his head to look, but the sound was only his own laughter coming back at him. He closed his eyes, and just as quickly snapped them open. I must not sleep. If he slept, he might dream.

Every crow in the Seven Kingdoms should pay homage to you, Father. From Castamere to the Blackwater, you fed them well. That notion pleased Lord Tywin; his smile widened further. Bloody hell, he's grinning like a bridegroom at his bedding. That was so grotesque it made Jaime laugh aloud.

Jaime had to laugh.

But when the Piper boy started calling them Honor and Glory, he laughed and let the names stand.

Jaime had to laugh.

“. . . the sight of Brienne naked might have made the bear flee in terror.” Connington laughed. Jaime did not.

Piety and devotion. It was all he could do not to laugh.

Jaime did not know whether to laugh or weep.

For honor, Jaime might have said. For glory. That would have been a lie, though. Honor and glory had played their parts, but most of it had been for Cersei. A laugh escaped his lips.

“Hear us roar.” Jaime grinned. “Next you'll be telling me how much he liked to laugh.” “No. Tywin mistrusted laughter. He heard too many people laughing at your grandsire.”

Jaime had to laugh.

[goodqueenaly]

Hi again! I’m sorry if this is a weird question but it occurred to me recently: if not for Dontos becoming a fool, do you think he would have kept the Florian/Jonquil framing with Sansa? (Or if it was LF’s idea) I think LF probably wanted to use it as a way of disillusioning Sansa as part of his grooming of her. I hope this isn’t too weird of a question but do you think it would make a difference if they used Aemon/Naerys instead, or any other historical/legendary pairing?

I don't think the specific Florian/Jonquil dynamic was something Dontos necessarily came up with (or was told to use) before meeting Sansa in the godswood. After all, it's Sansa herself who reminds Dontos of the dichotomy between fool and knight:

"Are you going to stab me?" Dontos asked.

"I will," she said. "Tell me who sent you."

"No one, sweet lady. I swear it on my honor as a knight."

"A knight?" Joffrey had decreed that he was to be a knight no longer, only a fool, lower even than Moon Boy. "I prayed to the gods for a knight to come save me," she said. "I prayed and prayed. Why would they send me a drunken old fool?"

At which point Dontos seizes on the romantic legend to fuse the two identities:

"I deserve that, though ... [sic] I know it's queer, but ... [sic] all those years I was a knight, I was truly a fool, and now that I am a fool I think ... [sic] I think I may find it in me to be a knight again, sweet lady. And all because of you ... [sic] your grace, your courage. You saved me, not only from Joffrey, but from myself." His voice dropped. "The singers say there was another fool once who was the greatest knight of all ... [sic]"

Dontos could not have known how Sansa would react to his appearance and offer of service, nor whether she would make reference to him as a fool rather than the knight she had expected. Of course, Dontos would have had every reason to know the story of Florian and Jonquil himself, as seemingly one of the most popular Westerosi tales, one which as a boy connected to an eminently knightly family (and later saved by one of the most venerated Kingsguard in history) Dontos would almost certainly have heard time and again. In that sense, Dontos might have always had the connection to Florian and Jonquil in his back pocket, so to speak, aware of both how his story might have appeared similar to Florian's and how Sansa (as a highborn girl with that same education in chivalric lore) would recognize the allusion and extend it to herself. However, I hesitate to say that Dontos was specifically planning on doing so even before he met with Sansa; if Sansa had, say, immediately embraced him as a true knight and her savior, it's possible he would have simply stuck to the familiar tropes of chivalric romance (with Dontos as the devoted knight and Sansa as his noble lady), or even looked to another story or stories which focused on a knight fulfilling a debt of honor to a lady.

None of this, of course, is to say that Littlefinger did not use Dontos for very specific reasons, nor that Littlefinger was not gratified to further Sansa's disillusionment by that usage. Indeed, Littlefinger revealed to Sansa that he had chosen Dontos as his catspaw specifically because Sansa had saved him at Joffrey's nameday tourney, twisting the ostensible chivalric devotion inspired by Sansa's (genuinely!) selfless act of mercy into merely one aspect of a larger, and entirely selfish, scheme. Likewise, when Sansa miserably reflected on Dontos' self-identification as "my Florian", Littlefinger immediately took the opportunity to remind Sansa that "life is not a song" and that "[a]lmost everyone" will "[lie], forever and ever" (except, of course, Littlefinger and Sansa themselves, or so he then assured her). Even if he had no specific part in encouraging Dontos to refer to himself as Florian to Sansa's Jonquil, Littlefinger was nevertheless pleased at the outcome - another way in which he could attempt to isolate Sansa, gaslight her, and otherwise erase Sansa's hope in anything but Littlefinger himself.

[waitingforwinterwinds]

ASOS; Steel and Snow: 21 JAIME III (pages 285-297)

The BROadtrip takes an unfortunate turn as circumstances trade BROtrip member Cleos for the Bloody Mummers Brave Companions in the BROadtrip lineup. Neither Brienne nor Jaime have a good time.

They get to have a cool fight scene though.

-

The pool from which the town took its name, where legend said that Florian the Fool had first glimpse Jonquil bathing with her sisters, was so choked with rotting corpses that the water had turned into a murky grey-green soup.

This feels like commentary on the effects of war spoiling the childhood dreams and stories of romance and hope.

"- And there may be other enemies hiding in the rubble..." "Hers or ours? They are not the same, coz. I have a yen to see if the wench can use that sword she wears."

Yen, noun: a basic monetary unit of Japan Yen, noun: strong longing or yearning

Guess which one I interpreted that as. "You're making a bet? With a currency you shouldn't even know exists?! ... wait, there's... that's the wrong..."

Jaime had decided that he would return Sansa, and the younger girl as well if she could be found. It was not like to win him back his lost honor, but the notion of keeping faith when they all expected betrayal amused him more than he could say.

mmmm, F to doubt buddy. Oh sure, it might be amusing, but given how often "you think of me as a monster? then I'll be a monster" crops up, I think part of you wants to be the good and honorable man yet. because somewhere way deep down there is some good in you, and maybe because you think Cersei deserves a good and honorable man. (Hell knows where that goodness was when he pushed Bran out the window though.)

... RIP Cleos. we all knew you were on a timer. At least I didn't get attached to this one?

... This fight scene is way more dynamic than the show, good use of terrain as a character.

She looks as if they caught us fucking instead of fighting.

fuck(ing) = 🥛

"Then we'll have your cunt," said the noseless man.

cunt = 🥛

Oh, hi Rorge. Not dead yet? that's unfortunate.

"Why did you tell him Tarth was the Sapphire Isle? (...) He's like to think my father's rich in gemstones..." "You best pray he does."

I wonder if this was because Jaime's reached a minimum threshold for human decency, his efforts to be the good and honorable man paying off in that he has to try at the very least to protect Brienne, or because part of him will never be over not being able to save Cersei from that same fate at Robert's hands.

Or a mix of both.

... hang on a second... *finds the scene on youtube* yeah, that's what I thought. That's interesting, Jaime actually spells it out in the show, here in the books he just says "Tarth is called the Sapphire Isle, a maiden told me once." and let's Urswyck make his own incorrect conclusion.

I wonder if it's because D&D didn't trust the viewers to make the leap that Urswyck makes all on his own with out spelling out what Jaime was implying in real time even though Brienne does it later in the same scene. Well, book version anyway, I swear she said it in the show, but later but I can't remember when, and the show was too busy making Jaime talk like someone who isn't as smart or smooth as he thinks he is so they could get straight to the hand chopping while he's still smarmy enough that we might not feel 100% bad about him losing his hand.

"Thith ith a thweet day," Vargo Hoat said. Around his neck hung a chain of linked coins, coins of every shape and size, cast and hammered, bearing likenesses of kings, wizards, gods and demons, and all manner of fanciful beasts. Coins from every land where he has fought, Jaime remembered.

That's a cool world building costume detail sadly missing from the show. Like his lisp.

They mean to scare me. (...) no sellsword would make him scream. Sunlight ran silver along the edge of the arakh as it came shivering down, almost too fast to see. And Jaime screamed.

I love "You will never make me do the think" scene transition to them doing the thing as a comedic effect, but damn if it doesn't do good for the horror elements as well.

I think it was better for Jaime to believe they were just trying to scare him right up until it happened, because that let him be brave where he might not have been able to otherwise, but it did cost him last second bartering time, though I doubt that would have helped him any.

[modestfashiondesignersproduction]

Inaul; The Symbol of a Proud Race

Inaul; The Symbol of a Proud Race

by Jonquil Dun Legend has it that the art of weaving patterns of the infamous Philippines textile called “Inaul” started and was popularized during the reign of Sultan Umping of Maguindanao in the late 1800s. It was during his reign when he initiated a contest among his four wives and that was to weave a cloth version of his treasure holder called “karanda”, which the pattern that won was named…

[yetiebetie]

Romance

Link: Malon is the romanticest romantic I have ever met. No one is more romantic than Malon.

Link: *see's Malon* Hey Malon! Show them how romantic you are!

Malon: *flexes*

Link: *Sighs* Gets me every time.

[agentrouka-blog]

Jonquil? That's pretty.

Okay, we all know this sweet memory, but at the same time, whatever could have been the context of it?

"That's pretty." He remembered Sansa telling him once that he should say that whenever a lady told him her name. 

(ACOK, Jon III)

Why would Sansa, who is emphasized to be aware of the role of class differences in social interactions, advise Jon, the bastard boy, to say something so dramatically informal to "a lady"? Unless it was, say, not actually advice for courtly behavior, but given in the context of a story or song? In which such formalities are much less important? Where even a fool can be a knight?

He thought back on all the songs he had heard, songs of blind Symeon Star-Eyes and noble Serwyn of the Mirror Shield, of Prince Aemon the Dragonknight, Ser Ryam Redywne, and Florian the Fool. They had all won victories against foes far more terrible than any he would face. But they were great heroes, brave men of noble birth, except for Florian. 

(The Hedge Knight)

Hmmm. I know it's basically fanon, but the idea of Jon playing knights and heroes with not just Robb but also Sansa is actually pretty likely. I'm starting develop a very adorable mental image here, of little Sansa magnanimously instructing Jon how low-born Florian should greet fair Jonquil, while she's cooling her feet in the godswood pool. Sort of a vague, positive mirror to Robb telling him he can never be Lord of Winterfell. "Florian was low-born, so it's completely appropriate, Jon! Now repeat after me: that's pretty!"

[aingealbites]

Ok, so guys.

I was looking up how to spell a word in the Dictionary right? And I came across the word narcissist. The origin of the word is narcissus, which the definition is, "any of a group of flowers including jonquils and daffodils."

That had me confused since Reaver wanted to name his ship the Narcissus and I was thinking, "Surely he wouldn't name it after some flowers right?"

WELL

The origin of Narcissus is that of a legend!

"The story is that a handsome Greek youth fell in love with his own reflection in a pool of water. Unable to take hold of the beautiful creature that he thought he could see in the water, he pined away and died, leaving a flower in his place. The story also gives us the word 'narcissism', a feeling of excessive admiration for one's self."

Oh Reaver, please don't change 😂

[fedonciadale]

Do you think that GRRM went to somewhat great lengths to avoid revealing "Florian and Jonquil" song? Both of them and the song itself are often mentioned, yet we never get to hear the actual song. When the Hound demands Sansa sing it during the BW battle she ends up singing Mother's hymn instead. I read some great metas paralleling Jon as the knight and the "northern fool" with Florian the fool, and Jonquil with Sansa as well, through the "princess in the tower" trope, flower imagery and even-

(2) -suggestions that jonquils are in fact blue roses. Do you think that GRRM is still waiting for the right moment to finally reveal the song, as they always have a meaning for characters in ASOIAF? And do you think it will be in relation to Jon and Sansa? If so, how? Or am I reaching and the song doesn’t matter? I’m 100% sure that, if it happens, it will be in Sansa’s POV, so maybe GRRM is just waiting for her Florian.             

Dear nonny,

I very much agree. I’m writing on a meta of parallels for Jon and Sansa and Beren and Luthien and Aragorn and Arwen in LotR and Silmarillion. I think that Jon and Sansa like Aragorn and Arwen who relived parts of the story of Beren and Luthien are destined to relive some of the legends and songs of their world. One very obvious is the story of Aemon the Dragonknight and Queen Naerys. Another one is Florian and Jonquil.

We only know tidbits about them. Florian was not noble, yet he was a fool and a knight. He saw Jonquil bathing in Maidenpool and from that moment onwards loved her.

In the ‘Hedge Knight’ the puppeteers perform the story and it seems to involve the slaying of a dragon. Aerion destroys the puppets for that:

The dragon puppet was scattered all about them, a broken wing here, its head there, its tail in three pieces. (The Hedge Knight)

[Just as an aside this might foreshadow that the three dragons we have now, are the last dragons (the tail in three pieces).]

And then there is of course the fact that Jonquils might be flowers and that Florian is a Latin Name that probably means blond, but that was connected to ‘florere’ = to flower and was usually understood in that way.

Of course, Jon’s arc is that of a fool, the Northern fool who ‘knows nothing’, and that fits with Florian. And the flower imagery with Sansa is abundant.

I think it is telling that Sansa does not sing ‘Florian and Jonquil’ to the Hound because singing the Mother’s hymn ties the Hound tightly to his arc of learning ‘mercy’ and foreshadows his status as Sansa’s knight sometime in the future (I do not see this as romantic foreshadowing.)

And I suspect that there is a reason why we know so little about the song in comparison to other songs like the Rains of Castamere where we know full verses.

I do think that when Sansa comes to the wall in the next book, we might see the Jonsa dynamic unfold with tidbits about Florian and Jonquil. It  depends on how much GRRM will want us to see from the hidden feelings of Jon and Sansa. I suspect that Sansa will be unaware of her feelings at first and fitting events into songs she knows, is something that would be very much in character and could give us hints in regard to her real feelings.

I think it would be neat, if we had Sansa’s PoV and more and more allusions to the story of Florian and Jonquil which will somehow match Jon’s and Sansa’s interactions.

So, I don’t think you are reaching. I think it is likely that Jon will be resurrected and will see Sansa as if she is new to him (like Florian saw the naked Jonquil), devoid of the clothing of society and bared because of her need for help. Naked Jonquil I suspect stands for innocence and purity. I don’t think that we should read this literally. Jon will have a fresh look on Sansa and she will motivate him to carry on, just like in the show.

As for jonqils being blue flowers, we’ll just have to see. Sadly there is no allusion in the books.

Thanks for the ask! This is a very intersting point and a further argument for similarities to Aragorn and Arwen!

[stormcloudrising]

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.”

Did you notice Martin’s play on words there? The Shrouded Lord is not like the “Other” stone men.

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

Again, the hint of a man getting his face burnt. 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. Maybe Jon’s brothers will have a toast to him and throw some sour wine on his pyre.

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.

ETA 9/6/24 to fix a couple of additional typos and add a couple of highlight to passages.

[ilynpilled]

I have a lot of thoughts about Renly in particular and what he represents for different characters or in the grander narrative. I think he plays an interesting role for characters that he is relevant to. With Stannis for example we have the whole stoicism vs epicureanism conversation etc. But I also love to look at Renly from the lens that Brienne provides. He is, after all, an idea that she fell in love with. Emphasis on falling in love with the idea of him rather than him as an individual. So, through this lens, Renly becomes more of a concept than a character. And ofc we have the chivalric romance layer. Brienne, early on, romantic that she is, is in love with “summer” or naive idealism. Renly captures everything that is in the songs and stories she admires. His character, on the surface, IS that idealistic world that a dreamer desires. 

"Because it will not last," Catelyn answered, sadly. "Because they are the knights of summer, and winter is coming."

"Lady Catelyn, you are wrong." Brienne regarded her with eyes as blue as her armor. "Winter will never come for the likes of us. Should we die in battle, they will surely sing of us, and it's always summer in the songs. In the songs all knights are gallant, all maids are beautiful, and the sun is always shining."

Summer ends and Renly dies because reality is more complicated. So when Jaime comes in, he also serves as a deconstruction of that ideal that Renly represented for Brienne, because he, especially in his youth, is also very much tied to this idea of naive idealism. Jaime, at the point of meeting Brienne, represents a more cynical confrontation with the horrors of reality. He is the disillusioned cynic who pisses all over songs and the fabricated reality they tell, while embodying everything Brienne seems to loathe.  The confrontation with those horrors is what created a “beast” out of Jaime.

They saw nothing living but a few feral dogs that went slinking away at the sound of their approach. The pool from which the town took its name, where legend said that Florian the Fool had first glimpsed Jonquil bathing with her sisters, was so choked with rotting corpses that the water had turned into a murky grey-green soup.

Jaime took one look and burst into song. "Six maids there were in a spring-fed pool . . ."

"What are you doing?" Brienne demanded. 

“Singing. ‘Six Maids in a Pool,’ I’m sure you’ve heard it. And shy little maids they were, too. Rather like you. Though somewhat prettier, I’ll warrant.”  

“Be quiet,” the wench said, with a look that suggested she would love to leave him floating in the pool among the corpses.

Jaime is a gateway to a grim reality following the death of her old love, and in a way her old ideology, that recontextualizes the songs and this ideal world in them that does not seem to actually exist. But in an attempt to pull her and the reader into that same cynical world view, all three of us land on an interesting conclusion instead. Same idea as: “Can a man still be brave if he's afraid?” “That is the only time a man can be brave.” It is light existing along with darkness. A just knight can exist in an unjust world, and that is what makes them truly just. If everything fit the ideal like in the songs, true knights would not exist. True humanity exists within this dichotomy. It is not always summer. True heroism lies in the attempt of doing good even in a world that often does not reward it. Same idea as that one post circulating around recently about ASOIAF not being about nihilism, but rather the idea of “earned romanticism.” It is not cynical, it is the opposite. This is why, after Renly, Brienne gradually falls for an individual she actually comes to know, just as she comes to know the real world of knighthood. In AFfC, he starts to replace Renly in her thoughts and dreams. Jaime is not just a false ideal for her this time, but a more holistic representation of reality, with all of its complexity, beauty, flaws, and contradictions, and falling in love with that is more poignant.

[istumpysk]

Operation Stumpy Re-Read

ASOS: Jaime III (Chapter 21)

The pool from which the town took its name, where legend said that Florian the Fool had first glimpsed Jonquil bathing with her sisters, was so choked with rotting corpses that the water had turned into a murky grey-green soup.

No comment, only Florian.

+.+.+

"Care for a bath, Brienne?" He laughed. "You're a maiden and there's the pool. I'll wash your back." He used to scrub Cersei's back, when they were children together at Casterly Rock.

x

"Safer but slower. I'm for Duskendale, coz. If truth be told, I'm bored with your company." You may be half Lannister, but you're a far cry from my sister.

Okay dude, we get it.

+.+.+

He could never bear to be long apart from his twin. Even as children, they would creep into each other's beds and sleep with their arms entwined. Even in the womb. Long before his sister's flowering or the advent of his own manhood, they had seen mares and stallions in the fields and dogs and bitches in the kennels and played at doing the same. Once their mother's maid had caught them at it . . . he did not recall just what they had been doing, but whatever it was had horrified Lady Joanna.

Some girls use inanimate objects during sexual maturation, other girls use their brother. Resourceful.

+.+.+

Why shouldn't I marry Cersei openly and share her bed every night? The dragons always married their sisters.

Yeah? Do they?

This book is a riot.

+.+.+

It would play havoc with Joffrey's claim to the crown, to be sure, but in the end it had been swords that had won the Iron Throne for Robert, and swords could keep Joffrey there as well, regardless of whose seed he was. We could marry him to Myrcella, once we've sent Sansa Stark back to her mother. That would show the realm that the Lannisters are above their laws, like gods and Targaryens.

+.+.+

Jaime had decided that he would return Sansa, and the younger girl as well if she could be found. It was not like to win him back his lost honor, but the notion of keeping faith when they all expected betrayal amused him more than he could say.

Thanks, I guess.

+.+.+

He craned around to look for Brienne. She was still ahorse, an arrow lodged in her back and another in her leg, but she seemed not to feel them.

Jon!

Long hours later, the rain stopped. Jon found himself alone in a sea of tall black grass. There was a deep throbbing ache in his right thigh. When he looked down, he was surprised to see an arrow jutting out the back of it. When did that happen? - Jon V, ASOS

+.+.+

"Lost your taste for battle?"

"They were running."

"That's the best time to kill them."

Nice, Jaime.

+.+.+

They found Cleos still tangled in his stirrup. He had an arrow through his right arm and a second in his chest, but it was the ground that had done for him. The top of his head was matted with blood and mushy to the touch, pieces of broken bone moving under the skin beneath the pressure of Jaime's hand.

Brienne knelt and held his hand. "He's still warm."

"He'll cool soon enough. I want his horse and his clothes. I'm weary of rags and fleas."

"He was your cousin." The wench was shocked.

"Was," Jaime agreed. "Have no fear, I am amply provisioned in cousins. I'll have his sword as well. You need someone to share the watches."

Shocking amount of callousness being displayed right now.

Remember though, his only blemish is the time he tried to kill that kid. And he only did that because of his sister.

+.+.+

He sprang to his feet and drove at her, the longsword alive in his hands. Brienne jumped back, parrying, but he followed, pressing the attack. No sooner did she turn one cut than the next was upon her. The swords kissed and sprang apart and kissed again. Jaime's blood was singing. This was what he was meant for; he never felt so alive as when he was fighting, with death balanced on every stroke. And with my wrists chained together, the wench may even give me a contest for a time.

I think I'm going to sit back and enjoy the rest of this chapter.

+.+.+

"Not bad at all," he said when he paused for a second to catch his breath, circling to her right.

"For a wench?"

"For a squire, say. A green one." He laughed a ragged, breathless laugh. "Come on, come on, my sweetling, the music's still playing. Might I have this dance, my lady?"

Oops. You should not have asked Brienne to dance.

+.+.+

Grunting, she came at him, blade whirling, and suddenly it was Jaime struggling to keep steel from skin. One of her slashes raked across his brow, and blood ran down into his right eye. The Others take her, and Riverrun as well! His skills had gone to rust and rot in that bloody dungeon, and the chains were no great help either. His eye closed, his shoulders were going numb from the jarring they'd taken, and his wrists ached from the weight of chains, manacles, and sword. His longsword grew heavier with every blow, and Jaime knew he was not swinging it as quickly as he'd done earlier, nor raising it as high.

She is stronger than I am.

The realization chilled him. Robert had been stronger than him, to be sure. The White Bull Gerold Hightower as well, in his heyday, and Ser Arthur Dayne. Amongst the living, Greatjon Umber was stronger, Strongboar of Crakehall most likely, both Cleganes for a certainty. The Mountain's strength was like nothing human. It did not matter. With speed and skill, Jaime could beat them all. But this was a woman. A huge cow of a woman, to be sure, but even so . . . by rights, she should be the one wearing down.

Hahahahahahahahahahahaha.

+.+.+

These were not the outlaws who had killed Ser Cleos, Jaime realized suddenly. The scum of the earth surrounded them: swarthy Dornishmen and blond Lyseni, Dothraki with bells in their braids, hairy Ibbenese, coal-black Summer Islanders in feathered cloaks. He knew them. The Brave Companions.

+.+.+

The Dornishman bound them back to back atop Brienne's plow horse while the other Mummers were stripping Cleos Frey to his skin to divvy up his possessions. Rorge won the bloodstained surcoat with its proud Lannister and Frey quarterings. The arrows had punched holes through lions and towers alike.

Now there's some foreshadowing I can get behind!

Little Arya has the next chapter, and once again I can't find a connection, unless it's the kingslaying or all the arrows.

(Or perhaps it's something that happens at the very end... 😬)

+.+.+

"When we make camp for the night, you'll be raped, and more than once," he warned her. "You'd be wise not to resist. If you fight them, you'll lose more than a few teeth."

He felt Brienne's back stiffen against his. "Is that what you would do, if you were a woman?"

If I were a woman I'd be Cersei. "If I were a woman, I'd make them kill me. But I'm not." Jaime kicked their horse to a trot. "Urswyck! A word!"

[...]

Jaime gave Urswyck a knowing smile. "All the gold in Casterly Rock. Why let the goat enjoy it? Why not take us to King's Landing, and collect my ransom for yourself? Hers as well, if you like. Tarth is called the Sapphire Isle, a maiden told me once." The wench squirmed at that, but said nothing.

[...]

Brienne whispered when Urswyck was out of earshot. "He's like to think my father's rich in gemstones . . ."

"You best pray he does."

[...]

Rorge dragged her off the horse and began to kick her. "See that you don't break any bones," Urswyck called out to him. "The horse-faced bitch is worth her weight in sapphires."

Good job, Jaime. See? I can be fair.

Okay, I'm done.

+.+.+

Noseless grinned. "You're the funniest thing I seen since Biter chewed that septa's teats off."

x

The day was almost done by the time they found Vargo Hoat, sacking a small sept with another dozen of his Brave Companions. The leaded windows had been smashed, the carved wooden gods dragged out into the sunlight. The fattest Dothraki Jaime had ever seen was sitting on the Mother's chest when they rode up, prying out her chalcedony eyes with the point of his knife. Nearby, a skinny balding septon hung upside down from the limb of a spreading chestnut tree. Three of the Brave Companions were using his corpse for an archery butt. One of them must have been good; the dead man had arrows through both of his eyes.

Why are they targeting the Faith of the Seven?

+.+.+

He might cut down one or two, but in the end he would die for it. Jaime was not ready to die just yet, and certainly not for the likes of Brienne of Tarth.

That feels like foreshadowing, but I'm not sure how it could be.

+.+.+

"Oh yeth," said Vargo Hoat. "Half the gold in Cathterly Rock, I thall have. But firth I mutht thend him a methage." He said something in his slithery goatish tongue.

[...]

They mean to scare me. The fool hopped on Jaime's back, giggling, as the Dothraki swaggered toward him. The goat wants me to piss my breeches and beg his mercy, but he'll never have that pleasure. He was a Lannister of Casterly Rock, Lord Commander of the Kingsguard; no sellsword would make him scream.

Sunlight ran silver along the edge of the arakh as it came shivering down, almost too fast to see. And Jaime screamed.

Final thoughts:

-> return to menu <-

[goodqueenaly]

How do you think popular piety differs across the Seven Kingdoms? What about different religious practices? I'd imagine in Dorne there's some kind of Rhoynish-Faith of the Seven syncretism going when it comes to rituals and such.

That's something that I'm very curious about, and which GRRM has only barely touched upon. I'm especially interested in where the Faith might have adapted local customs and older beliefs into its practices as the religion became more dominant in Westeros.

So, for example, the places of worship. I'm not talking about the septs themselves - although those might factor into this - but rather places considered holy by worshipers. F&B added a nice detail on this point about Maidenpool - not only making it a de facto pilgrimage site, but suggesting that the Faith co-opted the Age of Heroes legend of Florian and Jonquil for this purpose - but otherwise, such details are largely missing from the worldbuilding of Westeros. Would the Faithful worship at, say, the site where the Andals first landed in the Vale? What about the sites of great Andal victories, like the Battle of the Seven Stars or the Battle of the Bitter River? What about the first sept built in each constituent state of Westeros - would these be treated with special reverence by the Faithful compared to other septs?

Too, what about the pre-Faith legendary figures? For example, we hear in "The Sworn Sword" about a figure called the "the Lord of the Seven Hells", to whom Rohanne Webber supposedly (per the gossip of Sam Stoops' wife, anyway) sold her dead children before their births "so he'd teach her his black arts". Considering we literally never hear about this demonic character again, and considering the Stranger in orthodox Faith tradition is a person of the one true god to be worshipped, perhaps this was a local legend which became conflated with the teachings of the Faith - a way, maybe, to square the punishments of the Faith's seven hells with the divine and not apparently evil nature of the death-dealing Stranger. (Bonus points if this is some corruption of an ancient memory of the Others, who do take babies and are pretty nefarious as far as living things go.) I've brought this example up before, but given that Arianne remembers a septon citing the legend of Durran Godsgrief as the explanation for the storms of the Stormlands, perhaps the Faith has adapted Durran's story for its own - a sort of virtuous pagan, perhaps, whose adamant defiance of the "false gods" of the sea and sky prefigured the triumph of the Seven over all other, likewise heretical religions.

This adaptation of local customs might in turn extend to the imagery of the Faith as well. In the Reach, for example, I'd expect many depictions of the Father, the Maid, and the Warrior to look strikingly similar to depictions of Garth Greenhand, Maris the Maid, and John the Oak, respectively. Since Septon Meribald cheerfully acknowledges that "we might as easily have called him [i.e. the Smith] the Farmer or the Fisherman, the Carpenter or the Cobbler" because "[w]hat matters is, he works", depictions of the Smith might be tailored to the particular industries of different regions - as a fisherman hauling in nets in the Riverlands, for example, or as a lumberjack in the heavily forested Stormlands, or as a laborer in the gold mines in the Westerlands. Likewise, in areas with dominant ruling dynasties, depictions of the Seven - particularly the all-ruling, all-judging Father - might line up nicely with the traditional looks of these families; I wouldn't be surprised at all, for example, if the Father in Westerlands septs has the blond hair and green eyes of the Lannisters, to reinforce religiously the strict Lannister world order which puts the Lannisters as almost god-like figures above the men they rule. (Oh man, I feel like there's a rabbit hole of Lannister-sponsored religious imagery here that @joannalannister would have a field day with - I'll stop myself from going down it for now though lol.)

Likewise, I wonder how the Faith treats the human figures of its past. While the Faith does not have official saints (specifically in the sense of real-world Catholicism), it certainly has figures widely acknowledged as holy and venerable (like, say, Baelor the Blessed). Who else might figure as de facto saints across Westeros, especially among the laity? Artys Arryn might be an obvious figure to treat as a sort of saint: the pure-blooded Andal warrior who triumphed over a First Men coalition and established Andal, Faith-based rule in the Vale. Perhaps the first kings in different regions to convert to the Faith would also be honored in this way - Ormund III Durrandon, say, or Merle I and Gwayne V Gardener. At the same time, it's possible that the Faith would have been. I would very much guess that Lord Triston Hightower - trained and raised by the First High Septon, and who raised the Starry Sept in Septon Robeson's honor after the latter's passing - would also be considered a sort of saint among the Faithful.

Too, in a world where the political and the personal are always intertwined, I might expect that old political rivalries would translate into religious disputes. So, for example, in Dorne, perhaps those families (especially the Yronwoods) who most actively resisted Nymeria's conquest and the incorporation of Rhoynar culture into Dorne would oppose any sort of Dornish-Rhoynish syncretism in religious practices; in their septs, perhaps, the Mother would be depicted with the blond hair and blue eyes of the "stony" Dornishmen instead of, say, an adapted Mother Rhoyne figure, standing on the back of a turtle. (Perhaps the Yronwoods would also emphasize the male role of the Father to judge and rule, in protest to the obviously female rule of Princess Nymeria and the absolute primogeniture of the new Nymeros Martell dynasty, especially since the Yronwoods seem to maintain a sort of male-preference primogeniture in succession.) Likewise, in marcher family septs, where racial-socio-historical hatred of Dorne runs deep, septons might preach that the Seven never intended their Faithful to settle in such inhospitable land as the deserts of Dorne, and so clearly anyone who settled there must be a no-good-very-bad heretic. I've even wondered before whether different kingdoms elected Anti-High Septons out of regional factional disputes.

Of course these are all just jumbled worldbuilding ideas that we'll probably not see much more of in the stories (given the relative lack of attention GRRM has given to building out the Faith).

[crazydreamercycle]

A catalogue of names that are just straight up normal words

Female

Acacia

Amber

Amethyst

Amity

Anemone

Anise

April

Aria

Aspen

Aster

Aura

Aurora

Autumn

Avalon

Avril (April, French)

Azalea

Azure

Bee

Beryl

Blanche (White, French)

Blondie

Blossom

Brandy

Bunny

Burgundy

Cadence

Calanthe

Calla

Camellia

Candy

Caprice

Chalice

Charisma

Charity

Chastity

Cherish

Cherry

Clarity

Clematis

Clemency

Columbine

Comfort

Coral

Coriander

Crystal

Daffodil

Dahlia

Daisy

Dawn

Delight

Delta

Destiny

Diamond

Dot

Dove

Dream

Easter

Ebony

Eglantine

Emerald

Epiphany

Essence

Fae

Faith

Fancy

Fawn

Felicity

Fern

Flower

Gay

Genesis

Genie

Gill

Ginger

Glory

Grace

Harmony

Hazel

Heather

Heaven

Holly

Honey

Honour

Hope

Hyacinth

Iris

Ivy

Jacinth

Jasmine

Jonquil

Journey

Joy

July

June

Kay

Kitty

Lacy

Lark

Laurel

Lavender

Liberty

Lilac

Lily

Lotus

Love

Magnolia

Maple

Marigold

May

Meadow

Melody

Mercy

Merry

Minty

Miracle

Missy

Misty

Modesty

Monday

Myrtle

Nan

Nanny

Olive

Opal

Paisley

Pansy

Patience

Peace

Pearl

Pen

Penny

Peony

Petal

Petunia

Piety

Piper

Pleasance

Poppy

Porsche

Posy

Precious

Primrose

Princess

Prissy

Queen

Rainbow

Rose

Rosemary

Rosy

Royalty

Ruby

Rue

Sapphire

Scarlet

Scout

Serenity

Shell

Sherry

Sienna

Spirit

Spring

Star

Sue

Summer

Sunshine

Symphony

Tansy

Tawny

Teal

Temperance

Tempest

Tiara

Topaz

Treasure

Trinity

Unique

Unity

Velvet

Verity

Violet

Willow

Winter

Male

Ace

Archer

Art

August

Baker

Bishop

Blaze

Brand

Brock

Bud

Buddy

Buster

Case

Cash

Chance

Chip

Chuck

Clair (Light/clear, French)

Clay

Clement

Cliff

Colt

Constant

Coy

Crew

Curt

Dane

Deacon

Dean

Den

Drake

Duke

Dutch

Earl

Earnest

Fisher

Fletcher

Flint

Ford

Forest

Foster

Fox

Frank

Garland

Gene

Gore

Grant

Gray

Grey

Griffin

Gunner

Guy

Hale

Hall

Hardy

Heath

Herb

Jack

Junior

Kelvin

King

Kip

Lane

Legend

Leo

Major

Mark

Marshal

Mason

Mat

Merit

Messiah

Miles

Moss

Newt

Noble

Norm

Pace

Peers

Peregrine

Pierce

Piers

Placid

Porter

Prince

Prosper

Ray

Read

Red

Reed

Rich

Ridge

Rob

Rocky

Rod

Roman

Rusty

Satchel

Scott

Shaw

Shepherd

Sly

Smith

Sonny

Spike

Stan

Sterling

Stew

Stone

Tad

Talon

Tanner

Teddy

Tiger

Trace

Van

Walker

Ward

Webster

Will

Wilt

Wolf

Woody

Wright

Unisex

Alpha

Angel

Ash

Berry

Blessing

Briar

Brook

Carol

Cat

Cedar

Christmas

Cyan

Dell

Derby

Dusty

Flick

Fortune

Gale

Garnet

Happy

Harper

Haven

Haze

Honor

Hunter

Indigo

Jade

Jewel

Justice

Kit

Lake

Lucky

Max

Merle

Noel

Ocean

Page

Patsy

Phoenix

Praise

Prudence

Rain

Raven

Reign

River

Rowan

Royal

Sage

Sandy

September

Sequoia

Silver

Sky

Sparrow

Storm

Sunday

Sunny

Temple

Wisdom

[elegantwoes]

I only wanted to say is that your take in D@ny "heroine of a song" is spot on and very telling that there's is no Naerys or Jonquil in her chapters, and surely she may have a song or be in one but that doesn't mean that that will paint her in a good light of be a heroine lmao Also Florian sound like flower (sansa) and Jonquil well Jon(quil) (which im sure some peolple have figure it out). And have you read the anti-christ takes on her by reginarubie? They give you a new angle on the things she has done and how eerily similar they are to this religious figure.

D@ny may end up as a living legend, but last time I checked that doesn't mean it will be a good thing. You know who else is a legend? Maekor the Cruel - also one of the ancestors D@ny likened herself to just like Sansa likened herself to Naerys and Jonquil - and last time I checked he isn't a positive individual. His moniker talks for itself.

I have spoken a little about the anti-christ imagery in my analysis of Dany's second AGOT chapter (x), but beyond that I haven't really explored it. Thank you on the offer though, I will definitely check the metas of @reginarubie out.