#hes so compassionate he openly invited me to vent but i was strong!! i just told him

[bluinary]

I have such cool friends 🥺

[trinuviel]

Winterfell’s Daughter. On Sansa Stark (part 7)

I’ve previously written a series of metas on Sansa Stark’s narrative arc during season 1 of Game of Thrones (Part 1, Part 2, Part 3, Part 4, Part 5, Part 6). In this post I’m taking a look at her story in season 2. Sansa Stark is one of my favorite characters and in this respect season 2 is hard to watch because so much mental, physical and sexual abuse is heaped upon the poor girl. Yet despite her hardships, Sansa also shows that she’s both courageous, compassionate and kind. She shows us that she is strong - a strength that is mental rather than physical since she is not trained to fight like her sister. Sansa’s resilience lies in the strength of character.

Sansa refuses to be broken by the malice of the Lannisters. She fights back in her own way. Her resistance is a passive one but that doesn’t mean that it isn’t a form of resistance. She doesn’t physically or verbally attack her captors. Instead she deploys her courtesy as an armour and she also employs a subtle and snarky wit as well as a strategic form of flattery to manipulate Joffrey. Those who are clever can see through her ploys yet cannot really reproach her since her statements seem flattering on the surface. She shows the audience that she is more clever than people initially assume.

COURAGEOUS AND KIND

Season 2 of Game of Thrones opens with a tourney in King’s Landing in honour of King Joffrey’s nameday. However, this tourney is a far cry from the chivalric pageantry that characterized the Hand’s Tourney in the previous season. In fact, Joffrey’s nameday tourney looks more like gladitorial combat, an exhibition of lethal bloodsport for the king’s amusement. Joffrey revels in the fact that people are killed for his personal entertainment - people getting injured and killed is amusing to him. Indeed, any kind of abuse is amusing to him but he particularly enjoys causing Sansa pain, whether it is physical or emotional pain.

After a particularly lethal fight where a man dies, Joffrey goads Sansa for a response to the violence. Here we see Sansa tonelessly “parroting” Joffrey’s words back at him – a subtle form of passive resistance. She outwardly complies but refuses to express any kind of emotion. From Joffrey’s face it is clear that he finds Sansa’s icy politesse frustrating. He wants to revel in her fear but she doesn’t allows herself to show any feelings and neither does she talk back at him, which would give him an opportunity to have her punished.

However, things come to a head when on of the contestants, Ser Dontos, arrives late and drunk. Joffrey pounces on the opportunity to have another person abused for his personal entertainment by having his Kingsguard force wine down Donto’s throat. Sansa’s reaction is immediate and purely instinctive as she blurts out “You can’t!”. 

This kind of instinctual outburst is dangerous for her. The last time she impulsively contradicted Joffrey, she earned herself a beating. Joffrey reacts angrily to her outburst – as he doesn’t like to be told no.

Joffrey: What did you say? Did you say I can’t?

She quickly realizes her danger and tries to salvage the situation.

Sansa: I only meant it would be bad luck to kill a man on your nameday.

Joffrey: What kind of stupid peasant’s superstition…

Sandor Clegane: The girl is right. What a man sows on his nameday, he reaps all year.

Sansa’s attempt to appease Joffrey may not be particularly inventive and you could argue that it is only the Hound’s intervention that saves her from a beating. However, she does manage to stop the abuse of Dontos.

Joffrey: Take him away. I’ll have him killed tomorrow, the fool.

Sansa: He is a fool! You’re so clever to see it. He’ll make a much better fool than a knight. He doesn’t deserve the mercy of a quick death.

This is the most important part of this entire scene. At this point, Sansa has managed to save her own skin (with some help from the Hound). Most people would have kept silent (as does the rest of the courtiers). Yet Sansa does not avert her eyes or keep silent. Indeed, keeping silent would probably have been the less risky option for her at this point.

Instead, Sansa decides to try saving the life of Ser Dontos. She notices Joffrey calling Dontos a fool and she then proceeds to plant the notion in Joffrey’s head that making a knight a fool is a much more humiliating punishment than death. This is an impressive piece of quick thinking and subtle manipulation. Sansa strokes Joffrey’s ego and gets her way. She saves a life – and she does so at a certain risk to her own person because she could easily earned herself a beating if Joffrey had reacted aversely to her suggestion. Sansa is actually very brave here. Many people confuse bravery with fearlessness but that is not the case! You can only be truly brave when you’re doing something despite your fear! Sansa is sticking her neck out for a stranger, knowing full well that her intervention may backfire, which could end up with her getting hurt once again. Yet she still intervenes on behalf of Dontos.

Sansa is brave here and she is compassionate, which is a testament to her fundamentally kind nature – even in adversity.

Tyrion arrives. He extends his condolences to Sansa on the death of her father. We get a profile shot of Joffrey and Sansa; she opens her mouth in order to answer Tyrion. However, before Sansa gets to speak, Joffrey reacts badly once again and throws a strop.

Joffrey: Her loss? Her father was a confessed traitor.

Tyrion: But still her father. Surely, having so recently lost your own beloved father, you can sympathize.

Joffrey turns to Sansa to gauge her reaction to Tyrion’s words. She sits with her shoulders slightly hunched, which indicates her fear. Her response will most definitely influence her treatment by Joffrey so she calibrates her answer carefully.

Sansa: My father was a traitor. My mother and brother are traitors, too. I am loyal to my beloved Joffrey.

This particular line becomes a sort of litany for her during her time in King’s Landing, always delivered in a toneless voice. Anyone with half a brain can see that she is being disingenuous but Joffrey is both stupid and vicious. I would argue that this kind of performance constitutes a form of passive resistance on Sansa’s part. She knows she cannot speak her mind openly. It will only earn her a beating. However, whilst she is outwardly complying, her wooden “performance” makes it clear that she isn’t honest.  She is speaking under duress and anyone with a modicum of intelligence can see that. She makes a performance out of the duress she’s under and this is part of how she authors her resistance with the very means that she has at her disposal.

SCAPEGOAT

Sadly, Sansa is not always able to save herself from physical abuse. However, that doesn’t mean that she’s weak or stupid. Sometimes she is just helpless in a certain situation, like when Joffrey decides to use her as a scapegoat for Robb Stark’s military victories.

The crossbow scene in ep04 is just such a situation. Sansa’s brother Robb has won yet another victory over the Lannisters and Joffrey decides to vent his anger on his helpless hostage. Once again, Joffrey’s sadistic nature is on full display, only this time it is not disguised by a socially acceptable scenario such as the nameday tourney in ep01. 

The scenes begins with low-angle close-up of Joffrey aiming the crossbow directly at the camera. In cinema and television, the camera acts as the eye of the audience so in this shot we, the audience, are directly confronted with Joffrey’s threat of violence. We are, so to speak, on the receiving end of Joffrey’s malice here.

However, this shot is followed by a point-of-view shot from Joffrey’s position, showing the audience what he’s looking at: a blurry outline that quickly is resolved into the figure of a kneeling Sansa Stark. These two shots sets the stage for the following confrontation.

These kind of shots create a POV structure where the audience is invited to inhabit both positions. It is a bit unnerving in this particular instance since we are not only invited to step into Sansa’s shoes with the first, establishing shot but also into Joffrey’s shoes with the second POV shot. However, the first shot establishes the primary POV: that of Sansa Stark - under the threat of lethal violence and it most certainly her POV that we are expected to empathize with (especially since Joffrey is such a sadistic piece of shit).

Enraged by the Lannister losses on the battlefield, Joffrey has created a mockery of a “trial”, complete with Lancel Lannister spouting an absurd accusation of sorcery and cannibalism on the part of the Northern army. All of this is accompanied by the horrified gasps of the surrounding courtiers.

Joffrey: You are here to answer for your brother’s lastest treasons.

[...]

Joffrey: Ser Lancel, tell her of this outrage.

Lancel Lannister: Using some vile sorcery, your brother fell on Stafford Lannister with an army of wolves. Thousands of good men were butchered. After the slaughter, the Northmen feasted on the flesh of the slain.

Then Joffrey quite literally threatens to kill Sansa as a “message” to Robb Stark. Fortunately, Cersei still has some influence over him so instead he decides to “punish” Sansa by having his Kingsguard beat her up.

Joffrey: Killing you would send your brother a message. But my mother insists on keeping you alive. Stand. So we’ll have to send your brother a message some other way. 

Joffrey: Meryn. Leave her face. I like her pretty.

This is where things get really nasty. Sansa is literally being beaten up by a grown man wearing armour. She is punched in the stomach by a man wearing steel gauntlets and then beaten with the flat of a sword! Even that is not enough since Joffrey orders her stripped in public.

Joffrey: If you want Robb Stark to hear us, we’re going to have to speak louder.

This scene makes me recall a conversation between Eddard Stark and Jaime Lannister in season 1 where Jaime tells Ned that 500 hundred people stood silently by and watched Rickard and Brandon Stark die on the orders of King Aerys II. The present situation is not nearly as dire but the circumstances are rather similar: an audience stands silently by whilst a king has one of his knights abuse a teenage girl. Lancel Lannister can’t even bring himself to face the abuse that he himself has played a part in, as you can see in the picture below.

I’m also reminded of another scene from season 1 where Sansa raises the subject of the deaths of her grandfather and uncle to Septa Mordane, who doesn’t want to discuss such “unpleasant” subjects with her young charge.

Septa M: They were killed on the orders of King Aerys, commonly known as the Mad King.

Now another innocent Stark is tortured on the orders of a mad king in the very place where her close relatives were killed on the orders of a mad king. The spectre of Mad King Aerys is indeed invoked in this scene when Tyrion remonstrates with Joffrey.

Joffrey: You can’t talk to me like that. The king can do as he likes!

Tyrion: The Mad King did as he liked. Has your Uncle Jaime ever told you what happened to him?

Sansa is very fortunate that Tyrion intervened when he did because Ser Meryn Trant was about to use his sword on her again and it looks as though he was about to do her serious harm.

Many people often fail to realize exactly how dangerous Sansa’s situation really is in King’s Landing. Joffrey is both vicious and stupid. He detests Sansa and he is dangerously unpredictable. He could very easily have her killed in a fit of rage before anyone would be able to intervene. At present, he still listens to his mother on this particular subject but he might not continue to do so because he has such a volatile temper. Furthermore, a situation like this could very quickly spiral completely out of hand and Sansa might get seriously hurt or even killed. 

Neither should we minimize the severity if the physical abuse that Sansa suffers here. A grown man is beating up a teenage girl and he’s not pulling his punches. The book makes this abundantly clear:

Boros slammed a fist into Sansa's belly, driving the air out of her. When she doubled over, the knight grabbed her hair and drew his sword, and for one hideous instant she was certain he meant to open her throat. As he laid the flat of the blade across her thighs, she thought her legs might break from the force of the blow. Sansa screamed. Tears welled in her eyes. It will be over soon. She soon lost count of the blows. (ACoK, Sansa III)

When Tyrion escorts Sansa out of the throne room, she is both terrified and very likely in a lot of pain. Yet she schools her countenance so that she reveals neither pain nor fear. It might not be much but it IS a small act of passive resistance. They might abuse her body but she won’t let them kill her soul.

She uses her ladylike manners as her armour. Standing tall, she squares her shoulders and lifts her chin and leaves the place of her abuse and humiliation with all the grace and dignity of a queen. She cannot stop her abusers but neither can they deprive her of her dignity.

Joffrey absolutely hates that about her - he enjoys her pain and he wants to revel in her fear. Tyrion, on the other hand, seems rather impressed with her.

To be continued...

(GIFs not mine)