Jules of Nature
祝日 / Permanent Vacation
Show & Tell
Sweet Seals For You, Always
YOU ARE THE REASON
Lint Roller? I Barely Know Her
occasionally subtle
trying on a metaphor
Andulka
❣ Chile in a Photography ❣
todays bird
NASA
Stranger Things
Cosimo Galluzzi
if i look back, i am lost
AnasAbdin
styofa doing anything
Keni
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@winterrcame
In the spring we will plant lemon trees.
daenerys i, a game of thrones, g.r.r.m. // gerrit van honthorst // sansa i, a storm of swords, g.r.r.m. // maria margaretha van os // sansa iv, a game of thrones, g.r.r.m. // child reading, pierre-auguste renoir // daenerys vi, a storm of swords, g.r.r.m. // two girls in a field. a summer’s day, michael ancher
for @jeyneofpoole 💛
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Ten Paces and Draw now has a biweekly character challenge and I was able to participate in the first one which featured characters from Game of Thrones. Here is my Jon Snow.
Check out everyone else's here ~ Print
Andromeda
Artist : Arthur Rackham
Knights attacking a castle, women defending it with flowers
the masculine urge
the feminine urge
the human urge to yearn for the existence of dragons
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Do you guys think that as time passes Robb’s story gets turned into a folk tale…a cautionary story for children…a story rooted in truth but the real details are lost. A boy king marches south looking for justice for his good father but gets betrayed by the people he trusted too much…he gets turned into a beast, half boy and half wolf, forgetting who he is and living among the forest. The riverlanders say that you can hear the wolf king howl when you’ve been lied to, and that he scavenges the woods, pouncing on liars and betrayers. And his mother, so mad with grief, stalks riverbanks at nights, her face torn to bloody ribbons, attacking similar victims, but preferring the ones with blonde hair. Little children hear scary tales of Lady Stoneheart and the Wolf King and are too frightened to ever tell a lie. Men sit in taverns, singing sad drinking songs about a mother and child draped in tragedy. Girls sit about with their needlework, sighing at the true love the Wolf King died for, his fair queen who he put above all others, even himself. Robb Stark is betrayed, and this is true. But time twists the truth. Truth fades into story fades into legend. And he is forgotten, nothing more than a symbol in an old tale.
i’m not crying shut up
#:(
Considering starting The Cersei Lannister Diet, which is basically just red wine and your own disappointment in the human race.
I really enjoy your analysis and commentary on asoiaf, and am popping by to say thank you for your consistent empathy toward Sansa. I read a lot of analysis of the series and so often run into Sansa-hatred that is utterly bewildering and also, to me, demonstrates a lack of understanding of what GRRM set out to say, big picture, with the series. But a lot of people do hate her (for whatever reason) so I also really appreciate that, in various asks, you do not back down on your points about her.
Well, thanks! I understand gravitating initially more towards POVs like Arya and Tyrion, who at least partially see through the lies of the chivalric tropes undergirding the feudal power structures. (Partially, I emphasize.) But for me, Sansa is the best POV in AGOT because her early chapters provide such a ravishing image of the world through the eyes of someone who takes the songs 100% seriously. That’s what makes the fall from grace that is that first book’s primary subject (from Bran’s very literal fall forward) work so well. You need the Hand’s Tourney to start out “better than the songs,” or it doesn’t mean anything when Ser Hugh dies and Sansa reflects that no songs will be sung of him. By the time you get to her final chapter in AGOT, it’s so damn clear what GRRM is going for with her character:
Sansa stared at him, seeing him for the first time. He was wearing a padded crimson doublet patterned with lions and a cloth-of-gold cape with a high collar that framed his face. She wondered how she could ever have thought him handsome. His lips were as soft and red as the worms you found after a rain, and his eyes were vain and cruel. “I hate you,” she whispered.
She has learned the truth: a padded crimson doublet and a cloth-of-gold cape don’t make you a hero, which has implications for both the social structure (in that all this wealth and power is orbiting around a sadistic child who just cut off Dad’s head) and the chivalric worldview (in that the imagery falling apart here bolstered that worldview earlier in the book). Sansa is literally seeing the world anew, and she has to start off in a bubble for that to qualify as an arc.
Moreover, her story in the following book (ACOK) is not about her deciding that the corruption of the intertwined society and song justifies nihilism, but rather a growing conviction on her part that she has to live out the values in the songs even as they are rejected by the world at large. That comes through most clearly at the Blackwater, when she internally defies Cersei’s rule through fear in favor of ruling through love, as well as singing for mercy to and from Sandor. I think this is meant to reflect the journey taken by both author and audience from naivete to disillusionment to resolve, and that it’s also meant as a pointed contrast to Littlefinger’s story, not a continuation of it.
While I appriciate what GRRM planned with Sansa I think the execution isnt flawless. She has many informed abilities we never see with her told have done well in her studies in many subjects and its tad unrealistic that Ned and Catelyn would kept her so shielded form the practical realities.
She still after so many books has not have moments of plot agency apart form saving Dontos and the ones with the wolves and the informing Cersei that resulted in many fans hating her, and had been just observing and used by other people. And while she is young she is still older than Arya and Bran who have more immedeatelly harder time with starving and prison camp and a handicap and a pretty much slowly loosing everything of old life.
So I do like Sansa a lot but there are many different things that could have been done with her chapters and how slowly the books have been coming out and waiting other plot lines to progress has left her adrift.
Gotta say, I disagree. Sansa’s moments of agency don’t have huge impact, but that’s because they can’t in her position. They still stand out emotionally–reaching out to Sandor, confessing the truth about Joffrey to the Tyrells, telling Tyrion she might never want him to touch her, getting Sweetrobin down the mountain. As we pick up with her in TWOW, she’s as actively involved in the goings-on in the Vale as could reasonably be expected. I think there’s a clear and significant progression from the Sansa we saw in AGOT.
As for why Ned didn’t prepare her, it’s the same reason none of his kids were fostered as he was, the same reason he doesn’t want to go to King’s Landing–because he’s so traumatized by what happened to Lyanna outside the safe warm walls of Winterfell that he can’t bear to burst that bubble.
I think people also tend to ignore or tone down much of what Sansa went through in King’s Landing and how that has impacted her, and then just look at her arc and conclude that she didn’t do anything. From the moment Ned Stark died, Sansa has been alone in a hostile environment. She has been subject to regular beatings by the Kingsguard in private as well as in public for the whole court to see. She gets preyed on by older men, is used and abused because of her last name, and is constantly belittled and underestimated by everyone. She’s threatened with rape and death all the time. Has to deal with a violently drunk Kingsguard in her rooms who threatens her at sword-point when the city’s on fire. She’s offered a chance of escape but is then forcibly married into the family that is actively killing her own and gets molested during her wedding night. And as the icing on the fucking cake, when she finally escapes the hellhole called King’s Landing, she is taken in by LF who projects some shitty ideal image of her mother onto her and continues to sexually abuse her (and I won’t even go into the abuse byLysa here).
And what does Sansa do? To invoke Cinderella here: ’have courage and be kind’. She indeed reaches out to Sandor even when he’s threatening her and dares to tell “Tyrion she might never want him to touch her”; speaks out for Ser Dontos; persuades Joffrey to not kill the woman before the riot; shows incredible courage during the BOTB through dealing with Cersei, calming the women when Cersei flees, and helping Lancel Lannister despite him mocking her before all the court; risks death by telling the truth about Joffrey because she cares about Margaery; courageously doesn’t kneel during her wedding but then feels sorry for her captor and tries to make it up; showing kindness to Kevan, Lancel, Lord Gyles, Jalabhar Xo, etc. during Joffrey’s wedding; continues to feel sorry for Margaery even when the Tyrells drop her like a hot potato; feels sorry for Joffrey when he dies; and shows bravery when fleeing that scene.
People look at that and somehow conclude that she was ‘passive’. That she didn’t stand up to her abusers. That she should’ve killed them and escape (like, how?). To all of those people I’d like to very nicely say to 1. read the books again and 2. just go screw yourselves. What Sansa did in King’s Landing was survive. To paraphrase Melissa Grey on Cinderella here (again): Sansa is in the process of surviving abuse, and the whole narrative of ‘she should’ve stood up to them’ is incredibly damaging and hurtful because it puts the blame on the victim herself. That’s not how abuse works. It’s never on the victim to somehow stop the abuser.
Sansa’s asserting her agency whenever and wherever she can, even when it’s detrimental to herself. Throughout her time in KL (and later the Vale), Sansa managed to stay kind. She faces all of that suffering head-on and decides to be better and not let it turn her into a cold and heartless person. She’s actively choosing to stand by her ideals and values even if the world around her doesn’t. Because a true knight should protect the weak and suffering, rather than beat a helpless girl in front of the court. Because love rather than fear is a surer route to people’s loyalty. Sansa’s deciding that the cycle of abuse stops with her. That is an incredibly brave act and makes her nothing less than a heroine.
Amen to this. It takes strength to be gentle and kind in this environment–she easily could not be. Look at Cersei!
Sansa Stark Queen in the North
i just need more aemond content, more aemond screentime, more aemond, more aemond MORE AEMOND
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team black this team green that. how about we all have fun and enjoy the DYNAMIC at play, the way rhaenyra and alicent are doomed from the start and a product of their upbringings and the environments they were forced into. two women navigating a male dominated society, albeit at different levels since rhaenyra is a targaryen. we are not meant to root for anyone, they’re all complicit in awful behaviour but it’s kind of beautiful to watch, no?
even tho i’m really enjoying hotd, and i’m super invested into the characters and their dynamics and the upcoming war….no one will ever come close to her…. the comfort she gives me is just surreal
SANSA STARK by Greg Ruth.
…..poetic cinema indeed
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𝐒𝐚𝐧𝐬𝐚 𝐒𝐭𝐚𝐫𝐤, 𝐐𝐮𝐞𝐞𝐧 𝐨𝐟 𝐭𝐡𝐞 𝐍𝐨𝐫𝐭𝐡
There is absolutely NO SLANDER allowed on this page about Sansa Stark. She is a fighter, a survivor, a learner; she literally SURVIVED THE GAME OF THRONES. I do not understand why people dislike her?
ᴹᵃˢᵗᵉʳˡᶤˢᵗ
HOUSE STARK is a noble house founded by Bran the Builder during the Age of Heroes. Their seat is Winterfell, on the North of Westeros. The Stark heir is to be named Lord or Lady of Winterfell and Warden of the North, historically its heir also assumed the title of King or Queen in the North, as well as King or Queen of Winter. Their sigil is a grey direwolf. The Stark family words are “Winter is Coming”.
A short HISTORY of the NOBLE HOUSES of WESTEROS (2/11)
