alley_skywalker: (Default)
So. Rhaenyra does something brash and kind of irresponsible (though understandable – she’s young, she wants to have fun, etc) which could have very serious consequences for her reputation, and ultimately be a political hazard.

 Otto – is told about her actions and informs Viserys (in private) which, regardless of his self-interest, is a reasonable and astute thing to do, as this is a train the crown should get in front of. (Note that it’s unclear that Otto is specifically spying on Rhaenyra. More likely he’s spying on Daemon, given his sources. And anyway, he likely has informants in general who bring him information of interest.)

 Rhaenyra – confronted by her (former?) friend/someone who seems concerned about her, lies and manipulates to get out of it, going so far as to invoke her mother’s memory. (Again, understandable that she’d want/need to defend herself from the consequences and she can’t trust that Alicent won’t tell Viserys.) When confronted by her father, manages to mostly get out of it without lying because he doesn’t ask, and instead of just taking that as a victory, emotionally manipulates her father into getting revenge on a man who hasn’t, in fact, done anything but his duty in this situation.

 Viserys – has confirmation from Daemon that at least something untoward happened (and given the moon tea, clearly he doesn’t fully believe Alicent’s defense), so he knows the information Otto received wasn’t baseless and admits to Alicent that Rhaenyra has some fault Immediately allows his daughter to manipulate him into weird paranoia, blames Otto for his own desire for Alicent, lowkey accuses him of murdering Prince Balon (?????), and strips him of his office for………Telling him about compromising information that it behooves him to know that Viserys also knows is at least in significant part true?? Because Otto might be biased/have self-interests, even though Viserys just told his own heir that everyone at court is? And that he MIGHT do something to undermine Viserys/Rhaenyra, which at this point is based on……what, exactly? A teenager’s tantrum that she got caught doing something she shouldn’t have been?

 I have no particularly warm feelings for Otto, but he just got screwed for nothing just because Viserys is an easily manipulated idiot, who apparently doesn’t consider his own children who aren’t Rhaenyra his own blood, but only ever someone else’s.

alley_skywalker: (Default)
Got a tumblr ask:


Oh, I think Robb was entirely aware of the situation, at least by the time AGOT starts – there’s no reason to believe he isn’t. Robb’s ludicrous amounts of privilege, youth/lack of experience, and, probably in part, personality make him a little naïve to some aspects of politics/diplomatic affairs, but he’s not stupid and, despite the Stark kids being fairly sheltered, he would have been educated and mentored as Ned’s heir and the future Lord of Winterfell. There’s no way he’s underinformed. Besides, it’s made very explicit in the conversation Cat and Robb have regarding sending Theon to the Islands as an envoy that Robb is fully aware of the situation. Nor is this new:

“Put away your sword, Greyjoy,” Robb said. For a moment he sounded as commanding as their father, like the lord he would someday be.

—AGOT, Bran I

Bran’s like seven? So he’s picking up on something that he’s not able to name concisely, but basically this is a rank-pull (or an attempted one, anyway). It’s a mild test balloon and precursor for the Bran Incident.  We don’t really see Robb interact with anyone else of entirely equal rank to himself, with Joffrey being the closest, but I think it’s safe to say this is more akin to how Robb acts with those he instinctively feels to be his inferiors rather than his equals (which, if this were a true fosterage situation, Theon would certain be – a long-term guest, more than anything).

Also, “I ought to chain you up in the yard” is an insult so tailor made to hurt and humiliate Theon given his situation specifically

None of this is surprising, really, because the whole construct of Theon being a “ward” is propaganda and a polite fiction, which the Starks are invested in upholding. and do buy into to a fairly dangerous extent (where they start to make actual decisions and expectations built on this construct), but the buy-in is especially hypocritical because it’s partial. When Theon is expected to be loyal or trusting him would be advantageous, he’s a ward. When fourteen year old Robb wants to boss him around or it’s time to talk very practically about how Theon can be useful to Robb’s war plans, he’s a hostage. (Surprise, surprise, it comes back to bite them in the ass.)  

I also don’t think Robb comes to care about Theon’s situation any more or less once he becomes Lord of Winterfell? Like I just don’t see any evidence that there was any change in trajectory here.

As to what Robb might have heard… Well, Maester Luwin gives us some idea:

“There is no shame in that. A lord must protect his smallfolk. Cruel places breed cruel peoples, Bran, remember that as you deal with these ironmen. Your lord father did what he could to gentle Theon, but I fear it was too little and too late.”

—ACOK Bran VI

Charming, isn’t it? Especially given that Theon was a ten-year-old child when Lord Stark first had the chance to embark on this “gentling” process. *intense eyeroll* Granted, Robb probably didn’t get this exact speech. The Starks, or Ned personally, were invested in upholding the fiction of Theon being a ward, and it would be hard for them to do that while also entirely scaring their children away from him. But this is a maester talking, and Luwin comes off as a generally kind person too. We can only imagine how less educated and/or more meanspirited people may have felt, talked or behaved. Granted too, Theon outranks everyone in Winterfell except the Starks themselves (and that’s situational), and any visiting Lords would likely be lowkey aware of the Starks’ chosen narrative around Theon (their children could be a different matter, depending on age) – there would be a lot of people keeping their mouth shut best they could, at least around Theon. But microaggressions would still happen. People would still talk. People would still express views about the ironborn generally – if outside of Theon’s hearing, not necessarily outside of Robb’s.

As a counterweight, Theon and Robb apparently had some genuine conversations about Theon’s home and culture (at the least, Robb is under this impression, and he’s correct in his assessment of what the ironborn will do in response to the kingsmoot). So he maybe had some counterpoint information, or at least some depth. (I have a feeling that Theon likely leaned in to the stereotypes as a defense mechanism – glorifying the things he and his were derided for.)

As for the “Greyjoy” vs. “Theon” thing, the canon doesn’t really give us a consistent narrative here. I initially also thought the Robb uses Theon’s last name when he’s irritated and/or trying to pull rank but “Put away your sword, Greyjoy” and “Not where my brother can hear, Theon” are both reprimands (though the former is a more obvious rank pull). After Theon’s defection, too, Robb continues to more often than not simply call him “Theon.” Robb also calls Jon “Snow” (e.g. in their farewell scene) and Jon calls Robb “Stark.” So, I’m not really clear that canonically the last-name calling is meant to signify emotional distancing, necessarily. (Although, in the given fic I suppose it does sort of serve that function).

You bring up a curious point about the “chains” comments. I’m assuming the first instance you’re referring to is Robb during the Bran incident and the second is Ser Rodrick during the parlay saying, “Then perhaps Lord Eddard should have kept you chained to a dungeon wall.” (ACOK, Theon VI) At first blush, they’re said in pretty different context and with different intents too – Robb is alluding to Theon’s situation in an attempt to hurt and humiliate (maaaybe threaten, if you want to be uncharitable); Ser Rodrik is more venting about what should have happened, with no subtilty, rather than what could happen. But at the same time…despite it being a very lose parallel and at the risk of reading into small details too much….it is consistent wording, isn’t it? When it didn’t need to be, necessarily.

On an in-universe level, it’s an oblique echo of the kinds of things that might have been suggested about Theon (going back to the earlier part of this): the adults that might have whispered about how a savage ironborn hostage ought to be chained up, and teenage Robb, in a moment of anger and very poor judgement, aiming to hurt, subconsciously reaches for the things he’s heard the adults around him say to craft an insult.

On a more meta level, Robb’s oblique threat (whether meant as one or not) and Rodrik’s venting are echoes and book ends of what always hung over Theon’s head and what he had escaped (or tried to, anyway). Robb’s comment reminds Theon what can happen; Rodrik’s reinforces that this was always an option, though not acted upon, and now won’t be, because Theon has slipped away (barring further direct warfare). The Northerners had bought into their own propaganda, gotten comfortable with the double standard. He hadn’t. And how furious it makes them.  



alley_skywalker: (Default)

“I’m happy/mad that HOTD aged Alicent down.”

Guys. Seriously, the amount by which they aged her down is pretty negligible. It’s not stated explicitly, IIRC, how old she is in the show, but assuming she’s the same age as Rhaenyra (15ish in E1), she was only aged down by 3 years. Like, ok, sure in real world terms there’s some difference between an 18 yr old and 15 yr old marrying a man pushing 30, but this doesn’t seem to be the main/only issue for everyone, and in every other way the 3 years difference is functionally negligible. (And in any case, the 18/29 age gap is still significant, and Alicent is still a very young and, likely, inexperienced woman at that age who wouldn’t have had much more agency in this society than at 15-16.) Given than adulthood in Westeros occurs at 16…again, the aging-down is kind of *shrug*

You know who’s age got changed in an ACTUALLY significant way though? Rhaenyra. Rhaenyra who was about 9 when her father remarried and about 10 when Aegon was born. (Funny enough, she was close to the same age as Catelyn was at Edmure’s birth. Cat had also been raised as Hoster’s heir until then - he just didn’t make any formal announcements about it.)

So if you want to be happy/mad about someone’s age change, it should be hers, not Alicent’s. Because 9 and 15 is a big difference in a very functional way. And it affects a LOT of things. Even re: Alicent - a 15 year old and an 18 year old can be friends. It’s different if the age gap is closer to 10 years. But also things like…of course it sounds a lot more ridiculous to propose marriage between Rhaenyra and Aegon when their age gap is closer to 15-16 years than 10, instead of Viserys making a political blunder because he’s playing favorites with his children. Of course it make sense for an ailing Viserys to cling to his choice of heir, who is already an adult (vs a toddler), for practical reasons, and not just because he loves only one of his children way more than the others. As an older-teenager/in-universe adult, Rhaenyra can do badass #Girlboss moves like the confrontation with Daemon (which would not have really been a possibility in book canon).

Like regardless of whether you like or dislike the changes the show is making, I don’t really get the fixation on “aging Alicent down” when that’s not really the impactful age-change here.
alley_skywalker: (Default)

People acting like we know for sure Robb’s motivations in marrying Jeyne or like there’s only one reasonable reading just make me roll my eyes. We see literally none of the events leading up to or directly after either their sexual encounter or the wedding. We never have Robb’s POV or even the POV of anyone who was there. In fact, the only person who’s POV we see any of this situation from is Robb’s own mother who adores him and will think the best of him even when he frustrates and upsets her. What we see of their relationship in the aftermath is a mixed bag. What we know of Robb as a person is also a mixed bag. Robb himself is contradictory on the point. Was it the “only honorable thing to do” or “I took her castle and she took my heart,” Robb? Which one is it, Robb?

Maybe it was all for honor. (Though, again, whose? Hers? Or his own, to the extent that he might think it more dishonorable to deflower a girl - whose home he’s invaded and currently occupies, having her and her family completely at his pleasure, creating a dangerous power-dynamic situation even if the sex itself was seemingly completely consensual - than to break off a betrothal.) Maybe he was so traumatized by the Ned-Cat-Jon situation at home he couldn’t stand the thought of fathering a bastard. Maybe he was madly in love/infatuated with her, and his bleating about honor was to save face in front of mommy and the boys. Or maybe he was in love but wouldn’t have married her if they hadn’t fallen into bed, but since they did, he couldn’t stand to then leave her (and their potential child) in such a situation that he felt responsible for. Realistically, a combination of several is most likely.

But no, people act like the only plausible thing to have happened is for Saint Robb to have been a Martyr for honor and a Perfectly Selfless Hero. Maybe he could have used some of that heroic martyrdom to ransom his sister(s) then. Please.

(Oh yes, and let’s not forget the disgusting conspiracy theory bog of The-Westerlings-Drugged-Him-With-Love-Potions because that’s totally the dub-cony elements in this situation that have any canonical support whatsoever. Give me a break.)

alley_skywalker: (Default)

An interesting little thing I wanted to talk about… it’s widely accepted as canon that Catelyn both dislikes and distrusts Theon. Now, we can maybe make the argument that she doesn’t particularly like him – at least she seems to find him kind of obnoxious with all his smug smiles she doesn’t understand and grandiose posturing. But does she really distrust him?

 I think this assumption comes from three passages, primarily. First of all, Theon’s own POV in Clash:

 Lord Eddard had tried to play the father from time to time, but to Theon he had always remained the man who’d brought blood and fire to Pyke and taken him from his home. As a boy, he had lived in fear of Stark’s stern face and great dark sword. His wife was, if anything, even more distant and suspicious.

—ACOK, Theon I

 Theon here is being a little bitter about all the Starks, save Robb, and while the overall trajectory of his feelings about them is likely genuine, Theon does tend to dramatize a bit. Cat, anyway, is generally a somewhat suspicious and distant person, especially to someone who she’s not particularly fond of. But also, we do have someone to compare Theon with here. Is there a person we know Cat sincerely dislikes and distrust? Yup. Jon. And I don’t think its controversial to say that she treats Jon a lot worse than we ever see her treat Theon.

 Here’s the second passage that gets quoted in connection to this is from Cat’s own POV:

 She studied Theon Greyjoy’s sly smile, wondering what it meant. That young man had a way of looking as though he knew some secret jest that only he was privy to; Catelyn had never liked it.

—ACOK, Catelyn I

She doesn’t like his smiling and she reads them as sly. Of course, Cat isn’t the only person to regard Theon’s joking and smiling as weird, unsettling, inappropriate or confusing. Does the fact that she reads them as sly or like he knows something secret indicate her being suspicious of him? In the absence of any other context, maybe.

But Cat never actually displays real distrust toward Theon. She has no objection to him being on Robb’s war councils. She has no objection to him being a messenger between Robb’s camp and the Blackfish’s outriders, nor the fact that he’s one of those outriders. She never seeks to exclude him from Robb’s inner circle. In fact, she does the exact opposite.

These are the members of her super-secret meeting about her suspicions regarding Bran’s attempted murder:

Robb arrived before her food. Rodrik Cassel came with him, and her husband’s ward Theon Greyjoy, and lastly Hallis Mollen, a muscular guardsman with a square brown beard. He was the new captain of the guard, Robb said.”

—AGOT, Catelyn III

 Maester Lewin will join them in a moment as well. So, her son, the maester, the captain of the guard, the master-at-arms/castellan…and Theon. Like if anyone is superfluous here, it’s Theon, but she has no objection to including him whatsoever, nor does her POV indicate for a moment that maybe he should be there.  

 Later, when Cat is telling Robb off for not giving the command of the host that’s going to war to free her husband, she offers the following possible candidates for command:

 "No one?” she said. “Pray, who were those men I saw here a moment ago? Roose Bolton, Rickard Karstark, Galbart and Robett Glover, the Greatjon, Helman Tallhart … you might have given the command to any of them. Gods be good, you might even have sent Theon, though he would not be my choice.”

—AGOT, Catelyn VIII

 Theon’s not her first or even third choice, sure, but that’s clearly about experience and not trust, given that Theon is a nineteen year old lad whose never fought in a battle, not to mention led men into one, unlike all of these other seasoned lords.

But what about Pyke? That’s the third major passage that tends to be quote, Cat’s opposition to sending Theon to Pyke. You know, this one:

Catelyn ignored that. “I’ll say again, I would sooner you sent someone else to Pyke, and kept Theon close to you.”

“Who better to treat with Balon Greyjoy than his son?”

“Jason Mallister,” offered Catelyn. “Tytos Blackwood. Stevron Frey. Anyone… but not Theon.”

—ACOK, Catelyn I

That’s the part that’s usually quoted, but here’s the rest of that conversation:

Her son squatted beside Grey Wind, ruffling the wolf’s fur and incidentally avoiding her eyes. “Theon’s fought bravely for us. I told you how he saved Bran from those wildlings in the wolfswood. If the Lannisters won’t make peace, I’ll have need of Lord Greyjoy’s longships.”

“You’ll have them sooner if you keep his son as hostage.”

“He’s been a hostage half his life.”

“For good reason,” Catelyn said. “Balon Greyjoy is not a man to be trusted. He wore a crown himself, remember, if only for a season. He may aspire to wear one again.”

—ACOK, Catelyn I

The person Cat doesn’t trust, first and foremost, is Balon. Cat doesn’t think Theon’s a good choice to treat with Balon not because she’s expecting Theon to turn on them, but because she thinks he has more utility as a hostage. It may be that Cat senses the immense conflict of interest possibly looming here as well. She’s older and wiser than Robb, after all (even if he rarely deigns to actually listen to her). But she’s throwing out her best arguments and she never quite brings this up explicitly, and to the extent she does, it’s Balon and his political ambitions that she’s concerned about. Cat’s thought process is basically: Balon can’t be trusted to not have some crazy political aspirations and do god knows what > the best way to keep Balon in line is to have something hanging over him like the life of his son > any competent lord could negotiate a treaty > thus Theon is best kept close to keep him away from Balon’s possible plotting and as a bargaining chip to boot. Any distrust Cat has here is just a healthy understanding of how someone (any person, really, this isn’t Theon-specific) might be tempted to…you know…align with their own family in their plans. But that’s more subtextual, a “sense of discomfort” type of thing. The actual distrust is aimed at Balon. The argument isn’t “Theon isn’t trustworthy” it’s “Theon is more useful here.”

And, really, in a way, Cat here is just following Ned’s advice from back in AGOT:

When the door had closed behind him, Ned turned back to his wife. “Once you are home, send word to Helman Tallhart and Galbart Glover under my seal. They are to raise a hundred bowmen each and fortify Moat Cailin. Two hundred determined archers can hold the Neck against an army. Instruct Lord Manderly that he is to strengthen and repair all his defenses at White Harbor, and see that they are well manned. And from this day on, I want a careful watch kept over Theon Greyjoy. If there is war, we shall have sore need of his father’s fleet.

—AGOT, Eddard IV

Cat never shows any elevated distrust or suspicion toward Theon than she does toward anyone else who she’s not specifically close to, really. Even on the opposite, she displays a significant amount more trust than you’d expect of someone to have toward their hostage. Even after she gets news that Theon has “killed” Bran and Rickon, her reaction isn’t “I knew it!” it’s this:

“Bran and Rickon tried to escape, but were taken at a mill on the Acorn Water. Theon Greyjoy has mounted their heads on the walls of Winterfell. Theon Greyjoy, who ate at my table since he was a boy of ten. I have said it, gods forgive me. I have said it and made it true.

—ACOK, Catelyn VII

It’s surprise, bewilderment, outrage of a sort, but it’s not vindication. She didn’t see this coming. The why is an expansive enough topic that it would properly deserve a post of its own. I’m not going to prove up this thesis in this post, but I’ll say that Cat is just another example of the shocking amount of entitlement that the Starks specifically and Northerners generally feel in regards to having Theon’s loyalty. And it’s probably why Theon doesn’t feel entirely trusted by them – it’s not real trust, born out of respect and/or affection, the notion to distrust him just doesn’t seem to fully enter their minds even when it’s a reasonable question to ask, because they feel so secure in the idea that Theon must be loyal to them, that they deserve that loyalty. But again, that’s a post for another day, I’ll just say that Cat is really not an exception.  

I’ll close this with a little observation that’s a bit tangential but related. When Cat argues with Robb about legitimizing Jon, while it’s easy to side with Robb against her emotionally because her treatment and distrust of Jon are so unfair, she’s not actually wrong in what she says. And she’s asking Robb to not make the same mistake they all made – to put trust into loyalty that has been assumed for no good reason, ignoring all conflicts of interest for the sake of righteousness:

“Precedent,” she said bitterly. “Yes, Aegon the Fourth legitimized all his bastards on his deathbed. And how much pain, grief, war, and murder grew from that? I know you trust Jon. But can you trust his sons? Or their sons?  …  Should he wed and breed, any sons you may have by Jeyne will never be safe.”

“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… .”

—ASOS, Catelyn V

Robb is, as usual, not listening. Cat isn’t even talking about Jon to begin with. She’s talking about his sons. Who know one knows what they’d be like, and it would be insane to put blind trust in them and their theoretical goodness and family attachment. It’s Robb who starts talking about Jon. And Cat has a point here too, though Robb doesn’t want to hear it: you think Jon is not like Theon, but you also never thought Theon would do what he did. How blinded are you, Robb? By love? By righteousness? By how you believe things are supposed to be? No one thought Theon would turn. Not even Cat, who didn’t like his smiles and thought he made a better hostage than negotiator.

She’s always been unfair to Jon, of course. But can we blame her for being paranoid now, when she’s learned the hard way that assuming loyalty for theoretical, self-righteous reasons is folly?

alley_skywalker: (Default)
It probably shouldn’t bother me this much, but it does irritate me when people say that Jeyne (Poole) isn’t highborn. Because she is! She’s of a noble house. She’s a lady. Yea, it’s a very small, poor (relatively) and politically insignificant noble house, very likely without lands at this point, but in the feudal class hierarchy, that still puts her theoretically miles above anyone from the smallfolk in ways of respect of consideration. At least, it’s supposed to…

And that’s actually the other thing - I think Jeyne’s fate and treatment in Dance (and before with LIttlefinger, but that was less public, at least) is particularly interesting because she’s not a commoner. By the theoretical laws of this society, as romanticized in all the chivalrous songs she and Sansa had idealized and loved as young girls, her treatment should be unacceptable just by virtue of her being a highborn lady. Common serving girls may be molested by young lords without much reproach because lol they don’t have any honor to begin with, right? (/sarcasm, obv.) But a noble maiden? That’s rather inappropriate and possibly imposes obligations of marriage on him, which he could be looked at negatively for forgoing.

But of course, no one really cares. The nobility have their own hierarchy, that was always obvious too, but in the end, it’s not even just about which Houses can afford more luxury or which Houses can get others to swear oaths to them. It’s even more cynical than that. No one will help even a noble girl out if she doesn’t have the money to buy their support or have enough political connections to compel it (which usually means that even if she doesn’t have money on her, someone out there who cares enough about helping her for whatever reason does - whether in the form of literal gold/coin or swords or whatever). Chivalry is a pipe dream, a delusion Sansa must rid herself of as well (even though some people in this world still aspire to it) - money and power are far more important in the end than the nobility of your blood.

Jeyne is of noble birth. And it really doesn’t help her at all.
alley_skywalker: (Default)

(THEON MONTH | DAY 2: Personality Traits; DAY 5: Strengths)

I think it’s been discussed fairly at length at various points by Theon fans that Theon’s personality can be difficult to parse out, even long before he adds the layer of complexity via dissociation while in Ramsay’s clutches. Where do Theon’s defense mechanisms and trauma responses end and his core personality begin? Which and how many of those coping mechanisms are so hard baked into him that they’re basically his personality now, and to what extent?

 

Read more... )
alley_skywalker: (Default)

They made a pitifully small assembly; the ironmen were few, the yard large. “The northmen will be on us before nightfall,” he told them. “Ser Rodrik Cassel and all the lords who have come to his call. I will not run from them. I took this castle and I mean to hold it, to live or die as Prince of Winterfell. But I will not command any man to die with me. If you leave now, before Ser Rodrik’s main force is upon us, there’s still a chance you may win free.” He unsheathed his longsword and drew a line in the dirt. “Those who would stay and fight, step forward.”

 — ACOK, Theon VI

There are so many Theon quotes and moments I love! It would be impossible to choose just one or even a top three. So I decided to highlight this one, because it’s one of my favorites (especially because it’s such a bright spot in the horrifying bleakness of Theon’s downward mental health and moral spiral in Clash) and it’s also such an underrated moment no one really talks about.

In the show, Theon gets this rousing speech about fighting and dying gloriously and if he’d gotten to that moment in the books he might have made a similar speech to the men who were still with him. But they’re not there yet. There’s no host at his gates yet, though they know it’s coming, and Theon isn’t stupid. As much as he holds out some shred of hope, does everything he can to survive, he surely understands he’s critically outnumbered. He also knows that not only are the people of Winterfell (whom he also refuses to summarily execute when his lieutenants suggest it, mind) are against him, but his own men aren’t exactly inspired to follow him. Morale is low as hell. He runs a very high risk of being abandoned and leaving himself even more vulnerable that he already is.  

And yet he still offers them an out.

He offers them a chance to leave, to live, and when they take him up on it?

 "Go, then,“ Theon told them. "Run to my sister. She’ll give you all a warm welcome, I have no doubt.”

Maybe a bit petulant, but he doesn’t bother to really shame them. (Wex’s loyalty does that.) Nor is this a trick to root out traitors or anything. He’s just genuinely giving his men a chance if they want it. He feels hurt and abandoned, but he’s not even truly angry and he doesn’t want to force anyone to die for him. For all the posturing he does to Asha about how men should fight for him because he is their Prince, when it comes down to it, he doesn’t actually want that. Even in all the darkness, all the awful things he’s done, he still makes this bid for honor, for decency, because that’s far more at the core of who he is.

He knows they’re likely to die if they fight. He knows they very well may leave him if given half a chance.

He lets his men go. 

alley_skywalker: (Default)
Got asked on tumble:

Do you think Robb had anger management issues or was it because of all the stress he was under? I understand that before he was left in charge of Winterfell and before he was crowned king there was never any mention of such a case, what are your thoughts?


Well, certainly, any issues Robb had would have likely been exacerbated by the very stressful situation he found himself in at a very young age. Especially once things start to really fall apart for him. That said: 1) I don’t think any issues he does have come out of nowhere or are developed wholesale because of the war, and 2) I wouldn’t say that a lack of anger management is his problem.

Mind, Robb does have a temper and he does at times lash out in anger/frustration. Often, this is done at inappropriate targets or in an inappropriate way. But calling it anger management issues seems to imply that either he does this especially violently somehow or that he’s unable to control his response. My opinion on this is that neither of those are true. The first point is pretty self-evident, I’d say – Robb’s temper outbursts tend to be limited to verbal/emotional cruelty at their worst. As for the lack of control… I don’t think he’s incapable of controlling his anger, but rather that sometimes he simply doesn’t bother to.

 

Read more... )

 


alley_skywalker: (Default)
image

You know, this always gets me. Because it’s so fucking cold. Why? Because he doesn’t say “if I didn’t send Theon to Pyke” or even “if I’d kept Theon here/close.” He says “if I had … kept Theon as my hostage.” Because we talk about his right? Does Theon’s position change once Robb’s calling the shots? Is it that Robb doesn’t think of him as a hostage or is it just that he thinks that getting ships is worth being out a hostage that may or may not even be serving a purpose anymore? And this seems to be hinting at his actual feelings/thought process.

 And ok, you might think, well it’s just the situation, right? It’s just that he hates Theon now because he thinks Theon killed his brothers. It’s hindsight. Right?

 Except:

image

This is about Sansa. Sansa is his sister. She certainly hasn’t done anything to hurt Robb or piss him off, but the parallels, especially vis-à-vis Robb’s reactions and thought processes, are striking.

 Because here’s what’s going on in both: These are people that could have been useful to Robb in a specific way, except he didn’t realize that at the time that relevant decisions were being and/or other things were a greater priority. Now, these people are not available to be useful + are instruments for hurting his cause (Theon of his own volition, Sansa against her will, but the end result is the same). And his reaction is to regret not having made use of them in the proper way.

 If it was just with Theon, we could blame it on the fact the Robb’s has just reassessed everything about their relationship in hindsight. But he has a very similar reaction to a parallel situation with Sansa, even though you might except him to be a lot more concerned about her as like…a person? But he doesn’t. He thinks about them both in terms of tools, lost opportunities, and ways they’re being inconvenient now. And since there’s no reason for his feelings toward Sansa to have changed, and since we do have an insight into how Robb thinks about her at the time the relevant decisions were made (from what he explicitly tells Cat, re: not being able to trade Jaime for her), we have a sufficient amount of givens to fill in the remaining variable by drawing the parallel.

 That is: Sansa was always the sister who didn’t have sufficient worth to be traded for Jaime Lannister unless she could be otherwise politically useful. And Theon was always the hostage.

alley_skywalker: (Default)

This topic deserves a longer post/meta probably, but I’ve reached A Point tonight, so I’m just gonna make this post and maybe expand on it later if I have the energy.

But people repeat it like a mantra: Theon was a brother to Robb!

Oh? So let’s take a look at where we’re getting this from. I mean, I guess all kinds of assumptions can be done from various extrapolations of circumstantial evidence with the proper amount of conjecture and mental gymnastics, but I think the most obvious place that this seems to come from is here:

image

At least this is the part that’s typically quoted. With supporting appearances from

image

and, possibly, the perennial shipbait from Dance.

image

But here’s the thing. Those last two quotes are about Theon’s feelings about Robb. Theon has affection for Robb like for a brother. Robb is more a brother to Theon than Theon’s own brothers (and that’s a pretty low bar seems like, given the tiny bit Theon mentions of his relationships with his brothers).

So, what about the first quote? Context.

When Theon is thinking about his and Robb’s relationship and how he thinks of Robb as a brother, it’s in his private thoughts. He’s not always super honest with himself, but when Theon is dishonest with himself, he’s usually either in denial or projecting. (Such as when he talks about Jon being jealous of Robb’s “regard” for him, which sounds like projected wishful thinking too.) He doesn’t really have a reason to distort his own feelings about Robb to himself, other than maybe playing them down some for the sake of preserving some self-respect and dignity. But in any case, those are still within the contest of his own thoughts.

The quote where he says that Robb thinks of him as brother is said aloud to his father. In the context of trying to convince him the idea to ally with Robb was his and not Robb’s and therefore Balon should a) trust it more and b) be impressed with him. Balon has just accused him of being Robb’s messenger boy and then seems to mock the idea that Theon is actually has of trust with Robb. Not only is this an attach on Theon’s pride but it’s also undermining Theon’s purpose here – it makes sense for him to reason that his father will be less likely to look on Robb’s offer favorably if he sees it as coming from an enemy/someone he inherently doesn’t trust, plus delivered by Balon’s son in a humiliating sort of arrangement (at least, humiliating as Balon would see it). So of course it also makes sense for Theon to try to explain why that’s not true: he’s not Robb’s messenger boy and the offer isn’t purely Robb’s, it’s something Theon suggested (therefore, Balon should be able to trust the ironborn’s/Greyjoys’ best interests were taken into account) and Robb went along with it because he trusts Theon, because they’re so very close, like brothers. See, dad, it makes sense! (Except, of course, Theon has miscalculated.)

But the point is that this is not any kind of honest-even-if-subjective, not to mention objective, assessment of Robb’s feelings about Theon. It’s just Theon trying (and kinda failing *sigh*) to say the politically/diplomatically correct things.

*sigh* I just mean…I like the younger/older brother dynamic for them as basis for snuggly, cute kidfic or whatever, sure. But that’s fic and wish fulfillment *shrug*

WSS vs R&J

Jul. 25th, 2019 12:22 am
alley_skywalker: (Default)

I don’t know why I chose to spend my evening watching West Side Story (instead of Zoli in Elizabeth as was my initial plan lol) but I did. I knew/was expecting it to be a pretty close parallel to Romeo and Juliet. (Although in some ways it really fails in that – mainly the main conceit and shift in themes to address racial tensions changes the tone of some things. Like, in R&J both families were equally being dumbasses about their feud but in WSS the Jets inevitably gain racist overtones which makes them less sympathetic and make the Sharks look more like victims who are just defending themselves from the racist white kids. Especially since we never really see the gangs do anything…gang-y outside of fighting each other.) But, anyway, what I actually wanted to say was that there was one part that was parallel to R&J but done a little differently and it made a lot of emotional difference to me (in favor of WSS).

In R&J I’m always kinda annoyed at Juliet for basically immediately forgiving Romeo for killing Tybalt and taking his side before she even has a chance to see him. Like, it always felt…fake to me. I mean, I’m not big on the romance in that play anyway, but even if we take it super seriously and all, it’s still really hard to disregard the fact that THEY JUST MET. So, when Juliet’s initial reaction to the news is to go “omg! Turns out this person I just met is an asshole!” it feels kinda rewarding in the sense that yea hello. You just met him, you know almost nothing about him, unpleasant surprises may very well abound – it’s almost a criticism of the whole idea that you’re just going to know that someone is right for you the second you meet. Of course, we know Romeo’s a good guy, so we want her to forgive him. But Juliet doesn’t know. She’s just been shown exactly how much she might not know. And yet she immediately assumes, with no evidence, that it was Tybalt’s fault and that Romeo couldn’t be to blame and he was prob just defending himself. (Her evidence being that he’s too good looking which OMG STOP.) 

And, yea, Maria also forgives Tony in like five seconds. But at least it’s played differently. She sees him and her first reaction is rage, but he’s there and she doesn’t just assume things. What she does is gives him a minute to explain, in which he rambles off how he tried to stop the fight, how he never meant for it to happen, about Riff. And only then does she forgive him, because she’s heard his side of the story and since she loves him she believes him. It’s a subtle difference but it’s a pretty big one to me. Juliet takes Romeo’s side because she can’t fathom that someone she’s in love with can be to blame. Maria forgives Tony because she’s heard and can see his side of the situation (her feelings making it easier for her to empathize with him).

alley_skywalker: (Default)
I got this ask on Tumblr:

"Why was Pyotr such so antagonistic towards Ekaterina when she tried so hard to love him? She clearly went above and behind to understand him and make him happy when she didn't have to since marriages were loveless at the time. But Elizoveta does the exact same things her predecessor does and he's besotted? He didn't deserve Ekaterina at all."


Not 100% sure, but it seemed like they were asking about Ekaterina. So, naturally, I had a lot to say in disagreement.

Read more... )

alley_skywalker: (Default)
I was asked on Tumblr about whether I thought Helene was actually having an affair with Dolokhov or if Dolokhov was just trying to "make everyone, especially Pierre" believe that. So here are my thoughts on that account.

So, first, I don’t think Dolokhov was trying to make anyone believe anything. We have no indication of that. He was definitely trolling Pierre at the club, but this sounded far more like him taking advantage of things other people had already done (i.e. spread rumors) and kinda shrugging and turning them to his advantage. It was all very “wink-wink nudge-nudge” not like he was seriously trying to make Pierre believe or not believe anything.

As for whether or not they actually had a n affair. Ha. See, I think it’s completely wide open in canon. I don’t think there’s actually any “canonically right” answer here. (And part of me thinks this is almost an intentional authorial choice.) I don’t think the text supports anything other than maybe a flirtation. (But is open enough that it could have happened.) If I had to choose just one scenario to headcanon that I personally believed was most likely, I would say there was a flirtation but nothing more, no actual affair.

 

Read more... )

 

alley_skywalker: (Default)

Boris - fair hair - book 1 chap 11

Natasha - “black” hair - book 1 chap 11

Nikolai - dark hair implicitly, as he is growing a dark mustache - book 1 chap 11

Sonya - brunette - book 1, chap 12

Mlle. Bourienne - blonde, fair haired - book 1 chap 26

Dolokhov - fair hair - book 2 chap 2

Anatole - light brown (Russian word is “rusiye”) - book 3 chap 4

Lise - dark hair - book 4 chap 9

Andrei - brunette - book 6, chap 15

Balaga - fair hair - book 8 chap 16

Nikolai Bolkonsky Jr. - light brown - first epilogue, chap 12
alley_skywalker: (Default)

I remember always thinking - like back in HS and whatnot - how overdramatic Romeo and Juliette were for killing themselves. Like, ok, the person you’re in love with dying is obviously a terrible thing but killing yourself on the spot is indeed pretty overdramatic. But thinking about it now…even though the focus in both pop culture and lit class is always on their “iconic” love story and how they couldn’t live without each other (and their speeches in the death scene support this)…it’s really not just that.

Like, no wonder Romeo kills himself, honestly. In a span of a few days: his best friend dies; he has to go into exiled and is separated from his home, family and friends; the girl he’s in love with dies; AND he’ll probably have go back into/stay in exile still. Like. That is an incredible amount of grief and isolation for anyone, not to mention a 16-17 year old to handle.

And Juliette… has the dead boyfriend and dead cousin, who, IIRC she did love, and while she doesn’t have the exile part, they’re marrying her off to a dude she doesn’t like, i.e. she’s living in anticipation of being raped repeatedly aka “marital duties.” And she’s like, what, 13?

So yea. Makes sense.
alley_skywalker: (Default)
I was asked to Explain Myself about why I dislike Natasha and like Anatole despite how alike they are. I do kind of struggle to articulate this properly and have to constantly question myself on it. I don't want to fall into some kind of internalized sexism trap but here's some of my feelings/reasoning on this...

 

Read more... )
alley_skywalker: (Default)

Things that have been on my mind….

  •  I’m not really sure why people are so surprised that it took Jaime all this time to finally leave Cersei. He’s spent his entire life loving her – as a sister, as a romantic/sexual partner. She’s been the world to him. You don’t just…you can’t just turn those feelings off. It’s not a fucking light switch. And toxic relationships can be hard to get out of. First you have to recognize it’s toxic. Then you have to accept that it’s toxic and that you can’t fix it. That’s a process, and it’s not always a linear one. Not to mention that Cersei is manipulative as hell – she knew how to get Jaime to stay (like with waiting for a good moment to tell him she’s pregnant; she knows how much family means to him.) I think he’s had the understanding that things were beyond repair for a some time now, but it’s finding the strength to walk away, it’s clawing out of denial, it’s getting through that first stage of grief…it takes a fuckton of time.
  • And aside from just that, there’s another layer to this. Mainly this: Jaime didn’t really have anywhere else to go. I mean, ok, maybe, he could have walked away completely. Gone to the Rock, taken the Lanniester troops with him… But, two things:
    • First, at this point the Lannisters aren’t powerful alone and Jaime doesn’t have the political skill or desire to pull the kind of feat he would need to pull to get enough allies behind him for the House to survive without being linked to (the power of) the Crown. And Jaime cares about family and the Lannister name. Not in the psychotic, obsessive way Cersei does but it means a lot to him. (Hell, it even means something to Tyrion.) Separating from the Crown would have been disastrous for both.
    • The second thing, and probably more likely here, is that Jaime hadn’t quite built up the resolve to walk away from Cersei before Daenerys and her dragons happened. And once they did? I mean, look, he can see Cersei’s is crazy or at least getting there. But he was clearly having some traumatic flashbacks of the Mad King when Daenerys was burning his army. So…he’s got a choice between two mad queens. Except one is also his sister and (up until now, anyway) the love of his life (and then the mother of his future child) and the other is a ~foreign queen~ and a stranger and woman who clearly (or at least likely) wants the destruction of his entire family.  Like, can you really blame him for holding on to Cersei in those circumstances?
    • But then in the last episode the stakes change. Suddenly, it’s not just Cersei vs. Daenerys, it’s not just House Lannister at stake, or even his own life. It’s the life of all of Westeros. A battle of life and death. Once the stakes are existential, Jaime has a reason to walk away, a reason he can live with under all circumstances and outcomes.
  • I understand why Jon feels the way he does re: Theon and Theon taking Winterfell, but I’m a kinda annoyed that it seems like we’re supposed to agree with him. Because, like…no? Theon is a Greyjoy, was always a Greyjoy. Ned may treated him well, but Theon was still the Stark’s hostage and I doubt that he wouldn’t have been executed if the Greyjoys had stepped out of line. And I doubt this fact was lost on even a pretty young Theon, not to mention a teenage/adult Theon. He didn’t owe the Starks shit re: personal loyalty. (Bannerman-wise is a different story maybe, but that’s not why Jon’s pissed. He’s making it more personal, and that’s where it goes off the rails.) Also, who was more of a father to Theon, Ned or his real father, isn’t the only consideration. Like, Theon’s siblings (like Yara) are also his family. They count. He’s a Greyjoy.
  • And on the note of Theon – boy kicked ASS. Finally <3 (You’re doing great, love!)
  • I’m totally side-eying all the people who were just appalled at the very idea of Jaime/Cersei ~because incest and are now cheering their heads off for Jon/Daenerys. Like…so, can you stand incest or not? What’s the truth?
  • When the fuck are Tyrino and Jaime getting their hug? I They better get my their hug before this show ends, I s2g.
alley_skywalker: (Default)

Seriously, though. The Kuragins aren’t broke. The Rostovs are broke, and Tolstoy makes a big show out of how that plays out. The Kuragins are not as rich as Count Bezukohov or the Bolkonskys, but they’re not broke. Nothing implies this. In fact, on the contrary:

  • They have multiple estates (we know, because Vasili goes to inspect them in November, IIRC, of 1805). The Rostovs have at least one estate, but we’re told that it has been mortgaged and re-mortgaged and they’re forced to sell it off later on. We are given no such indications of financial troubles for the Kuragins.
  • They live in Petersburg (and are part of Petersburg high society). General knowledge about Imperial Russia tells us that living in Petersburg was notably more expensive than living in, say, Moscow. (By the way, who are the families who live primarily in Moscow? Right. The Rostovs and Dolokhovs, who are the ones with actual financial problems. Also, the Rostovs have some ties to Petersburg and aren’t completely ostracized there of course, but it’s clear that they’re a little awkward there, outsiders. That kind of cream-of-the-crop high society is not their normal social circle.)
  • Anatole receives a very large allowance. Compare: Anatole spends about 20k rubles a year + about another 20k in debt which his father pays off for him. Nikolai’s allowance for 4-5 months (late December to May) is about 2k so, approximately 6k a year. (This, btw, is before the card game. And in that card game Nikolai loses a little more than Anatole’s annual expenditures (43k), and this is treated like a practically insurmountable amount by both Nikolai and his father.)

 To that last point: does Vasili Kuragin complain a bit about Anatole’s spending? Yea. But, look, Anatole spends about twice as much as he’s actually supposed to. It’s obviously annoying. But does Vasili Kuragin actually strike anyone as the sort of person who would allow his son’s frivolous activities to bankrupt the family? Come on, of course not. And he holds the purse strings, btw. Yet, he never cuts Anatole off. He only tells him in about 1810 that he will no longer pay his debt because he’s trying to get Anatole to marry already. It’s not a necessity measure, it’s blackmail.There is no indication that the strain Anatole’s activities puts on the family’s finances is actually significant.

 So then why does Helene have to marry Pierre? Why is Vasili Kuragin constantly trying to sell off his children to the highest bidder? Because he’s a social climber like woah. Vasili is trying to level up. Look who he’s aiming for: Bezukhov, Bolkosky, Julie Karagin (who, btw, is an heiress. Unlike Marya, she’s not getting just a dowry, she’s getting all of it.) Vasili wants more money and power, sure. Because that’s what social climbers want and social climbing doesn’t just stop when you get to “rich.” It’s a constant bid for more than you currently have.

 Also, marrying Helene to a rich husband would always be helpful. Vasili milks that marriage for all its worth. But it’s not a family-saving move the way marrying Anatole would be. (And notice how very not-persistent Vasili seems to be about this. He has a lot of time between 1805 and 1808 or so – when Anatole’s Polish thing happens – to wrangle Anatole into a marriage to an heiress and the results are zero. And his initial attempt is Marya and all Vasili can get out of that marriage is a large dowry. Which is nice, but in a need-money scenario, he’s be looking at heiresses.) I mean…the husband owns all the money anyway. Also notice how the Rostovs put at least some pressure on Nikolai to marry well, whereas neither Vera nor Natasha are pressured in quite the same way. (Denisov is rejected not because of money but because Natasha is only 15 when he proposes. No one even thinks to oppose Vera’s marriage to Berg who is beneath her in both social and economic status.) Helene’s marriage is advantageous, especially since Pierre is the sort of person you can milk for cash. But if Vasili was trying to save the family from ruin via marriages, his first priority would be marrying HIppolyte or Anatole to an heiress which he…aims for, but doesn’t pursue quite as doggedly as one might expect, especially from someone like him.

 Helene had to marry Pierre because her father has Ambitions, not because Anatole spends too much money. Come on.
alley_skywalker: (Default)

This goes for both War and Peace and Great Comet, the book obviously has a lot more context and stuff to go off of but:

 Natasha is not scared of Anatole. She is scared of herself.

 She is scared of her own feelings, of her desires. Yes, these feelings and desires are caused by Anatole, but he’s not the problem for her, the way she reacts to him is. I don’t have the book on hand so I can’t quote directly, but that lack of a barrier of modest that she’s never felt before? That’s her problem – she’s infatuated, she’s lusting after him and she doesn’t understand it because a) it’s the first time this has happened to her and b) no one exactly talked to girls about sex and sexual feelings back then in any way that wasn’t to make them look like a bad thing. So yes, she’s confused because she’s going through a sexual awakening and has no idea what the hell that is. Not because Anatole is so intimidating. He’s a tad pushy, sure, but he never forces or even coerces her into anything.

 It’s very clear that this is Natasha’s sexual awakening. In the book, that’s part of her character development. In fact, I’d say this is where her character development starts. She begins to slowly grow up mentally and emotionally. (Although, most of that is driven by the feelings of regret and a sudden understanding that things like consequences for one’s actions exist. But this is still the initial breaking point.) Now, Natasha is young but she’s not 13. She’s been proposed to before – twice. She’s liked men before and they have definitely liked her. But all her previous dalliances were childish and platonic/completely non-sexual. She was only 13 when she liked Boris, she was 15 when Denisov proposed and she wasn’t even into him really. Her feelings for Bolkonski were arguably adult enough, but they were still absolutely non-sexual. Even the romantic component of their relationship was mostly the fantasies that she has built up about how these things work. She likes him. She admires him. She’s flattered that he likes her. But at no point does she desire him.

 And then comes Anatole and everything explodes. He’s her first sexual attraction and it’s dizzying because the first time that happens it often times is. Also, no one has sat her down and talked to her about it, certainly, so she is unprepared. She’s scared because these feelings are new and she doesn’t know how to handle them. (One big difference between the musical and the book is that, I think, at one point Natasha tells Anatole “you’re hurting me” or something like that when he grabs her hand or something. Nothing like that happens in the book. Also, because Natasha is narrating her feelings outloud in the music and it’s hard sometimes to tell what she’s actually saying and what’s interior monologue, it feels like she’s resisting him more than she actually is.) Natasha’s struggles here aren’t about Anatole or anything he does really – they’re about her and her interior workings. This is about how she sees the world and how that worldview is starting to change, on fast-forward after this point.

 Also, something that only comes across with the book, I guess, is that this whole…incident is thematically about Natasha and the “right” sort of love. Tolstoy is huge on the whole “lust/passion is bad, platonic love is good.” This theme is even more pronounced in Anna Karenina but we see some of it here as well: Helene and Anatole are bad because they sleep around. Pierre and Andrei’s feelings for Natasha are appropriate because they are platonic (maaaybe romantic, but Tolstoy’s classifications are a little different from how we’d thing about these things today) and, at any rate, marriage-and-family-oriented. It’s that whole “spiritual elevation” type thing. (They put her on a pedestal ok? That’s the modern way of saying it, I guess.)  Natasha gets a taste of both sides of this coin. With Anatole she’s Anna Karenina, later, with Pierre, she’s Kitty. But since she’s one character, she has to go through the “bad” kind of love first to fully appreciate the “right” kind of love later. But again, Natasha is scared because she’s having “scary” feelings. It’s not about Anatole.

 (An aside: I’m annoyed that Anatole has a line in the musical that’s like “I’ve found a new pleasure and I’m taking her away.” Nothing like that exits in book canon. Because that’s not how he’s thinking about it. Natasha and Anatole are actually mirrors, especially so here when they are thrown together. They both mistake their feelings of lust for love. The difference is that Natasha is scared and confused by her feelings because they’re new. Anatole pursues his.)

Profile

alley_skywalker: (Default)
alley_skywalker

March 2025

S M T W T F S
      1
2345678
910 1112131415
16171819202122
23242526272829
3031     

Syndicate

RSS Atom

Style Credit

Expand Cut Tags

No cut tags
Page generated Jun. 27th, 2025 12:44 am
Powered by Dreamwidth Studios