Flemme un peu

The starklings at the beginning of A Clash of Kings!

Wanted to make a post about Jon's bastard identity and how it informed his close relationships with his family but halfway through realized it wasn't actually about Jon—it was about Catelyn.

There is generally a split in consideration when we talk about Jon and the starklings (familial love), Jon and Catelyn (mutual disdain), and Catelyn and the starklings (parental/filial love) when in reality, Cat's feelings towards Jon bled into her relationships with her own children. Conversations about mothers in ASOIAF are sort of prickly because, well, we don't have many and Catelyn is the only POV mom we can really name a "good mother" (in my view Cersei's most impressive and meaningful foil is ADWD Daenerys but her and Catelyn share enough space/thoughts of each other that they should also be considered so).

Her relationship with Jon isn't really about Jon personally, it's about what he represents; it's about Catelyn lingering discomfort and alienation in the North

Catelyn had never liked this godswood

-AGOT, Catelyn I

When the wars were over at last, and Catelyn rode to Winterfell, Jon and his wet nurse had already taken up residence. That cut deep.

-AGOT, Catelyn II

It's about her protective love for her children and her legacy

Benjen Stark was a Sworn Brother. Jon would be a son to him, the child he would never have. And in time the boy would take the oath as well. He would father no sons who might someday contest with Catelyn's own grandchildren for Winterfell.

-AGOT, Catelyn II

[Also the implication that Benjen would become Jon's father in replacement for Ned? Loads to unpack.]

It's also about a certain sort of idealism that Catelyn espouses, and yes, even a certain trace of selfishness within that, that her actions being understandable from her own position justifies them. Even when those actions constitute a breach, they deserve nuance, which requires a level of understanding she wasn't able to show Jon Snow.

I have always done my duty, she thought. Perhaps that was why her lord father had always cherished her best of all his children. [...] I gave Brandon my favor to wear, and never comforted Petyr once after he was wounded, nor bid him farewell when Father sent him off. And when Brandon was murdered and Father told me I must wed his brother, I did so gladly, though I never saw Ned's face until our wedding day. I gave my maidenhood to this solemn stranger and sent him off to his war and his king and the woman who bore him his bastard, because I always did my duty.

-ACOK, Catelyn VI

Is this my punishment for opposing him about Jon Snow? Or for being a woman, and worse, a mother? It took her a moment to realize that they were all watching her. They had known, she realized. Catelyn should not have been surprised. She had won no friends by freeing the Kingslayer, and more than once she had heard the Greatjon say that women had no place on a battlefield.

-ASOS, Catelyn V

Read: Catelyn was rewarded for being dutiful at a formative age, with the love of her father. Catelyn was dutiful to Ned and this pained her re: Jon and that pain festered for fifteen years. Later in this POV, she pries Cleos Frey for information on Sansa. Her next POV, Bran and Rickon are the final straw before she frees Jaime—Catelyn is knowingly spurring her "duty" to follow Robb's commands.

Read: Catelyn should not have been surprised, understanding that her actions caused controversy, and yet she was.

Ok, now onto the starklings.

Catelyn's treatment of Jon informs Robb's understanding of bastards as much as Ned's sense of honor does. This is very much a domino in Robb's (fatal) choice to marry Jeyne Westerling.

That morning he called it first. "I'm Lord of Winterfell!" he cried, as he had a hundred times before. Only this time, this time, Robb had answered, "You can't be Lord of Winterfell, you're bastard-born. My lady mother says you can't ever be the Lord of Winterfell."

-ASOS, Jon XII

Robb knew something was wrong. "My mother …"

"She was … very kind," Jon told him.

Robb looked relieved.

-AGOT, Jon II

And she was with me when the Greatjon brought me the news of . . . of Winterfell. Bran and Rickon." He seemed to have trouble saying his brothers' names. "That night, she. . . she comforted me, Mother."

Catelyn did not need to be told what sort of comfort Jeyne Westerling had offered her son. "And you wed her the next day."

He looked her in the eyes, proud and miserable all at once. "It was the only honorable thing to do. She's gentle and sweet, Mother, she will make me a good wife."

-ASOS, Catelyn II

Contrast that with these Jon lines:

Jon trembled. "I will never father a bastard," he said carefully. "Never!" He spat it out like venom.

-AGOT, Jon I

He had never truly been a Stark, only Lord Eddard's motherless bastard, with no more place at Winterfell than Theon Greyjoy. And even that he'd lost.

-ASOS, Jon III

Jon angsts over how he grew up with Robb and yet they'll lead such different lives; on the flip side, Robb angsts over how he could possibly subject another child to the most painful parts of Jon's life—nameless, at times scorned even within his own home.

I'm not attempting to put blame on Catelyn's shoulders for anything, these are all just pieces of a puzzle that made Robb into who he was, that guided his choices, and that moved the story. What I am saying is that Catelyn's treatment of Jon was not isolated, it was plain and painful to her biological children, and that this caused friction between them all.

"Jon would never harm a son of mine."

"No more than Theon Greyjoy would harm Bran or Rickon?"

Grey Wind leapt up atop King Tristifer's crypt, his teeth bared. Robb's own face was cold. "That is as cruel as it is unfair. Jon is no Theon."

"So you pray. Have you considered your sisters? What of their rights? I agree that the north must not be permitted to pass to the Imp, but what of Arya? By law, she comes after Sansa. . . your own sister, trueborn. . ."

-ASOS, Catelyn V

Which brings me to Sansa.

In a twist for the daughter that values legitimacy more than the rest of her siblings (Sansa, who never called him anything but "my half brother" since she was old enough to understand what bastard meant), Sansa is bastardized two times over. Once when Robb removes her from her from the Stark succession, and twice when she becomes Alayne Stone.

"Natural?" Sansa was aghast. "You mean, a bastard?"

-ASOS, Sansa VI

Alayne wondered what Mya made of Ser Lothor. With his squashed nose, square jaw, and nap of woolly grey hair, Brune could not be called comely, but he was not ugly either. It is a common face but an honest one. Though he had risen to knighthood, Ser Lothor's birth had been very low. [...] Petyr says he's loyal. He trusts him as much as he trusts anyone. Brune would be a good match for a bastard girl like Mya Stone, she thought.

-AFFC, Alayne II

I want to stress that this isn't thought unkindly. Sansa pragmatically believes this, she doesn't dislike either Mya or Lothor Brune, but she is being a certain type of realistic. It would make sense to her that Mya, not a virgin, bastard-born, would take for a partner this seemingly nice guy twice her age. It's a match that makes sense to Sansa.

"It won't be so bad, Sansa," Arya said. "We're going to sail on a galley. It will be an adventure, and then we'll be with Bran and Robb again, and Old Nan and Hodor and the rest." She touched her on the arm.

"Hodor!" Sansa yelled. "You ought to marry Hodor, you're just like him, stupid and hairy and ugly!"

-AGOT, Sansa III

It would have been easier if Arya had been a bastard, like their half brother Jon. She even looked like Jon, with the long face and brown hair of the Starks, and nothing of their lady mother in her face or her coloring. And Jon's mother had been common, or so people whispered. Once, when she was littler, Sansa had even asked Mother if perhaps there hadn't been some mistake. Perhaps the grumkins had stolen her real sister.

-AGOT, Sansa I

This isn't about playing sisters against each other, it's just to show Alayne's thoughts on Mya are a graduation of the same general attitude Sansa's had from childhood. It's the hinge on which Sansa and Arya's relationship becomes so sour, a souring that leaves both girls isolated in the Red Keep, and results in them taking actions that lead them on very different roads. The lone wolf dies but the pack survives.

Arya is the place where Catelyn's relationship with Jon really comes back to bite, though.

They had always been close. Jon had their father's face, as she did. They were the only ones. Robb and Sansa and Bran and even little Rickon all took after the Tullys, with easy smiles and fire in their hair. When Arya had been little, she had been afraid that meant that she was a bastard too. It had been Jon she had gone to in her fear, and Jon who had reassured her.

-AGOT, Arya I

Why is Arya afraid of being a bastard? Jon gets to learn at Maester Luwin's table and train with Ser Rodrik's swords and fish with Bran and Jory just like Robb does. What's there to fear?

The fear comes from one place, and that fear doesn't soon leave her.

"Well," Arya said, "my hair's messy and my nails are dirty and my feet are all hard." Robb wouldn't care about that, probably, but her mother would. Lady Catelyn always wanted her to be like Sansa, to sing and dance and sew and mind her courtesies. Just thinking of it made Arya try to comb her hair with her fingers, but it was all tangles and mats, and all she did was tear some out.

-ASOS, Arya VII

Maybe I should go to the Wall instead of Riverrun. Jon wouldn't care who I killed or whether I brushed my hair. . .

-ASOS, Arya VII

Actually Catelyn wants Arya back so damn bad she freed their God-tier hostage on the vague whiff of hope Arya was still alive but this isn't about what Catelyn really wants, it's about what Arya believes + what those beliefs are founded on. Jon's difference from Catelyn's kids lies most superficially in the way he looks, and Arya looks like him. Arya takes this "exclusion → exclusion based on appearance → I appear that way" fear personally to the point that she thinks she looks like a bastard.

It's because of this fear that she can't fathom that her mother would accept her unconditionally.

To Robb, bastardry symbolizes a stain on a legacy. To Sansa, it's shame. To Arya, it's about acceptance. All three of these are rooted in what they internalized as kids: Jon is a bastard and regardless of his place in Winterfell/their family, that makes him less.

I want to touch on the part of this that is about Jon, for a sec. Bastards are common and attitudes on them vary—although plenty of smallfolk are born of unwed parents, noble bastards represent something more, because nobility claims to espouse higher ideals like fidelity. Mance Rayder is born of a Black Brother & a wildling, yet he calls Jon a bastard (derogatory) fiftyleven times. Some bastards are scorned, some are loved, some are uninterested in their origins. There are bastards who possibly stand to inherit, like Jonos Bracken's, and there are mothers who don't want their husband's bastards in their homes, like Donella Hornwood with Larence Snow.

But in ADWD when Jon is most vulnerable & alone, he starts to calls himself a bastard to harden his resolve.

"I am almost a man grown," Jon protested. "I will turn fifteen on my next name day, and Maester Luwin says bastards grow up faster than other children."

-AGOT, Jon I

Kill the boy, Jon thought. The boy in you, and the one in him. Kill the both of them, you bloody bastard. "You have no father. Only brothers.

-ADWD, Jon II

The Vale of Arryn was famously fertile and had gone untouched during the fighting. Jon wondered how Lady Catelyn's sister would feel about feeding Ned Stark's bastard. As a boy, he often felt as if the lady grudged him every bite.

-ADWD, Jon IV

"Arya." His voice was hoarse. "My half-sister, truly…"

"…for you are bastard born. I had not forgotten. I have seen your sister in my fires, fleeing from this marriage they have made for her. Coming here, to you. A girl in grey on a dying horse, I have seen it plain as day. It has not happened yet, but it will."

-ADWD, Jon VI

"My name is Snow."

"Bastard."

"Guilty. Of that, at least."

-ADWD, Jon X

Not to put too fine a point on it but he's literally called... Lord Snow.

"Don't call me Lord Snow."

-AGOT, Jon III

"BOY! YOU THERE! BOY!" [...] He ignored it.

"Snow," the voice insisted, "Lord Commander."

This time he stopped. "Ser?"

-ADWD, Jon I

What I want to say here is that Jon weaponizes his bastard identity against himself only because it's been weaponized against him and worked. It's self-flagellation. That legacy is deep inside of him and it was never even about him to Catelyn.

In Rhaegar’s case, he was all too aware of what his birth meant. He was meant for prophecy, and most of his family had to die fulfill it. The ruins of Summerhall are proof that only death could pay for life - and there are sacrifices that need to be made to wake the dragon. Rhaegar knew that he was the future of House Targaryen and that was a heavy burden to bear, being king and savior all at once. The melancholy that came with that cast a heavy shadow over his life. He couldn’t escape prophecy, so he marched on towards his duty (and his doom). So much that he was constantly compelled to visit the ruins of Summerhall, an everlasting reminder of his destiny and the price that was paid for it.

But Jon, he didn’t have to bear that burden. He doesn’t know of the trauma surrounding his birth because, for better or worse, Ned Stark bore it all for him. Whereas Rhaegar was consumed by the grief of his birth, Ned’s silence spared Jon from the grief of his. It was Ned who remembered Brandon, and Rickard, and Lyanna (most of all Lyanna) so that Jon and the rest of the children didn’t have to. It was Ned’s silence that spared Jon from knowing of his siblings’ deaths. And Ned’s silence spared Jon from knowing that thousands died for the waking of the dragon - a much larger scale of destruction than what happened at Summerhall. Rhaegar had to visit Summerhall and be reminded of the pain, but Ned brought down the Tower of Joy because it didn’t need to be an overcast over Jon’s life.

He died. Without accomplishing anything.

He was the only one who knew and gave a fuck about the prophecy, the only one who had the bigger picture and wasn't so deep into the political game, the only one who was trying to figure out a possible solution. He was good, people loved him, he should have succeeded, he would have succeeded if this was a different story, a more predictable sorry. It should have been him.

And he got killed. And instead of that guy, who was decent and good and idealistic, the only one who was, the kingdom is left to Robert, Tywin and the twins. You are yapping day and night about Rhaegar only looking after his cock when in reality, Rhaegar was the only major male character in the rebellion's timeline, with the exception of Ned, that gave fuck about sth that wasn't his own cock. And he lies dead while Robert the actual rapist, Tywin, the actual murderer and the twins, the actual murderers/schemers, aka all your faves, are doing whatever the fuck they please with the power they very unjustly possess.

The letters honestly make Elia’s “master of the game” harder for me to buy

Well, firstly, I don't think she's a master of the game, and nothing in the play indicates that she's really on board with arguably violent underhanded skullduggery (like kidnapping). She's just politically ambitious and using the soft power tools she has - diplomacy, principly - at her disposal. That doesn't mean she's like, a Varys-level schemer or hypercompetent.

She knows where they are, she has Oberyn, Lewyn, Ashara and indirectly Arthur in her orbit [...] Send people to the Tower, take Lyanna out of his hands

Arthur and Oswell are loyal to Rhaegar; anyone who wanted to kidnap Lyanna and threaten to kill her if Rhaegar doesn't join the war effort (because that is what you are proposing) would need to fight two Kingsguard AND Rhaegar to extricate her. You would therefore need to send a group of soldiers to retrieve her and possibly end up injuring/killing Rhaegar in the process (which Lewyn could not do anyway, it's against his oath, leaving really Oberyn to do this). This might simply just drive Rhaegar to find Lyanna and not actually motivate him. This would also cause an enemity between Elia and Rhaegar, which would disadvantage her later if Rhaegar wins, because he's less likely to listen to her advice or suggestions and has fundamentally lost her trust - because as queen, her leverage over the realm depends on how much Rhaegar trusts her. I think she will have lost any chance to build a positive relationship with Lyanna and her unborn child and probably caused a rift between her children and Lyanna's child - unhelpful, if you seek to try and nullify the threat of a bastard by raising them to be loyal to their siblings. But more potentially she could damage relations between Dorne and the Crown by doing this.

But more than that, I want you to think about this less as a character optimisation problem and more thematically, as a work of literature. How would it look if Elia used kidnapping, the thing the rebels accuse Rhaegar of doing, to steal Lyanna to real this time? How would that distort the narrative? Elia as it stands is political but she's not violent and she's not unkind - how would this alter her own death tonally if she treats a pregnant woman in such a manner? As it stands in the play, Elia is still an innocent victim, would the audience still feel that would be the case if she mistreats a woman and her unborn child, threatening to kill them if Rhaegar does not join the war (because the threat cannot be empty, otherwise Rhaegar would not act)?

Also, is it consistent with her character? Earlier in the play, Elia urged for subtlty and diplomacy to get other lords on side, using words of honey. Which is more diplomatic, attempting to persuade Lyanna or attempting to forcibly kidnap her? I would argue it is out of keeping with Elia's characterisation to use force in such a manner. She's not Cersei. She also seeks to preserve a good relationship with Rhaegar and establish a good relationship with Lyanna. Elia's modus operandi is 'you attract more flies with honey than vinegar', she's building relationships so she can persuade and gently pressure them, her attempting to communicate with Lyanna is consistent with her character.

Finally, I just do not think it would be possible to do this without significantly changing the narrative of the Rebellion and failing to adhere to the spirit of the books. The play makes some timeline changes for it to be easier to adapt, and it changes some characterisation where there is space, but 'secret kidnapping of Lyanna' would be a major plotbeat that would make Ned's ToJ confrontation with the three KG impossible. Any changes made *must* let that scene occur, because that's one of the few things we have a book PoV on.

Having remerged into the fandom now after a long break, I was surprised to see all the currently prevailing ideas on a lot of things. It looks like the longer we go without the books, the more cycles and counter-cycles of convictions we have as a fandom, as our echo-chamber gets more intense and the contexts that much matter so much in canon fade. It was interesting to see all the different ideas and head-canons of people regarding R+L now in particular (with many now stalwartly characterizing Rhaegar as a prophecy-obsessed lunatic who impregnated Lyanna, with or without her will, and that Lyanna later grew to hate him). That made me curious into delving back to see what the books tell us and try to see where the narrative is leading us. Or maybe, more specifically, it's the roses I want to follow. The winter roses.

**The Introduction**

GRRM does a beautiful misdirection in the first book. Having Ned associate Lyanna again and again with the winter roses in his thoughts, by the time the origin of the winter roses is shown in Ned's last chapter, we have already associated Lyanna singularly with the roses. Rather than feeling the full impact of them being associated with her. So I'd like to go through the winter roses chronologically instead, according to the timeline.

**What is the narrative telling us?**

>Yet when the jousting began, the day belonged to Rhaegar Targaryen. The crown prince wore the armor he would die in: gleaming black plate with the three-headed dragon of his House wrought in rubies on the breast. A plume of scarlet silk streamed behind him when he rode, and it seemed no lance could touch him. Brandon fell to him, and Bronze Yohn Royce, and even the splendid Ser Arthur Dayne, the Sword of the Morning.

>Robert had been jesting with Jon and old Lord Hunter as the prince circled the field after unhorsing Ser Barristan in the final tilt to claim the champion's crown. Ned remembered the moment when all the smiles died, when*Prince Rhaegar Targaryen urged his horse past his own wife, the Dornish princess Elia Martell, to lay the queen of beauty's laurel in Lyanna's lap. He could see it still: a crown of winter roses, blue as frost*.

>*Ned Stark reached out his hand to grasp the flowery crown, but beneath the pale blue petals the thorns lay hidden. He felt them clawing at his skin, sharp and cruel, saw the slow trickle of blood run down his fingers, and woke, trembling, in the dark.*

>*Promise me, Ned, his sister had whispered from her bed of blood. She had loved the scent of winter roses. "Gods save me," Ned wept. "I am going mad."

This is the origin of the winter roses according to the timeline. We do not get mentions of Lyanna with the winter roses before Rhaegar crowned her with them. When Bran looks back in time and sees Lyanna, she's not seen around those roses. When the Northmen discuss her in her childhood, they don't mention her roses, only her horse-riding skills. In Howland's story of the wolf maid, she is not associated with them. Winter roses start featuring prominently around Lyanna Stark only after Rhaegar crowns her with them. Considering this to be the origin of the roses, I would find it safe to interpret that the roses don't solely symbolize Lyanna, but rather *the bond that grew between Rhaegar and Lyanna*. This way, the roses also work as a great narrative device for Ned to covertly think of R+L without directly giving it away to the readers.

This interpretation fits in very well with the next words, where Ned reaches out to touch the flower crown and feels the thorns underneath that claw at him. The beauty of the petals was hiding the "sharp and cruel" thorns underneath which could draw blood. Just like R+L's love which likely seemed a thing of great beauty to them, but resulted in pain and suffering for both of them and all around them. If, as some other interpretations go, the roses were meant to symbolize only Lyanna as a Stark maiden or represent her connection to Winterfell, it would make no sense for the sharp and cruel thorns to appear underneath.

In the words after, Ned describes her words from bed of blood and again, seemingly out of nowhere mentions how she had loved the scent of winter roses. Why was this sentence put here? In the middle of a seemingly irrelevant of her death? Following the narrative flow of where the roses began a few sentences ago, the meaning is clear. Lyanna had loved the scent of winter roses, loved the beauty of her bond with Rhaegar, maybe ignorant or uncaring of the thorns underneath.

>"And now it begins," said Ser Arthur Dayne, the Sword of the Morning. He unsheathed Dawn and held it with both hands. The blade was pale as milkglass, alive with light. "No," Ned said with sadness in his voice. "Now it ends." As they came together in a rush of steel and shadow, he could hear Lyanna screaming. "Eddard!" she called. *A storm of **rose** petals blew across a blood-streaked sky, as **blue** as the eyes of death.*

This is our next memory of Lyanna after the crowning at Harrenhal. Ned clashes with the Kingsguard trying to get to Lyanna, Ned's subconscious and the narrative associates this clash against a background of *storm of rose petals as blue as the eyes of death*. Again, the rose petals are associated with things like pain and blood and death. The blood-streaked sky is the background of the war, the war sparked by R+L's actions, the beautiful petals are still blowing, though they are "death". Rhaegar who is dead and Lyanna who is dying, their love that has started the fire that killed them both and many more including all the kingsguard and many northmen here here. (Though the situation was far more nuanced than just R+L being responsible for all the bloodshed that happened).

> "I was with her when she died," Ned reminded the king. "She wanted to come home, to rest beside Brandon and Father." He could hear her still at times. *Promise me, she had cried, in a room that smelled of blood and roses.* Promise me, Ned. The fever had taken her strength and her voice had been faint as a whisper, but when he gave her his word, the fear had gone out of his sister's eyes. *Ned remembered the way she had smiled then, how tightly her fingers had clutched his as she gave up her hold on life, the **rose** petals spilling from her palm, dead and black.* After that he remembered nothing. They had found him still holding her body, silent with grief. The little crannogman, Howland Reed, had taken her hand from his. Ned could recall none of it. "I bring her flowers when I can," he said. *"Lyanna was … fond of flowers."*

Now we come to her death. Ned remembers her room which had smelled of blood and roses. More importantly, he recalls the rose petals spilling from her palm as she died, implying that she had been holding on to them until the point of the death. The fact that her room smelled of roses itself implies that she had been making an effort to keep the roses around her, nothing was forcing her to have them around considering Rhaegar had left her months ago and died as well. (Unless anyone thinks evil Rhaegar ordered his Kingsguard to keep bringing roses to her against Lyanna's will? Or that the Kingsguard wanted to force her to continue having the roses around her? Imo that's ridiculous). It seems clear if we follow the narrative that the only roses these can be are the winter roses which connects her with Rhaegar. The fact that she took the effort to keep surrounding herself with roses, that she held onto the roses *until the moment of her death*, seems pretty irrefutable proof that she loved Rhaegar till the very end.

I have seen interpretations before that she was holding onto the roses as they symbolized her connection with Winterfell and her home. Apart from the reasons I had already mentioned above regarding why the roses clearly don't represent Winterfell, there is also the fact that if Lyanna wanted a connection to her home, her brother Ned Stark should be a much clearer option to cling onto rather than the roses connected heavily with Rhaegar (who according to this interpretation, she must have grown to hate). If it was only about her desire for home, we would have only gotten mentions of how hard she clung to Ned, there was no reason to mention the roses. But they were mentioned. And she did. She clung onto the roses as hard as she'd clung on to Ned, until death forced her to let go. This is capital R romanticism, Rhaegar died with Lyanna's name on his lips, Lyanna died with his roses (the last remnant of their love) in her palm. They died thinking of each other. And the roses, the roses are now "dead and black" just as both of them are.

After remembering that moment, Ned tells Robert that he brings her flowers. That Lyanna had loved flowers (note the ellipses). Lyanna had loved the scent of winter roses, even as they'd brought her death. She had loved Rhaegar, even as that brought her so much pain.

> Her eyes burned, green fire in the dusk, like the lioness that was her sigil. "The night of our wedding feast, the first time we shared a bed, he called me by your sister's name. He was on top of me, in me, stinking of wine, and he whispered Lyanna." *Ned Stark thought of pale blue roses, and for a moment he wanted to weep.* "I do not know which of you I pity most."The queen seemed amused by that. "Save your pity for yourself, Lord Stark. I want none of it."

Next, Ned thinks of the roses when he speaks with Cersei. And this, I love this!! Ned having to confront Robert's love for his sister and all that had cost him (not getting into Robert's vices here), knowing that Lyanna had loved Rhaegar. To see his friend cost himself a life and the love of Cersei by not getting over Lyanna, unknowing that Lyanna had never loved him! What Ned doesn't know but the narrative enriches is "I do not know which of you I pity the most" because Cersei had wanted Rhaegar as much as Robert had wanted Lyanna. Both were defeated so thoroughly by R+L's love for eachother.

>He was walking through the crypts beneath Winterfell, as he had walked a thousand times before. The Kings of Winter watched him pass with eyes of ice, and the direwolves at their feet turned their great stone heads and snarled. Last of all, he came to the tomb where his father slept, with Brandon and Lyanna beside him. "Promise me, Ned," Lyanna's statue whispered. *She wore a garland of pale blue roses, and her eyes wept blood.* Eddard Stark jerked upright, his heart racing, the blankets tangled around him. The room was black as pitch, and someone was hammering on the door. "Lord Eddard," a voice called loudly.

Nothing much here, just Lyanna again with her garland of roses (aka R+L) reminding Ned of his promise to protect their only son. This is a covert reference to R+L=J. With this, we end Ned's POV and move on to the next references of winter roses.

>She smiled again, a flash of white teeth. *"And she never sung you the song o' the winter rose?" "I never knew my mother. Or any such song."*

The next time the mentions of winter roses crop up again is in Jon's story, where Ygritte asks him if his mother had never sung the song of winter rose to him. To which he responds that he'd never known his mother or such a song, unknowing that this song was the hint to his mother, that this song represented her life.

>North or south, singers always find a ready welcome, so Bael ate at Lord Stark's own table, and played for the lord in his high seat until half the night was gone. The old songs he played, and new ones he'd made himself, and he played and sang so well that when he was done, the lord offered to let him name his own reward. 'All I ask is a flower,' Bael answered, 'the fairest flower that blooms in the gardens o' Winterfell.'"

>*"Now as it happened the winter roses had only then come into bloom, and no flower is so rare nor precious. So the Stark sent to his glass gardens and commanded that the most beautiful o' the winter roses be plucked for the singer's payment. And so it was done. But when morning come, the singer had vanished . . . and so had Lord Brandon's maiden daughter. Her bed they found empty, but for the pale blue rose that Bael had left on the pillow where her head had lain." Jon had never heard this tale before.*

A singer and a Stark maiden. The Stark girl who loved Bael so much that she'd given him a son (just as Jon himself was born) and who later threw herself off a tower when her son brought her Bael's head. Quite a few narrative resonances here, death of the Stark maid in a tower, a relative who had a hand in the death of her love. "No flower so rare nor precious". Is there anything so rare and precious as true, unconditional love? As Maester Aemon says, "We are only human after all, and the gods have fashioned us for love. That is our great glory and our great tragedy."

> But there were others with faces he had never known in life, faces he had seen only in stone. *The slim, sad girl who wore a crown of pale blue roses and a white gown spattered with gore could only be Lyanna.* - Theon V, ACOK

The next mention is, oddly enough, in Theon's prophetic dreams. Again, Lyanna is associated with the crown of roses Rhaegar gave her and death. The white gown might represent marriage as it is an interesting detail to have mentioned (instead of just calling it a gown) but I don't have strong opinions on it either way.

The next mention is the most interesting to me, as for the first time, the roses lead to the future rather than the past.

>Then phantoms shivered through the murk, images in indigo. Viserys screamed as the molten gold ran down his cheeks and filled his mouth. A tall lord with copper skin and silver-gold hair stood beneath the banner of a fiery stallion, a burning city behind him. Rubies flew like drops of blood from the chest of a dying prince, and he sank to his knees in the water and with his last breath murmured a woman's name. . . . mother of dragons, daughter of death . . . Glowing like sunset, a red sword was raised in the hand of a blue-eyed king who cast no shadow. A cloth dragon swayed on poles amidst a cheering crowd. From a smoking tower, a great stone beast took wing, breathing shadow fire. . . . mother of dragons, slayer of lies . . . Her silver was trotting through the grass, to a darkling stream beneath a sea of stars. A corpse stood at the prow of a ship, eyes bright in his dead face, grey lips smiling sadly. A blue flower grew from a chink in a wall of ice, and filled the air with sweetness. . . . mother of dragons, bride of fire . . . - Dany IV, ACOK

>"Perhaps," she said reluctantly. "Yet the things I saw . . .""A dead man in the prow of a ship, a blue rose, a banquet of blood . . . what does any of it mean, Khaleesi? A mummer's dragon, you said. What is a mummer's dragon, pray?" - Dany V, ACOK

And what a lovely image it is. Jon, the sole child of Rhaegar and Lyanna, the only remnant of their love, growing at the Wall. For once, the imagery is overwhelmingly positive. The beautiful blue rose, against all odds, flourishes in the harshest of environments and what's more, it "fills the air with sweetness". Rhaegar and Lyanna might have died, but the child that resulted from their bond is making the world better.

The Conclusion

What's more, even in the latest calendar illustration GRRM had [commissioned](https://www.reddit.com/r/ImaginaryWesteros/comments/1093bgk/2024_calendar_cover_art_by_justin_sweet/), we know instinctively that it is Rhaegar and Lyanna thanks to the winter roses. Rhaegar who crowned Lyanna with these roses. Lyanna who died clutching them till the last moment. Their son who fights to protect the realms of men, doing the duty of a King without even knowing that he is one, that he is the King of the narrative. The blue rose who continues to bloom in the harshest of places.

The significance that in the text, it's Jon and only **JON** who is connected with/represented as the blue winter rose is important. Neither of the Stark maidens, Sansa or Arya, are ever connected with the blue rose in the text itself despite both having love for flowers. No other Stark has this motif in their story. The motif belongs solely to Bael and his Lady Stark, to Rhaegar and Lyanna, to Jon himself. It's the motif of love. Prince Rhaegar had loved his Lady Lyanna and thousands died for it. Lady Lyanna had loved her Prince Rhaegar and their child is saving the realms of men.