Them Bones

In Lady of the Golden Sword of Winterfell I showed a connection between Ned Stark and Catelyn Tully as that having pointed echoes of the myth of Osiris and Isis. Catelyn’s link to Isis does not end with her being shown Ned’s bones and noticing he is missing his sword. And the mystery of Eddard Stark’s remains remains related to chthonic beliefs and practices with regard to Osiris. Catelyn orders the silent sisters, escorted by Hallis Mollen, to bring the bones to Winterfell. In this essay I will explore the possible fate of Ned’s bones. This fate itself can be deduced through pure analysis of the books, but I also tie it to Egyptian  mythological beliefs as well as James Joyce’s novel Finnegans Wake to illustrate George’s possible inspirations for his choices of that fate.

A proper burial

“I am grateful for your service, sisters,” Catelyn said, “but I must lay another task upon you. Lord Eddard was a Stark, and his bones must be laid to rest beneath Winterfell.” They will make a statue of him, a stone likeness that will sit in the dark with a direwolf at his feet and a sword across his knees. “Make certain the sisters have fresh horses, and aught else they need for the journey,” she told Utherydes Wayn. “Hal Mollen will escort them back to Winterfell, it is his place as captain of guards.” She gazed down at the bones that were all that remained of her lord and love. “Now leave me, all of you. I would be alone with Ned tonight.” (aCoK, Catelyn V)

One of Isis’ roles was making sure that the dead were properly buried and protected. That is why she is so often depicted on ancient thombs. The proper way to bury a Lord Stark is to lay his bones at rest beneath Winterfell, in the crypts, with a statue, a direwolf at his feet, and a sword across his knees. It is his place. We get an echo of that particular phrase for Hallis Mollen, as escort. In this way, Catelyn takes on the Isis role of ensuring the correct burial rituals are preserved.

A proper burial is something that every culture known to man finds important. It does not matter what you believe or even that you believe in an afterlife, but the majority of people hold to some type of ritual that respects the integrity of the deceased’s body. Purposeful desacration of the remains of the deceased is one of the biggest taboos and therefore often used in wartime as the final demoralizing insult to the enemy, which is exactly what Lady Dustin intends to attempt and what the Freys certainly did to Robb Stark and Catelyn.

The silent sisters are an order of the faith of the Seven sworn to the Stranger, the aspect representing Death itself within the Faith. They are called the Stranger’s wives or death’s handmaidens. They prepare the dead’s bones for burial and accompany them to their resting place or family. In essence, they are akin to psychopomps who deliver the dead from the living world to the underworld. Every feature about them fits the chthonic lexicon:

  • their vow of silence: the dead do not speak, at the most whisper or echo
  • their vow of chastity: the dead do not reproduce
  • they keep their faces cowled, except for their eyes: the dead are anonymous
  • they are shrouded in grey garb: black, white and grey are the dominant colors. Brown, green, red and blue only chthonic in certain hues, such as the cold blue of ice and stars, the brown of earth and gnarled roots, the dark red of blood, or the green of moss and lichen.

By ordering Hallis Mollen to escort the silent sisters, Catelyn makes him a psychopomp as well. As Captain of the Guards of Winterfell and House Stark with the grey direwolf as sigil, we can regard him as serving the role of Anubis (with the head of a canine), who was the embalmer god before Osiris and later became the guide of the dead souls. While Anubis had the head of a canine, he was heavily associated and conflated with Wepwawet, a god of war whose name means opener of the ways, and had the head of a grey wolf. He was initially seen as a scout our outrider, and the one who accompanied the pharaoh. Because war leads to death, he too became a chthonic deity who opened the ways for the dead to enter Duat, the Egyptian underworld. With dead Eddard Stark without his phallic sword being shifted by George from Hades to Osiris, and Hallis Mollen the Captain of the Guard, he would indeed serve perfectly as the one to accompany Ned Stark to Winterfell.

As Lady Stoneheart, Catelyn herself becomes a figurative silent sister, wife to the Stranger. While she made no vow of silence, her ability to speak is severely hampered, because of her cut throat. Lady Stoneheart is her most often used epiteth, but people also call her The Silent Sister. She wears grey garb, a cloak and tends to disguise her face most of the time with the hood of her cloak.

She don’t speak,” said the big man in the yellow cloak. “You bloody bastards cut her throat too deep for that. But she remembers.”(aSoS, Epilogue)

“Lady Stoneheart.”
“Some call her that. Some call her other things. The Silent Sister. Mother Merciless. The Hangwoman.”

A trestle table had been set up across the cave, in a cleft in the rock. Behind it sat a woman all in grey, cloaked and hooded…[snip]… Her eyes glimmered under her hood. Grey was the color of the silent sisters, the handmaidens of the Stranger. (aFfC, Brienne VIII)

So, as  the grey-garbed Silent Sister, Catelyn fully becomes a figurative sister-wife to Ned Stark, such as Isis was to Osiris.

The Two Ways through the Land of Rostau

The Book of the Dead is one of the more famous titles of a selection of Egyptian texts and spells regarding the journey into the underworld with an elaborate focus on the judgment of the dead souls – the Egyptians believed the deceased’s heart would be weighed against a feather Ma’at (truth). These incantations and spells to be recited by the deceased were written on papyrus and copied over a milennia. The first mentioning of a weighing ritual can be found in the much older Book of Two Ways. This is not an actual book, but a collection of spells deciphered and gathered from coffin wirting in the 19th and 20th century, for which much of the analysis was compiled in 1961. There is no papyrus version of this book, only what was carved into the coffins (and rarely on tomb walls). The spells in the coffins were meant to help the deceased in reaching their chosen destination in the afterlife. The lid of a coffin contained images and spells regarding the sky  (the sky-way to join Ra). The spells written on the bottom of the coffin were of use to voyage into the subterranean, the way of the resurrected Osiris, where the soul’s goal was to be seated next to Osiris in Duat and be resurrected like him. Before the period of the Coffin Texts, there were the much older Pyramidic Texts, engraved in the walls of the pyramid. They were spells asking and ordering gods to open the way for the pharaoh to join them in the heavens, with ladders, wings and sky-barges as methods of ascension. So, the afterlife concept in ancient Egypt evolved, first from an exclusive celestial afterlife with the gods that only a king could hope to achieve, to that of a concept where commoners also could achieve an afterlife, in the underworld and join the company of Osiris.

osiris-weighing
Book of the Dead: the weighing of the heart and Osiris’s subterranean throne as the final destination.

In the Greek Hades, the destination of a dead soul is predestinated by their actions and choices in life. The judges, such as Minos, decided whether a shade goes to Elysian Fields, just Hades or Tartarus. But the Duat concept of the Egyptians is different. The soul decides for itself where he (or she) wants to go. However, the dead must overcome obstacles, challenges, guards, tests and demons along the way to reach it1. If the dead soul failed, he or she died a second death and it was game over.

Since Osiris did succeed in such a voyage himself and Ra traversed that very realm every night, the deceased would identify himself as Osiris or Ra when dealing with these guards, gods and demons in order to succeed when they used the spells. We could regard the dead rulers of Winterfell seated on their throne in the crypts as a series of Osirises, one seated next to the other. Since the crypts of Winterfell is his place, Ned’s dead spirit would choose the way of Osiris, like his forefathers, and take his rightful place next to them for an eternal second life. If given the choice, Eddard Stark would not choose the celestial way.

The lands and realm the soul must travel through in order to reach Osiris in Duat is called the Land of Rostau, meaning the Land of Necropolis (the city of the dead). The path leads through a realm of rivers and roads.

“The paths by water and by land which belong to Rostau” (CT1074)

The lands that the silent sisters and Hallis Mollen had to traverse in order to get to Winterfell were the Riverlands. Not only are the Riverlands a land of nine rivers, but also the region where several main roads intersect into the crossroads: the riverroad, the kingsroad and the high road. Hence, the Riverlands is the land of water- and landways.The lands around the Gods Eye burn and the fighting reaches as far as the Twins. Here are several poignant passages from aCoK, aSoS and aFfC.

It was midday when they arrived at the place where the village had been. The fields were a charred desolation for miles around, the houses blackened shells. The carcasses of burnt and butchered animals dotted the ground, under living blankets of carrion crows that rose, cawing furiously, when disturbed. Smoke still drifted from inside the holdfast. Its timber palisade looked strong from afar, but had not proved strong enough.
Riding out in front of the wagons on her horse, Arya saw burnt bodies impaled on sharpened stakes atop the walls, their hands drawn up tight in front of their faces as if to fight off the flames that had consumed them. (aCoK, Arya III)

Two days’ ride to either side of the kingsroad, they passed through a wide swath of destruction, miles of blackened fields and orchards where the trunks of dead trees jutted into the air like archers’ stakes. The bridges were burnt as well, and the streams swollen by autumn rains, so they had to range along the banks in search of fords. The nights were alive with howling of wolves, but they saw no people. (aSoS, Jaime III)

After that, hardly a hundred yards went by without a corpse. They dangled under ash and alder, beech and birch, larch and elm, hoary old willows and stately chestnut trees. Each man wore a noose around his neck, and swung from a length of hempen rope, and each man’s mouth was packed with salt. Some wore cloaks of grey or blue or crimson, though rain and sun had faded them so badly that it was hard to tell one color from another…[snip]… Some of the dead men had been bald and some bearded, some young and some old, some short, some tall, some fat, some thin. Swollen in death, with faces gnawed and rotten, they all looked the same. (aFfC, Brienne VII)

High Sparrow: “Most have lost their homes. Suffering is everywhere . . . and grief, and death. Before coming to King’s Landing, I tended to half a hundred little villages too small to have a septon of their own. I walked from each one to the next, performing marriages, absolving sinners of their sins, naming newborn children. Those villages are no more, Your Grace. Weeds and thorns grow where gardens once flourished, and bones litter the roadsides.”

The Riverlands are effectively turned into a dangerous underworldly realm, a Necropolis littered with bones left and right – a land of Rostau where death triumphs as Pieter Breugel the Elder depicted so well.

The spells on the coffin aimed to help the soul in preventing dying a second death in the Land of Rostau and are a conceptual map of places to avoid. The Book of Two Ways compares to a cheater’s guide that helps a gamer to avoid the traps or know the combination of buttons to get across an unavoidable deadly obstacle as well as the hidden perks. The Book of Two Ways does indeed look like a visual map of a house infested with dangers and obstacles in different rooms where the player hopes to reach the final succesful destination.

rendering_book_of_two_ways

rendering_book_of_two_ways

Below is a photograph of the Book of Two Ways in color as it was engraved in the coffin. The black and white renderings above give a more detailed black & white look of the imagery to help you understand what you’re looking at. We “read” the cheater’s guide from right to left, top to bottom.

The Two Ways do not solely apply to the choice between two possible final destinations, but if the dead soul chooses the way of Osiris, he can choose between two different paths:

  1. the Abode of the Knife Wielders crossing and following rivers
  2. the demonic Announcers crossing and following roads, into tombs, and so on.

Let’s call the two paths separated by a red band (a like of fire), box I. When either one of those is succesfully traversed, without dying a second death, the deceased gets clothing and items to give the dead his status. Moving to the left, the dead soul then enters the Land of Rostau. First, he or she enter a hall divided in three compartments by walls of flame, passing entities called the Watchers (box II). Next, the paths criss cross in confusion (box III). Scarab headed demons holding lizards and snakes lie in wait there. At the end of it, the dead soul reaches Osiris. At least, he does if he chose the short-version.

Coffin of Sepi, Book of Two Ways
Coffin of Sepi, Book of Two Ways (copyright, Werner Forman)

There is also a long-version, which continues in the lower band, again from right to left. After the dead soul traversed the Land of Rostau, he or she meets Toth first who weighs the heart (what later becomes the Book of the Dead). If the deceased had a featherlight heart they could embark on Toth’s barge to pass along seven gates in the circle of fire, with three gatekeepers at each gateway. The guardians of the first four gateways need to be repelled, whereas the last three are protectors. After that the dead finally gets to meet with Osiris, and all ends happily and truly ever after. (Truly, the ancient Egyptians would totally think Tombraider the bomb)

George plays with this concept when even a dead Eddard Stark faces numerous difficulties in arriving at his place. Neither Hal Mollen nor Ned’s bones have reappeared in the books, or at least not recognized as such. Catelyn wonders about the final resting place of her husband’s bones as she accompanies Robb and Edmure to the Twins.

It made her wonder where Ned had come to rest. The silent sisters had taken his bones north, escorted by Hallis Mollen and a small honor guard. Had Ned ever reached Winterfell, to be interred beside his brother Brandon in the dark crypts beneath the castle? Or did the door slam shut at Moat Cailin before Hal and the sisters could pass? (aSoS, Catelyn V)

Notice how Catelyn thinks of Moat Cailin as a door that may have been shut, and is thus comparable to a gate that needs to be overcome.

Moat Cailin, north of the Neck, certainly serves as a gate to keep people outside. While much of the building is now ruinous, three gatehouse towers remain. It is thus a gate with three guardians. Here follows Catelyn’s integral description of Moat Cailin, where she explains to the Blackfish how it is an unavoidable death trap where snakes and lizard lions in the bogs and moat are its natural guardians.

Just beyond, through the mists, she glimpsed the walls and towers of Moat Cailin … or what remained of them. Immense blocks of black basalt, each as large as a crofter’s cottage, lay scattered and tumbled like a child’s wooden blocks, half-sunk in the soft boggy soil. Nothing else remained of a curtain wall that had once stood as high as Winterfell’s. The wooden keep was gone entirely, rotted away a thousand years past, with not so much as a timber to mark where it had stood. All that was left of the great stronghold of the First Men were three towers … three where there had once been twenty, if the taletellers could be believed.
The Gatehouse Tower looked sound enough, and even boasted a few feet of standing wall to either side of it. The Drunkard’s Tower, off in the bog where the south and west walls had once met, leaned like a man about to spew a bellyful of wine into the gutter. And the tall, slender Children’s Tower, where legend said the children of the forest had once called upon their nameless gods to send the hammer of the waters, had lost half its crown. It looked as if some great beast had taken a bite out of the crenellations along the tower top, and spit the rubble across the bog. All three towers were green with moss. A tree was growing out between the stones on the north side of the Gatehouse Tower, its gnarled limbs festooned with ropy white blankets of ghostskin.
“Gods have mercy,” Ser Brynden exclaimed when he saw what lay before them. “This is Moat Cailin? It’s no more than a—”
“—death trap,” Catelyn finished. “I know how it looks, Uncle. I thought the same the first time I saw it, but Ned assured me that this ruin is more formidable than it seems. The three surviving towers command the causeway from all sides, and any enemy must pass between them. The bogs here are impenetrable, full of quicksands and suckholes and teeming with snakes. To assault any of the towers, an army would need to wade through waist-deep black muck, cross a moat full of lizard-lions, and scale walls slimy with moss, all the while exposing themselves to fire from archers in the other towers.” She gave her uncle a grim smile. “And when night falls, there are said to be ghosts, cold vengeful spirits of the north who hunger for southron blood.” (aGoT, Catelyn VIII)

Now tell me that Moat Cailin does not sound like an Egyptian’s wet dream of what one of the gates of the Land of Rostau would be like.

Lady Barbrey’s words to Theon in the crypts seem to confirm that them bones as of yet have not reached their destination. Though she wishes to prevent Ned’s bones from reaching the Winterfell crypts, she does not have them herself either. Instead, she is waiting for Hallis Mollen to emerge from the Neck.

Lady Barbrey Dustin: “….but I promise you, Lord Eddard’s bones will never rest beside [Lyanna’s]. I mean to feed them to my dogs.”…[snip]… “Catelyn Tully dispatched Lord Eddard’s bones north before the Red Wedding, but your iron uncle seized Moat Cailin and closed the way. I have been watching ever since. Should those bones ever emerge from the swamps, they will get no farther than Barrowton.” (aDwD, The Turncloak)

Lady Dustin takes the role of a demonic guardian or one of the Watchers of the Land Of Rostau, lying in wait to feed Eddard’s bones to the dogs. She even uses the phrases of “the way” and “watching”. Barrowton is a land of barrows, or burial mounds and thus tombs. A town of barrows is a necropolis.

A wide plain spread out beneath them, bare and brown, its flatness here and there relieved by long, low hummocks. Ned pointed them out to his king. “The barrows of the First Men.”
Robert frowned. “Have we ridden onto a graveyard?” (aGoT, Eddard II)

Barbrey Dustin mentions how the goal of Ned’s bones is to rest beside those of his sister. In the depictions of dead Osiris on his throne, in general his sister Nepthys and his sister-wife Isis are depicted beside him too. In that sense, Lyanna can be seen as taking Nephtys’ place. Nephtys and Isis personify two sides of the same coin, where Nepthys belongs to the night and Isis to the day. By Roman times, Nepthys was regarded as the wife of Set (the benevolent aspects of Set) and the mother of Anubis, who was raised and adopted by Osiris and Isis, not unlike Eddard Stark raising Jon as his own bastard son, while he is widely believed to be Lyanna’s son by most readers.

If Lady Barbrey succeeds in her plan perhaps Eddard Stark dies a second time, for the bone marrow seems to preserve some memory.

Summer dug up a severed arm, black and covered with hoarfrost, its fingers opening and closing as it pulled itself across the frozen snow. There was still enough meat on it to fill his empty belly, and after that was done he cracked the arm bones for the marrow. Only then did the arm remember it was dead.(aDwD, Bran III)

Guardians of the Crossing

Another Egyptian book of coffin spells (mostly found on Seti I’s coffin), the Book of Gates, are an expansion on the spells for the twelve gates of the night, one for each hour. This tells the tale of Ra who has to travel through the underworld each night, starting west in order to come out east and shine for another day. For example the serpent Saa-set is the guardian of the first hour gate.

He who is over (i.e. has mastery over) this door opens to Ra. Sa [divine intelligence] says to Saa-set, “Open your door to Ra, throw wide open your door to Khuti. The hidden abode is in darkness, so that the transformations of this god may take place.” This portal is closed after this god entered in through it, and there is lamentation on the part of those in their mountain [a barrow] when they hear this door shut.” (adapted from the translation by E. A. Wallis Budge, Book of Gates, Chapter III, Gate of Saa-set)

Similar words are used over and over to open each gateway for the sun Ra traversing the night sky, and this was the phrase Catelyn thought of in relation to Moat Cialin.

bookofgateshour3
Book of the Gates, 3rd hour

The first passage is not really a gate as it is a mountain pass or valley in the West, with a river cutting the mountain in half, guarded by buried gods of the mountain. The second gate is but a leaf serving as a door with the Ahau as guardians. These guardians spring or stand up from the earth to fetter souls they capture. The Battle of the Whispering Woods feature several references to this first and second gate.

We see the Whispering Woods for the first time as Catelyn waits at night on top of a ridge of a valley, while her son hid his army beneath ground leaf, bushes and trees. As Robb’s men wait for Jaime to enter the narrow valley, they whisper. Hence, the valley and its woods are referred to as the Whispering Woods ever after. Once Jaime and his warriors arrive, the Northerners and Freys seal off the passage of the valley behind Jaime and the fighting breaks out.

The woods were full of whispers. Moonlight winked on the tumbling waters of the stream below as it wound its rocky way along the floor of the valley. Beneath the trees, warhorses whickered softly and pawed at the moist, leafy ground, while men made nervous jests in hushed voices…[snip]…To east and west, the trumpets of the Mallisters and Freys blew vengeance. North, where the valley narrowed and bent like a cocked elbow, Lord Karstark’s warhorns added their own deep, mournful voices to the dark chorus. Men were shouting and horses rearing in the stream below.

The whispering wood let out its breath all at once, as the bowmen Robb had hidden in the branches of the trees let fly their arrows and the night erupted with the screams of men and horses. All around her, the riders raised their lances, and the dirt and leaves that had buried the cruel bright points fell away to reveal the gleam of sharpened steel. (aGoT, Catelyn X)

We have a moonlit night scene with whispering, hushes, woods, mourning, dirt and ground, men buried beneath foliage, or hidden. By itself the above scene already has many chthonic lexicon references, and is in general underworldly. But notice some of the specific details. It is a passage in a valley, that is orientated from west to east, with a stream passing through a rocky (mountainous?) bedding. Towards the north, the valley itself bends like a cocked elbow, not unlike the mummy guardians at the gates in Rostau. And when Ra speaks unto mummified guardians he speaks of their hidden arms, meaning the swaddled bent limbs. George cleverly uses it to hide the weapons (double meaning of arms). Here is an example of such speech:

O UTAU of the earth, whose duty it is to stand near his habitation, whose heads are uncovered, and whose arms are hidden, may there be air to your nostrils, O UTAU, and may your funeral swathings burst open, … (The Book of Gates, chapter IV, Gate of Asuebi, adapted from the translation of Wallis Budge in 1905)

Leaves litter the soil and are used hide the guardian army of Robb, like a door, who rise or spring up from their graves. Or we could see the leaves as the swathings of Robb’s men that burst open after which they jump up like the Ahau.

The third gate crosses water, a type of corridor between two walls with swords, spikes or arrows on the top. It is referred to as the Double Bull. Two uaraei (cobras standing on their tails) spew divine fire that strengthesn Ra into the corridor. The corridor itself or the crossing of it is personified by a great, monstrous snake beared by a procession of men. Snakes are featured constantly at these gates, some are benefactors, some are enemies, such as Apep (Chaos), who coils itself around Ra’s barge and attempts to eat it. But the Ra incarnation Atum (or Tem) chops its head off.

Catelyn to Robb: “You may have lopped the head off the snake, but three quarters of the body is still coiled around my father’s castle.” (aGoT, Catelyn X)

And in the middle section of the gateway is a lake or pool of water. Architecturally the Twins resemble the concept of the repeated gates with its corridor. It even has swords on the walls and a water tower in the middle. And when Robb’s army crosses from east to west, the procession is referenced to look like a snake.

They shifted Lord Walder from his litter and carried him to the high seat of the Freys, a tall chair of black oak whose back was carved in the shape of two towers linked by a bridge… [snip]…”I called my swords, yes I did, here they are, you saw them on the walls…”

They crossed at evenfall as a horned moon floated upon the river. The double column wound its way through the gate of the eastern twin like a great steel snake, slithering across the courtyard, into the keep and over the bridge, to issue forth once more from the second castle on the west bank. Catelyn rode at the head of the serpent, with her son and her uncle Ser Brynden and Ser Stevron Frey. Behind followed nine tenths of their horse; knights, lancers, freeriders, and mounted bowmen. It took hours for them all to cross. (aGoT, Catelyn XI)

The gates that follow after the second are similar, each time with several enshrined or entombed guardians that are mummified and thus have their arms crossed or bound. These guardians must be appeased, goaded, commanded or praised in order to allow a crossing. The Lord of the Crossing, Walder Frey, has that same posture when Catelyn haggles for her son’s army to cross.

“Well, you can’t!” Lord Walder announced crisply. “Not unless I allow it, and why should I? The Tullys and the Starks have never been friends of mine.” He pushed himself back in his chair and crossed his arms, smirking, waiting for her answer. The rest was only haggling. (aGoT, Catelyn XI)

Not only is Walder Frey referenced as a guardian of the type of gate that Ra crosses every hour between dusk and dawn, he is also identified by George as one of the Watchers of the Land of Rostau, just like Lady Barbrey is one.

Afterward, Catelyn would remember the clatter of countless hooves on the drawbridge, the sight of Lord Walder Frey in his litter watching them pass, the glitter of eyes peering down through the slats of the murder holes in the ceiling as they rode through the Water Tower. (aGoT, Catelyn XI)

At the sixth hour, Ra arrives at the hall of judgment where a soul’s heart is weighed against a feather and Osiris is seated just beyond. Ra gets to sit beside Osiris and basically becomes Osiris. After that the voyage continues where more and more people are depicted as having been taken captive, tied by a noose to banners, representing Ra who defeats the night and begins his journey towards rebirth as the day-sun. Many of the figures at the Twelve Gates are mostly different representations of Ra in his various states through the night – lions, lizards, mongoose, bull, ape – revealing in part the creation story of the world and humanity out of chaos.

atum-god-egypt
Tem or Atum as old man with his staff

Notable characters as guardians are an old man Tem (or Atum) with bent back, leaning on a cane in the company of knife wielding guardians who slew the sun’s enemies and are lords of the boiling waters. Walder Frey has much in common with Tem. Re-Atum in his old man form represents the evening sun or night sun, the rays of the setting sun who begins his journey into the night lands. Tem means the completed one and he is a creation god. First, he created himself out of chaos and water. Out of loneliness he masturbated to beget his children. When they went exploring by themselves into the darkness, he was heartbroken. In order to find them again, he created the sun (the eye of Ra). When his children returned to him, he cried tears of joy, from which humanity was born. Despite being a creation god, he was also feared for apocalyptic reasons. Because when old, he had grown so weary of life that he desired to bring creation back to its primal chaotic state, and thus undo his own creation.

Walder Frey is very much introduced to us as a creation figure, said to be able to create his own army with his seed.

Her father had once said of Walder Frey that he was the only lord in the Seven Kingdoms who could field an army out of his breeches. When the Lord of the Crossing welcomed Catelyn in the great hall of the east castle, surrounded by twenty living sons (minus Ser Perwyn, who would have made twenty-one), thirty-six grandsons, nineteen great-grandsons, and numerous daughters, granddaughters, bastards, and grandbastards, she understood just what he had meant. (aGoT, Catelyn IX)

Walder Frey is ninety, gouty, unable to stand on his own.

Lord Walder was ninety, a wizened pink weasel with a bald spotted head, too gouty to stand unassisted…[snip]… “Now my bastards presume to teach me courtesy,” Lord Walder complained. “I’ll speak any way I like, damn you. I’ve had three kings to guest in my life, and queens as well, do you think I require lessons from the likes of you, Ryger? Your mother was milking goats the first time I gave her my seed.” (aGoT, Catelyn IX)

Gout and brittle bones had taken their toll of old Walder Frey. They found him propped up in his high seat with a cushion beneath him and an ermine robe across his lap…There was something of the vulture about Lord Walder, and rather more of the weasel. His bald head, spotted with age, thrust out from his scrawny shoulders on a long pink neck. Loose skin dangled beneath his receding chin, his eyes were runny and clouded, and his toothless mouth moved constantly, sucking at the empty air as a babe sucks at his mother’s breast.(aSoS, Catelyn VI)

At the mentioning of a paper dry kiss, the thought of papyrus is not far away. Later we are reminded of his crispiness too.

When he was settled, the old man beckoned Catelyn forward and planted a papery dry kiss on her hand. (aGoT, Catelyn IX)

One of Walder’s favorite words is boil and boiling, especially in relation to his children and grandchildren. While Walder Frey has always been proud, with age he has become so petty that it has turned on his own brood even. It seems that he actually looks forward to the chaos his death will cause, which is not unlike the old Tem.

[Catelyn to Walder Frey] “I have every hope that you will live to be a hundred.”
“That would boil them, to be sure. Oh, to be sure. Now, what do you want to say?”

He bobbed his head side to side, smiling. “Oh, yes, I said some words, but I swore oaths to the crown too, it seems to me. Joffrey’s the king now, and that makes you and your boy and all those fools out there no better than rebels. If I had the sense the gods gave a fish, I’d help the Lannisters boil you all.”

Lord Walder jabbed a bony finger at her face. “Save your sweet words, my lady. Sweet words I get from my wife. Did you see her? Sixteen she is, a little flower, and her honey‘s only for me. I wager she gives me a son by this time next year. Perhaps I’ll make him heir, wouldn’t that boil the rest of them?”(aGoT, Catelyn IX)

They heard the Green Fork before they saw it, an endless susurrus, like the growl of some great beast. The river was a boiling torrent, half again as wide as it had been last year, when Robb had divided his army here and vowed to take a Frey to bride as the price of his crossing.(aSoS, Catelyn VI)

Here is a quote of one of the translated text of the Book of Gates with regards the third gate where we first meet Tem and its green boiling waters.

“[Here is] the lake of water in Duat, surrounded by the gods who are arrayed in [their] apparel and have [their] heads uncovered. This lake is filled with green herbs. The water of this lake is boiling hot, and the birds betake themselves to flight when they see its waters and smell its fœtid smell. (The Book of Gates, chapter IV, Gate of Asuebi, adapted from the translation of Wallis Budge in 1905)

At the fouth Egyptian gate of the night, we are introduced to the dozen maidens of the night (one for each hour) where six stand on land and the other half on water. And Walder Frey introduces us to twelve maidens as well. Well, he introduces thirteen girls, but one is a widow and not a maiden.

Lord Walder named the names. “My daughter Arwyn,” he said of a girl of fourteen. “Shirei, my youngest trueborn daughter. Ami and Marianne are granddaughters. I married Ami to Ser Pate of Sevenstreams, but the Mountain killed the oaf so I got her back. That’s a Cersei, but we call her Little Bee, her mother’s a Beesbury. More granddaughters. One’s a Walda, and the others . . . well, they have names, whatever they are . . .”
“I’m Merry, Lord Grandfather,” one girl said.
“You’re noisy, that’s for certain. Next to Noisy is my daughter Tyta. Then another Walda. Alyx, Marissa . . . are you Marissa? I thought you were. She’s not always bald. The maester shaved her hair off, but he swears it will soon grow back. The twins are Serra and Sarra.”…[snip]… “There they are, all maidens. Well, and one widow, but there’s some who like a woman broken in. You might have had any one of them.” (aSoS, Catelyn VI)

Oldstones is another gateway in the books. It is an old ruin castle on top of a hill overlooking the Blue Fork. Its curtain walls have long been gone, not unlike Moat Cailin. What remains is the winding path that coils around the hill and a weathered sepulchre (tomb) of a king long gone. A tomb and a hill makes for a barrow.

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

Though it is probably not how you culturally imagined the likeness when you first read it, you can see that King Tristifer is depicted with all the typical features of the depiction of a pharaoh in his tomb – crown, beard, smooth faced, hands folded across the chest holding a shaft or staff (of a warhammer).

The road up to Oldstones went twice around the hill before reaching the summit. Overgrown and stony, it would have been slow going even in the best of times, and last night’s snow had left it muddy as well…Once more around the hill, and there I am…The curtain wall of Oldstones had once encircled the brow of the hill like the crown on a king’s head. Only the foundation remained, and a few waist-high piles of crumbling stone spotted with lichen. Merrett rode along the line of the wall until he came to the place where the gatehouse would have stood. (aSoS, Epilogue)

tutankhamun_mask
Tutanchamon’s Mask – smooth faced, beard and crown with uraeus on the brow.

George does not use snake related vocabulary here, but he is indeed describing a coiling road. Where Robb’s army was a snake crossing the Twins, here the road is like a snake. The hint to this snake is the comparison he makes with the curtain walls being like a crown. The crown encircling a pharaoh’s head had an uraeus on the brow. Every legitimized Egyptian king had this king-cobra on the brow of his crown since the Old Kingdom of the 3rd millenia BC and every Rostau gate from the third hour on had two of these snakes inside the corridor passage breathing divine fire. The pharaoh’s crown also shows us why George uses the phrase curtain walls. Curtains are made of cloth, and aside from the uraeus, so is the pharaoh’s crown made of cloth.

The lack of standing walls does not make Oldstones any less of a gateway. It are not its walls that are dangerous, but who and what resides within. Despite the walls and actual gate being gone, George mentions the invisible gatehouse and walls to make clear to the reader that this is a Rostau gateway. He even reminds us of the Whispering Wood with Merrett’s thoughts of outlaws hiding in the trees of the lower slopes of the hill, and then springing up from out of nowhere, much like those Egyptian enshrined guardians, who tend to appear in groups of nine or twelve.

Beneath the castle ruins, the lower slopes of the hill were so thickly forested that half a hundred outlaws could well have been lurking there. They could be watching me even now. Merrett glanced about, and saw nothing but gorse, bracken, thistle, sedge, and blackberry bushes between the pines and grey-green sentinels. Elsewhere skeletal elm and ash and scrub oaks choked the ground like weeds. He saw no outlaws, but that meant little. Outlaws were better at hiding than honest men.

Bloody outlaws, always hiding in the bushes. It had been the same in the kingswood. You’d think you’d caught five of them, and ten more would spring from nowhere. When he turned, they were all around him; an ill-favored gaggle of leathery old men and smooth-cheeked lads younger than Petyr Pimple, the lot of them clad in roughspun rags, boiled leather, and bits of dead men’s armor… [snip]… Merrett was too flustered to count them, but there seemed to be a dozen at the least, maybe a score. (aSoS, Epilogue)

And of course, the right time for all of this is during or after the sun is setting in the west and starts it journey in the Lands of Rostau. Both when Catelyn and Robb talk at Oldstones and Merrett brings the ransom it is dusk already. In the Land of Rostau you die after the sun has set.

It was there that Catelyn found Robb, standing somber in the gathering dusk with only Grey Wind beside him. (aSoS, Catelyn V)

But only if he was there by sunset with the gold. Merrett glanced at the sky. Right on time… In the west, the sun had vanished behind a bank of low clouds…[snip]…Leaves crunched beneath their heels, and every step sent a spike of pain through Merrett’s temple. They walked in silence, the wind gusting around them. The last light of the setting sun was in his eyes as he clambered over the mossy hummocks that were all that remained of the keep. Behind was the godswood.
Petyr Pimple was hanging from the limb of an oak, a noose tight around his long thin neck. His eyes bulged from a black face, staring down at Merrett accusingly. You came too late, they seemed to say. But he hadn’t. He hadn’t! He had come when they told him. “You killed him,” he croaked. (aSoS, Epilogue)

We also have a reference to the concept of judgment of the captured soul – whether he speaks truth and whether he lived a righteous life or not.

Robb studied the sepulcher. “Whose grave is this?”
“Here lies Tristifer, the Fourth of His Name, King of the Rivers and the Hills.” Her father had told her his story once. “He ruled from the Trident to the Neck, thousands of years before Jenny and her prince, in the days when the kingdoms of the First Men were falling one after the other before the onslaught of the Andals. The Hammer of Justice, they called him. He fought a hundred battles and won nine-and-ninety, or so the singers say, and when he raised this castle it was the strongest in Westeros.” She put a hand on her son’s shoulder. “He died in his hundredth battle, when seven Andal kings joined forces against him. The fifth Tristifer was not his equal, and soon the kingdom was lost, and then the castle, and last of all the line. With Tristifer the Fifth died House Mudd, that had ruled the riverlands for a thousand years before the Andals came.” (aSoS, Catelyn V)

“Get off there,” Merrett said. “You’re sitting on a king.”
“Old Tristifer don’t mind my bony arse. The Hammer of Justice, they called him. Been a long while since he heard any new songs.” (aSoS, Epilogue)

Merrett’s comment follows the older Egyptian concept that only a king could sit with the gods. But the chance to sit with Osiris, who was once king of Egypt, is available to anybody. George portrays this idea superbly with the commoner Tom O’ Sevens of Sevenstream sitting on the king’s tomb. And that King Tristifer Mudd is connected to Osiris becomes clear with the nickname Hammer of Justice. Of course, a hammer of justice is a modern court symbol. The Feather of Justice as a nickname for a king would not sound as formidable to our modern ears, especially since we associate feathers with quills to write, rather than a weapon of war. It is at Oldstones where Lady Stoneheart and her personal band of the Brotherhood without Banners hang Petyr and Merrett Frey for their participation in the Red Wedding.

Something that all the gateways had in common so far is that they are tied to maidens. For example the name Cailin in Moat Cailin is an Irish Gaelic word that means girl or maiden. So, Moat Cailin actually means Maiden’s Moat. And at the Whispering Woods the fighting is overseen by Catelyn at the top ridge of the hill overlooking the valley. Catelyn Tully may not be a maiden anymore, but Cateline is the French version of the Irish Cailin. In other words, Catelyn’s name itself means maiden. At the Twins, the Lord of the Crossing introduced us to twelve maidens and Walder Frey organized the Red Wedding to avenge these maidens who were spurned by Robb when he married Jeyne Westerling. Lady Stoneheart is not to be fully identified with Catelyn anymore, and hence at Oldstones the maiden is Jenny of Oldstones, with the flowers in her hair like Persephone.

“There’s a song,” [Robb] remembered. “‘Jenny of Oldstones, with the flowers in her hair.'” (aSoS, Catelyn V)

From somewhere deep within the castle, faint music came drifting through the trees…[snip]…[Merrett] took another swallow, corked the skin up, and led his palfrey through broken stones, gorse, and thin wind-whipped trees, following the sounds to what had been the castle ward. Fallen leaves lay thick upon the ground, like soldiers after some great slaughter. A man in patched, faded greens was sitting crosslegged atop a weathered stone sepulcher, fingering the strings of a woodharp. The music was soft and sad. Merrett knew the song. High in the halls of the kings who are gone, Jenny would dance with her ghosts . . . (aSoS, Epilogue)

The sole line we know about this song, so far, is the line that Merrett thinks to himself -“High in the halls of the kings who are gone, Jenny would dance with her ghosts.” That line portrays Jenny as still being eerily present at Oldstones somehow, dancing with the ghosts.

This concludes the introduction into the concept of the ancient Egyptian Two Ways and Gates, and how there are stylistic links between the Riverlands and Barrowlands as a Land of Rostau, Moat Cailin and the Whispering Woods as a death trap gateway, Lady Barbrey as one of the Watchers lying in wait to prevent Ned’s Bones to reach his destination, the Twins resembling the typical night gateway for Ra’s nightly voyage, Walder Frey featuring as the aged Tem or Atum and Oldstones as a gateway that is also a hall of justice. It is time to apply the Two Ways concept to Hallis Mollen and the silent sisters traveling with Ned’s bones. Which route would they have taken initially? Which problems might they have encountered? And did they attempt to reach the North via an alternative route – a second way?

The Ways of Hallis Mollen

We do not have explicit confirmation which route Hal Mollen took, but Catelyn’s thoughts in the Whispering Wood on her way North to the Twins with Robb’s army suggest that Hal and the silent sisters went directly north of Riverrun. Robb’s original intended route north from Riverrun is the short way through the Riverlands – through the Whispering Woods, then cross the Blue Fork at Fairmarket, and from there straight to the Twins where they would cross the boiling Green Fork to reach kingsroad and follow it into the Neck and open the shut door of Moat Cailin with a military plan. It seems logical that their planned route would also have been Mollen’s overland short way.

Like Catelyn and Robb, Hal Mollen would have managed to enter Rostau and pass through the leafed Whispering Woods without any danger. The next gates are Ramsford, Fairmarket and Oldstones. Robb and Catelyn could not cross there, as both bridges had been washed away by the overflowing Blue Fork, foreshaodwing how the gates in Rostau area closed to Robb and he lost the power and knowledge to open them.

Five days later, their scouts rode back to warn them that the rising waters had washed out the wooden bridge at Fairmarket. Galbart Glover and two of his bolder men had tried swimming their mounts across the turbulent Blue Fork at Ramsford. Two of the horses had been swept under and drowned, and one of the riders; Glover himself managed to cling to a rock until they could pull him in. “The river hasn’t run this high since spring,” Edmure said. “And if this rain keeps falling, it will go higher yet.”
“There’s a bridge further upstream, near Oldstones,” remembered Catelyn, who had often crossed these lands with her father. “It’s older and smaller, but if it still stands—”
“It’s gone, my lady,” Galbart Glover said. “Washed away even before the one at Fairmarket.”

But Hallis Mollen left long before the heavy rains started and would have crossed the Blue Fork fine at either Fairmarket or Oldstones. We have no description of Fairmarket, but we know it was the end of the lifeline for Ryman Frey, the heir of Walder Frey after his father Stevron Frey died at the Battle of Oxcross and one of the names Merrett Frey gives as organizer of the Red Wedding to the Brotherhood without Banners. It was also the location where Arrec Durrandon was massively defeated by Harwyn Hoare, and thereby the Storm Kings lost dominion over the Riverlands to the Ironborn.

“Has some ill befallen Ser Ryman?”
Hanged with all his party,” said Walder Rivers. “The outlaws caught them two leagues south of Fairmarket.”
Jaime frowned…Still . . . these outlaws are growing bold, if they dare hang Lord Walder’s heir not a day’s ride from the Twins. “How many men did Ser Ryman have with him?” he asked.
Three knights and a dozen men-at-arms,” said Rivers. “It is almost as if they knew that he would be returning to the Twins, and with a small escort.” (aFfC, Jaime VII)

If you are curious what the Brotherhood without Banners may possibly plan as actions for tWoW then I recommend Lady Gwyn’s essay Riverlands Edition: the Capitulation of Riverrun, or Wolfish Hearts in the Riverlands. It is also incorporated in the radio westeros podcast episode BWB – the Last King’s Men.

At first sight, there is not much in Fairmarket’s name to link it to a maiden. From the series alone it seems nothing but a town at the Blue Fork with a bridge. Except, as a noun a fair and a market are synonomous. As an adjective fair is related to justice or beauty. And then there is of course the song The Bear and the Maiden Fair, where the bear is taken to a fair and meets a maiden. Any other information we have about Fairmarket comes from the world book. Aside from the battle between the Stormlands and Ironborn, one of the nine mistresses of Aegon the Unworthy was a common woman, Megette (or Merry Meg), who he bought from her blacksmith husband under threat.

MEGETTE (MERRY MEG): The young and buxom wife of a blacksmith

While riding near Fairmarket in 155, Aegon’s horse threw a shoe, and when he sought out the local smith, he came to notice the man’s young wife. He went on to buy her for seven gold dragons (and the threat of Ser Joffrey Staunton of the Kingsguard). Megette was installed in a house in King’s Landing; she and Aegon were even “wed” in a secret ceremony conducted by a mummer playing a septon. Megette gave her prince four children in as many years. Prince Viserys put an end to it, returning Megette to her husband and placing the daughters with the Faith to be trained as septas. Megette was beaten to death within a year by the blacksmith.
Children by Merry Meg: Alysanne, Lily, Willow, Rosey. (tWoIaF, The Targaryen Kings: Aegon IV)

If you read some of my bear-maiden essays, you might see how Megette and the blacksmith of Fairmarket are apt figures for the fair maiden and the bear at a fair, albeit a darker version as the blacksmith murdered Megette after she was returned to him (a bear taking his revenge). Notice too how two of her children were named after flowers. George could have chosen Megette to come from any town as well as give her a husband with any type of profession. But he crafted her to be linked both with flowers and bears in a subtle way.

After Fairmarket, Hallis would have gone straight for the Twins. I can see no reason for Hallis to insist the silent sisters to journey straight into the Neck over the kingsroad, unless there is dire need for it. So, one of the questions is whether Hallis Mollen reached the Twins before Walder Frey learned that Robb married Jeyne Westerling, especially since the Freys showed a particular enjoyment in desacrating both Robb Stark’s body as well as Catelyn’s, nor do they show any fear for the gods by breaking guest right. At least Walder Frey, nor any other Frey, assures Catelyn that Hallis and the silent sisters crossed the Twins. Timeline projects suggest that Hallis would have had time to cross the Twins before Walder Frey learned of Robb’s marriage. Walder Frey not mentioning Hallis to the Starks might be out of pettiness.

Since Lady Dustin has been watching for Ned’s bones to emerge from the Neck, Moat Cailin was most likely already in Ironborn hands, before Hallis reached it. Lady Dustin’s assumption about Hallis Mollen being trapped in the Neck also lends credence to the belief that the Freys did not hamper Hallis in crossing the Twins. Lady Dustin would have inquired with Roose Bolton as well as Aenys and Hosteen Frey regarding Ned Stark’s bones (though neither of them would have been at the Twins at the time to confirm the crossing with their own eyes).

It is a reassuring thought that crannogmen came to Hallis’s aid and that Ned’s bones are veing hosted at Greywater Watch in the Neck for the time being. Since Isis managed to hide Osiris’s remains in a swamp, it seems fitting for Ned’s bones to be in the Neck at present. However, after Isis hid Osiris’s body in the swamp, Set discovered it and scattered his remains all across Egypt, prompting Isis to search and recompile the remains for years. And yet, it seems unlikely that Hallis would prefer to hang around at Greywater Watch, while Ironborn attack the North and his king is south. Is it not far likelier that Hallis would try to get back south to warn an outrider, a scout, the Freys, as well as make sure the silent sisters can continue their voyage North with Ned’s Bones? To reach the North, one does not always need to ride solely in the northern direction. There is an alternative route, a second long way. Hallis could have turned back south with the intent to escort the silent sisters to a port, such as Saltpans or Maidenpool, from where they could embark and sail to White Harbor. And if that is the case, then their fate would have been more akin to what the High Sparrow reports to Brienne on the road from Duskendale to Rosby and to Cersei in King’s Landing.

The septon had a lean sharp face and a short beard, grizzled grey and brown. His thin hair was pulled back and knotted behind his head, and his feet were bare and black, gnarled and hard as tree roots. “These are the bones of holy men, murdered for their faith. They served the Seven even unto death. Some starved, some were tortured. Septs have been despoiled, maidens and mothers raped by godless men and demon worshipers. Even silent sisters have been molested…” (aFfC, Brienne I)

Maidenpool inthe Bay of Crabs was sacked thrice, by Lannister forces, Stark forces and finally Bloody Mummers. The latter foraged, knifed, raped and burned their way up as far as Saltpans in the north-east of the Riverlands, Maidenpool in the east, and any septry in the areas in between. Jaime renders us the description of Maidenpool.

Their host shook his head. “You’ll never reach Maidenpool by river. Not thirty miles from here a couple boats burned and sank, and the channel’s been silting up around them. There’s a nest of outlaws there preying on anyone tries to come by, and more of the same downriver around the Skipping Stones and Red Deer Island. And the lightning lord’s been seen in these parts as well. He crosses the river wherever he likes, riding this way and that way, never still.”(aSoS, Jaime II)

At Maidenpool, Lord Mooton’s red salmon still flew above the castle on its hill, but the town walls were deserted, the gates smashed, half the homes and shops burned or plundered. They saw nothing living but a few feral dogs that went slinking away at the sound of their approach. The pool from which the town took its name, where legend said that Florian the Fool had first glimpsed Jonquil bathing with her sisters, was so choked with rotting corpses that the water had turned into a murky grey-green soup. (aSoS, Jaime III)

I do not have to fall back on the World Book to link Maidenpool to a maiden. It is supposedly the location where Jonquil and her sisters bathed.

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

“Care for a bath, Brienne?” He laughed. “You’re a maiden and there’s the pool. I’ll wash your back.” (aSoS, Jaime III)

Maidenpool’s name actually makes it the alternative to Moat Cailin. With the gate shut at maiden’s moat, the maiden’s pool would have seemed the best alternative, at that side from the Twins. It also features judgment when Brienne witnesses Randyl Tarly judging criminals.

And then there is Jon’s dream about Maidenpool. Well, not literally about Maidenpool, but figuratively.

When the dreams took him, he found himself back home once more, splashing in the hot pools beneath a huge white weirwood that had his father’s face. Ygritte was with him, laughing at him, shedding her skins till she was naked as her name day, trying to kiss him, but he couldn’t, not with his father watching. He was the blood of Winterfell, a man of the Night’s Watch. I will not father a bastard, he told her. I will not. I will not. “You know nothing, Jon Snow,” she whispered, her skin dissolving in the hot water, the flesh beneath sloughing off her bones until only skull and skeleton remained, and the pool bubbled thick and red.(aSoS, Jon VI)

The weirwood has his father’s face. In aCoK, he once dreamed about a weirwood sappling with Bran’s face talking to him, while Bran was hiding in the darkness of the crypts to stay safe from Theon and Ramsay. It seems that the weirwood’s face indicates which spirit or soul is sending the dream. In this case, Ned Stark appears to cause the dream. It is not Ned Stark doing the talking though, but Ygritte. Meanwhile Ygritte is a maiden – in the sense that she is a young woman, not necessarily a virgin – in a pool, basically telling hm that he is a fool. And she dissolves into a skull a bones. So we have Ned Stark, Maidenpool and skull and bones left.

Thrice the sparrows mention bones together with the claim that even silent sisters were raped:

  • The High Sparrow tells it to Brienne.
  • A one legged sparrow repeats the speech to Cersei when she asks them about their intentions with all them bones at Baelor’s statue.
  • The High Sparrow repeats the crime against the silent sisters in his first conversation with Cersei as well as asking whether she has seen the bones.

When she saw what they had done to Baelor the Beloved, the queen had cause to rue her soft heart. The great marble statue that had smiled serenely over the plaza for a hundred years was waist-deep in a heap of bones and skulls. Some of the skulls had scraps of flesh still clinging to them. A crow sat atop one such, enjoying a dry, leathery feast. Flies were everywhere. “What is the meaning of this?” Cersei demanded of the crowd. “Do you mean to bury Blessed Baelor in a mountain of carrion?”
A one-legged man stepped forward, leaning on a wooden crutch. “Your Grace, these are the bones of holy men and women, murdered for their faith. Septons, septas, brothers brown and dun and green, sisters white and blue and grey. Some were hanged, some disemboweled. Septs have been despoiled, maidens and mothers raped by godless men and demon worshipers. Even silent sisters have been molested. The Mother Above cries out in her anguish. We have brought their bones here from all over the realm, to bear witness to the agony of the Holy Faith.”

[High Sparrow:] “Yet everywhere septs are burned and looted. Even silent sisters have been raped, crying their anguish to the sky. Your Grace has seen the bones and skulls of our holy dead?” (aFfC, Cersei VI)

When George repeats teamed phrases thrice in a chapter or arc of the same book (The High Sparrow’s arc in this case), then he usually wants us to pay attention to it .It is not just there for the High Sparrow’s sake or to tell the tale of war’s impact. Bones and silent sisters are mentioned in combination with each other to not make us miss the clue. And be honest – at least at second read your mind wondered once to the thought, “Could it possible be?” Very likely you dismissed the idea as soon as you thought it, clinging to the High Sparrow’s assertion that those are the bones of septons. In reality, the High Sparrow would be unable to tell whose bones they find. If hypothetically Hal and the sisters went to Maidenpool or guested at a septry along the way and chanced on the Bloody Mummers, then the High Sparrow could not have known the box with Ned’s Bones were not a septon’s bones. Hence, we should indeed ask ourselves whether some of the bones the High Sparrow has in his cart may actually be Ned’s bones.

There is actually a subtle passage shortly after Brienne met with the High Sparrow, where George suggests to the reader to ask themselves whose bones they might be. Brienne wonders whether the septon she saw being strung up by the Bloody Mummers once lies in the High Sparrow’s cart. Meanwhile, Creighton mentions the rape of a silent sister (again) and how they are wives to the Stranger, cold and wet as ice. Brienne carries half of Ned Stark’s reforged Ice with her. She is a bit of a silent sister as well. She may be a chatterbox in her mind, but sullen and silent most of the time. Later on, Brienne meets The Silent Sister, who once wondered in the Whispering Woods where Ned’s bones found their last resting place.

Ser Creighton lifted one cheek off the saddle to scratch his arse. “What sort of man would slay a holy septon?”
Brienne knew what sort. Near Maidenpool, she recalled, the Brave Companions had strung a septon up by his heels from the limb of a tree and used his corpse for archery practice. She wondered if his bones were piled in that wayn with all the rest.
“A man would need to be a fool to rape a silent sister,” Ser Creighton was saying. “Even to lay hands upon one . . . it’s said they are the Stranger’s wives, and their female parts are cold and wet as ice.” (aFfC, Brienne I)

Initially the sparrows pile the bones around Baelor’s statue in King’s Landing. This is the same square where Ned confessed to treason and was beheaded on Joffrey’s order. The High Septon at the time considered it a profanity of the holy location, just as Cersei uses the same argument to the sparrows over piling bones at Baelor’s statue.

“This business with Eddard Stark . . . Joffrey’s work?”
The queen grimaced. “He was instructed to pardon Stark, to allow him to take the black. The man would have been out of our way forever, and we might have made peace with that son of his, but Joff took it upon himself to give the mob a better show. What was I to do? He called for Lord Eddard’s head in front of half the city. And Janos Slynt and Ser Ilyn went ahead blithely and shortened the man without a word from me!” Her hand tightened into a fist. “The High Septon claims we profaned Baelor’s Sept with blood, after lying to him about our intent.”
“It would seem he has a point,” said Tyrion. (aCoK, Tyrion I)

Brienne learns of molested silent sisters and the bones that the High Sparrow has in his wayn, shortly after leaving King’s Landing to search for Sansa who fled from the city on the night that Joffrey was murdered. Ned Stark confessed to his treason at Baelor’s Sept for Sansa’s sake and safety.

Afterwards, the Sparrows cleaned up the square, and I assume they buried the bones beneath Baelor’s Sept along with the kings of Westeros and the caches of volatile wildfire.

So His Grace commanded his alchemists to place caches of wildfire all over King’s Landing. Beneath Baelor’s Sept and the hovels of Flea Bottom, under stables and storehouses, at all seven gates, even in the cellars of the Red Keep itself.(aSoS, Jaime V)

“There is a vault below this one where we store the older pots. Those from King Aerys’s day. It was his fancy to have the jars made in the shapes of fruits. Very perilous fruits indeed, my lord Hand, and, hmmm, riper now than ever, if you take my meaning. We have sealed them with wax and pumped the lower vault full of water, but even so . . . by rights they ought to have been destroyed, but so many of our masters were murdered during the Sack of King’s Landing, the few acolytes who remained were unequal to the task. And much of the stock we made for Aerys was lost. Only last year, two hundred jars were discovered in a storeroom beneath the Great Sept of Baelor. No one could recall how they came there, but I’m sure I do not need to tell you that the High Septon was beside himself with terror. I myself saw that they were safely moved. I had a cart filled with sand, and sent our most able acolytes. We worked only by night, we—” (aCoK, Tyrion V)

If those two hundred jars beneath Baelor’s Sept were the sole cache of wildfire located beneath it, then it is likely the only safe location in King’s Landing. The allusions to Cersei using wildfire to set King’s Landing ablaze are too numerous to ignore. And in that case Ned’s bones would be at the heart of that Egyptian underwordly ring of fire.

And yes, the thought of Ned’s bones circling back to King’s Landing and ending up beneath the sept of the Faith of the Seven hurt. Unfortunately, for the time being we cannot rule it out, not through logic, nor through symbolism. It is all so circular.

Riverrun’s Circle

The location where Ned’s bones were last seen is quite suspect for a circular fate. Riverrun is the opening word of James Joyce’s novel Finnegans Wake. It is one of the most mysterious books written by Joyce, and considered one of the most difficult. Though published in 1939, two years before Joyce’s death, and lots of essays have been written on it, it still remains one of the most elusive books in English literarure. It was also Joyce’s ultimate Opus on which he worked for seventeen years. The opening sentence of the novel should actually be attached to the last unfinished sentence at the end of the book. Once you do that you get

a way a lone a last a loved a long the / riverrun, past Eve and Adam’s, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs. (Finnegan’s Wake, James Joyce)

The sentence’s subject is about recirculation. The book is circular because of that cutting of the sentence. Its theme is the circle of life and death. Finnegan is a character from an Irish song, Finnegan’s Wake. Drunk from whiskey he falls from a ladder while building a wall. Breaking his skull, everyone believes him dead. During his wake, the mourners get rowdy and spill whiskey on Finnegan’s body who wakes from his coffin and is thus resurrected by the same element that killed him, whiskey or “water of life”. In Joyce’s book though the guests tell him he is better off where he was and put him back to rest (and thus kill him).

Rivers are Joyce’s ultimate symbol in the book to evoke this circle of life and death. One of the most favored and hailed sections of the book is about two washerwomen washing clothes at either side of the river (the Liffey), gosipping about the wife of the man accused of a crime. As the day grows darker into night, the river gets wider and overflows, while the washerwomen turn slowly into stone and tree and their voices become whispers.

And in relation to that renowned passage of the book, I want to point out the paragraphs of the chapter where Catelyn and Robb cross the Whispering Wood back to the Twins and then learn Fairmarket was washed out. Catelyn and Robb reached Riverrun via the Whispering Wood, and now they have to journey the same way back.

As the gods would have it, their route took them through the Whispering Wood where Robb had won his first great victory. They followed the course of the twisting stream on the floor of that pinched narrow valley, much as Jaime Lannister’s men had done that fateful night. It was warmer then, Catelyn remembered, the trees were still green, and the stream did not overflow its banks. Fallen leaves choked the flow now and lay in sodden snarls among the rocks and roots, and the trees that had once hidden Robb’s army had exchanged their green raiment for leaves of dull gold spotted with brown, and a red that reminded her of rust and dry blood. Only the spruce and the soldier pines still showed green, thrusting up at the belly of the clouds like tall dark spears. (aSoS, Catelyn V)

Immediately after Catelyn remembers her marriage to Ned, including her wedding and how different Ned Stark was to her than Brandon Stark, follows the above paragraph where George starts by alluding to the gods. Even if there are no actual gods in Planetos and even if you are an atheist, some turns in life have an unavoidable ironic recirculing to them that it does feel as if some god or gods are pulling a prank on you that can only be droll to them. Sometimes life and fate just seems bigger than rationally negotiable. The Whispering Wood can be seen as one of the two washerwomen whispering and turning into a tree at one side of the stream that is starting to widen and overflow the banks.

While obviously the above paragraph foreshadows Catelyn’s and Robb’s fate at the Twins where they will be unable to negotiate with the Lord of the Crossing to avoid death, the next paragraph pulls in Ned Stark’s fate as well. The  whole paragraph is a reflection back onto the past and what-ifs.

More than the trees have died since then, she reflected. On the night of the Whispering Wood, Ned was still alive in his cell beneath Aegon’s High Hill, Bran and Rickon were safe behind the walls of Winterfell. And Theon Greyjoy fought at Robb’s side, and boasted of how he had almost crossed swords with the Kingslayer. Would that he had. If Theon had died in place of Lord Karstark’s sons, how much ill would have been undone?

Then the paragraph after that alludes to the second washerwoman who turned into stone, while even the dead are nourishing life. Where the initial paragraph in the Whispering Wood uses nothing but chthonic lexicon to only denote death, in this one death has been long past and bright colors and faces re-emerge. What lives must die, but recyles back to new life. The sun must set and Ra must voyage the night lands, but comes out the other side to start a new day. It portrays the cycle of life and death and back to life.

As they passed through the battleground, Catelyn glimpsed signs of the carnage that had been; an overturned helm filling with rain, a splintered lance, the bones of a horse. Stone cairns had been raised over some of the men who had fallen here, but scavengers had already been at them. Amidst the tumbles of rock, she spied brightly colored cloth and bits of shiny metal. Once she saw a face peering out at her, the shape of the skull beginning to emerge from beneath the melting brown flesh.

Right after, Catelyn wonders about Ned’s final resting place.

It made her wonder where Ned had come to rest. The silent sisters had taken his bones north, escorted by Hallis Mollen and a small honor guard. Had Ned ever reached Winterfell, to be interred beside his brother Brandon in the dark crypts beneath the castle? Or did the door slam shut at Moat Cailin before Hal and the sisters could pass?

As the snake of Robb’s leftover army passes through the valley, Catelyn questions whether she will ever see Riverrun again, this of a place named after a circular sentence of a circular book.

Thirty-five hundred riders wound their way along the valley floor through the heart of the Whispering Wood, but Catelyn Stark had seldom felt lonelier. Every league she crossed took her farther from Riverrun, and she found herself wondering whether she would ever see the castle again. Or was it lost to her forever, like so much else?

As I said, Riverrun is the opening word of Finnegans Wake, and every extra word and sentence you read takes you farther from it, and yet the end of the novel takes you back to the start. So, at some point as you read, you are not going farther away from Riverrun, but approach it again.

Finally, the passage concludes with the news that Fairmarket’s bridge has been washed away, with Galbart Glover clinging to the washerwoman who turned to rock for dear life.

Five days later, their scouts rode back to warn them that the rising waters had washed out the wooden bridge at Fairmarket. Galbart Glover and two of his bolder men had tried swimming their mounts across the turbulent Blue Fork at Ramsford. Two of the horses had been swept under and drowned, and one of the riders; Glover himself managed to cling to a rock until they could pull him in.

So, overall we have a very vivid scene with a stream overflowing in a wood of trees that whisper, two bridges being washed out, Glover clinging to a rock for dear life, and Catelyn reflects on the passage of time, cycle of life and death, all twisting and curving around thoughts of Ned Stark. In total there are seven paragraphs that reference the two washerwomen whispering as stone and tree at the overflowing banks of the Liffey of James Joyce’s Finnegans Wake, and at the heart of it, Cat wonders where Ned’s bones lie now.

“Where are the rest of you?” Bran asked Leaf, once.
“Gone down into the earth,” she answered. “Into the stones, into the trees…” (aDwD, Bran III)

The Afterlife

You may ask yourself what Finnegans Wake has to do with the Two Ways and Gates of Egyptian myth. Well, at the heart of Egyptian mythology of Osiris and Isis as well as the Rostau voyage of Ra is the concept of the cycling of the sun and of life – a daily resurrection for the sun and a resurrection of the dead in some way. One source is ancient, the other of the 20th century, but in essence are about the same issue on which humanity has pondered ever since humans evolved to a level of cognitivity to wonder about it and even in our dreams rivers and roads are a symbol where we reflect on the state of our life and the passing of time.

Time is different for a tree than for a man. Sun and soil and water, these are the things a weirwood understands, not days and years and centuries. For men, time is a river. We are trapped in its flow, hurtling from past to present, always in the same direction. … (aDwD, Bran III, courtesy The Fattest Leech)

For a tree time is circular. Even the age of a tree can be counted through tree-rings. And there are indications that Ned Stark’s spirit managed to reach out for the weirnet, and has become part of the world, not unlike the wood witch tells Varamyr’s mother.

“Your little one is with the gods now,” the woods witch told his mother, as she wept. “He’ll never hurt again, never hunger, never cry. The gods have taken him down into the earth, into the trees. The gods are all around us, in the rocks and streams, in the birds and beasts. Your Bump has gone to join them. He’ll be the world and all that’s in it.”(aDwD, Prologue)

Varamyr experiences this, before he chooses to use his spirt to live a second life in his wolf.

For a moment it was as if he were inside the weirwood, gazing out through carved red eyes as a dying man twitched feebly on the ground and a madwoman danced blind and bloody underneath the moon, weeping red tears and ripping at her clothes. Then both were gone and he was rising, melting, his spirit borne on some cold wind. He was in the snow and in the clouds, he was a sparrow, a squirrel, an oak. A horned owl flew silently between his trees, hunting a hare; Varamyr was inside the owl, inside the hare, inside the trees. (aDwD, Prologue)

Since Ned Stark has not shown any sign of being a skinchanger, he would have been unable to actually go into an animal’s skin, but the wood witch’s words as well as Leaf’s would indicate that his spirit could have gone into the environment. The Starks are a family steeped in chthonic symbolism while alive, whose power may actually grow as dead spirits roam the underwordly realm that is the North (see the Cursed Souls of Eddard and Robert). And the links to Osiris suggest that Ned Stark’s spirit might be stronger than just anybody’s. Even Ned’s southern wife ends up being resurrected as Lady Stoneheart, and she is only wedded to a Stark. Had the Freys buried her properly according to Tully customs of burning a body on a boat, Beric could never have resurrected her.

Bran and Rickon meet and talk with Ned Stark down in the crypts at his empty tomb in a dream the night before they receive the confirmation message that Ned is dead.

The mention of dreams reminded him. “I dreamed about the crow again last night. The one with three eyes. He flew into my bedchamber and told me to come with him, so I did. We went down to the crypts. Father was there, and we talked. He was sad.”
“And why was that?” Luwin peered through his tube.
“It was something to do about Jon, I think.” The dream had been deeply disturbing, more so than any of the other crow dreams.

“Shaggy,” a small voice called. When Bran looked up, his little brother was standing in the mouth of Father’s tomb. With one final snap at Summer’s face, Shaggydog broke off and bounded to Rickon’s side. “You let my father be,” Rickon warned Luwin. “You let him be.”
“Rickon,” Bran said softly. “Father’s not here.”
“Yes he is. I saw him.” Tears glistened on Rickon’s face. “I saw him last night.”
“In your dream …?”
Rickon nodded. “You leave him. You leave him be. He’s coming home now, like he promised. He’s coming home.” (aGoT, Bran VII)

Both Bran and Rickon appear to have had the same dream about Ned Stark in the crypts several days after his death. The raven arrives with the message about Ned’s fate, but it would take days for the raven to fly. That this is a special dream is emphasized with the three eyed crow, which would be Bloodraven, making Bran go down into the crypts (and perhaps Rickon too). Ned is not just talking with Bran father to son, but about Jon, something about him that Bran is as of yet unaware of. This indicates that Ned’s spirit is acting and communicating days after his death, independently from Bloodraven.

Arya talks with a voice she believes to be her father at the weirwood of Harrenhall before she decides to escape.

Then, so faintly, it seemed as if she heard her father’s voice. “When the snows fall and the white winds blow, the lone wolf dies, but the pack survives,” he said.
“But there is no pack,” she whispered to the weirwood. Bran and Rickon were dead, the Lannisters had Sansa, Jon had gone to the Wall. “I’m not even me now, I’m Nan.”
“You are Arya of Winterfell, daughter of the north. You told me you could be strong. You have the wolf blood in you.”
“The wolf blood.” Arya remembered now. “I’ll be as strong as Robb. I said I would.” She took a deep breath, then lifted the broomstick in both hands and brought it down across her knee. It broke with a loud crack, and she threw the pieces aside. I am a direwolf, and done with wooden teeth. (aCoK, Arya X)

While initially her father’s voice repeats what he once said to her in King’s Landing, and it can be waved off as a memory of her father, his second reply is not an actual memory, but that of a father in the present referring to the past. It is possible that his spirit was indeed talking to her through the weirwood. And then I have already argued that Ned Stark’s spirit tries to show Jon the fate of his bones and how it is linked to Maidenpool.

Osiris only became the ruler of the afterlife in death, but Ned Stark already was a ruler of of the underworld in life. Why would death make him less so? Because the previous Lords of Winterfell and Kings of Winter do not seem to have power anymore? But they are actually properly buried within the tombs of the crypts, beneath their statues, with swords in their laps, well those that have not rusted away or have been taken. Their residual power seems contained at one location.

By ancient custom an iron longsword had been laid across the lap of each who had been Lord of Winterfell, to keep the vengeful spirits in their crypts. The oldest had long ago rusted away to nothing, leaving only a few red stains where the metal had rested on stone. Ned wondered if that meant those ghosts were free to roam the castle now.(aGoT, Eddard I)

But as long as Ned Stark is not properly buried, he seems to be free to manifest himself or appeal to Jon, Bran and Arya from anywhere, wherever they are.

The Greek myth of King Sisyphus (of present day Corinth) is a fine example to make my point. In Ancient Greece it was believed that those who were not properly buried would be ignored by Charon, the ferryman, and left at the shores of the upper world at the Achethon, denied both the afterlife in Hades and life in the flesh with the living. King Sisyphus did not wish to be in Hades at all, and he used this to his advantage. Before dying, he requested his wife to prove her love for him by throwing his naked corpse onto a public square once he was dead. When she had done so, he begged Persephone for permission to be allowed to return to the upper world to scold his wife for the improper burial. Persephone allowed it, but Sisyphus refused to return to Hades after his wife finally buried him as custom decreed it. Hermes had to drag him down by force. At heart the message is that improper burial can enable the deceased to remain an influence in the upper world. This seems to be what Ned Stark’s spirit seems to be doing. And without a living Lord Stark of Winterfell, the threat of the Others and the upper world messing with the underworld this may actually be for the ultimate benefit of all.

Conclusion (tl;tr)

While we hope that Ned Stark’s bones are safely waiting in the Neck with Howland Reed to be brought to Winterfell, it is not certain that Hallis Mollen and the silent sisters would have waited there, but instead may have decided to turn south for Maidenpool (that was sacked thrice) in order to board a ship for White Harbor. Their fate after exiting the Neck south again would have been dire. George repeatedly informs us of the fact that silent sisters were molested, and always in combination with bones they carry of people the Sparrows believe to have been septons. Jon’s dream of Ygritte in the godwood pool while the weirwood has his father’s face, suggests that Eddard Stark is trying to show that his skull and bones found their way to Maidenpool at the time. Those bones were carried back to King’s Landing, displayed at the location where Ned was beheaded, and presumably buried beneath Baelor’s Sept. The sole balm to the grievous idea that Ned’s bones circled back to rest at the location where he was killed, with no one ever able to figure out which of those bones are indeed his and thus forever lost, is that it might enable his spirit to be free to help his children (and nephew), for there is no sword to lock  him in the crypts of Winterfell.

The Riverlands, Neck and Barrowlands seem to belong to a type of underwordly realm that the Ancient Egyptians would refer to as Land of Rostau, a necropolis, full of dangerous gateways where guardians and watchers aim to capture and kill souls to prevent them from reaching a status like Osiris. The identifiable gates are Whispering Woods, Fairmarket, Oldstones, Twins, Moat Cailin and Maidenpool. All are related or feature maidens. Both names Catelyn and Cailin mean maiden. Catelyn is the supervizing “maiden” at Whispering Woods. At Oldstones we have Jenny and her song, while the information on Fairmarket in the world book puts Aegon IV’s mistress Megette forward as the maiden fair in relation to the Bear-song. At the Twins, Walder Frey introduces us to twelve maidens, one for each hour of the night. Moat Cailin is actually Maiden’s Moat, making Maidenpool its alternative counterpart.

Furthermore, the name of the keep Riverrun where Ned’s bones were last seen in the text and the passages where Cat wonders about their fate are steeped in allusions and references to some of the most famous features and paragraphs of James Joyce’s novel Finnegan’s Wake, a book that was written to be circular and has as its major theme the circle of life and death.

Thank you

I would like to thank Daendrew for pointing out that Riverrun is the opening word of Finnegans Wake and looking up the meaning of the name Cailin. Thank you also to the Fattest Leech for challenging me to delve deeper into the possibility of the Maidenpool route of Hallis Mollen and finding related quotes in relation to the Riverrun concept of recirculation.

Notes

  1. The Egyptians were not the sole culture with such a journey concept of the dead. The Mayan Popul Vuh describes a similar underworld of tests, crossroads and fiends, where the deceased either dies or succeeds in being resurrected. And the Christians have a concept of purgatory where the dead soul has to go through stages of punishment in order to reach heaven and be in the presence of God.

Lady of the golden sword of Winterfell

While Ned’s crypt chapter was the key that unlocked the revelation of Lyanna as Persephone the flower maiden, Cat’s godswood chapter was the key of Winterfell and the North as an underworld guarded and ruled by the Starks with Ned matching many keypoints of Hades. It also hints at Cat as Persephone the wife. In this essay I analyse Catelyn as wife of the ruler of the Underworld, while I explore her as a chthonic mother in the consecutive essays. Various chthonic goddesses are referenced in Catelyn’s chapters. The first two contain elements of Persephone, Pandora, Demeter and Isis.

Persephone, the wife of Hades Stark

The very first thing we learn about her is that she dislikes the godswood and all that it represents by extension: the North, Old Gods, the winter, the cold, the harshness, gloomy Winterfell. It is the first sentence of her very first point of view, and we have not even heard or seen her through any other point of view yet.

Catelyn had never liked this godswood. (aGoT, Catelyn I)

Then we learn who Catelyn is by birth name and where she grew up – a Tully from Riverrun.

She had been born a Tully, at Riverrun far to the south, on the Red Fork of the Trident. The godswood there was a garden, bright and airy, where tall redwoods spread dappled shadows across tinkling streams, birds sang from hidden nests, and the air was spicy with the scent of flowers.

Catelyn describes it as pleasure garden. It is alive with light, sound, songbirds, spices and perfume. Riverrun’s godswood is a pleasure and feast for the senses. And even the shadows are dappled with light. Symbolically, Catelyn thus originates from a living world.

It is only by the third paragraph that we learn where ‘this godswood that she dislikes so much’ actually is located: Winterfell.

The gods of Winterfell kept a different sort of wood. It was a dark, primal place, three acres of old forest untouched for ten thousand years as the gloomy castle rose around it. It smelled of moist earth and decay. No redwoods grew here. This was a wood of stubborn sentinel trees armored in grey-green needles, of mighty oaks, of ironwoods as old as the realm itself. Here thick black trunks crowded close together while twisted branches wove a dense canopy overhead and misshapen roots wrestled beneath the soil. This was a place of deep silence and brooding shadows, and the gods who lived here had no names.

It is the complete opposite to her: dark, silent, smelling of decay, and the trees and canopy are crowded so close together no light can reacht he surface. It is a place of shadows. It is not a garden, but a wilderness, the abattoir of gods with no names, an underworld. And she also hints that the castle is ancient too and a gloomy place to her too. So, we now have a picture of Catelyn Tully who grew up in a world that was a feast for the senses, but must call a gloomy castle and wilderness of decay and shadows her home.

The fourth paragraph tells us why that greatly disliked place is her home – she is the wife of Ned Stark, the ruler of the underworld.

But she knew she would find her husband here tonight. Whenever he took a man’s life, afterward he would seek the quiet of the godswood.

What a way to introduce Ned Stark to us in Catelyn’s mind – the husband who just took a man’s life. And the whenever makes it sound as if Ned takes a man’s life often. While Bran’s chapter gives us the information why and how Ned took Gared’s life, Catelyn’s generic expression would fit perfectly with a ruler of the underworld or the embodiment of death.

She finds her husband in the godswood, cleaning the blood of his greatsword Ice, seated on a stone, beneath the weirwood, beside the black pool of cold water. This is the first time we actually see Ned Stark through Catelyn’s eyes.

Catelyn found her husband beneath the weirwood, seated on a moss-covered stone. The greatsword Ice was across his lap, and he was cleaning the blade in those waters black as night. A thousand years of humus lay thick upon the godswood floor, swallowing the sound of her feet, but the red eyes of the weirwood seemed to follow her as she came. “Ned,” she called softly.

He is cleaning the blood of a man he beheaded from his blade, surrounded by underworld symbolism: the weirwood with bark as white as bones and leaves the color of bloodstained hands, seated on stone, and water black as night. It is such a place of death that Catelyn’s feet can’t even make a sound – the forest floor swallows the sound of her feet.

The weirwood‘s bark was white as bone, its leaves dark red, like a thousand bloodstained hands. A face had been carved in the trunk of the great tree, its features long and melancholy, the deep-cut eyes red with dried sap and strangely watchful.

Normally I mark words that apply for both the living world as the underworld in purple (such as white, red and water). But for this essay I am using the context to determine whether they are used in relation to the underworld or the living world. The red of the eyes and the leaves are not about the life giving aspect of blood, but related to bleeding or spilling blood by cutting and carving and getting your hands stained with blood when beheading a man.

I want you to take notice of the fact that Ice lies across Ned’s lap, unsheathed. We see this same image twice more, in different contexts – the swords in the laps of the statues in the crypts of Winterfell, as well as Robb’s sword when Tyrion visits Winterfell upon his return from the Wall.

By ancient custom an iron longsword had been laid across the lap of each who had been Lord of Winterfell, to keep the vengeful spirits in their crypts…[snip]… There were three tombs, side by side. Lord Rickard Stark, Ned’s father, had a long, stern face. The stonemason had known him well. He sat with quiet dignity, stone fingers holding tight to the sword across his lap, but in life all swords had failed him. In two smaller sepulchres on either side were his children. (aGoT, Eddard I)

Robb was seated in Father’s high seat, wearing ringmail and boiled leather and the stern face of Robb the Lord…[snip]…”Any man of the Night’s Watch is welcome here at Winterfell for as long as he wishes to stay,” Robb was saying with the voice of Robb the Lord. His sword was across his knees, the steel bare for all the world to see. Even Bran knew what it meant to greet a guest with an unsheathed sword. (aGoT, Bran IV)

… and so does Tyrion.

All three images are echoes of each other:

  • In the crypts: stone likenness of former Lords of Winterfell and Kings of Winter, on a stone seat, with two direwolves at their feet, and a bare sword in their lap.
  • Robb Stark: on the stone high seat, with two direwolf heads carved out, and an unsheathed sword in his lap, while he is acting Lord of Winterfell, in the absence of his father.
  • Ned Stark: seated on a stone, with bare steel in his lap, talking about the baby direwolves with his wife.

Aside from the clearly repeated imagery of a ruler of Winterfell, with each echo we are given three different reasons for the bare steel (in order of appearance).

  1. Practical: to clean the sword (Ned Stark)
  2. Superstituous: to keep vengeful spirits in their crypts
  3. Hostile: as a sign to a visitor that they are unwelcome (Robb Stark)

Only one of those three reasons can actually be applied subtextually to all three instances, while the other two reasons cannot be transferred. The cleaning does not apply to the stone statues nor Robb, nor does keeping vengeful spirits in place apply to Ned and Robb beneath the weirwoord or on the high seat respectively. But Ned Stark cleaning Ice can be seen as an echo of the unwelcome sign, as much as it is echoed in the crypts. And this is actually the message in Jon Snow’s dreams of the crypts and Theon’s unsettled feelings when he has to guide Lady Dustin in the crypts – you are unwelcome. Even Ned Stark is aware of the hostile atmosphere in the crypts when he visits it with Robert. So, when Catelyn sees Ned Stark beneath the weirwood image cleaning the blood of a beheaded deserter from Ice, not only is it an ominous image of an executioner, but also a hostile one.

In this manner, we are introduced to Catelyn as the married Persephone, wife of Hades. Persephone was dragged from a flower field to the underworld, alive, and had to call that dismal place home ever after. We do not often associate Catelyn with flowers, but the memory of Riverrun’s lively garden at the start of Catelyn’s godswood chapter ends with the mention of scented flowers. And it was at Riverrun that Ned took Catelyn to wife1.

And one day fifteen years ago, this second father had become a brother as well, as he and Ned stood together in the sept at Riverrun to wed two sisters, the daughters of Lord Hoster Tully. (aGoT, Catelyn I)

Another flower reference with Catelyn is how she once wound flowers in her hair at Oldstones, when she was a young girl. Catelyn reflects on it when she talks with Robb at the ruin of Oldstones.

She had camped here once with her father, on their way to Seagard. Petyr was with us too . . .
“There’s a song,” [Robb] remembered. “‘Jenny of Oldstones, with the flowers in her hair.'”
“We’re all just songs in the end. If we are lucky.” She had played at being Jenny that day, had even wound flowers in her hair. And Petyr had pretended to be her Prince of Dragonflies. Catelyn could not have been more than twelve, Petyr just a boy. (aSoS, Catelyn V)

Once, Catelyn is established in this introduction as a Persephone, through her marriage with Ned as Hades, while disliking the underworld so much, Catelyn’s first chapter proceeds to give us a window on how Catelyn attempts to reconcile herself with her fate. She tries to soften her stern, distant, formal husband who is seated in a hostile manner with love and intimacy (hence, why I marked it in pink). As his wife she is the sole one in function with the ability to do that. But even then Ned’s initial response seems cold and distant.

Ned,” she called softly.
He lifted his head to look at her. “Catelyn,” he said. His voice was distant and formal. “Where are the children?”

And yet, despite the formal and distant voice, Ned always first relates to her as the father of her children, with children as the ultimate symbol of new life. Though direwolves are chthonic animals – the Starks’ hellhounds – in this conversation they are pups still. Like children, pups symbolize new life and they are cute furballs to fall in love with.

He would always ask her that. “In the kitchen, arguing about names for the wolf pups.” She spread her cloak on the forest floor and sat beside the pool, her back to the weirwood. She could feel the eyes watching her, but she did her best to ignore them. “Arya is already in love, and Sansa is charmed and gracious, but Rickon is not quite sure.”

Catelyn covers and ignores the underworld surroundings. She covers up the forest floor, turns her back to the weirwood and ignores the sensation of being watched. Catelyn uses her cloak to cover the forest floor. And what is her cloak, if not a marriage cloak? In my own language (Dutch) we have a figure of speech that if translated literally means – to cover something with the cloak of love. The correct figure of speech in English would be – cloak of charity. But here, it is love that Catelyn uses and refers to.

That cloak of love cannot actually make the underworld disappear or turn her husband into a southern lord ruling an area of the realm of the living.

“Is he afraid?” Ned asked.
“A little,” she admitted. “He is only three.”
Ned frowned. “He must learn to face his fears. He will not be three forever. And winter is coming.”
“Yes,” Catelyn agreed. The words gave her a chill, as they always did. The Stark words. Every noble house had its words. Family mottoes, touchstones, prayers of sorts, they boasted of honor and glory, promised loyalty and truth, swore faith and courage. All but the Starks. Winter is coming, said the Stark words. Not for the first time, she reflected on what a strange people these northerners were.

Even a toddler has to learn the inevitable facts of their new, young life as soon as possible in Ned’s eyes – winter is coming. It’s as true as Valar Morghulis – everybody dies. Both basically mean the same thing, really. With winter being the dead season, the expression winter is coming is synonymous to death is coming. So, while Catelyn talks of cute pups, squabbling young children and toddlers and love, it is met with a saying about death coming. It is emphasised that these are the Stark words, alone. She considers the northerners strange as in the modern ‘weird’ for it, but of course Catelyn here unwittingly equates the Stranger with a northerner as well.

Her loving wife tactic does help her husband in sharing with her, but that sharing inevitably implies she cannot ignore the underworld, but made into a participant of ruling it.

“The man died well, I’ll give him that,” Ned said. He had a swatch of oiled leather in one hand. He ran it lightly up the greatsword as he spoke, polishing the metal to a dark glow. “I was glad for Bran’s sake. You would have been proud of Bran.”
“I am always proud of Bran,” Catelyn replied, watching the sword as he stroked it. She could see the rippling deep within the steel, where the metal had been folded back on itself a hundred times in the forging. Catelyn had no love for swords, but she could not deny that Ice had its own beauty. It had been forged in Valyria, before the Doom had come to the old Freehold, when the ironsmiths had worked their metal with spells as well as hammers. Four hundred years old it was, and as sharp as the day it was forged. The name it bore was older still, a legacy from the age of heroes, when the Starks were Kings in the North.

The phrases and words I marked as pink could just as well have been marked in black, to highlight their connection to death and thus the underworld. But George has already showed us that Catelyn is trying to ignore the underworld connotations by covering it with her wedding cloak of love. And in that sense, a sword has a double entendre. George spells it out through Lady Dustin when she talks of Brandon Stark, and Daario’s arakh and stiletto have naked wanton women for hilts.

“Brandon loved his sword. He loved to hone it. ‘I want it sharp enough to shave the hair from a woman’s cunt,’ he used to say. And how he loved to use it. ‘A bloody sword is a beautiful thing,’ he told me once.”… [snip]…”I still remember the look of my maiden’s blood on his cock the night he claimed me. I think Brandon liked the sight as well. A bloody sword is a beautiful thing, yes. It hurt, but it was a sweet pain.
“The day I learned that Brandon was to marry Catelyn Tully, though … there was nothing sweet about that pain…[snip]…Afterward my father nursed some hope of wedding me to Brandon’s brother Eddard, but Catelyn Tully got that one as well.” (aDwD, The Turncloak)

Into my bed. Into my arms. Into my heart.” The hilts of Daario’s arakh and stiletto were wrought in the shape of golden women, naked and wanton. He brushed his thumbs across them in a way that was remarkably obscene and smiled a wicked smile. (aDwD, Daenerys IV)

Sex and swords go hand in hand (literally in Daario’s case). While the paragraph of Catelyn watching Ned polish his greatsword is not explicitly lustful, notice how it lacks the chill that Catelyn feels when it comes to the Stark words. One would suppose that if Catelyn only regarded Ned oiling the sword in a morbid context, she would feel that same chill. Instead, she watches with fascination and finds it beautiful, heroic, kingly. And if this sexual subtext was not yet clear to you, then Michael Komarck’s illustration of Eddard with Ice that George’s editors selected to accompany the book certainly suggests it. (My my, Ned and his great sword).

ned__ice
Eddard with Ice – by Michael Kormack

Hence, the sexual connotation is still implied, as is the losing of her maidenhead, since Ned cleansed it of blood and Catelyn only ever bedded her husband.

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)

Ned polishing Ice and Catelyn watching echoes the privileged intimacy of marriage that Catelyn has with Ned Stark. The next chapter does not shy away from telling us that they have a healthy sexual relationship that they both enjoy.

So when they had finished, Ned rolled off and climbed from her bed, as he had a thousand times before. He crossed the room, pulled back the heavy tapestries, and threw open the high narrow windows one by one, letting the night air into the chamber.
The wind swirled around him as he stood facing the dark, naked and empty-handed. Catelyn pulled the furs to her chin and watched him. He looked somehow smaller and more vulnerable, like the youth she had wed in the sept at Riverrun, fifteen long years gone. Her loins still ached from the urgency of his lovemaking. It was a good ache. (aGoT, Catelyn II)

Catelyn may dislike the underworld – the place, the attitude and what it requires from her husband –  but she loves and desires her husband, even though she did not choose him initially. Not only does she find the sword has its own beauty. She loves the sword’s name and ancestry. The final lines of the paragraph about Ice, implies she regards Ned Stark as a man with the blood of kings and ancient heroes. He may not be the dashing womanizer as Brandon or Daario, but he has his own beauty to her, one she saw at their wedding when he looked vulnerable. Only Catelyn knows him in the intimate manner of lovemaking.

With the hint that theirs is a good marriage, Ned proceeds by sharing his concerns about the desertions and Mance Rayder as King-Beyond-the-Wall. Catelyn in return shares her fears about it to Ned.

Beyond the Wall?” The thought made Catelyn shudder.
Ned saw the dread on her face. “Mance Rayder is nothing for us to fear.”
“There are darker things beyond the Wall.” She glanced behind her at the heart tree, the pale bark and red eyes, watching, listening, thinking its long slow thoughts.
His smile was gentle. “You listen to too many of Old Nan’s stories. The Others are as dead as the children of the forest, gone eight thousand years. Maester Luwin will tell you they never lived at all. No living man has ever seen one.”
“Until this morning, no living man had ever seen a direwolf either,” Catelyn reminded him.
“I ought to know better than to argue with a Tully,” he said with a rueful smile. (aGoT, Catelyn I)

Here we get the first indication that Catelyn has a keen intuition.She is in touch with her feelings and she senses a foreboding. Despite, being of the Faith and southern, she is the first person to fear the Others are a possible threat, while Ned – who should know better as a Stark – follows a maester’s rational beliefs². And she is actually correct. In just her first chapter alone, she has three correct forebodings.

  • Darker things beyond the Wall than a King-Beyond-the-Wall: the Others
  • The direwolf killed by an antler in her throat: the Baratheons being a threat to Starks
  • Advizing Ned to guard his tongue around Cersei

“Robert is coming here?” When she nodded, a smile broke across his face.
Catelyn wished she could share his joy. But she had heard the talk in the yards; a direwolf dead in the snow, a broken antler in its throat. Dread coiled within her like a snake, but she forced herself to smile at this man she loved, this man who put no faith in signs. (aGoT, Catelyn I)

“You knew the man,” she said. “The king is a stranger to you.” Catelyn remembered the direwolf dead in the snow, the broken antler lodged deep in her throat. She had to make him see. (aGoT, Catelyn II)

Please, Ned, guard your tongue. The Lannister woman is our queen, and her pride is said to grow with every passing year.” (aGoT, Catelyn I)

It is a great pity that Ned did not heed his wife’s advice months later, once he realized Cersei’s children were not Robert’s. While Catelyn’s decisions, choices and opinions are often cause of much debate with opinions varying between brilliant and stupid, there is no denying that Catelyn is remarkably astute and her intuition superb here. I cannot but help notice that Catelyn hits the mark thrice, while she is seated beside that cold, black pool and made eye contact with the weirwood behind her. It is almost as if she is an oracle in this chapter, or one of the three Norns at the Well of Fate (Urdarbrunnr). It certainly is something we need to store away in the back of our minds, because if Catelyn does fulfill the roles of one of three Norns, then we ought to consider two other women at Winterfell to have similar abilities.

One of the duties Catelyn tends to as wife of the ruler of the underworld is the delivery of the sole news from the living world that is of the underworld’s concern – who died.

Catelyn took her husband’s hand. “There was grievous news today, my lord. I did not wish to trouble you until you had cleansed yourself.” There was no way to soften the blow, so she told him straight. “I am so sorry, my love. Jon Arryn is dead.”

Like Persephone, Catelyn is the bridge between both the terrestrial and subterranaian world. George has Catelyn alone be the connection by having the messages from the south given to her first, before they are relayed to Ned. In her second chapter this bridging role of Catelyn via messages from the south to the north is repeated, in a rather contrived manner.

Maester Luwin drew a tightly rolled paper out of his sleeve. “I found the true message concealed within a false bottom when I dismantled the box the lens had come in, but it is not for my eyes.”
Ned held out his hand. “Let me have it, then.”
Luwin did not stir. “Pardons, my lord. The message is not for you either. It is marked for the eyes of the Lady Catelyn, and her alone.” (aGoT, Catelyn II)

These messages are all related to concerns of the underworld:

  • the dead: who died and how did they die
  • the mourners
  • the visitors: who of the living comes to visit the underworld

She relays Robert’s story how Jon Arryn died in the first chapter, while the contrived message from Lysa adds the information that he was murdered.

“Jon …” he said. “Is this news certain?”
“It was the king’s seal, and the letter is in Robert’s own hand. I saved it for you. He said Lord Arryn was taken quickly. Even Maester Pycelle was helpless, but he brought the milk of the poppy, so Jon did not linger long in pain.”
“That is some small mercy, I suppose,” he said. (aGoT, Catelyn I)

“Lysa says Jon Arryn was murdered.”
His fingers tightened on her arm. “By whom?”
“The Lannisters,” she told him. “The queen.” (aGoT, Catelyn II)

Catelyn mentioning that she saved Robert’s message for Ned implies that she usually handles word from the South by herself without showing it to Ned, even about death or illness. Only in a high profile and personal case like this does she save it for Ned’s eyes to see for himself.

Though Ned inquires after the mourners, we also learn he asks after the living, not because he is particulary interested in them for himself, but for his wife’s sake.

She could see the grief on his face, but even then he thought first of her. “Your sister,” he said. “And Jon’s boy. What word of them?”
“The message said only that they were well, and had returned to the Eyrie,” Catelyn said. “I wish they had gone to Riverrun instead. The Eyrie is high and lonely, and it was ever her husband’s place, not hers. Lord Jon’s memory will haunt each stone…” (aGoT, Catelyn I)

Of much more importance to Ned are visitors of the underworld as it requires him to prepare the underworld for the visitors: guides, a feast, entertainment, his associates responsible of other sections of the underworld such as a representative of the Night’s Watch.

“The letter had other tidings. The king is riding to Winterfell to seek you out.”
…[snip]…”Robert is coming here?” When she nodded, a smile broke across his face.
…[snip]…”I knew that would please you,” she said. “We should send word to your brother on the Wall.”
“Yes, of course,” he agreed. “Ben will want to be here. I shall tell Maester Luwin to send his swiftest bird.” Ned rose and pulled her to her feet. “Damnation, how many years has it been? And he gives us no more notice than this? How many in his party, did the message say?”
“I should think a hundred knights, at the least, with all their retainers, and half again as many freeriders. Cersei and the children travel with them.”…[snip]… “The queen’s brothers are also in the party,” she told him.

With what we have seen from Catelyn earlier, it seems peculiar that Catelyn is the one who proposes to warn Benjen Stark of the Night’s Watch. The Wall and the Night’s Watch seemed Ned’s focus. I am not pointing it out because she is a woman or the wife, but because she has this dislike of the godswood, the weirwood tree, the Stark words and a fear for the Wall and what is beyond it. Would Catelyn have given advice on communication with the Night’s Watch regarding a deserter or wildlings? I doubt it. Though evidently, in the next chapter she advizes Ned what to do with Robert’s offer to make Ned Stark his Hand. I would say that she takes initiative to have a Stark representative of the Night’s Watch present when Robert visits, because she is the bridging character between the southerners (the living) and the northerners (the underworld).

I would also like to point out how Ned offers Catelyn to visit Lysa at the Eyrie.

“Go to her,” Ned urged. “Take the children. Fill her halls with noise and shouts and laughter. That boy of hers needs other children about him, and Lysa should not be alone in her grief.”

It is one of the few moments that Ned’s speech is filled with life symbolism. Since a Persephone belongs to both worlds and in myth voyages between the two yearly, here we get a subtle reference for Catelyn to resurface south.

Demeter of the lovely hair, the mother who bathes

Catelyn’s second chapter once again focuses on contrasting symbolism of life and death. Catelyn has been furnished in the hottest room of Winterfell, a little haven of the living world in the heart of the underworld.

Of all the rooms in Winterfell’s Great Keep, Catelyn’s bedchambers were the hottest. She seldom had to light a fire. The castle had been built over natural hot springs, and the scalding waters rushed through its walls and chambers like blood through a man’s body, driving the chill from the stone halls, filling the glass gardens with a moist warmth, keeping the earth from freezing. Open pools smoked day and night in a dozen small courtyards. That was a little thing, in summer; in winter, it was the difference between life and death. (aGoT, Catelyn II)

The paragraph is full of elements referencing life – the hot springs, blood rushing through a living and breahting man – that keep death at bay, conquer death even as it drives chill away and keeping the earth from freezing, so that they can grow food and flowers in a glass garden that otherwise could not be grown North.

Catelyn’s bedroom is her haven of life, and as a setting contrasts the godswood, Ned’s haven. It is stated that these are Catelyn’s chambers, not theirs. A married couple sharing a bedroom and only one is a modern practice. In feudal times high noble couples had separate bedrooms. Hence, the hot bedroom is hers and Ned is a visitor there (and he visits it often apparently), whereas Catelyn was the visitor in Ned’s godswood. This impacts the dynamics we witness between them. When Catelyn visits Ned in the godswood, we can see her in a Persephone role of the woman who is bound to the underworld through marriage. But in Catelyn’s haven another chthonic woman emerges – Demeter, the mother goddess.

Catelyn’s bath was always hot and steaming, and her walls warm to the touch. The warmth reminded her of Riverrun, of days in the sun with Lysa and Edmure, but Ned could never abide the heat. The Starks were made for the cold, he would tell her, and she would laugh and tell him in that case they had certainly built their castle in the wrong place.

Demeter was the goddess of the harvest and fertility as Demeter Sito (“she of the grain”). Where Persephone symbolized the fruit, flowers and grain itself, her mother Demeter was the one with the power to decide whether life grew or not. Persephone’s disappearance did not cause famine directly, but Demeter’s wrath over her daughter’s abduction. Demeter was a mother-goddess of the earth. As the divine teacher of agriculture, she was a corner stone of civilisation, including the laws people had to abide by.

In Accadian myth Demeter’s daughter is Despoina, a much wilder version than Persephone, born from the copulation of Poseidon as a stallion and Demeter as a mare. Demeter attempted to escape Poseidon, but failed. Demeter’s rape was followed by her bathing. Hence, one of her  epiteths was Lusia (“bathing”) and Thermasia (“warmth”), and both Despoina and Demeter were much more tied to spring sources. In Catelyn’s second chapter George repeats these references several times:

  • a warm room, because of scalding hot springwater where Catelyn hardly ever needs to raise a fire in her hearth.
  • glass garden to grow vegetables, fruit, and flowers
  • hot scalding baths.

That Catelyn seldom needed to raise a fire in her hearth is a peculiar detail. The goddess of the hearth and home was Hestia, Demeter’s sister. With Catelyn as mistress of Winterfell and homemaker it is as if George stresses to not mistake Catelyn with the virginal goddess of the hearth, Hestia. While George emphasies that warmth and hotness is related to Catelyn, it is not in any way related to the firehearth.

Scalding, hot baths feature repeatedly in Catelyn’s chapters.

Old Nan undressed her and helped her into a scalding hot bath and washed the blood off her with a soft cloth.(aGoT, Catelyn III)

She bathed her hands in the basin and wrapped them in clean linen. (aGoT, Catelyn IV)

By the time Ser Desmond came for her, she had bathed and dressed and combed out her auburn hair. “King Robb has returned from the west, my lady,” the knight said, “and commands that you attend him in the Great Hall.” (aSoS, Catelyn II)

There are other Demeter eptiteths and symbols that feature throughout Catelyn’s arc, but for now I will focus on one that relates to Catelyn’s bathing and is part of her final thoughts before her throat is cut at the Red Wedding – her hair.

Catelyn had always thought Robb looked like her; like Bran and Rickon and Sansa, he had the Tully coloring, the auburn hair, the blue eyes. (aGoT, Catelyn III)

“It is only water, Ser Rodrik,” Catelyn replied. Her hair hung wet and heavy, a loose strand stuck to her forehead, and she could imagine how ragged and wild she must look, but for once she did not care.(aGoT, Catelyn V)

All that remained of her sister’s beauty was the great fall of thick auburn hair that cascaded to her waist. (aGoT, Catelyn VI)

She had washed her hair, changed her clothing, and prepared herself for her brother’s reproaches … (aSoS, Catelyn I)

After she’d undressed and hung her wet clothing by the fire, she donned a warm wool dress of Tully red and blue, washed and brushed her hair and let it dry, and went in search of Freys.(aSoS, Catelyn VI)

That made her laugh until she screamed. “Mad,” someone said, “she’s lost her wits,” and someone else said, “Make an end,” and a hand grabbed her scalp just as she’d done with Jinglebell, and she thought, No, don’t, don’t cut my hair, Ned loves my hair. Then the steel was at her throat, and its bite was red and cold.(aSoS, Catelyn VII)

Descriptions about food, clothing, hair and color of eyes are common in novels, but George tends to have different POVs focus heavily on different description topics. Tyrion’s chapters tend to have the eloborate food descriptions, even when it is a daily meal of little importance (peas anyone?). Sansa’s chapters focus heavily on clothing. Catelyn’s chapters feature hair a lot. That is not to say that other features are completely absent in each of these character’s POVs. Sansa’s chapters describe food and hair as well, but only of important characters or events. In Catelyn’s chapters even the most unimportant squire passing by will get a beard and hair description. Catelyn only focuses on attire at special occasions when it actually matters. It is not just the hair of every Dick and Tom that matters to Catelyn, but her own auburn hair is most precious to her, for Ned loved her hair.

Hair is a feature of Demeter. When she is referenced in Greek poetry she is called ‘beautiful/rich haired Demeter’.

I begin to sing of rich-haired Demeter, awful/revered goddess…

Bitter pain seized her heart, and she rent the covering upon her divine hair with her dear hands:… (Hymn to Demeter, Homerus 7th century BCE, translation Hugh G. Evelyn-White, Loeb Classical Library 1914)

The Homeric Hymn to Demeter served for centuries as the canonical hymn of the Eleusinian Mysteries. In another poem ascribed to Homer he again references her beautiful hair in relation to a legend where Demeter takes the youth Iason as her lover.

So, it was Demeter of the lovely hair, yielding to her desire, lay down with Iason…

I quoted the paragraphs about Ned’s and Catelyn’s lovemaking already in relation to the innuendo of the polishing of the sword, but I repeat it here to show how that paragraph references several life symbols.

The wind swirled around him as he stood facing the dark, naked and empty-handed. Catelyn pulled the furs to her chin and watched him. He looked somehow smaller and more vulnerable, like the youth she had wed in the sept at Riverrun, fifteen long years gone. Her loins still ached from the urgency of his lovemaking. It was a good ache. She could feel his seed within her. She prayed that it might quicken there. It had been three years since Rickon. She was not too old. She could give him another son.

It mentions the sensation of feeling, as well as seed, quickening and making a child – all related to new life. In her haven, Ned is not the Lord of Winter, but a youth, as naked and empty-handed as he was born, as vulnerable as he was on their wedding day.

The elements of a wedding, a vulnerable youth and conception of a son appear in one of Demeter’s legends. At a wedding party, she chooses the youthful Iason for a lover and takes him to a plowing field where they have intercourse. This is how she conceives a son by Iason. When Demeter and her lover return to the feast it is evident to all the other guests what the couple has been up to. Jealous, Zeus strikes the human Iason with a lightning bolt, which would prove his vulnerability. In the above quoted scene, Catelyn did not conceive, but thinks of it while the paragraph refers to her wedding day. And Catelyn did become pregnant with Robb either during her wedding night or shortly after, before youthful Ned Stark rode off to war again.

…[snip]…He had a man’s needs, after all, and they had spent that year apart, Ned off at war in the south while she remained safe in her father’s castle at Riverrun. Her thoughts were more of Robb, the infant at her breast, than of the husband she scarcely knew.(aGoT, Catelyn II)

Ned had lingered scarcely a fortnight with his new bride before he too had ridden off to war with promises on his lips. At least he had left her with more than words; he had given her a son. Nine moons had waxed and waned, and Robb had been born in Riverrun while his father still warred in the south. She had brought him forth in blood and pain, not knowing whether Ned would ever see him. Her son. He had been so small … (aGoT, Catelyn X)

Later in the same chapter we get further allusions to fertility symbolism as Catelyn gets up from the bed naked, while maester Luwin is present. Maester Luwin delivered all her children, or at least four of them³. And of course, though not outrightly mentioned, there is the implication that all those children, except for Robb Stark, were conceived and born in Catelyn’s bedroom.

With both Ned and Catelyn naked and wide awake it is clear to any visitor, such as Luwin, that the Lord and Lady of Winterfell had been sexually active and not woken from sleep. There is even a moment of embarrassment for Ned when Catelyn gets up from the bed. This scene would fit with the wedding guests able to guess what Demeter and Iason were up to before.

She threw back the furs and climbed from the bed. The night air was as cold as the grave on her bare skin as she padded across the room.
Maester Luwin averted his eyes. Even Ned looked shocked. “What are you doing?” he asked.
Lighting a fire,” Catelyn told him…[snip]…
“Maester Luwin—” Ned began.
“Maester Luwin has delivered all my children,” Catelyn said. “This is no time for false modesty.” (aGoT, Catelyn II)

What is evident is that in this haven of life and fertility, Catelyn’s focus would be on the South, civilisation and how it can be an advantage for her and her children, not in terms of what is best for the North or Winterfell, aka the underworld. While the chapter starts with the life and fertility symbols it especially includes symbols of motherhood. Hence we get a shift from Catelyn who considers the Wall’s and Northern interests in the godswood as chthonic Persephone to Demeter in her haven of life where her southron ambition surfaces. Persephone is not in conflict with Hades, but Demeter is. And it is this conflict we witness in Catelyn’s room, a conflict of priorities, understanding and interests.

Ned’s understanding and priority lies with his duty of ruling the underworld.

“I will refuse him,” Ned said as he turned back to her. His eyes were haunted, his voice thick with doubt.
Catelyn sat up in the bed. “You cannot. You must not.”
My duties are here in the north. I have no wish to be Robert’s Hand.”

The Tully words are “Family, duty and honor,” in that order of priority. For her, one’s first duty is to family and then to the king and the honor the king shows Ned. Governing the North is somewhere at the end of the list of her duties. With Demeter family comes before duty as well. It is her duty to ensure the growth of crops and life. But when her daughter is stolen from her, she lets the world starve in defiance, even though the king of the gods, Zeus himself, consented Hades to take Persephone for a bride.  Persephone on the other hand regards the duties of ruling the underworld as her own as much as it is Hades’s.

She had to make him see. “Pride is everything to a king, my lord. Robert came all this way to see you, to bring you these great honors, you cannot throw them back in his face.”
“Honors?” Ned laughed bitterly.
“In his eyes, yes,” she said.
“And in yours?”
“And in mine,” she blazed, angry now. Why couldn’t he see? “He offers his own son in marriage to our daughter, what else would you call that? Sansa might someday be queen. Her sons could rule from the Wall to the mountains of Dorne. What is so wrong with that?”

While Catelyn wonders why she cannot make Ned see, she simultaneously fails to see Ned’s duty. Blindness is a feature of the underworld, and that can extend to a metaphorical blindness. Catelyn fails to make Ned see, because as ruler of the underworld he is mentally blind to the interests of life and heavens, except when it pertains who and how they died.

They reach a momentarily impasse, until Maester Luwin arrives.

Ned turned away from her, back to the night. He stood staring out in the darkness, watching the moon and the stars perhaps, or perhaps the sentries on the wall…[snip]… Ned crossed to the wardrobe and slipped on a heavy robe. Catelyn realized suddenly how cold it had become. She sat up in bed and pulled the furs to her chin. “Perhaps we should close the windows,” she suggested.
Ned nodded absently. Maester Luwin was shown in.

I want to pay some attention to the opening and closing of that window. Ned Stark opens the window after their lovemaking in Catelyn’s warm, fertile room and he lets the night air in.

So when they had finished, Ned rolled off and climbed from her bed, as he had a thousand times before. He crossed the room, pulled back the heavy tapestries, and threw open the high narrow windows one by one, letting the night air into the chamber.

When Ned Stark lets the night in, he balances the warmth of life with the chill of the underworld. And while looking out into the night once in a while he remains connected with his realm. It is then that he decides for himself that he will refuse Robert. When Maester Luwin is shown in, he closes the window. Gradually, Ned is disconnected from the underworldy elements, and Catelyn lights a fire to burn both Lysa’s message as well as drive the last chill out. Both Catelyn and Luwin outnumber and outwit Ned Stark into accepting the position of the King’s Hand – not for honor, not to have daughter as queen, but to solve the murder of a dead man.

The Eleusinian Mystery

On my home page I used the quotes about the Myrish lens to illustrate how it urges the reader to look for deeper layers in George’s writing. But it also applies to the chthonic reading of the books. The Eleusinian Mystery was the mystery cult regarding secret knowlege of Persephone and Demeter. Mystai (initiates of the mystery) would enter a great hall, Telesterion, at the major temple of Eleusis and participate in rituals that revealed this secret knowlege:

  • Dromena = things done. For example a re-enactment of the Persephone-Demeter myth
  • Deiknumena = things shown. For example the displaying of sacred objects by a hierophant that were kept in a box.
  • Legomena = things said. For example comments that accompanied the deiknumena.
  • Aporrheta = the unspeakable. The term for all three elements combined. It was death to divulge the secrets, and playwrights were tried and condemned to death over it in actual history.

The complete scene about Lysa’s message all revolve around these concepts and is written to focus on seeing first, then saying and finally crimes done, as well as a vow of silence. We can actually literary divide the scene into each different part of the ritual.

Deiknumena (things shown)

Maester Luwin is shown in. He mentions the box and how it contains a lens, an instrument to help someone see, and that is how Luwin found a secret bottom inside that contained Lysa’s message. The sealed letter that has to be read and seen rather than spoken is then produced by Luwin in front of Ned and given to Catelyn, as its content is for Catelyn’s eyes only. So, we have a box containing a secret, and what can be called deiknumera (things shown). Maester Luwin is akin to a hierophant, a type of priest trained and knowledgeable in arcane principles and mysteries, particularly the Eleusian Mysteries. Within the Faith a Septon teaches and performs the public rites and beliefs of the Faith, whereas a maester is a learned man of the Faith who has studied and trained in the more mysterious arts.

“There was no rider, my lord. Only a carved wooden box, left on a table in my observatory while I napped. My servants saw no one, but it must have been brought by someone in the king’s party. We have had no other visitors from the south.”…[snip]…”Inside was a fine new lens for the observatory, from Myr by the look of it. The lenscrafters of Myr are without equal.”…[snip]…”Clearly there was more to this than the seeming.”
Under the heavy weight of her furs, Catelyn shivered. “A lens is an instrument to help us see.”
“Indeed it is.” He fingered the collar of his order; a heavy chain worn tight around the neck beneath his robe, each link forged from a different metal.
Catelyn could feel dread stirring inside her once again. “What is it that they would have us see more clearly?”
“The very thing I asked myself.” Maester Luwin drew a tightly rolled paper out of his sleeve. “I found the true message concealed within a false bottom when I dismantled the box the lens had come in, but it is not for my eyes.”…[snip]…”Pardons, my lord. The message is not for you either. It is marked for the eyes of the Lady Catelyn, and her alone. May I approach?”

The fact that the hierophant Luwin declares the secret within the box for Catelyn’s eyes only makes her an initiate. It turns out the letter is coded in the secret language that Lysa and Catelyn developed as children. Catelyn is the sole person who can decipher the letter, furthering her as an initiate. Her feelings of dread and knowledge the message contains grief, while it is still sealed, also attests to Catelyn being an initiate, since initiates are familiar with the mystery already. Of course, Catelyn does not know what it actually reads before she opens it, but she has a premonition of it.

Catelyn nodded, not trusting to speak. The maester placed the paper on the table beside the bed. It was sealed with a small blob of blue wax. Luwin bowed and began to retreat.
“Stay,” Ned commanded him. His voice was grave. He looked at Catelyn. “What is it? My lady, you’re shaking.”
“I’m afraid,” she admitted. She reached out and took the letter in trembling hands. The furs dropped away from her nakedness, forgotten. In the blue wax was the moon-and-falcon seal of House Arryn. “It’s from Lysa.” Catelyn looked at her husband. “It will not make us glad,” she told him. “There is grief in this message, Ned. I can feel it.”
Ned frowned, his face darkening. “Open it.”
Catelyn broke the seal.
Her eyes moved over the words. At first they made no sense to her. Then she remembered. “Lysa took no chances. When we were girls together, we had a private language, she and I.”

Catelyn is more than an initiate though. She very much is already tied to Demeter herself. The secret and news that was dreadful to Demeter was about the underworld. Note how often underworld vocabularly is used surrounding the appearance of the letter, Catelyn’s feelings and Ned’s expressions.

Of note here is that from the moment that Catelyn remarked that a lens is an instrument to help them see until Ned orders Catelyn to “tell them” what the message is about, George completely refrains from using the verb said and only once uses speak to highlight that Catelyn dares not speak. For a complete page one of the most often used verbs in literature is absent in the middle of a conversation between three characters. While characters speak, the text itself avoids the typical “he said” addition. Only four verbs related to speech are used in that passage – ask myself, command, admit, told – and each only once. This is quite extraordinary and George does this to emphasize the “showing”.

Legomena (things said)

The scene proceeds with the legomena. If you believed that the absence of the verbs said and tell and speak were merely coincidental or a general effort by George to avoid the use of these, then the next phase indicates it was done on purpose, for now the speech verbs said and tell get repeated several times. Ned orders Catelyn to tell them or him twice. Catelyn indicates they will need Luwin’s counsel (things he might say). The verb to say is used in various forms for a total of seven times. Catelyn does not say “Lysa writes,” but “Lysa says.” And the letter that one has to read becomes a warning that requires the wits to hear.

“Can you read it?”
“Yes,” Catelyn admitted.
“Then tell us.”
“Perhaps I should withdraw,” Maester Luwin said.
“No,” Catelyn said. “We will need your counsel.” She threw back the furs and climbed from the bed. The night air was as cold as the grave on her bare skin as she padded across the room.
Maester Luwin averted his eyes. Even Ned looked shocked. “What are you doing?” he asked.
“Lighting a fire,” Catelyn told him. She found a dressing gown and shrugged into it, then knelt over the cold hearth…[snip]…”Maester Luwin has delivered all my children,” Catelyn said. “This is no time for false modesty.” She slid the paper in among the kindling and placed the heavier logs on top of it.
Ned crossed the room, took her by the arm, and pulled her to her feet. He held her there, his face inches from her. “My lady, tell me! What was this message?”
Catelyn stiffened in his grasp. “A warning,” she said softly. “If we have the wits to hear.” …[snip]…”Lysa says Jon Arryn was murdered.”…[snip]…”The Lannisters,” she told him. “The queen.”
Ned released his hold on her arm. There were deep red marks on her skin. “Gods,” he whispered. His voice was hoarse. “Your sister is sick with grief. She cannot know what she is saying.”
“She knows, Catelyn said.

The discrepance between the total absence of the verb to say for a full page and it then appearing seven times in less than a page right after it shows how deliberate George uses (or does not use) the verb in the message scene. It is even used twice within the conversation itself, despite the fact that both Ned and Catelyn refer to a written message, not an actual spoken one. Notice too how Luwin averts his eyes in order to not see. Where in the deiknumena-section George explicitly writes how Catelyn dares not speak, he emphasizes in the legomena-section that Luwin dares not see.

George also explicitly breaks the first rule a commencing author learns – show, don’t tell. George does not show Catelyn lighting the hearth. No, he has Ned ask her what she is doing and she tells him (and consequentionally the reader) that she’s lighting a fire. George never actually shows the reader how Catelyn lights the hearth, only that Catelyn slips the message among the kindling and puts a log on top of it.

Dromena (things done) and aporrheta (unspeakable)

This is only a short section in the whole scene and concludes the message scene. The content of Lysa’s message fall in the category of the dromena (things done) – the queen murdered Jon Arryn and continues into what Ned must do. And we are also reminded that the message is aporrheta (unspeakable), punishable by death.

“Lysa is impulsive, yes, but this message was carefully planned, cleverly hidden. She knew it meant death if her letter fell into the wrong hands….”

George basically turned the murder mystery of Jon Arryn into an Eleusinian Mystery, and we should be on the look-out for similar vocabulary use and scheme when GRRM reveals the identity of Jon’s mother in the coming books.

Pandora’s Box

The Eleusinian Mystery works insofar that Catelyn has ties to the Demeter archetype, but the who-dunnit seems rather mundane in comparison to the meta-physical aspect of the Eleusinian Mysteries. These Mysteries after all were about a mother losing her daughter, her wrath, the seasonal cycle, agriculture and the spiritual truth regarding nature – without death there is no life, and without life there is no death. Meanwhile Lysa’s message is not even remotely a truth; it is a lie. Jon Arryn was murdered, but not by Cersei Lannister. He was poisoned by his own wife, Lysa, who sent the Eleusinian Mystery box to Catelyn.

Lysa Tully to Petyr Baelish: “No need for tears . . . but that’s not what you said in King’s Landing. You told me to put the tears in Jon’s wine, and I did. For Robert, and for us! And I wrote Catelyn and told her the Lannisters had killed my lord husband, just as you said…” (aSoS, Sansa VII)

In that sense, Lysa’s box is more akin to Pandora’s box, which actually was a jar. It became known as a box because of a 17th century mistranslation. Pandora and her box is most famous by Hesiod’s telling in Works and Days (700 BC) that leaves no doubt of Hesiod’s misogynistic mind. Works and Days is an 800 line poem  that attempts to teach his brother Perses (and humanity) how to live a frugal, honest, hard working, god abiding life, after Perses cheated Hesiod out of  part of his inheritance because Perses squandered his own half. With his telling of Prometheus and Pandora, Hesiod attempts to explain why man has to work and suffer.

According to Hesiod, originally humanity (created by Prometheus) was all male faitfully worshipping the gods. To help his creation, Prometheus gave Zeus two plates of sacrifices, where cow meat was hidden inside a stomach on one plate and horns were hidden inside a layer of fat on the other. Zeus picked the tasty looking platter of fat, thereby determining that man would pay homage to the gods by burning the bones of the animals they ate, so they could keep the edible for themselves. Angry, Zeus took away man’s ability to use fire, but then Prometheus stole the fire from Mount Olympus and gave it back to humanity. Zeus punished Prometheus to suffer for eternity in Tartarus by being bound to a rock and having his regenerating liver eaten daily by an eagle. But Zeus also created the first woman, Pandora.

From her is the race of women and female kind:
of her is the deadly race and tribe of women who
live amongst mortal men to their great trouble,
no helpmates in hateful poverty, but only in wealth. (Theogeny, Hesiod, line 590-593)

The first woman was created out of earth and water by Hephaestus (god of fire and smithing), as beautiful as a goddess,  a sweet-shaped maiden who could weave and sow (taught by Athene) with grace and longing (given to her by Aphrodite), but who would also sag over the years by cares. Hermes gave her a shameless mind and a deceitful nature. In other words, Zeus created women as evil, deceitful, beautiful temptresses that spend a man’s money he worked so hard for, but over time become old hags that men are required to depend on when they are old and sick. For Hesiod all women were golddiggers.

“But I will give men as the price for fire an evil thing in which they may all be glad of heart while they embrace their own destruction.” So said the father of men and gods, and laughed aloud. And he bade famous Hephaestus make haste and mix earth with water and to put in it the voice and strength of human kind, and fashion a sweet, lovely maiden-shape, like to the immortal goddesses in face; and Athene to teach her needlework and the weaving of the varied web; and golden Aphrodite to shed grace upon her head and cruel longing and cares that weary the limbs. And he charged Hermes the guide, the Slayer of Argus, to put in her a shameless mind and a deceitful nature. (Works and Days, Hesiod, ll 54-68)

Zeus gifted Pandora (with jar) to Prometheus’ brother, who in the sight of her beauty forgot Prometheus’ warning not to accept Olympian gifts. The jar contained all evils to man – death, sickness, old age, plagues, hunger, war, etc. When Pandora opened it (by accident or out of curiosity), she released these evils and humanity suffers them ever since. Pandora closed the jar again, much too late. All that was left in the jar, the moment she closed it again, was hope (literally expectation)4.

Lysa’s message brings all evil upon the Starks. Without it, Ned Stark would not have accepted Robert’s offer and remained North. Robert would have huffed and puffed, but leave for King’s Landing again. Even if Robert attempted to war the North, Ned Stark could defend the North easily from Moat Cailin and with the help of Howland Reed’s crannogmen. Bran would not have climbed and fallen on the day to say goodbye to Winterfell. There would not have been an assassination attempt on Bran’s life, no abduction of Tyrion nor Tywin’s revenge on the Riverlands for it and Ned would still have a head. Lysa’s and Littlefinger’s desires and deceit packed and gifted to Catelyn as an  Eleusinian Mystery was a box of doom. The irony here is that Pandora’s box becomes a curse for the underworld, which ultimately becomes a bane for the world of the living.

But who is Pandora then – Lysa or Catelyn? One sends the lie in a box as a gift, while the later opens the lie and uses it as the final argument to convince her husband into accepting the job of the Hand for her own desires to make her daughter the future queen of Westeros. Lysa’s obsessive desire to have Petyr Baelish for a husband turns her into a mercenary woman who does not care about the mysery and innocent lives lost that her message caused, while Petyr’s obsession for Catelyn (in the shape of her daughter Sansa) also drives the plot. Since Pandora is the archetype of women’s share in the mysery unleashed on the world by or for them, both Lysa and Catelyn show Pandorian aspects. Notice too how Catelyn lit a fire (stolen from the gods by Prometheus) in which she burned the evil lie that came out of Lysa’s box.

“What are you doing?” he asked.
Lighting a fire,” Catelyn told him. She found a dressing gown and shrugged into it, then knelt over the cold hearth…[snip]… She slid the paper in among the kindling and placed the heavier logs on top of it. (aGoT, Catelyn II)

It is believed by scholars, based on epiteths and artwork on pottery, that Hesiod’s Pandora was his personally altered version of an earth goddess. Traditionally Pandora is taken to mean ‘all-gifted’, which is what Hesiod describes – each god giving Pandora gifts. But it actually might have meant ‘all giving’. Classic scholars generally assume that secondary (or tertiary) mythological characters splintered off from the primary god or goddess, while still preserving some of the aspects. This tends to happen especially with goddesses, and most often to Great Goddesses. The general Mother Earth or Mother Goddess personifies nature, fertility, motherhood, creation but also destruction. Over time, these aspects end up being splintered across several later goddesses with more specialized functions. For example, with the Greeks:

  1. primordial Gaia (‘earth’), mother of the Titans.
  2. her daughter Rhea (‘ground’) becomes the Mother Goddess or Great Mother of the Olympian gods.
  3. her granddaughter Demeter is also a Mother Goddess who provides( and refuses) nutrituous bounty of the earth5. Where Gaia is primal, Demeter is a cultured earth goddess who teaches agriculture to humanity.
  4. her great-granddaughter Persephone represents the cultivated harvest itself.
  5. Pandora seems to have a similar nature in providing humanity with earthen gifts. Even post-Hesiodic pottery represents Pandora rising from the earth with her arms upraised to greet her husband Epimetheus. She even had a cult once. Even Hesiod’s Pandora wears a wreath of woven grass and flowers to adorne her head. Pandora becomes the humanized Persephone.

Ultimately, Pandora seems to have been a chthonic goddess6.

A possible esoteric revelation that was part of the Eleusinian Mysteries would have been the knowledge that life is bound to the underworld. Seeds have to be planted into the soil, into the ground and thus are born from the underground to feed the living. Animals need to be bred but also killed in hunts or slaughter to feed people to stay alive. Ecology is a constant recycling of dead organisms to feed the living ones. Persephone’s myth does not only explain the cause of the seasons, but symbolizes this inevitable union of the ecological life and death cycle. And the pre-Hesiodic myth about Pandora probably illustrated those aspects – the earth giveth, and the earth taketh. It is likely that she had or opened two jars, instead of just the one, since Homer’s Illiad mentions two urns from which Zeus gives blessings or evils onto humanity.

Osiris’ coffin, Isis and the golden phallus and Demeter of the golden sword

Ned frowned. He had little patience for this sort of thing, Catelyn knew. “A lens,” he said. “What has that to do with me?”

When Ned asks what the box has to do with him, we can answer, “Indirectly, everything”. As ruler of the underworld heinous crimes such as murder concern him, and he plays an inevitable part in the myth of Pandora’s box as well as the Eleusinian Mysteries.

Luwin plucked at his chain collar where it had chafed the soft skin of his throat. “The Hand of the King has great power, my lord. Power to find the truth of Lord Arryn’s death, to bring his killers to the king’s justice. Power to protect Lady Arryn and her son, if the worst be true.”
Ned glanced helplessly around the bedchamber. Catelyn’s heart went out to him, but she knew she could not take him in her arms just then. First the victory must be won, for her children’s sake. “You say you love Robert like a brother. Would you leave your brother surrounded by Lannisters?”
The Others take both of you,” Ned muttered darkly. He turned away from them and went to the window. She did not speak, nor did the maester. They waited, quiet, while Eddard Stark said a silent farewell to the home he loved. When he turned away from the window at last, his voice was tired and full of melancholy, and moisture glittered faintly in the corners of his eyes. “My father went south once, to answer the summons of a king. He never came home again.”

Unfortunately, Ned Stark will never return home again either, well not alive at least. Instead he loses his head.

I now jump to an entirely different pantheon and chthonic pairing – the Egyptian Isis and Osiris. Osiris was the ruler of the underworld Duat. Unlike Hades, he only became the god of the dead, after he was murdered by an envious Set, a trickster jackal god of chaos, deception, violence, storm and desert7. According to Plutharch’s “Of Isis and Osiris” from the 1st century CE, Set devized a plan where he took King Osiris’s body measurements and had a beautiful, ornate box made with the help of the Queen of Ethyopia. At a banquet he presented this box and said that he would gift the box to the person who could fit himself in it. Only Osiris accomplished the challenge, since it was custom-made to fit only him. As soon as Osiris lay in the box, Set and his accomplices put the lid on it and threw him in the Nile where he drowned. Isis searched for the box in order to give her husband a proper burial. She found it in a tree in Byblos (in present day Lebanon, settlement since 7000 BC), took it back to Egypt where she hid it in a marsh or swamp. But when Set went hunting that night, he discovered the box , dissected Osiris’ body in a rage and scattered the body parts all across Egypt to ensure that Isis could never find him again. After years, Isis manages to reassemble Osiris, except for his phallus which was eaten by fish. Together with Thoth (mediator, scribe, magical art, science, judgement of the dead) she manufactures a magical golden phallus for Osiris. She transforms into a kite, copulates with Osiris and conceives a son, Horus, who sets out to avenge the murder of his father and dethrone Set. Once Osiris was properly mummified and buried, he rose to the throne of the underworld.

The deception by envious Littlefinger matches Set’s deception with the custom made coffin and plan to murder Osiris. He lures Ned Stark to King’s Landing and brings House Stark down with more lies and intends to rule the Riverlands, Vale and North combined, if not all of Westeros.Lysa’s message in a box is a death trap.

The silent sisters return Ned’s gathered bones to Catelyn in Riverrun. Notice the connection between Rivverun and Isis discovering Osiris’s body after it floated down the river to Byblos. The silent sisters accompanied Ser Cleos Frey, who served as a mediator between the Lannisters and Starks, when Tyrion ordered the return of Ned’s bones. Of course bones are numerous puzzle pieces that need to be assembled. The paragraph of Catelyn looking on her dead husband mentions how his dismembered skull has been reattached with wire to the body.

“I would look on him,” Catelyn said.
Only the bones remain, my lady.”…[snip]…One of the silent sisters turned down the banner.
Bones, Catelyn thought. This is not Ned, this is not the man I loved, the father of my children. His hands were clasped together over his chest, skeletal fingers curled about the hilt of some longsword, but they were not Ned’s hands, so strong and full of life. They had dressed the bones in Ned’s surcoat, the fine white velvet with the direwolf badge over the heart, but nothing remained of the warm flesh that had pillowed her head so many nights, the arms that had held her. The head had been rejoined to the body with fine silver wire, but one skull looks much like another, and in those empty hollows she found no trace of her lord’s dark grey eyes, eyes that could be soft as a fog or hard as stone. They gave his eyes to crows, she remembered.
Catelyn turned away. “That is not his sword.”
Ice was not returned to us, my lady,” Utherydes said. “Only Lord Eddard’s bones.” (aCoK, Catelyn V)

The most glaring parallel here with the Osiris myth is that Ned’s greatsword Ice is missing, while that particular sword is a phallic symbol in Catelyn’s eyes. In fact, Ice has been destroyed and reforged in two other swords, ornately decorated with gold. So, we definitely have an echo of the mythical dynamics of Osiris, Isis, Thoth, Horus the Younger and Set woven into the story8, with Ned as Osiris, Catelyn as Isis, Ser Cleos Frey and/or Tyrion as the mediating Thoth, Catelyn’s sons as Horuses and Petyr Baelish and other enemies as Set.

As the reforged sword with golden hilt, not only are Oathkeeper and Widow’s Wail phallic symbols. The golden sword is also an epiteth for Demeter in the Hymn to Demeter I already mentioned.

Apart from Demeter, lady of the golden sword and glorious fruits, …

Oathkeeper ends up in Lady Stoneheart’s hands, and notice that when it is laid in front of her, she only has eyes for the golden pommel.

Another of the outlaws stepped forward, a younger man in a greasy sheepskin jerkin. In his hand was Oathkeeper. “This says it is.” His voice was frosted with the accents of the north. He slid the sword from its scabbard and placed it in front of Lady Stoneheart. In the light from the firepit the red and black ripples in the blade almost seem to move, but the woman in grey had eyes only for the pommel: a golden lion’s head, with ruby eyes that shone like two red stars.(aFfC, Brienne VIII)

Torches and fruit are some of the most well known attributes Demeter carries. Less known nowadays is that she carried a golden sword or sickle, which she used in battle against the Titans, earning her the epiteth Khrysaoros or ‘lady of the golden sword’.

So, with the reforged Ice with a golden pommel in Lady Stoneheart’s hands, we have both Isis in possession of Osiris’ golden phallus as well as Demeter of the golden blade. And while the golden lion symbolizes life (sun symbol), it also has ruby eyes that look like red stars – with stars being death symbols – or red comets (?). Blended together it makes for a sword that incorporates the union of life and death, which is exactly what Osiris’ golden phallus represents – a life bringing phallus of a dead man.

Ultimately, the golden phallic sword shows how multiple mother godesses  of different mythologies unite in Catelyn. The Greeks themselves linked Demeter to Isis. The Greek historian Herodotus compared the two in the 5th century BCE. When Alexander the Great conquered Egypt, Isis became identified with Demeter and the Mesopotanian Astarte (Ishtar), who Catelyn also shares features and events in her arc with. I will discuss Astarte/Ishtar more in depth in the essay of Catelyn’s chapters at the Eyrie. So, not only does it make sense that we should find commonalities to other goddesses of other mythologies, when George includes elements referring to mother goddess mythology, but that George explicitly and intentionally could use the commonalities – they were already identified 2500 years ago as such by the Greeks.

Conclusion

While Cat’s first chapter alone would lead us to the conclusion that Cat is Persephone the Wife, her second chapter reveals that Cat is in essence more like Demeter, and thus has an innate agenda that juxtaposes that of the underworld. In her haven of life, she wants her husband to abandon the underworld and leave it to its own devices. General references to Demeter in Catelyn’s chapters are her bathing, the warm room using water of the hot ponds, her focus on hair and Ned loving her beautiful hair, as well as fertility elements.

The plot device used to achieve the goal of Ned abandoning the North is Lysa’s box, which is steeped into three different box mythologies – the Eleusinian Mystery, Pandora’s box of doom and Set’s box to trick Osiris into his death. The Isis-Osiris connection for Catelyn and Ned becomes clear once we regard Ned’s greatsword Ice having a phallic meaning. When Ned’s bones are brought to her at Riverrun, the sword is missing, just like Osiris’s sole body part that remained missing was his phallus, eaten by fish. With the aid of others, Isis magically replaced the missing phallus with a golden one. Ned’s phallic symbol Ice was reforged at the order of Tywin into two longswords with golden pommels – Oathkeeper and Widow’s Wail. Oathkeeper ends back in Lady Stoneheart’s camp when the Brotherhood without Banners capture Brienne, and all Lady Stoneheart has eyes for is the golden pommel. Not only does this fit with Isis possessing the golden phallus, but matches the other mother goddess Demeter, the lady of the golden blade.

Summary of chthonic roles

Mythological characters or gods Roles aSoIaF characters
Hades Living ruler of the Underworld Ned Stark
Persephone Fellow ruler of the Underworld, Wife of Hades // Queen of the Underworld, abducted flower maiden Catelyn Tully Stark, Lyanna Stark, Jenny of Oldstones
Demeter Fertility goddess of fruit and harvest, of the lovely hair, of the golden sword, of the bath and hot springs, connected to the underworld since fruit and vegetables cannot grow without it and seeds have to be burried in soil. Catelyn Tully Stark
Pandora Temptress who unleashes doom, death and sickness onto humanity // All giving chthonic earth and fertility goddess, half interred, half her body above earth Lysa Tully Arryn, Catelyn Tully Stark
Isis mother and wife goddess, wife of the ruler of the underworld, mother of a king, protector of the dead and proper burrial, goddess of the children and magic. She searched for the body parts of her murdered husband, and found all parts except his phallus, which she replaced with a magical golden one to birth her king-son Catelyn Tully Stark
Osiris Betrayed king who was tricked and murdered and his remains desecrated. Once reassembled, except for his phallus (replaced by a golden one) he became the ruler of the underworld Ned Stark
Set Envious murderer of Osiris Petyr Baelish, Joffrey
Sisyphus A Greek king who refused to remain in Hades and tricked his wife into an improper burrial which allowed him to return to the surface and haunt the living Ned Stark (in a positive manner)

Summary of chthonic items

Mythological items Function aSoIaF items
Osiris’s golden phallus Fertility symbol of life being born out of  death. Oathkeeper in Lady Stoneheart’s possession
Osiris’s missing phallus Osiris’s true phallus is eaten and gone by fish, symbolizing true death Ice missing and destroyed
Demeter’s golden blade A golden sword or sickle she used both to perform the first harvest as well as war against and depose the Titans. Oathkeeper, Jaime Lannister (?) in Lady Stoneheart’s possession
The Eleusinian Mystery A ritual for the initiated regarding the secret truths of the Persephone-Demeter myth involving items and phases of things shown, things said and things done, which are all unspeakable by punishment of death Lysa’s box with message
Pandora’s box Actually a jar containing death, ilness, old age, poverty, hunger, war. It was opened whereby humanity has to suffer all these ills ever since Lysa’s box with message
Set’s box = Osiris’s coffin A coffin that was custom made to fit Osiris body and used to trick Osiris into fitting himself in it, only to be shut inside and murdered. Lysa’s box with message

Notes

  1. Catelyn was not abducted like Persephone. But Persephone’s father, Zeus, consented to the match. Persephone’s mother, Demeter, was left in the dark about it.
  2. Within the context of an underworld, maester Luwin may be speaking truth unintentionally – underworld creatures, like the Others, were never part of the living world, and thus never lived at all.
  3. Does “all her children” also include Robb Stark? If so, then that means maester Luwin was at Riverrun before he became maester at Winterfell, since Robb Stark was born at Riverrun, not Winterfell.
  4. It is unclear what the implications are of hope remaining in Pandora’s jar. If the jar is a prison that keeps evil at bay, then hope is still imprisoned and people are denied hope. If hope as an evil, then humanity is spared from such foolishness in the face of despair and death. The subject of hope in Pandora’s jar deserves its own philosophical essay in light of all the mysery and tragedy in aSoIaF, if anyone ever cares to do so.
  5. Demeter’s mother Rhea, who was the earth goddess before Demeter, is also called rich-haired.
  6. Hesiod’s one-sided account seems distorted by his personal views regarding women. His written source is the oldest and distinctly connects Pandora solely with evil. But both older and younger pottery convey a more rounded version: blessings as well as evil. Hesiod was bitter with his brother Peres squandering first his own half of the inheritance and then bribing judges to be granted part of Hesiod’s half. He wrote Pandora’s myth in a poem that served as his personal, moral answer to his brother, where he tells a story of one brother (Prometheus) attempting to help humanity, while the other is fooled into taking Pandora for a wife. Did Hesiod blame a woman as the cause of his brother’s spending and did he use Prometheus and Pandora as a literary parallel to chide his brother for his foolish choice? He may have been one of the earliest poets who founded the later tradition to make a philosophical and social argument. It is unlikely that this ancient scholar on Greek myth was an initiate into the Eleusinian Mysteries. He was the son of an immigrant from Asia Minor and middle class farmer who lived in Beotie (with the Greek city Thebes) and thus not near Athens. He wrote a poem how a muze gave him a laurel staff, but not a lyre, and thus not trained in a traditional manner. And then there is his great dislike for women. Would the cult of Eleusis initiate such a man into the secrets of two earth goddessses?
  7. In the long history of Egypt, Set was not always an evil god. Ancient Egypt as a cultural source existed for over 3000 years, from the Early Dynastic times to the Ptolemian and Roman period. Those thousands of years were not without invasions and inner struggles, which was reflected in how a god, including Set, was considered a beneficial god or an evil one. For this essay though, I’m using the later views on Set, after he was demonized.
  8. Yes, Dany’s burrial of Drogo and Raego also echoes the Isis-Osiris myth. Let us leave that for Dany’s chthonic cycle.