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butterflies-dragons · 4 years ago

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Lúthien and Sansa

Art credit: Lúthien by Aerankai and Sansa by denvertakespics

Recently I started reading about Beren and Lúthien and got really fascinated about how similar Lúthien and Sansa are.

Summary:

1. Beauty

2. Flowery names

3. From dusk to dawn

4. Little birds: nightingales

5. Big birds: eagles and falcons

6. Big cats and big dogs

7. Bat and wolf imagery

8. Singing and dancing

9. Other parallels

10. Beren and Lúthien as inspiration for Jon and Sansa

11. Bonus: from real life to fiction

1. Beauty

Ah, Lúthien! Ah, Lúthien,

more fair than any child of Men!

Oh, loveliest maid of Elvenesse,

what madness doth thee now possess?

Ah, lissom limbs and shadowy hair

and chaplet of white snowdrops there;

oh, starry diadem and bright

soft hands beneath the pale moonlight!

She left his arms and slipped away

just at the breaking of the day.

—Canto VI, The Lay of Leithian - J.R.R. Tolkien

It is told in the Lay of Leithian that Beren came stumbling into Doriath grey and bowed as with many years of woe, so great had been the torment of the road. But wandering in the summer in the woods of Neldoreth he came upon Luthien, daughter of Thingol and Melian, at a time of evening under moonrise, as she danced upon the unfading grass in the glades beside Esgalduin. Then all memory of his pain departed from him, and he fell into an enchantment; for Luthien was the most beautiful of all the Children of Iluvatar. Blue was her raiment as the unclouded heaven, but her eyes were grey as the starlit evening; her mantle was sewn with golden flowers, but her hair was dark as the shadows of twilight. As the light upon the leaves of trees, as the voice of clear waters, as the stars above the mists of the world, such was her glory and her loveliness; and in her face was a shining light.

[...] The fame of the beauty of Luthien and the wonder of her song had long gone forth from Doriath.

—Chapter 19, The Silmarillion - J.R.R. Tolkien

Lúthien was an Elf maiden/half Maia of incomparable beauty and grace, with night-dark hair, sparkling grey eyes, luminous skin, and a clear heartbreakingly lovely voice that was said to cause winter to melt into spring.

Lúthien was said to be the fairest maiden to have ever lived (a description later shared also by Arwen).

Why, O king, I desire thy daughter Tinúviel, for she is the fairest and most sweet of all maidens I have seen or dreamed of.’

Then was there a silence in the hall, save that Dairon laughed, and all who heard were astounded, but Tinúviel cast down her eyes, and the king glancing at the wild and rugged aspect of Beren burst also into laughter, whereat Beren flushed for shame, and Tinúviel’s heart was sore for him. ‘Why! wed my Tinúviel fairest of the maidens of the world, and become a prince of the woodland Elves—’tis but a little boon for a stranger to ask,’ quoth Tinwelint.

—The Tale of Tinúviel, Beren and Lúthien (2017) - J.R.R. Tolkien

Lúthien inherited her beauty from her mother Melian:

—Beren and Lúthien, Beren and Lúthien (2017) - J.R.R. Tolkien

Sansa is a beautiful maiden as well, she inherited her beauty from her mother Catelyn Tully:

Worse, she was beautiful. Sansa had gotten their mother’s fine high cheekbones and the thick auburn hair of the Tullys.

—A Game of Thrones - Arya I

"Sansa was a lady at three, always so courteous and eager to please. She loved nothing so well as tales of knightly valor. Men would say she had my look, but she will grow into a woman far more beautiful than I ever was, you can see that. I often sent away her maid so I could brush her hair myself. She had auburn hair, lighter than mine, and so thick and soft . . . the red in it would catch the light of the torches and shine like copper."

—A Clash of Kings - Catelyn VII

About Sansa's beauty, as I said before in another post:

I think beauty is in the eye of the beholder, but there are certain consensus and there are also certain conflicting reports about “beauty” in the universe of A Song of Ice and Fire. [...] On the other hand, we have characters like Catelyn Tully and Sansa Stark, mother and daughter, that are consensually considered beautiful. Zero conflicting reports. [...] Sansa Stark is called beautiful the most times in the entire series and by so many characters, friends and foes. There is no doubt about her beauty, and sadly that’s why her big lot of haters want for her to be disfigured so badly……….

As you can see, in a series of books full of unreliable narrators, Sansa's beauty is an absolute truth.

As I'm going to explain in the next section, Sansa's beauty is said to be "bewitching". Sansa is an "enchantress" thanks to her beauty.

Here a compilation of all the quotes about Sansa's beauty.

2. Flowery names

Lúthien was born in a forest under the stars, and niphredil first grew at the moment of her birth.

Niphredil was a small white flower that grew first at the moment of Lúthien's birth.

In one of his letters (Nº 312), Tolkien said that niphredil would be a delicate kin of a snowdrop.

The fact that a flower first grew at the moment of Lúthien's birth makes sense with the etymology of the name:

Lúthien is a Sindarin name meaning "Daughter of Flowers". The first element in the name is lúth ("blossom, inflorescence"). The second element is the feminine suffix -ien ("daughter").

In early writings, Doriathrin Luthien and Noldorin Lhūthien meant "enchantress", deriving from Primitive Quendian luktiēnē ("enchantress"; from root LUK "magic, enhantement").

And as it will be explained later, Lúthien wore fragrant flowers in her beautiful black hair.

Lúthien may have been derived from the Old English word Lufien, which means "love".

Sansa is also a flowery name:

The names Arya and Sansa are meant to represent the polar opposites of their characters, Arya being a hard sounding name, Sansa a softer more pretty name, etc.

—GRRM about The Stark Sisters’ Names

Arya, I say it ar-ya, two syllables, not three, not a-ri-a, like an operatic thing, but Arya, very sharp. I wanted something that was like a knife, that was sharp and hard sound, to be a contrast to the flowery Sansa.

—DAYS OF ICE AND FIRE Q&A (Nov. 13 2010)

Sansa is strongly linked with flowers as well (the rose of Winterfell legend, blue winter roses, the scent of flowers along the north bank of the Trident, Loras’s red rose, Myrcella’s garden, the Roadside Rose song, etc).

Sansa wore the red rose that Loras gave her in her hair.

Sansa has a lot of parallels with Jennys of Oldstones, a lady in a song famous for wearing flowers in her hair.

And about "magic", "enchantment" and "enchantress" we have these very telling quotes:

The pale pink light of dawn sparkled on branch and leaf and stone. Every blade of grass was carved from emerald, every drip of water turned to diamond. Flowers and mushrooms alike wore coats of glass. Even the mud puddles had a bright brown sheen. Through the shimmering greenery, the black tents of his brothers were encased in a fine glaze of ice.

So there is magic beyond the Wall after all. He found himself thinking of his sisters, perhaps because he'd dreamed of them last night. Sansa would call this an enchantment, and tears would fill her eyes at the wonder of it, but Arya would run out laughing and shouting, wanting to touch it all.

—A Clash of Kings - Jon III

"Do you require guarding?" Marillion said lightly. "I am composing a new song, you should know. A song so sweet and sad it will melt even your frozen heart. 'The Roadside Rose,' I mean to call it. About a baseborn girl so beautiful she bewitched every man who laid eyes upon her."

—A Storm of Swords - Sansa VII

Bringing Harry here was the first step in our plan, but now we need to keep him, and only you can do that. He has a weakness for a pretty face, and whose face is prettier than yours? Charm him. Entrance him. Bewitch him."

[...] Ser Harrold looked confused. "Please. One dance."

Charm him. Entrance him. Bewitch him. "If you insist."

—The Winds of Winter - Alayne I

As you can see, Sansa's beauty is said to be "bewitching". Sansa, like Lúthien, is an "enchantress."

3. From dusk to dawn

Lúthien is also called Tinúviel:

Tinúviel: ‘Daughter of Twilight’ [...].

—List of names in the original texts, Beren and Lúthien (2017) - J.R.R. Tolkien

Tinúviel literally means "Daughter of Twilight".

Beren first saw Lúthien dancing and singing in the twilight:

Now the lies of Melko ran among Beren’s folk so that they believed evil things of the secret Elves, yet now did he see Tinúviel dancing in the twilight, and Tinúviel was in a silver-pearly dress, and her bare white feet were twinkling among the hemlock-stems. Then Beren cared not whether she were Vala or Elf or child of Men and crept near to see; and he leant against a young elm that grew upon a mound so that he might look down into the little glade where she was dancing, for the enchantment made him faint.

[...] “By dawn and dusk he sought her, but ever more hopefully when the moon shone bright. At last one night he caught a sparkle afar off, and lo, there she was dancing alone on a little treeless knoll and Dairon was not there. ”

—The Tale of Tinúviel, Beren and Lúthien (2017) - J.R.R. Tolkien

At length Beren fled south from the ever-closing circle of those that hunted him, and crossed the dreadful Mountains of Shadow, and came at last worn and haggard into Doriath. There in secret he won the love of Lúthien daughter of Thingol, and he named her Tinúviel, the nightingale, because of the beauty of her singing in the twilight beneath the trees; for she was the daughter of Melian.

—A passage extracted from the Quenta, Beren and Lúthien (2017) - J.R.R. Tolkien

While Lúthien is associated with the twilight and the moon; Sansa is associated with the dawn and the sun:

All through the dark hours he kept his vigil alone. When dawn broke over the city, the dark red blooms of dragon’s breath surrounded the girls where they lay. “I dreamed of Bran,” Sansa had whispered to him. “I saw him smiling.”

—A Game of Thrones - Eddard V

One more step, she told herself, one more step. She had to keep moving. If she stopped, she would never start again, and dawn would find her still clinging to the cliff, frozen in fear. One more step, and one more step.

The ground took her by surprise. She stumbled and fell, her heart pounding. When she rolled onto her back and stared up at from where she had come, her head swam dizzily and her fingers clawed at the dirt. I did it. I did it, I didn't fall, I made the climb and now I'm going home.

[...] The eastern sky was vague with the first hint of dawn when Sansa finally saw a ghostly shape in the darkness ahead; a trading galley, her sails furled, moving slowly on a single bank of oars. As they drew closer, she saw the ship's figurehead, a merman with a golden crown blowing on a great seashell horn.

—A Storm of Swords - Sansa V

When Sansa opened her eyes again, she was on her knees. She did not remember falling. It seemed to her that the sky was a lighter shade of grey. Dawn, she thought. Another day. Another new day. It was the old days she hungered for. Prayed for. But who could she pray to? The garden had been meant for a godswood once, she knew, but the soil was too thin and stony for a weirwood to take root. A godswood without gods, as empty as me.

—A Storm of Swords - Sansa VII

More about Sansa and the dawn here.

4. Little birds: nightingales

Tinúviel is also a term to refer to the nightingale:

Tinúviel: [...] nightingale: name given to Lúthien by Beren.

—List of names in the original texts, Beren and Lúthien (2017) - J.R.R. Tolkien

Tinúviel is a Sindarin poetic term, though not a literal name, for the 'Nightingale'. This name was first given to Lúthien of Doriath by Beren when he first saw her dancing in the forest.

Lúthien's mother, Melian, is strongly associated with nightingales:

Melian was a fay. In the gardens of [the Vala] Lórien she dwelt, and among all his fair folk none were there that surpassed her beauty, nor none more wise, nor none more skilled in magical and enchanting song. It is told that the Gods would leave their business and the birds of Valinor their mirth, that Valmar’s bells were silent, and the fountains ceased to flow, when at the mingling of the light Melian sang in the gardens of the God of Dreams. Nightingales went always with her, and their song she taught them. But she loved deep shadow, and strayed on long journeys into the Outer Lands [Middle-earth], and there filled the silence of the dawning world with her voice and the voices of her birds.

The nightingales of Melian Thingol heard and was enchanted and left his folk. Melian he found beneath the trees and was cast into a dream and a great slumber, so that his people sought him in vain.

—Beren and Lúthien, Beren and Lúthien (2017) - J.R.R. Tolkien

In an early version of the tale of Beren and Lúthien, she is called "little bird" by Tevildo:

Now gazing therethrough, for it was ajar, she saw the wide vaulted kitchens and the great fires that burnt there, and those that toiled always within, and the most were cats—but behold, there by a great fire stooped Beren, and he was grimed with labour, and Tinúviel sat and wept, but as yet dared nothing. Indeed even as she sat the harsh voice of Tevildo sounded suddenly within that chamber: ‘Nay, where then in Melko’s name has that mad Elf fled,’ and Tinúviel hearing shrank against the wall, but Tevildo caught sight of her where she was perched and cried: ‘Then the little bird sings not any more; come down or I must fetch thee, for behold, I will not encourage the Elves to seek audience of me in mockery.

—The Tale of Tinúviel, Beren and Lúthien (2017) - J.R.R. Tolkien

Tevildo was a big black cat, tiger size, considered the Prince of Cats:

Tevildo: The Prince of Cats, mightiest of all cats, ‘possessed of an evil spirit’; a close companion of Morgoth.

—List of names in the original texts, Beren and Lúthien (2017) - J.R.R. Tolkien

In contrast to Lúthien being called "little bird" by a big black cat, Sansa is also called "little bird" by a big man dubbed the Hound:

He was mocking her, she realized. "No one could withstand him," she managed at last, proud of herself. It was no lie.

Sandor Clegane stopped suddenly in the middle of a dark and empty field. She had no choice but to stop beside him. "Some septa trained you well. You're like one of those birds from the Summer Isles, aren't you? A pretty little talking bird, repeating all the pretty little words they taught you to recite."

"That's unkind." Sansa could feel her heart fluttering in her chest. "You're frightening me. I want to go now."

—A Game of Thrones - Sansa II

As you can see, Lúthien and Sansa are called little birds by a big cat and a big dog respectively, but those beast-like creatures were antagonist figures to our heroines and the term little bird was no endearment but a way to mock and threat them.

We will come back to this cat versus dog issue later.

About Sansa and the nightingale, as I said before in another post:

She [Sansa] is also called “little bird” and a very special little bird, the one that makes the sweetest sounds, is the Nightingale.

The hours in ASOIAF have names. The hour of the Wolf is “the blackest part of the night”, and the hour of the Nightingale, comes after the hour of the Wolf. This means that the hour of the Wolf is exactly before the Dawn or the Hour of the Nightingale. Awesome right?

The song of the nightingale has been described as one of the most beautiful sounds in nature, inspiring songs, fairy tales, opera, books, and a great deal of poetry. And who is the character often described with the sweetest voice in ASOIAF? Yes that’s Sansa Stark, she sings beautifully with the sweetest voice.

So after the Long Night, the Dawn will come. The Starks will be there. Sansa will be there.

More about Sansa and the nightingale here.

Now, the association of Lúthien's mother, Melian, with nightingales:

Melian sang in the gardens of the God of Dreams. Nightingales went always with her, and their song she taught them.

—Beren and Lúthien, Beren and Lúthien (2017) - J.R.R. Tolkien

Makes me think about the Children of the Forest and the Old Gods, that are also related with the Starks.

Melian is associated with songbirds, and it is said she taught nightingales how to sing and their music followed her paces. In Valinor, she dwelt in the gardens of Lórien tending its trees, and she was the most beautiful, wise and skilled in songs of enchantment of all the people of Irmo. However she journeyed often to Middle-earth for she loved the deep shadows of trees and forests.

Melian was a Maia. The Maiar were spirits that descended to earth and help to create the world, almost like angels, almost like gods.

The Children of the Forest are called singers, and after their death part of them remains on earth and lives longer inside birds:

Bran knew. "She's a child. A child of the forest." He shivered, as much from wonderment as cold. They had fallen into one of Old Nan's tales.

"The First Men named us children," the little woman said. "The giants called us woh dak nag gran, the squirrel people, because we were small and quick and fond of trees, but we are no squirrels, no children. Our name in the True Tongue means those who sing the song of earth. Before your Old Tongue was ever spoken, we had sung our songs ten thousand years."

—A Dance with Dragons - Bran II

"Someone else was in the raven," he told Lord Brynden, once he had returned to his own skin. "Some girl. I felt her."

"A woman, of those who sing the song of earth," his teacher said. "Long dead, yet a part of her remains, just as a part of you would remain in Summer if your boy's flesh were to die upon the morrow. A shadow on the soul. She will not harm you."

"Do all the birds have singers in them?"

"All," Lord Brynden said. "It was the singers who taught the First Men to send messages by raven … but in those days, the birds would speak the words. The trees remember, but men forget, and so now they write the messages on parchment and tie them round the feet of birds who have never shared their skin."

—A Dance with Dragons - Bran III

As you can see, the Maiar sounds really similar to the Old Gods and the Children of the Forest. Particularly Luthien's mother, Melian, that is associated with trees (Old Gods, weirwoods) and nightingales (crows, ravens).

5. Big birds: eagles and falcons

Lúthien's father, Thingol, locked her up in a tree house, that is basically a bird's nest, since Lúthien is also called Tinúviel that means nightingale:

Now Tinwelint let build high up in that strange tree, as high as men could fashion their longest ladders to reach, a little house of wood, and it was above the first branches and was sweetly veiled in leaves. Now that house had three corners and three windows in each wall, and at each corner was one of the shafts of Hirilorn. There then did Tinwelint bid Tinúviel dwell until she would consent to be wise, and when she fared up the ladders of tall pine these were taken from beneath and no way had she to get down again.

—The Tale of Tinúviel, Beren and Lúthien (2017) - J.R.R. Tolkien

Sansa, under the guise of Alayne Stone, is the prisoner of Petyr Baelish in the Eyrie, that literally means falcon's nest:

Alayne's apartments in the Maiden's Tower were larger and more lavish than the little bedchamber where she'd been kept when Lady Lysa was alive. She had a dressing room and a privy of her own now, and a balcony of carved white stone that looked off across the Vale. While Gretchel was tending to the fire, Alayne padded barefoot across the room and slipped outside. The stone was cold beneath her feet, and the wind was blowing fiercely, as it always did up here, but the view made her forget all that for half a heartbeat. Maiden's was the easternmost of the Eyrie's seven slender towers, so she had the Vale before her, its forests and rivers and fields all hazy in the morning light. The way the sun was hitting the mountains made them look like solid gold.

—A Feast for Crows - Alayne I

Beren and Lúthien were rescued by great eagles:

Thus the quest of the Silmaril was like to have ended in ruin and despair; but in that hour above the wall of the valley three mighty birds appeared, flying northward with wings swifter than the wind.

Among all birds and beasts the wandering and need of Beren had been noised, and Huan himself had bidden all things watch, that they might bring him aid. High above the realm of Morgoth Thorondor and his vassals soared, and seeing now the madness of the Wolf and Beren’s fall came swiftly down, even as the powers of Angband were released from the toils of sleep. Then they lifted up Beren and Lúthien from the earth, and bore them aloft into the clouds . . .

(As they passed high over the lands) Lúthien wept, for she thought that Beren would surely die; he spoke no word, nor opened his eyes, and knew thereafter nothing of his flight. And at the last the eagles set them down upon the borders of Doriath; and they were come to that same dell whence Beren had stolen in despair and left Lúthien asleep.

There the eagles laid her at Beren’s side and returned to the peaks of Crissaegrim and their high eyries [...].

—The Quenta Silmarillion, Beren and Lúthien (2017) - J.R.R. Tolkien

Sansa expects for the Knights of the Vale (falcons) to help her to re-claim Winterfell:

Her eyes widened. "He is not Lady Waynwood's heir. He's Robert's heir. If Robert were to die . . ."

Petyr arched an eyebrow. "When Robert dies. Our poor brave Sweetrobin is such a sickly boy, it is only a matter of time. When Robert dies, Harry the Heir becomes Lord Harrold, Defender of the Vale and Lord of the Eyrie. Jon Arryn's bannermen will never love me, nor our silly, shaking Robert, but they will love their Young Falcon . . . and when they come together for his wedding, and you come out with your long auburn hair, clad in a maiden's cloak of white and grey with a direwolf emblazoned on the back . . . why, every knight in the Vale will pledge his sword to win you back your birthright. So those are your gifts from me, my sweet Sansa . . . Harry, the Eyrie, and Winterfell. That's worth another kiss now, don't you think?"

—A Feast for Crows - Alayne II

Sansa also wishes to have falcon's wings:

A falcon soared above the frozen waterfall, blue wings spread wide against the morning sky. Would that I had wings as well.

—A Feast for Crows - Alayne I

Unbeknownst to Sansa, another kind of wings are reserved for her. More about this subject later.

6. Big cats and big dogs

During her adventures in order to help Beren, Lúthien interacts with a big black cat named Tevildo, and with a big dog named Huan, a great wolfhound.

As was said before, Tevildo was a big black cat, tiger size, considered the Prince of Cats:

Tevildo The Prince of Cats, mightiest of all cats, ‘possessed of an evil spirit’; a close companion of Morgoth.

—List of names in the original texts, Beren and Lúthien (2017) - J.R.R. Tolkien

Tevildo was an evil fay in the form of a great black cat with a collar of gold, which gave him much of his evil power. He was considered a prince of the servants of Melko and lived in a hilltop castle near Angamandi with other tiger-size cats. During the Quest for the Silmaril, Beren was captured by Melko and forced to work in Tevildo's kitchens. However, the cat was defeated by his archenemy Huan and Tinúviel, who forced him to give up his collar and reveal the spell which held the stones of his castle together. Melko learned Tevildo had lost his power and the cats reduced to normal size and exiled them.

Later Tevildo's place in the narrative was replaced by that of the Necromancer, Thû (later renamed Sauron), in the later Legendarium. Thû (and later Sauron) was the "Lord of Werewolves", in contrast to Tevildo's position as "Prince of Cats"; the cat-versus-dog theme prominent in the "Tale of Tinúviel" was thus eliminated in later writings.

Here we can see an illustration of Luthien's encounter with Tevildo:

Art credit: “but Tevildo caught sight of her where she was perched” by Alan Lee for Beren and Lúthien (2017) - J.R.R. Tolkien

Don't you find this scene familiar? A beautiful lady encountering with a black cat while she is pressed against a wall?

When I read about Tevildo discovering Lúthien shrunk against the wall:

—The Tale of Tinúviel, Beren and Lúthien (2017) - J.R.R. Tolkien

I immediately thought of Sansa's encounter with Balerion, that black tomcat of the Red Keep while she was pressed against a wall:

The noise receded as she moved deeper into the castle, never daring to look back for fear that Joffrey might be watching … or worse, following. The serpentine steps twisted ahead, striped by bars of flickering light from the narrow windows above. Sansa was panting by the time she reached the top. She ran down a shadowy colonnade and pressed herself against a wall to catch her breath. When something brushed against her leg, she almost jumped out of her skin, but it was only a cat, a ragged black tom with a chewed-off ear. The creature spit at her and leapt away.

—A Clash of Kings - Sansa II

And who was Balerion the black tomcat?

The Red Keep was full of cats: lazy old cats dozing in the sun, cold-eyed mousers twitching their tails, quick little kittens with claws like needles, ladies’ cats all combed and trusting, ragged shadows prowling the midden heaps. One by one Arya had chased them down and snatched them up and brought them proudly to Syrio Forel … all but this one, this one-eared black devil of a tomcat. “That’s the real king of this castle right there,” one of the gold cloaks had told her. “Older than sin and twice as mean. One time, the king was feasting the queen’s father, and that black bastard hopped up on the table and snatched a roast quail right out of Lord Tywin’s fingers. Robert laughed so hard he like to burst. You stay away from that one, child.”

—A Game of Thrones - Arya III

As you can see, Tevildo and Balerion sound very similar, both are black cats, both are called evil, both live in a castle, both are considered royals, Tevildo a prince, Balerion a king, and both found a beautiful lady pressed against a wall.

On the other hand, Lúthien befriends a great wolfhound named Huan.

Huan, the Hound of Valinor, was a great wolfhound, one of the hunting dogs of Oromë the Hunter.

Huan was given by Oromë to his friend Celegorm, one of the Sons of Fëanor and accompanied him on his huntings in the regions of Valinor. When the Ñoldor under Fëanor rebelled, Huan went with his master to Middle-earth.

Huan was with Celegorm and Curufin who were hunting when he smelled Lúthien and captured and brought the maid before Celegorm.

Celegorm captured Lúthien and plotted to marry her, thus forcing a bond of kinship with Lúthien's father, Thingol.

But Huan the hound was true of heart, and the love of Luthien had fallen upon him in the first hour of their meeting; and he grieved at her captivity. Therefore he came often to her chamber; and at night he lay before her door, for he felt that evil had come to Nargothrond. Luthien spoke often to Huan in her loneliness, telling of Beren, who was the friend of all birds and beasts that did not serve Morgoth; ad Huan understood all that was said. For he comprehended the speech of all things with voice; but it was permitted to him thrice only ere his death to speak with words. Now Huan devised a plan for the aid of Luthien; and coming at a time of night he brought her cloak, and for the first time he spoke, giving her counsel. Then he led her by secret ways out of Nargothrond, and they fled north together; and he humbled his pride and suffered her to ride upon him in the fashion of a steed, even as the Orcs did at times upon great wolves. Thus they made great speed, for Huan was swift and tireless.

—Chapter 19, The Silmarillion - J.R.R. Tolkien

So, in a superficial layer, Huan could be paralleled with Sandor Clegane, dubbed the Hound, since Huan was Celegorm's hunting hound and the Hound was the sworn sword and later Kingsguard of Joffrey Baratheon.

Celegorm was dubbed the Fair, had fair hair and was a great huntsman, the same way Joffrey was blonde and comely, and loved hunting and killing.

Celegorm wanted to marry Lúthien while Joffrey was actually betrothed with Sansa.

There is also the fact that Huan helped Lúthien escape the imprisonment imposed by Celegorm, gave her back her magic cloak (made of her shadowy hair), and fled north together, that somehow reversely resembles Sandor Clegane's offer to Sansa to help her flee north the night of the battle of the Blackwater, offer that Sansa rejected. That same night after a sexual assault attempt, the Hound ripped his white kingsguard's cloak (stained by blood and fire) off and left it fell on the floor.

But in a deeper layer, Huan was to Lúthien the same way the direwolves are to the Stark children.

Indeed, Huan was a gift from a god, the same way the direwolves were a gift from the Old Gods to the Stark children.

Among the six direwolves, Ghost is the one that resembles Huan the most, not only because Huan, despite having grey fur, is often depicted as white, as you can see here:

Art credit: "Luthien and Huan" by Elena Kukanova

But because Huan, like Ghost, is mute.

Huan had been granted special powers by the Valar, he was as large as a small horse, immortal, tireless and sleepless, and was allowed to speak three times before he died. It was also prophesied that he could not be killed unless it was by the greatest wolf that ever lived; in this case a werewolf.

Huan, taking pity of Lúthien disobeyed his master Celegorm, helped her scape, joined Beren and Lúthien in their quest and adventures, turned against his master to protect Lúthien and ultimately died protecting Beren.

Huan used the three times he was allowed to speak to help Beren and Lúthien and say farewell to them.

In a similar way, despite being mute, Jon was the only one that "heard" Ghost in the summer snows when the Starks found the direwolves.

Now, in an early version of the tale of Beren and Lúthien, Tevildo the Prince of Cats clashed against Huan the great wolfhound. It was a battle between a cat and a dog, Tevildo and Huan were archenemies. But in later versions of the tale, Tevildo was replaced by Sauron, who clashed against Huan, after taking the form of a werewolf. Huan won that battle. But much later, Huan was mortally wounded by Carcharoth, the greatest, most powerful wolf to ever live, and Huan died according it was prophesied.

The clash and contrast between wolves and hounds is also present in the universe of A Song of Ice and Fire; but in this case, the direwolves are the heroes while the hounds are the antagonists (Bolton's bitches, the Hound, etc).

This wolves versus hounds theme is particularly depicted in Jon's and Sansa's chapters:

Dogs moved between the tables, trailing after the serving girls. One of them, a black mongrel bitch with long yellow eyes, caught a scent of the chicken. She stopped and edged under the bench to get a share. Jon watched the confrontation. The bitch growled low in her throat and moved closer. Ghost looked up, silent, and fixed the dog with those hot red eyes. The bitch snapped an angry challenge. She was three times the size of the direwolf pup. Ghost did not move. He stood over his prize and opened his mouth, baring his fangs. The bitch tensed, barked again, then thought better of this fight. She turned and slunk away, with one last defiant snap to save her pride. Ghost went back to his meal.

Jon grinned and reached under the table to ruffle the shaggy white fur. The direwolf looked up at him, nipped gently at his hand, then went back to eating.

—A Game of Thrones - Jon I

Rattleshirt’s dogs greeted him with a chorus of snarls and growls and wild barking, as ever, but the direwolf paid them no mind. Six days ago, the largest hound had attacked him from behind as the wildlings camped for the night, but Ghost had turned and lunged, sending the dog fleeing with a bloody haunch. The rest of the pack maintained a healthy distance after that.

—A Storm of Swords - Jon I

"They’re dogs and he’s a wolf,” said Jon. “They know he’s not their kind.” No more than I am yours.

—A Storm of Swords - Jon I

It happened twice more that night, and again in the morning, when she woke to find him hard. The wildlings were stirring by then, and several could not help but notice what was going on beneath the pile of furs. Jarl told them to be quick about it, before he had to throw a pail of water over them. Like a pair of rutting dogs, Jon thought afterward. Was that what he’d become?

—A Storm of Swords - Jon III

Eddard Stark had left before dawn, Septa Mordane informed Sansa as they broke their fast. “The king sent for him. Another hunt, I do believe. There are still wild aurochs in these lands, I am told.”

“I’ve never seen an aurochs,” Sansa said, feeding a piece of bacon to Lady under the table. The direwolf took it from her hand, as delicate as a queen.

Septa Mordane sniffed in disapproval. “A noble lady does not feed dogs at her table,” she said, breaking off another piece of comb and letting the honey drip down onto her bread.

“She’s not a dog, she’s a direwolf,” Sansa pointed out as Lady licked her fingers with a rough tongue. “Anyway, Father said we could keep them with us if we want.”

The septa was not appeased. “You’re a good girl, Sansa, but I do vow, when it comes to that creature you’re as willful as your sister Arya.” She scowled. “And where is Arya this morning?”

“She wasn’t hungry,” Sansa said, knowing full well that her sister had probably stolen down to the kitchen hours ago and wheedled a breakfast out of some cook’s boy.

—A Game of Thrones - Sansa I

Sansa woke and found the old blind dog beside her once again. “I wish that you were Lady,” she said.

—A Storm of Swords - Sansa VI

The same way Lúthien bonded with Huan, I can see Sansa bonding with Ghost when she meets with Jon Snow and the mute direwolf again. Oh it would be so sweet...

7. Bat and wolf imagery

At some point during their adventures, Lúthien took the form of a giant bat while Beren took the form of a werewolf.

To transform into a giant bat, Lúthien used the coat of a female vampire servant of Sauron named Thuringwethil, as a cloak. The same way Beren transforms into a werewolf by using the coat of a werewolf named Draugluin as a cloak as well.

And then the giant bat rode upon the werewolf:

Long he [Huan] had pondered in his heart what counsel he could devise for the lightning of the peril of these two whom he loved. He turned aside therefore at Sauron's isle, as they ran northward again, and he took thence the ghastly wolf-hame of Draugluin, and the bat-fell of ThurIngwethil. She was the messenger of Sauron, and was wont to fly in vampire's form to Angband; and her greatfingered wings were barbed at each joint's end with and iron claw. Clad in these dreadful garments Huan and Luthien ran through Taur-nu-Fuin, and all things fled before them.

Beren seeing their approach was dismayed; and he wondered, for he had heard the voice of Tinuviel, and he thought it now a phantom for his ensnaring. But they halted and cast aside their disguise, and Luthien ran towards him.

[...] By the counsel of Huan and the arts of Luthien he was arrayed now in the hame of Draugluin, and she in the winged fell of ThurIngwethil. Beren became in all things like a werewolf to look upon, save that in his eyes there shone a spirit grim indeed but clean; and horror was in his glance as he saw upon his flank a batlike creature clinging with creased wings. Then howling under the moon he leaped down the hill, and the bat wheeled and flittered above him.

—Chapter 19, The Silmarillion - J.R.R. Tolkien

Huan stayed with Lúthien, and hearing of their perplexity and the purpose Beren had still to go to Angband, he went and fetched them from the ruined halls of Thû a werewolf’s coat and a bat’s. Three times only did Huan speak with the tongue of Elves or Men. The first was when he came to Lúthien in Nargothrond. This was the second, when he devised the desperate counsel for their quest. So they rode North, till they could no longer go on horse in safety. Then they put on the garments as of wolf and bat, and Lúthien in guise of evil fay rode upon the werewolf.

—A further extract from the Quenta, Beren and Lúthien (2017) - J.R.R. Tolkien

Now there he laid

before their feet, as dark as shade,

two grisly shapes that he had won

from that tall isle in Sirion:

a wolfhame huge—its savage fell

was long and matted, dark the spell

that drenched the dreadful coat and skin;

the werewolf cloak of Draugluin;

the other was a batlike garb

with mighty fingered wings, a barb

like iron nail at each joint’s end—

such wings as their dark cloud extend

against the moon, when in the sky

from Deadly Nightshade screeching fly

Thû’s messengers.

—The narrative in the Lay of Leithian to its termination, Beren and Lúthien (2017) - J.R.R. Tolkien

Draugluin: Greatest of the werewolves of Thû (Sauron).

Thuringwethil: Name taken by Lúthien in bat-form before Morgoth.

—List of names in the original texts, Beren and Lúthien (2017) - J.R.R. Tolkien

Sansa is said to have taken the form of a wolf with big leather wings like a bat:

"The Imp, it's thought. Him and his little wife."

"What wife?"

"I forgot, you've been hiding under a rock. The northern girl. Winterfell's daughter. We heard she killed the king with a spell, and afterward changed into a wolf with big leather wings like a bat, and flew out a tower window. But she left the dwarf behind and Cersei means to have his head."

That's stupid, Arya thought. Sansa only knows songs, not spells, and she'd never marry the Imp.

—A Storm of Swords - Arya XIII

Songs can be spells as well, Arya... Just ask Lúthien.

The image of a giant bat riding upon a werewolf sounds pretty similar to a wolf with big leather wings like a bat.

There is also the fact that GRRM has used "bat wings" as a reference to "dragon wings," and Sansa has a lot of bat/dragon wings imagery around her.

We will come back to this bat and wolf imagery issue later.

To finish this section, I leave you with this crossover fan-art where Lúthien, very impressed, asks Sansa about the rumor of her transformation into a wolf with big leather wings like a bat.

8. Singing and dancing

Before meeting Beren, Lúthien lived a peaceful life singing and dancing beautifully in the forest:

But Tinúviel’s joy was rather in the dance, and no names are set with hers for the beauty and subtlety of her twinkling feet.

Now it was the delight of Dairon and Tinúviel to fare away from the cavernous palace of Tinwelint their father and together spend long time amid the trees. There often would Dairon sit upon a tussock or a tree-root and make music while Tinúviel danced thereto, and when she danced to the playing of Dairon more lissom was she than Gwendeling, more magical than Tinfang Warble neath the moon, nor may any see such lilting save be it only in the rose gardens of Valinor where Nessa dances on the lawns of never-fading green.

[...] “Often and often she came there after and danced and sang to herself.”

[...] At length one day as she danced alone he stepped out more boldly and said to her: ‘Tinúviel, teach me to dance.’ ‘Who art thou?’ said she. ‘Beren. I am from across the Bitter Hills.’ ‘Then if thou wouldst dance, follow me,’ said the maiden, and she danced before Beren away, and away into the woods, nimbly and yet not so fast that he could not follow, and ever and anon she would look back and laugh at him stumbling after, saying ‘Dance, Beren, dance! as they dance beyond the Bitter Hills!’ In this way they came by winding paths to the abode of Tinwelint, and Tinúviel beckoned Beren beyond the stream, and he followed her wondering down into the cave and the deep halls of her home.”

—The Tale of Tinúviel, Beren and Lúthien (2017) - J.R.R. Tolkien

As it will be explained later, Lúthien's singing and dancing are not only beautiful aesthetically, those skills were magic and worked as spells and enchantments as well.

Leaving out the actual singers, Sansa is the female character more connected with music, singing and dancing. She plays some instruments (high harp, bells), has a sweet singing voice and loves to dance:

Sansa could sew and dance and sing. She wrote poetry. She knew how to dress. She played the high harp and the bells.

—A Game of Thrones - Arya I

So the singer played for her, so soft and sad that Arya only heard snatches of the words, though the tune was half-familiar. Sansa would know it, I bet. Her sister had known all the songs, and she could even play a little, and sing so sweetly.

—A Storm of Swords - Arya IV

Winterfell, she might have said. I smell snow and smoke and pine needles. I smell the stables. I smell Hodor laughing, and Jon and Robb battling in the yard, and Sansa singing about some stupid lady fair. [...]

—A Feast for Crows - Arya II

“Of Sansa, brushing out Lady’s coat and singing to herself.”

—A Dance with Dragons - Jon XIII

When the musicians began to play, she timidly laid her hand on Tyrion's and said, "My lord, should we lead the dance?"

[...] "Lady Sansa." Ser Garlan Tyrell stood beside the dais. "Would you honor me? If your lord consents?"

The Imp's mismatched eyes narrowed. "My lady can dance with whomever she pleases."

Perhaps she ought to have remained beside her husband, but she wanted to dance so badly . . .

[...] Smiling, she let the music take her, losing herself in the steps, in the sound of flute and pipes and harp, in the rhythm of the drum . . . and from time to time in Ser Garlan's arms, when the dance brought them together.

—A Storm of Swords - Sansa III

"Lord Nestor will have no singers at the feast, only flutes and fiddles for the dancing." What would she do when the music began to play? It was a vexing question, to which her heart and head gave different answers. Sansa loved to dance, but Alayne...

—A Feast for Crows - Alayne II

"Would you honor me with this dance, my lady?"

"You're very kind," she said, as he led her to the floor.

He was her first partner of the evening, but far from the last. Just as Petyr had promised, the young knights flocked around her, vying for her favor.

[. . . ] When the dance was done she excused herself, and went back to her place to have a drink of wine.

And there he stood, Harry the Heir himself; tall, handsome, scowling. "Lady Alayne. May I partner you in this dance?"

—The Winds of Winter - Alayne I

As we will see in a next section, Sansa's singing already performed an act of magic/enchantment, she tamed a wild beast full of rage and lust.

9. Other parallels

9.1. Beautiful hair

Lúthien and Sansa have beautiful hair that is their signature feature:

[...] but dark as shadow was her hair [...]

—Canto I, The Lay of Leithian - J.R.R. Tolkien

[...] and the hair of Tinúviel which was dark and finer than the most delicate threads of twilight began suddenly to grow very fast indeed [...]

—The Tale of Tinúviel, Beren and Lúthien (2017) - J.R.R. Tolkien

Sansa had gotten their mother’s fine high cheekbones and the thick auburn hair of the Tullys.

—A Game of Thrones - Arya I

I often sent away her maid so I could brush her hair myself. She [Sansa] had auburn hair, lighter than mine, and so thick and soft . . . the red in it would catch the light of the torches and shine like copper."

—A Clash of Kings - Catelyn VII

"You will be the most beautiful woman in the hall tonight, as lovely as your lady mother at your age. I cannot seat you on the dais, but you'll have a place of honor above the salt and underneath a wall sconce. The fire will be shining in your hair, so everyone will see how fair of face you are.

—The Winds of Winter - Alayne I

Lúthien wore fragrant flowers in her beautiful black hair:

[...] and from her hair the fragrance fell

of elvenflowers in elven-dell.

—Canto V, The Lay of Leithian - J.R.R. Tolkien

The perfume of her flower-twined hair [...]

—Canto IX, The Lay of Leithian - J.R.R. Tolkien

Behind closed doors

they sat, while Beren told his tale

of Doriath; and words him fail

recalling Lúthien dancing fair

with wild white roses in her hair [...]

—A second extract from The Lay of Leithian, Beren and Lúthien (2017) - J.R.R. Tolkien

This reminds me of Jenny of Oldstones, a lady in a song famous for wearing flowers in her hair:

"There's a song," he remembered. "'Jenny of Oldstones, with the flowers in her hair.'"

—A Storm of Swords - Catelyn V

As was mentioned previously in this post, Sansa is strongly linked with flowers as well (the rose of Winterfell legend, blue winter roses, the scent of flowers along the north bank of the Trident, Loras’s red rose, Myrcella’s garden, the Roadside Rose song, etc).

Sansa wore the red rose that Loras gave her in her hair.

Sansa has a lot of parallels with Jennys of Oldstones. You can read about it here:

WE’RE ALL JUST SONGS IN THE END. IF WE ARE LUCKY: JENNY OF OLDSTONES AND THE PRINCE OF DRAGONFLIES

THE BLACK PRINCE WITH THE WHITE GUARDIAN - Jon Snow, Sansa Stark, the Tourney at Ashford Meadow and the songs about Florian and Jonquil.

9.2. Radiant

Lúthien is often described as radiant:

[...] and there she dances all alone

upon a treeless knoll of stone!

Her mantle blue with jewels white

caught all the rays of frosted light.

She shone with cold and wintry flame,

as dancing down the hill she came,

and passed his watchful silent gaze,

a glimmer as of stars ablaze.

—Canto IV, The Lay of Leithian - J.R.R. Tolkien

[...] for Luthien was the most beautiful of all the Children of Iluvatar. Blue was her raiment as the unclouded heaven, but her eyes were grey as the starlit evening; her mantle was sewn with golden flowers, but her hair was dark as the shadows of twilight. As the light upon the leaves of trees, as the voice of clear waters, as the stars above the mists of the world, such was her glory and her loveliness; and in her face was a shining light.

[...] But suddenly some power, descended from of old from divine race, possessed Luthien, and casting back her foul raiment she stood forth, small before the might of Carcharoth, but radiant and terrible.

—Chapter 19, The Silmarillion - J.R.R. Tolkien

Sansa is described as radiant by Jon:

His half sisters escorted the royal princes. Arya was paired with plump young Tommen, whose white-blond hair was longer than hers. Sansa, two years older, drew the crown prince, Joffrey Baratheon. He was twelve, younger than Jon or Robb, but taller than either, to Jon's vast dismay. Prince Joffrey had his sister's hair and his mother's deep green eyes. A thick tangle of blond curls dripped down past his golden choker and high velvet collar. Sansa looked radiant as she walked beside him, but Jon did not like Joffrey's pouty lips or the bored, disdainful way he looked at Winterfell's Great Hall.

—A Game of Thrones - Jon I

The word “radiant” has romantic connotations, especially if you consider that GRRM’s love for medieval tourneys started with the movie Ivanhoe (1952), years before he even read the actual book by Sir Walter Scott. In the movie Liz Taylor played the role of the Jew girl Rebecca, and little George fell in love with her. When the author remembered his young infatuation, he referred to the actress as “radiant.” Read more about it here.

9.3. Skinchanging

As was explained previously, Lúthien had the ability of shapeshifting. She turned into a giant bat by wearing a female vampire's coat as a cloak and helped Beren to turn into a werewolf by wearing a werewolf's coat as a cloak as well. Then the bat rode upon the werewolf.

This image of a giant bat riding upon a werewolf is very similar to the image of Sansa turning into a wolf with big leather wings like a bat.

Sansa is a skinchanger as well.

Acording to GRRM, all the Stark children are wargs or skinchangers:

“I don’t think this is necessarily a ‘Stark’ ability, though all the children have it to one extent or another. They also realize it to one extent or another”. [Source]

Q: Are all the Stark children wargs/skin changers with their wolves? A: To a greater or lesser degree, yes, but the amount of control varies widely. [Source]

Oh, George said all the Stark children of this generation were full Wargs. I thought they were like one shot Wargs and were only bonded to their wolves but no they can warg into just about anything. Bran is just the only one working on it. [Source]

All of the Stark children were blessed with a direwolf and the ability to change skins with those magical creatures. The direwolves were sent by the old gods to protect and guide the Stark children. The direwolves are not only protectors and guides for the Stark children, they are also one with them.

Since Lady died, Sansa lost the opportunity to form a deeper bond with her wolf and to further develop and recognize her skinchanger abilities.

But I believe that Lady’s soul still remains in the world, and that’s why Bran calls and counts Sansa’s wolf as “Lady’s Shade.”

So it is possible that part of Lady still remains inside of Sansa, and that’s why Sansa always dreams with Lady (wolf dreams). Only Jon stopped dreaming with Ghost for a time, coincidentally, when they were separated by the Wall.

Most of Sansa’s dreams with Lady are about both of them running in a godswood (Lady’s bones are buried near Winterfell’s godswood), and although Sansa doesn’t remember much of her dreams, she always whispers and/or wakes up with Lady’s name on her lips. Even after her nightmares, she thinks of her Lady.

Some readers have speculated about Sansa and her link with other animals, and the possibility of Sansa changing skins with them, like the black tomcat of the Red Keep, the old blind dog of the Fingers, and even the blue falcon that she observed flying above the Eyrie.

During her encounter with the black tomcat of the Red Keep, Sansa “almost jumped out her skin.” This is a very interesting wording that almost sounds like skinchanging:

The serpentine steps twisted ahead, striped by bars of flickering light from the narrow windows above. Sansa was panting by the time she reached the top. She ran down a shadowy colonnade and pressed herself against a wall to catch her breath. When something brushed against her leg, she almost jumped out of her skin, but it was only a cat, a ragged black tom with a chewed-off ear. The creature spit at her and leapt away.

—A Clash of Kings - Sansa II

“Cats were vain and cruel, always ready to turn on you”, maybe, that’s why after approaching Sansa willingly, the black tomcat “spit at her and leapt away”. This scene happens when Sansa was coming to the godswood to meet with Dontos for the first time. After Sansa arrives, she immediately thinks of Lady.

Sansa bonds with the old blind dog of the Fingers fast and easily. The dog is affectionate, tries to defend Sansa from Marillion’s attack, and is next to her after the nightmares of past sexual abuse by the Hound and Tyrion, provoked by the singer’s attack:

It was eight long days until Lysa Arryn arrived. On five of them it rained, while Sansa sat bored and restless by the fire, beside the old blind dog. He was too sick and toothless to walk guard with Bryen anymore, and mostly all he did was sleep, but when she patted him he whined and licked her hand, and after that they were fast friends. […] “Alayne.” Her aunt’s singer stood over her. “Sweet Alayne. I am Marillion. I saw you come in from the rain. The night is chill and wet. Let me warm you.” The old dog raised his head and growled, but the singer gave him a cuff and sent him slinking off, whimpering. […] “I’ll have a song from you,” he rasped, and Sansa woke and found the old blind dog beside her once again. “I wish that you were Lady,” she said.

—A Storm of Swords - Sansa VI

And once again trapped in a tower, Sansa wishes she has wings:

A falcon soared above the frozen waterfall, blue wings spread wide against the morning sky. Would that I had wings as well.

—A Feast for Crows - Alayne I

As you can see, Sansa warging abilities are hidden so deep in the text, they only shyly appear in the middle of George’s prose as little pieces of poetry:

My skin has turned to porcelain, to ivory, to steel.

Now tell me, what is that if not skinchanging?

And talking about birds, Sansa has already changed her skin with some birds, she was a talking little bird of the Summer Islands (repeating the right things to survive), then a mockingbird (as Petyr Baelish daughter), and she’s about to become a falcon (if she marries Harry).

And since cloaks could also be considered another skin, Sansa has already changed various cloaks. She was cloaked by a Lannister, then by her new father Petyr Baelish, and is about to be cloaked again by an Arryn.

But Sansa is a wolf, no matter how many skins she wears, she will always be a wolf.

And while Sansa wishes she had feathery wings, unbeknownst to her, she became part of the popular folklore when the smallfolk began to imagine her as a witchy kingslayer that later vanished in a puff of brimstone or changed into a “wolf with big leather wings like a bat” and flew away:

“I forgot, you’ve been hiding under a rock. The northern girl. Winterfell’s daughter. We heard she killed the king with a spell, and afterward changed into a wolf with big leather wings like a bat, and flew out a tower window. But she left the dwarf behind and Cersei means to have his head.”

—A Storm of Swords - Arya XIII

“The dwarf’s wife did the murder with him,” swore an archer in Lord Rowan’s livery. “Afterward, she vanished from the hall in a puff of brimstone, and a ghostly direwolf was seen prowling the Red Keep, blood dripping from his jaws.”

—A Storm of Swords - Jaime VII

In the same book and with a very similar wording, Jon dreams of a ghastly direwolf wandering around the Crypts of Winterfell:

The crypts were growing darker. A light has gone out somewhere. “Ygritte?” he whispered. “Forgive me. Please.” But it was only a direwolf, grey and ghastly, spotted with blood, his her golden eyes shining sadly through the dark . .

—A Storm of Swords - Jon VIII

My personal theory is that the ghastly direwolf is Lady, because, among other reasons, this wouldn’t be the first time that Jon confused Ygritte with another redhead.

These legends of Sansa the witch, the unnatural warg, the beastling, the skinchanger, the winged wolf that flew away from a tower window or vanished in a puff of brimstone, are at the same level of the legends about Bloodraven warging into a one-eyed dog and turning into a mist from a century ago:

How many eyes does Lord Bloodraven have? the riddle ran. A thousand eyes, and one. Some claimed the King’s Hand was a student of the dark arts who could change his face, put on the likeness of a one-eyed dog, even turn into a mist. Packs of gaunt gray wolves hunted down his foes, men said, and carrion crows spied for him and whispered secrets in his ear. Most of the tales were only tales, Dunk did not doubt, but no one could doubt that Bloodraven had informers everywhere.

—The Mystery Knight

If Sansa or Lady’s Shade have really changed skins with the old blind dog of the Fingers, that would be almost the same as Bloodraven warging or shapechanging into a one-eyed dog. By the way, the old blind dog’s master’s name was Bryen, a name way too similar to Brynden (Bloodraven’s name)…

But back again to the “wolf with big leather wings like a bat.” This interesting image reminds me of dragons instead of bats, and I think that was precisely George’s intention, he was subtly referring to dragon wings:

[…] “They say the child was …” […] “Monstrous,” Mirri Maz Duur finished for him. […] “Twisted. I drew him forth myself. He was scaled like a lizard, blind, with the stub of a tail and small leather wings like the wings of a bat.

—A Game of Thrones - Daenerys IX

In the center of the Plaza of Pride stood a red brick fountain whose waters smelled of brimstone, and in the center of the fountain a monstrous harpy made of hammered bronze. Twenty feet tall she reared. She had a woman’s face, with gilded hair, ivory eyes, and pointed ivory teeth. Water gushed yellow from her heavy breasts. But in place of arms she had the wings of a bat or a dragon, her legs were the legs of an eagle, and behind she wore a scorpion’s curled and venomous tail.

—A Storm of Swords - Daenerys II

Tyrion scarce touched his food, Sansa noticed, though he drank several cups of the wine. For herself, she tried a little of the Dornish eggs, but the peppers burned her mouth. Otherwise she only nibbled at the fruit and fish and honeycakes. Every time Joffrey looked at her, her tummy got so fluttery that she felt as though she'd swallowed a bat.

—A Storm of Swords - Sansa IV

So, this fascinating image of a “wolf with big leather wings like a bat” could be foreshadowing of Sansa wearing a Targaryen cloak in the future. Or at least having the support and protection of someone related to dragons.

9.4. Hades and Persephone imagery

Beren and Lúthien have a heavy Hades and Persephone imagery around them.

Lúthien could melt winter into spring with the magic of her voice and song.

During their adventures, Beren was severely wounded many times, and while Lúthien had healing abilities, one time he was nearly dead and other time he actually died.

After losing his hand, Beren recovers only after a long period of unconsciousness, and it was said that when he woke the spring came again.

Later, when Beren actually died, Lúthien descended to the lands of death and winter came over the lands of her father. Then, after gaining Beren's life again, she came back to earth and ended the winter with the touch of her hands.

These quotes exempt me from further explanation:

The wind of winter winds his horn;

the misty veil is rent and torn.

The wind dies; the starry choirs

leap in the silent sky to fires

whose light comes bitter-cold and sheer

through domes of frozen crystal clear.

A sparkle through the darkling trees,

a piercing glint of light he sees,

and there she dances all alone

upon a treeless knoll of stone!

Her mantle blue with jewels white

caught all the rays of frosted light.

She shone with cold and wintry flame,

as dancing down the hill she came,

and passed his watchful silent gaze,

a glimmer as of stars ablaze.

And snowdrops sprang beneath her feet,

and one bird, sudden, late and sweet,

shrilled as she wayward passed along.

A frozen brook to bubbling song

awoke and laughed; but Beren stood

still bound enchanted in the wood.

Her starlight faded and the night

closed o'er the snowdrops glimmering white.

Thereafter on a hillock green

he saw far off the elven-sheen

of shining limb and jewel bright

often and oft on moonlit night;

and Daeron's pipe awoke once more,

and soft she sang as once before.

Then nigh he stole beneath the trees,

and heartache mingled with hearts-ease.

A night there was when winter died;

then all alone she sang and cried

and danced until the dawn of spring, [...]

—Canto IV, The Lay of Leithian - J.R.R. Tolkien

And he saw her afar as leaves in the winds of autumn, and in winter as a star upon a hill, but a chain was upon his limbs. There came a time near dawn on the eve of spring, and Luthien danced upon a green hill; and suddenly she began to sing. Keen, heart-piercing was her song as the song of the lark that rises from the gates of night and pours its voice among the dying stars, seeing the sun behind the walls of the world; and the song of Luthien released the behind the walls of the world; and the song of Luthien released the bonds of winter, and the frozen waters spoke, and flowers sprang from the cold earth where her feet had passed. Then the spell of silence fell from Beren, and he called to her, crying Tinuviel; and the woods echoed the name. Then she halted in wonder, and fled no more, and Beren came to her. But as she looked on him, doom fell upon her, and she loved him; yet she slipped from his arms and vanished from his sight even as the day was breaking.

[...] Now Beren and Luthien Tinuviel went free again and together walked through the woods renewing for a time their joy; and though winter came it hurt them not, for flowers lingered where Luthien went, and the birds sang beneath the snow clad hills.

—Chapter 19, The Silmarillion - J.R.R. Tolkien

There the eagles laid her at Beren’s side and returned to the peaks of Crissaegrim and their high eyries; but Huan came to her, and together they tended Beren, even as before when she healed him of the wound that Curufin gave to him. But this wound was fell and poisonous. Long Beren lay, and his spirit wandered upon the dark borders of death, knowing ever an anguish that pursued him from dream to dream. Then suddenly, when her hope was almost spent, he woke again, and looked up, seeing leaves against the sky; and he heard beneath the leaves singing soft and slow beside him LúthienTinúviel. And it was spring again.

Thereafter Beren was named Erchamion, which is the One-handed; and suffering was graven in his face. But at last he was drawn back to life by the love of Lúthien, and he rose, and together they walked in the woods once more.

—The Quenta Silmarillion, Beren and Lúthien (2017) - J.R.R. Tolkien

For the spirit of Beren at her bidding tarried in the halls of Mandos, unwilling to leave the world, until Lúthien came to say her last farewell upon the dim shores of the Outer Sea, whence Men that die set out never to return. But the spirit of Lúthien fell down into darkness, and at the last it fled, and her body lay like a flower that is suddenly cut off and lies for a while unwithered on the grass.

Then a winter, as it were the hoar age of mortal Men, fell upon Thingol. But Lúthien came to the halls of Mandos, where are the appointed places of the Eldalië, beyond the mansions of the West upon the confines of the world. There those that wait sit in the shadow of their thought. But her beauty was more than their beauty, and her sorrow deeper than their sorrows; and she knelt before Mandos and sang to him.

The song of Lúthien before Mandos was the song most fair that ever in words was woven, and the song most sorrowful that ever the world shall hear. Unchanged, imperishable, it is sung still in Valinor beyond the hearing of the world, and listening the Valar are grieved. For Lúthien wove two themes of words, of the sorrow of the Eldar and the grief of Men, of the Two Kindreds that were made by Ilúvatar to dwell in Arda, the Kingdom of Earth amid the innumerable stars. And as she knelt before him her tears fell upon his feet like rain upon the stones; and Mandos was moved to pity, who never before was so moved, nor has been since. Therefore he summoned Beren, and even as Lúthien had spoken in the hour of his death they met again beyond the Western Sea. But Mandos had no power to withhold the spirits of Men that were dead within the confines of the world after their time of waiting; nor could he change the fates of the Children of Ilúvatar. He went therefore to Manwë, Lord of the Valar, who governed the world under the hand of Ilúvatar; and Manwë sought counsel in his inmost thought, where the will of Ilúvatar was revealed. These were the choices that he gave to Lúthien. Because of her labours and her sorrow, she could be released from Mandos, and go to Valimar, there to dwell until the world's end among the Valar, forgetting all griefs that her life had known. Thither Beren could not come. For it was not permitted to the Valar to withhold Death from him, which is the gift of Ilúvatar to Men. But the other choice was this: that she might return to Middle-earth, and take with her Beren, there to dwell again, but without certitude of life or joy. Then she would become mortal, and subject to a second death, even as he; and ere long she would leave the world for ever, and her beauty become only a memory in song. This doom she chose, forsaking the Blessed Realm, and putting aside all claim to kinship with those that dwell there; that thus whatever grief might lie in wait, the fates of Beren and Lúthien might be joined, and their paths lead together beyond the confines of the world. So it was that alone of the Eldalië she has died indeed, and left the world long ago. Yet in her choice the Two Kindreds have been joined; and she is the forerunner of many in whom the Eldar see yet, though all the world is changed, the likeness of Lúthien the beloved, whom they have lost.

—The Lost Cantos, The Lay of Leithian - J.R.R. Tolkien

It is said that Beren and Lúthien returned to the northern lands of Middle-earth, and dwelt together for a time as living man and woman; and they took up again their mortal form in Doriath. Those that saw them were both glad and fearful; and Lúthien went to Menegroth and healed the winter of Thingol with the touch of her hand. But Melian looked in her eyes and read the doom that was written there, and turned away; for she knew that a parting beyond the end of the world had come between them, and no grief of loss has been heavier than the grief of Melian the Maia in that hour. Then Beren and Lúthien went forth alone, fearing neither thirst nor hunger; and they passed beyond the River Gelion into Ossiriand, and dwelt there in Tol Galen the green isle, in the midst of Adurant, until all tidings of them ceased. The Eldar afterwards called that country Dor Firn-i-Guinar, the Land of the Dead that Live; and there was born Dior Aranel the beautiful, who was after known as Dior Eluchíl, which is Thingol's Heir. No mortal man spoke ever again with Beren son of Barahir; and none saw Beren or Lúthien leave the world, or marked where at last their bodies lay.

—Epilogue, The Lay of Leithian - J.R.R. Tolkien

Jon and Sansa have Hades and Persephone imagery around them as well.

Jon as Hades:

Despite being born in Dorne, Jon is a son of Winterfell.

In the Prologue of A Game of Thrones we can read that Waymar Royce, Jon's stand in, died at the hands of the Others, in an eriily similar way that Jon would die four books later at the hands of his brothers of the Night's Watch (foreshadowing of Jon's death Nº 1).

Jon played to be a Ghost at the Crypts of Winterfell (foreshadowing of Jon's death Nº 2).

Jon named his mute albino direwolf Ghost (foreshadowing of Jon's death Nº 3).

And in A Dance with Dragons, Jon actually died.

One of Jon's killers was Bowen Marsh dubbed the Old Pomegranate.

We can read the words "a dream of spring" in one of Jon's chapters (A Storm of Swords - Jon V).

Sansa as Persephone:

Persephone and Sansa are renowned beauties.

Sansa was born during winter, she is the Winterfell's daughter.

Sansa is heavily linked with the dawn and the sun (Battle for the Dawn to defeat the Long Night/Long Winter).

An important theme in Sansa's arc is rebuilding, which is connected with rebuild a life after the Long Night/Long Winter. A dream of spring.

GRRM has linked Sansa to the warmer seasons (spring and summer) through her favorite dessert, lemon cakes.

Sansa is deeply associated with flowers, thus with spring.

Sansa rejected the pomegranate from Petyr "Littlefinger" Baelish.

Jon's death is foreshadowed (hidden daggers) in one of Sansa's chapters (A Storm of Swords - Sansa VI).

Sansa sensed Jon's death: "A ghost wolf, big as mountains." (A Feast for Crows - Alayne II).

Lady, part of Sansa, already died and is buried at Winterfell.

Read more about it here:

Some thoughts on Sansa and Jon, by Tze

The Pomegranate Imagery - Jonsa, ASOS.

Sansa as Persephone

The King and Queen in the North vs. the King and Queen of the Underworld

9.5. Daeron the minstrel

There often would Dairon sit upon a tussock or a tree-root and make music while Tinúviel danced thereto, and when she danced to the playing of Dairon more lissom was she than Gwendeling, more magical than Tinfang Warble neath the moon, nor may any see such lilting save be it only in the rose gardens of Valinor where Nessa dances on the lawns of never-fading green.

—The Tale of Tinúviel, Beren and Lúthien (2017) - J.R.R. Tolkien

Daeron is mentioned as one of the greatest minstrels of all the Children of Ilúvatar, and only Maglor son of Fëanor is said to come close to his skill. Also in the Lay of Leithian there is named one called Tinfang Gelion who is counted among the three great minstrels, along with Maglor and Daeron.

Daeron loved Lúthien, but she did not love him. Nevertheless they were good friends, and Lúthien would often dance to his music. After Daeron found out about Lúthien's love for the mortal Beren, he betrayed them both to Thingol. When Lúthien later sought his help in assisting captive Beren, Daeron again betrayed her to Thingol, though this time in love and fear for her rather than jealousy.

Thereafter often she came to him, and they went in secret through the woods together from spring to summer; and no others of the Children of Iluvatar have had joy so great, though the time was brief. But Daeron the minstrel also loved Luthien, and he espied her meetings with Beren, and betrayed them to Thingol. Then the King was filled with anger, for Luthien he loved above all things, setting her above all the princes of the Elves; whereas mortal Men he did not even take into his service. Therefore he spoke in grief and amazement to Luthien; but she would reveal nothing, until he swore an oath to her that he would neither slay Beren nor imprison him.

[...] In the time when Sauron cast Beren into the pit a weight of horror came upon Luthien's heart; and going to Melian for counsel she learned that Beren lay in the dungeons of Tol-in-Gaurhoth without hope of rescue. Then Luthien, perceiving that no help would come from any other on earth, resolved to fly from Doriath and come herself to him; but she sought the aid of Daeron, and he betrayed her purpose because he would not deprive Luthien of the lights of heaven, lest she fail and fade, and yet would restrain her, he caused a house to be built from which she should not escape.

[...] Upon Doriath evil days had fallen. Grief and silence had come upon all its people when Luthien was lost. Long they had sought for her in vain. And it is told that in that time Daeron the minstrel of Thingol strayed from the land, and was seen no more. He it was that made music for the dance and song of Luthien, before Beren came to Doriath; and he had loved her, and set all his thought of her in his music. He became the greatest of all the minstrels of the Elves east of the Sea, named even before Maglor son of Feanor. But seeking for Luthien in despair he wandered upon strange paths, and passing over the mountains he came into the East of Middle-earth, where for many ages he made lament beside dark waters for Luthien, daughter of Thingol, most beautiful of all living things.

—Chapter 19, The Silmarillion - J.R.R. Tolkien

Daeron reminds me of Marillion, the singer that tried to seduce and rape Sansa.

Marillion witnessed Lysa's attempt to murder Sansa and did nothing but keep singing and playing his harp. Marillion's passion for Sansa/Alayne was unrequited, similar to Daeron's unrequite love for Lúthien.

9.6. Foes

During the events of the Quest for the Silmaril, Lúthien defeated mighty foes, among them were:

Sauron: Lúthien flung her cloak over Sauron's face, and he was struck by the blinding enchantment of weariness. Huan used the opportunity to take Sauron by the throat. Sauron tried to escape by shape shifting, but Huan held him down. Lúthien then demanded Sauron to yield the mastery of the tower to her, less Huan should destroy his mortal form. Sauron yielded, and fled the scene. Lúthien, having received mastery of the tower, laid waste to the fortress with her magic. The walls were destroyed and the prisons were broken. Lúthien found Beren and healed him.

Carcharoth: Suddenly some power, descended from divine race, possessed Lúthien, and casting back her raiment she stood forth, radiant and terrible. Lifting up her hand she commanded Carcharoth to sleep and he was felled, as if lightning had struck him.

Morgoth: Lúthien was undaunted by Morgoth and she offered to dance and sing for him in the manner of a minstrel. He beheld her with lust, of which came a secret desire to do some unspeakable evil to Lúthien. Morgoth accepted for this reason, but Lúthien sang a song of such enchantment and blinding power that all his court fell into a deep sleep and all the fires faded. The Silmarils in the crown on Morgoth's head suddenly blazed with a radiance of white flame and the burden of his crown and of the jewels bowed down his head, laden with a weight of care and fear that even the will of Morgoth could not bear. Then Lúthien, catching up her winged robe, sprang into the air and by casting her cloak before his eyes she set upon him a dark dream. Morgoth was cast down in slumber.

Mandos: Eventually Carcharoth was discovered by Thingol's warriors, and the wolf was attacked. Thingol was nearly slain, but Beren saved him and was mortally wounded. Huan then fought with Carcharoth and slew him, with both dying. The Silmaril was cut from Carcharoth's burned flesh, and Beren presented it at last to Thingol before he died. Thingol then held Beren with respect, but Lúthien commanded Beren to wait for her in the Undying Lands. Lúthien passed away in grief, and her spirit came to the Halls of Mandos. There she sang a song of such woe and lamentation, that even Mandos himself was moved to pity. He summoned Beren's spirit, and the two were reunited. Then he went to Manwë, who sought counsel from Eru and so the will of Ilúvatar was revealed. Thus, Lúthien was faced with a choice; to remain in Valinor and its eternal bliss, or for her and Beren to return to Middle-earth as mortals, after which they would die a second death. Lúthien chose the latter, and she and Beren returned to Doriath.

As you can see Lúthien defeated mighty evil enemies, including the death. Lúthien did all those deeds with her magic enchantments, singing and dancing, skills that can be compared with Sansa's kindness, mercifulness, courtesy and knowledge next to her sweet voice and dancing.

Sansa was also prophesied by the Ghost of High Heart to be involved in the death of the cruel King Joffrey Baratheon (that already happened), and in the slain of a savage giant in a castle made of snow, that is probably Petyr "Littlefinger" Baelish. Another candidates are Tyrion Lannister and Gregor Clegane.

There is also the prophecy of Maggy the Frog, that involves Sansa in the downfall of Cersie Lannister.

And finally, we have to count Sansa's song of mercy (the Mother's Hymn), that placated the rage and lust of Sandor Clegane during the night of the Battle of the Blackwater and prevented the Hound's assault, as parallel with Luthien enchanting Morgoth into slumber, that prevented his evil assault: "He beheld her with lust, of which came a secret desire to do some unspeakable evil to Lúthien."

10. Beren and Lúthien as inspiration for Jon and Sansa

Among the tales of sorrow and of ruin that come down to us from the darkness of those days there are yet some in which amid weeping there is joy and under the shadow of death light that endures. And of these histories most fair still in the ears of the Elves is the tale of Beren and Lúthien. Of their lives was made the Lay of Leithian, Release from Bondage, which is the longest save one of the songs concerning the world of old. Here follows their tale and what remains of the Lay.

—Prologue, The Lay of Leithian - J.R.R. Tolkien

Lúthien's love of the mortal Beren, for whom she was prepared to risk everything, including her life, was legendary and lamented forever in song and story.

Lúthien's romance with Beren was one of the great stories of the Elder Days that were told for many ages after she lived, and it was said that her bloodline will never extinguish.

The union of Beren and Lúthien was the first between a mortal Man and an Elven maid.

Lúthien's romance with Beren is mirrored by the later romance between Aragorn and Arwen Evenstar.

According to legend, Lúthien's line would never be broken as long as the world lasted.

As you can see, the tale of Beren and Lúthien is a song that can be compared to the songs about Florian and Jonquil.

Sansa is the character that loves songs the most, particularly the songs about Florian and Jonquil, that are her very favorites.

I have speculated/theorized before that Jon Snow is the best candidate to be the Florian to Sansa's Jonquil.

And as other excellent meta writers have pointed out already, Jon Snow is the best candidate to be the Beren to Sansa's Lúthien.

So here I'm going to show you my take on the matter.

Singing

As I recently found out, we have this beautiful parallel between Beren and Lúthien & Jon and Sansa:

“Often and often she came there after and danced and sang to herself.”

—The Tale of Tinúviel, Beren and Lúthien (2017) - J.R.R. Tolkien

“Of Sansa, brushing out Lady’s coat and singing to herself.”

—A Dance with Dragons - Jon XIII

As you can see, a man observing a girl singing is an old and obvious romantic trope, especially used in fairy tales. Here a graphic example.

Dancing

Alys Karstark’ wedding, organized by Jon Snow, happened in a very similar way to Sansa’s dream wedding:

”It was not supposed to be this way. She had dreamed of her wedding a thousand times, and always she had pictured how her betrothed would stand behind her tall and strong, sweep the cloak of his protection over her shoulders, and tenderly kiss her cheek as he leaned forward to fasten the clasp”.

—A Storm of Swords - Sansa III

“The Magnar all but ripped the maiden’s cloak from Alys’s shoulders, but when he fastened her bride’s cloak about her he was almost tender. As he leaned down to kiss her cheek, their breath mingled”.

—A Dance with Dragons - Jon X.

During Sansa's wedding she didn't dance with her husband. Her first dance as a married woman was with Ser Garland Tyrell, a knight that shares important parallels with Jon Snow.

Jon and Garlan are good with swords (better than Robb and Loras). Both Jon and Garlan like to train with more than one sparring partner to be better prepared to battle. Both Jon and Garlan have ghost imagery around them. While Jon was killed and got a direwolf from the old gods that he called Ghost, Garlan won the Battle of the Blackwater fighting under the guise of Renly’s Ghost.

During Alys's wedding Jon Snow rejected her offer to dance by telling her she must dance with her husband.

“You could dance with me, you know. It would be only courteous. You danced with me anon.”

“Anon?” teased Jon.

“When we were children.” She tore off a bit of bread and threw it at him. “As you know well.”

“My lady should dance with her husband.”

—Jon, A Dance With Dragons

Despite rejecting dancing with her, Jon Snow kept in mind Aly's wrong phrasing: "You danced with me anon."

Later he had the following thought:

A snowflake danced upon the air. Then another. Dance with me, Jon Snow, he thought. You'll dance with me anon.

—A Dance with Dragons - Jon XII

While snowflakes falling reminds Jon of dancing, snowflakes falling reminds Sansa of lover's kisses:

Drifting snowflakes brushed her face as light as lover's kisses, and melted on her cheeks.

—A Storm of Swords - Sansa VII

I suppose that kisses, like loving, is another form of dance.

Bat and wolf imagery

We also have the bat and wolf imagery around Beren and Lúthien. These lovers, husband and wife, turned into a giant bat and a werewolf, an image that reminds me of Sansa turning into "a wolf with big leather wings like a bat."

Indeed, after Sansa ran away from King’s Landing the day King Joffrey Baratheon was killed, the rumors about her participation in the murder started. Among the smallfolk runs the tale that after killing the king, Sansa morphed into “a wolf with big leather wings like a bat” and flew away.

As was previously explained, GRRM has intentionally connected bat wings with dragon wings. So, this fascinating image of Sansa as “a wolf with big leather wings like a bat” could represent Sansa (a wolf) wearing a Targaryen cloak (dragon wings). Or at least having the support and protection of someone related to dragons (that is, Jon Snow).

This image alludes to the protection of a marriage, since when a groom “cloaks” his bride, it is said that he takes her under his protection.

Hades and Persephone imagery

We also have the Hades and Persephone imagery around Beren and Lúthien.

Lúthien could melt winter into spring with the magic of her voice and song.

Thanks to Lúthien's love and cares, the moment Beren woke up from a long period of unconsciousness after losing his hand, spring returned again.

When Beren died, Lúthien descended to the lands of death and gained Beren's life back. Then Lúthien came back to earth and ended the winter with the touch of her hand.

And as was explained before, Jon and Sansa have Hades and Persephone imagery around them as well. See above.

This is yet one more legendary couple who shares parallels with Jon and Sansa.

And since Lúthien's singing was the weapon that gained Beren's life back, this could be foreshadowing of Sansa's singing having an important role in Jon's arc during or after his resurrection.

It is vastly speculated that Jon will come back to life beast-like since he would inhabit inside Ghost for a while, thus Sansa's singing could be instrumental for taming Jon's beast-like form or to make him gaining back his memory.

Beauty and the Beast imagery

Lúthien's renowned beauty was extensively discussed already. Now let's see the beast allusions related to Beren:

Thereafter for four years more Beren wandered still upon Dorthonion, a solitary outlaw; but he became the friend of birds and beasts, and they aided him, and did not betray him, and from that time forth he ate no flesh nor slew any living thing that was not in the service of Morgoth.

[...] But she vanished from his sight; and he became dumb, as one that is bound under a spell, and he strayed long in the woods, wild and wary as a beast, seeking for her. In his heart he called her Tinuviel, that signifies Nightingale, daughter of twilight, in the Grey-elven tongue, for he knew no other name for her. And he saw her afar as leaves in the winds of autumn, and in winter as a star upon a hill, but a chain was upon his limbs.

[...] Beneath the Shadowy Mountains they came upon a company of Orcs, and slew them all in their camp by night; and they took their gear and their weapons. By the arts of Felagund their own forms and faces were changed into the likeness of Orcs; and thus disguised they came far upon their northward road, and ventured into the western pass, between Ered Wethrin and the highlands of Taur-nu-Fuin.

[...] As a dead beast Beren lay upon the ground; but Luthien touching him with her hand aroused him, and he cast aside the wolf-hame. Then he drew forth the knife Angrist; and from the iron claws that held it he cut a Silmaril.

—Chapter 19, The Silmarillion - J.R.R. Tolkien

Beren also formed a strong bond with Huan, the great wolfhound, a magical creature gifted by a god. This bond resembles somehow the bond between Jon and Ghost.

Beren stood beside Thingol, and suddenly they were aware that Huan had left their side. Then a great baying awoke in the thicket; for Huan becoming impatient and desiring to look upon this wolf had gone in alone to dislodge him. But Carcharoth avoided him, and bursting form the thorns leaped suddenly upon Thingol. Swiftly Beren strode before him with a spear, but Carcharoth swept it aside and felled him, biting at his breast. In that moment Huan leaped from the thicket upon the back of the Wolf, and they fell together fighting bitterly; and no battle of wolf and hound has been like to it, for in the baying of Huan was heard the voice of the horns of Orome and the wrath of the Valar, but in the howls of Carcharoth was the hate of Morgoth and malice crueller than teeth of steel; and the rocks were rent by their clamour and fell from on high and choked the falls of Esgalduin. There they fought to the death; but Thingol gave no heed, for he knelt by Beren, seeing that he was sorely hurt. Huan in that hour slew Carcharoth; but there in the woven woods of Doriath his own doom long spoken was fulfilled, and he was wounded mortally, and the venom of Morgoth entered into him. Then he came, and falling beside Beren spoke for the third time with words; and he bade Beren farewell before he died. Beren spoke not, but laid his hand upon the head of the hound, and so they parted.

—Chapter 19, The Silmarillion - J.R.R. Tolkien

Sansa's beauty is also renowned and was discussed above (Here a compilation of all the quotes about Sansa's beauty).

Sansa and Jon are also both wargs/skinchangers, but while Lady was the smallest, the prettiest, the most gentle and trusting of the litter; Ghost is the biggest of the litter and is often described as a savage beast.

Now let's see the beast allusions related to Jon and Ghost:

Ser Alliser Thorne shattered the silence. “The turncloak graces us with his presence at last.”

Lord Janos was red-faced and quivering. “The beast,” he gasped. “Look! The beast that tore the life from Halfhand. A warg walks among us, brothers. A WARG! This … this creature is not fit to lead us! This beastling is not fit to live!”

Ghost bared his teeth, but Jon put a hand on his head. “My lord,” he said, “will you tell me what’s happened here?”

—A Storm of Swords - Jon XII

“Then you had best be on your way, boy.” Slynt laughed, dribbling porridge down his chest. “Greyguard’s a good place for the likes of you, I’m thinking. Well away from decent godly folk. The mark of the beast is on you, bastard.”

—A Dance with Dragons - Jon II

Dolorous Edd took hold of Slynt by one arm, Iron Emmett by the other. Together they hauled him from the bench. “No,” Lord Janos protested, flecks of porridge spraying from his lips. “No, unhand me. He’s just a boy, a bastard. His father was a traitor. The mark of the beast is on him, that wolf of his … Let go of me! You will rue the day you laid hands on Janos Slynt. I have friends in King’s Landing. I warn you—” He was still protesting as they half-marched, half-dragged him up the steps.

—A Dance with Dragons - Jon II

My friend @really-sad-devil-guy wrote a series of metas about Sansa and the Beauty and the Beast trope. This series is unfinished at the moment but you can read the parts already posted here:

Sansa’s “Beauty and the Beast” Arc, Part 1

Sansa’s “Beauty and the Beast” Arc, Part 2

Sansa’s “Beauty and the Beast” Arc, Part 3

Sansa’s “Beauty and the Beast” Arc, Part 4

Sansa’s “Beauty and the Beast” Arc, Part 5

You can also read the posts I wrote about this subject here:

In the original fairy tale ‘La Belle et la Bête’ by Madame de Villeneuve, Beauty and Beast/Prince are cousins

Some fanon/made up things that certain shippers claim to be canon about their ship & the Beauty and the Beast Trope

There is a version of Beauty and the Beast where the Beast is a white wolf

Endless lineage

As was mentioned before, the union of Beren and Lúthien was the first between a mortal Man and an Elven maid.

According to legend, Lúthien’s bloodline would never be broken as long as the world lasted.

Lúthien’s romance with Beren is mirrored by the later romance between Aragorn and Arwen Evenstar.

Aragorn and Arwen were first cousins many times removed and both descend of Beren and Lúthien.

In the case of Jon and Sansa, both are deeply connected to the continuity of the Stark bloodline.

I extensively wrote about Jon and Sansa and their connections to Winterfell in this post: i carry your heart with me (i carry it in my. Among these connections, here are the most noteworthy:

“The snow fell and the castle rose”

GRRM has directly associated Jon Snow and Sansa’s snow castle.

Jon and Sansa share the dream of rebuilding Winterfell, their ancestral home and seat of House Stark. This shared dream is beautifully represented by Sansa building a scale model of Winterfell out of “snow”.

What do I want with snowballs? She looked at her sad little arsenal. There’s no one to throw them at. She let the one she was making drop from her hand. I could build a snow knight instead, she thought. Or even…

[…] The snow fell and the castle rose. Two walls ankle-high, the inner taller than the outer. Towers and turrets, keeps and stairs, a round kitchen, a square armory, the stables along the inside of the west wall. It was only a castle when she began, but before very long Sansa knew it was Winterfell. She found twigs and fallen branches beneath the snow and broke off the ends to make the trees for the godswood. For the gravestones in the lichyard she used bits of bark. Soon her gloves and her boots were crusty white, her hands were tingling, and her feet were soaked and cold, but she did not care. The castle was all that mattered. Some things were hard to remember, but most came back to her easily, as if she had been there only yesterday. The Library Tower, with the steep stonework stair twisting about its exterior. The gatehouse, two huge bulwarks, the arched gate between them, crenellations all along the top…

—A Storm of Swords - Sansa VII

“Drink this.” Grenn held a cup to his lips. Jon drank. His head was full of wolves and eagles, the sound of his brothers’ laughter. The faces above him began to blur and fade. They can’t be dead. Theon would never do that. And Winterfell … grey granite, oak and iron, crows wheeling around the towers, steam rising off the hot pools in the godswood, the stone kings sitting on their thrones … how could Winterfell be gone?

—A Storm of Swords - Jon VI

Winterfell, he thought. Theon left it burned and broken, but I could restore it. Surely his father would have wanted that, and Robb as well. They would never have wanted the castle left in ruins.

—A Storm of Swords - Jon XII

There is also the fact that Jon is heavily associated with “snow” while Sansa is heavily associated with “stone.”

Winterfell is a grey “stone” castle that is cloaked by white “snow,” like a perfect marriage.

Jon and the Wall represent the “shield that guards the realms of men.” Sansa feels stronger within the “walls” of Winterfell.

All of these images allude to the protection of a marriage, since when a groom “cloaks” his bride, it is said that he takes her under his protection.

“The blood of Winterfell”

Among all the Stark children, Jon and Sansa are the only ones that are called, or call themselves, “the blood of Winterfell.”

Jon’s throat was raw. He looked at them all helplessly. “She yielded herself to me.” “Then you must do what needs be done,” Qhorin Halfhand said. “You are the blood of Winterfell and a man of the Night’s Watch.”

—A Clash of Kings - Jon VI

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.

—A Storm of Swords - Jon VI

“What if Lord Nestor values honor more than profit?” Petyr put his arm around her. “What if it is truth he wants, and justice for his murdered lady?” He smiled. “I know Lord Nestor, sweetling. Do you imagine I’d ever let him harm my daughter?” I am not your daughter, she thought. I am Sansa Stark, Lord Eddard’s daughter and Lady Catelyn’s, the blood of Winterfell. She did not say it, though.

—A Feast for Crows - Sansa I

This phrasing “the blood of Winterfell” implies blood lineage of House Stark, and Jon and Sansa both dream of having children that would bear the names of their siblings: Robb, Bran, Rickon and Arya.

Willas would be Lord of Highgarden and she would be his lady. She pictured the two of them sitting together in a garden with puppies in their laps, or listening to a singer strum upon a lute while they floated down the Mander on a pleasure barge. If I give him sons, he may come to love me. She would name them Eddard and Brandon and Rickon, and raise them all to be as valiant as Ser Loras. And to hate Lannisters, too. In Sansa’s dreams, her children looked just like the brothers she had lost. Sometimes there was even a girl who looked like Arya.

—A Storm of Swords - Sansa II

I would need to steal her if I wanted her love, but she might give me children. I might someday hold a son of my own blood in my arms. A son was something Jon Snow had never dared dream of, since he decided to live his life on the Wall. I could name him Robb. Val would want to keep her sister’s son, but we could foster him at Winterfell, and Gilly’s boy as well. Sam would never need to tell his lie. We’d find a place for Gilly too, and Sam could come visit her once a year or so. Mance’s son and Craster’s would grow up brothers, as I once did with Robb.

—A Storm of Swords - Jon XII

This is connected with the motif of rebuilding Winterfell, Jon and Sansa not only can rebuild the castle but the Stark family.

“Children of the Mountain”

Among all the Stark children, Jon and Sansa are the only ones that are called "children of the mountain".

Soon they were high enough so that looking down was best not considered. There was nothing below but yawning blackness, nothing above but moon and stars. “The mountain is your mother,” Stonesnake had told him during an easier climb a few days past. “Cling to her, press your face up against her teats, and she won’t drop you.” Jon had made a joke of it, saying how he’d always wondered who his mother was, but never thought to find her in the Frostfangs. It did not seem nearly so amusing now. One step and then another, he thought, clinging tight.

—A Clash of Kings - Jon VI

“You’re mistaken. I never fall.” Mya’s hair had tumbled across her cheek, hiding one eye. “Almost, I said. I saw you. Weren’t you afraid? “Mya shook her head. “I remember a man throwing me in the air when I was very little. He stands as tall as the sky, and he throws me up so high it feels as though I’m flying. We’re both laughing, laughing so much that I can hardly catch a breath, and finally I laugh so hard I wet myself, but that only makes him laugh the louder. I was never afraid when he was throwing me. I knew that he would always be there to catch me.” She pushed her hair back. “Then one day he wasn’t. Men come and go. They lie, or die, or leave you. A mountain is not a man, though, and a stone is a mountain’s daughter. I trust my father, and I trust my mules. I won’t fall.” She put her hand on a jagged spur of rock, and got to her feet. “Best finish. We have a long way yet to go, and I can smell a storm.”

—A Feast for Crows - Alayne II

Coincidentally in reference to two snowy mountains, the Frostfangs beyond the Wall and the mountains at the Eyrie.

The word Winterfell could mean “wintry mountain(s)” A snowy mountain is basically “stone” covered by “snow”, like a perfect marriage.

This is connected with the motif of rebuilding Winterfell and the Stark family.

You can read more about this subject (Beren and Lúthien as inspiration for Jon and Sansa) in this series of metas written by @fedonciadale back in 2018:

Tolkien and GRRM - The tale of Beren and Luthien and the allusions to Jonsa - part 1 - the meeting

Tolkien and GRRM - The tale of Beren and Luthien and the allusions to Jonsa - part 2 - Beren’s oath and first failure

Tolkien and GRRM - The tale of Beren and Luthien and the allusions to Jonsa - part 3 - Beren’s and Luthien’s get the Silmaril

Tolkien and GRRM - Aragorn and Arwen

11. Bonus: from real life to fiction

Lúthien was largely inspired from Edith Bratt (Tolkien's wife) and when she died, Tolkien asked his son Christopher to include Lúthien in her gravestone, as he considered her "my Lúthien."

In on of his letters (Nº 340), Tolkien said: "I never called Edith 'Lúthien' – but she was the source of the story that in time became the chief pan of the Silmarillion. It was first conceived in a small woodland glade filled with hemlocks at Roos in Yorkshire (where I was for a brief time in command of an outpost of the Humber Garrison in 1917, and she was able to live with me for a while). In those days her hair was raven, her skin clear, her eyes brighter than you have seen them, and she could sing – and dance. But the story has gone crooked, & I am left, and I cannot plead before the inexorable Mandos."

In the movie Tolkien (2019) the film recreates this scene, as you can see in this gifset.

In the same way, I believe that GRRM took inspiration from his wife Parris McBride, certain real life events and traits, and gave those to two of his heroines, Brienne and Sansa.

When Martin and McBride met, at a convention in Nashville in 1975, she told him that one of his stories, “A Song for Lya,” had made her cry. The gathering was in the free-spirited mode of the times—in an autobiographical essay, Martin notes that, when this conversation took place, they were both naked. (He does not elaborate.) He was, however, engaged to someone else. McBride went to work for a travelling circus for a while. By the time he moved to Santa Fe, in 1979, she was waiting tables in Portland, Oregon. They’d kept in touch, and after his marriage broke up they began what McBride calls a “fannish romance,” meeting at conventions and exchanging letters. In 1981, he persuaded her to move to New Mexico.

The New Yorker - April 11, 2011 Issue

And about they both being naked when they met, he later elaborates:

I met Parris for the first time at the 1975 Kublakhan in Nashville. A bunch of us were having a party in the women’s sauna and she walked in. I came to immediate attention.

Parris | George R.R. Martin

This naked encounter is compared by fans to this Jaime and Brienne passage:

She jerked to her feet as if he’d struck her, sending a wash of hot water across the tub. Jaime caught a glimpse of the thick blonde bush at the juncture of her thighs as she climbed out. She was much hairier than his sister. Absurdly, he felt his cock stir beneath the bathwater. Now I know I have been too long away from Cersei. He averted his eyes, troubled by his body’s response.

—A Storm of Swords - Jaime V

We can even draw some parallels between Beren and Lúthien and Jaime and Brienne.

Like Lúthien, Brienne dances, but she dances with her sword. While Jaime, like Beren, lost a hand.

The possibility that GRRM may have used his wife Parris McBride as inspiration for Brienne and Sansa, makes a lot of sense if we consider that, according to GRRM himself, Brienne is Sansa with a sword.

But it is the mention of Parris crying while reading “A Song for Lya”, a bittersweet ending story with a radiant auburn haired beauty, what reminds me very much of Sansa.

Sansa is fond of sweet and sad songs, of bittersweet tales and stories, and she is often moved to tears by their sadness and beauty:

Sansa listened raptly while the king’s high harper sang songs of chivalry [...]

—A Clash of Kings - Bran III

Later, while Sansa was off listening to a troupe of singers perform the complex round of interwoven ballads called the “Dance of the Dragons,” [...]

—A Game of Thrones - Eddard VII

She pulled a chair close to the hearth, took down one of her favorite books, and lost herself in the stories of Florian and Jonquil, of Lady Shella and the Rainbow Knight, of valiant Prince Aemon and his doomed love for his brother’s queen.

—A Game of Thrones - Sansa IV

For those who remained, a singer was brought forth to fill the hall with the sweet music of the high harp. He sang of Jonquil and Florian, of Prince Aemon the Dragonknight and his love for his brother’s queen, of Nymeria’s ten thousand ships. They were beautiful songs, but terribly sad. Several of the women began to weep, and Sansa felt her own eyes growing moist.

—A Clash of Kings - Sansa VI

Lady Ashara was my aunt. I never knew her, though. She threw herself into the sea from atop the Palestone Sword before I was born.”

“Why would she do that?” said Arya, startled.

[…] "Why did she jump in the sea, though?"

"Her heart was broken."

Sansa would have sighed and shed a tear for true love, but Arya just thought it was stupid. She couldn't say that to Ned, though, not about his own aunt. "Did someone break it?"

—A Storm of Swords - Arya VIII

Sansa is often moved to tears at the presence of beauty, as Jon's fond memories of her tell us:

—A Clash of Kings - Jon III

So, in a similar way that Edith inspired Lúthien, I believe Parris inspired Brienne and Sansa.

It is evident that his first encounter with Parris deeply impacted GRRM, so much that he took certain real life events and certain traits of his wife and gave those to two of the heroines of his magnum opus. Particularly Sansa, since she is a main character and the princess of the story, that shares parallels with powerful women from History and with important characters of classic fantasy sagas, like Tolkien's Lúthien in this case.

There you have it. Sansa is the Lúthien figure in the universe of A Song of Ice and Fire.

I'm sure there are more parallels between Lúthien and Sansa, I'm not an expert in the LOTR books, the only book I read so far is the one I used to write this post: Beren and Lúthien (2017), so maybe I will be revisiting this post in the future with more findings.

#sansa stark #lúthien tinúviel #jonsa #beren x lúthien #asoiaf #lotr #grrm #grr martin #jrr tolkien

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tabletoptrinketsbyjj · 6 years ago

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Trinkets, Artifacts, 1: There are objects in the world that are best described as priceless. This isn't because of strong sentimental value like a gift from a friend who has passed on, a family heirloom, or a token of affection of a lost lover. These items are priceless because no pile of gold pieces can compare to the sheer opulence, rarity, or godlike craftsmanship that the thing possess. It is better to have the rarest and most sought after piece of art in the world and to have every single being of importance knowing your name and that you're special because you own it, rather than simply being generically wealthy from the hordes of riches gained by selling it. These macguffins exist in real life and in fiction as objects to seek, trade or fight over, and something to possess and display rather than actually make use of. These range from artifacts, artist masterpieces, rare magics and opulent combinations of jewels and precious metals, such as The Mona Lisa, the Arkenstone, the Maltese Falcon, the crown jewels of a major dynasty, the Hope Diamond, the Golden Fleece, the hide of the Nemean Lion, the Holy Grail or Pulp Fiction's glowing briefcase. These objects can be found in the throne rooms of kings, the demiplanes of archmages and the pinnacle of a dragon's hoard.

Cloak of Angel's Shadow: A beautiful white silk cloak trimmed with downy feathers, freely given by a heavenly angel. The cloak never becomes stained or dirty and always smells clean and fresh. While worn, the bearer's shadow appears to have large, angelic wings and the bearer gains full mental control over their shadow's movements. While worn the bearer gains advantage on all charisma checks (Diplomacy, intimidation, bluff, etc.) made against angels, who recognize the sight and smell of their kin. The bearer suffers disadvantage on all charisma checks made against demons, who recoil at the stench of their ancient foe.

Ring of Rulers: A large signet ring of gold, emblazoned with a unicorn crest of pure white opal. When the band is donned by a commoner, the metal becomes uncomfortably hot but causes no physical injury. A creature of noble blood (However slight), or destined to become a noble at some point in the future, who dons the ring suffers a momentary flash of light and pain which deals a single point of hit point damage. The bearer will find that the unicorn crest has reshaped itself to his own heraldry (Or a heraldry matching the bearer's personality), which has also been branded upon the back of their finger. From then onward, the bearer can don or remove the ring without any further ill effects. If the ring is removed for more than a minute, the signet shifts back into the shape of a unicorn.

A dog sized, domesticated earth elemental that is afraid of beetles but is extraordinarily loyal to whoever employs it. The rocky creatures goes by the name Marl and speaks Common and Terran in the slow, deep rumbling tones of many stones being rubbed together with a specific purpose. Marl considers it's employer to be the last creature to present it with a high quality diamond the size of a large marble and currently sports two such gemstones as “eyes”.

Roll a Random Musical Instrument: A visually beautiful instrument that when played, creates illusory musical notes which dance and flow around the player. The visual quality and movement of the notes depend on the skill of the musician. Fortunately the instrument passes along a basic knowledge of its use to bearer, granting the creature proficiency with it for as long as its held. Still, a naturally poor player with a shoddy or simple song produces small pitiful illusions that mope around, while a master musician playing an orchestral piece creates large vibrant illusionary notes that flow in tune with the melody.

A thick, heavy belt of woven steel chains, connecting seven different gemstone medallions together. The gems are set (From left to right) diamond, emerald, lapis lazuli, topaz, opal, ruby and amethyst. The belt looks as though it should be worn by a rightful heir.

A wooden box lined with velvet, containing five gems each the same size as the fruit they resemble. A ruby cut in the shape of a strawberry, a faceted emerald in the shape of a lime, an amethyst fashioned in the shape of a plum, a topaz chiseled in the shape of a banana and a diamond sculpted in the shape of a peach.

An unbreakable metal cage of meteoric metal with a miniature star contained inside. The celestial body occasionally produces startlingly complex music which coincide with storms that rage across the surface and flare out the bars of the cage. The star emits as much light as a torch and is only slightly warm to the touch.

A brilliant, fist sized gemstone that shine with its own inner light and takes all light that falls upon it and refracts it into ten thousand sparks of white radiance shot with glints of the rainbow. The wondrously large white gem bears a thousand facets all skillfully cut by dwarven master artisans, lacking a single superfluous edge. The radiance of the precious jewel has no match and shines like silver in firelight, like water in the sun, like snow under the stars and like rain upon the moon.

Connoisseur's Orchestrion: A beautiful hand sized mahogany music box whose working components are made of magically enchanted gold and silver. The object fills its bearer with a sense of musical snobbishness and the desire to listen to, record and play the finest instrumental music possible. When exposed to nonmagical music, the box can be commanded to record the song. The arcane clockwork device can hold up to ten songs and is able to reproduce them in perfect quality, whenever commanded. The music box is an exceptional judge of music and refuses to record music of a lesser quality of what it has already stored. Should the bearer attempt to save an eleventh song, it is compared to the other ten recordings and the objectively worst song is forgotten to make room for the new one. If the eleventh song is worse than the ten already stored the device does not record it or remove a stored song. The bearer has no control over this process which is seen as a blessing among musical circles, as it prevents user error and all but guarantees the music is of masterful quality.

The Devil's Bleeding Crown: A demonic circlet made exclusively of black iron, sporting 13 vicious looking spikes rising from its band. Humanoid faces showing frozen expressions of terror and pain cover the majority of it's exterior. While worn, the faces animate and seem to be screaming in pain and terror although they do not make a single sound. The eye sockets of each face glows with the light of a single burning ember and begin to cry a slow stream of bloody tears onto the bearer. The tears burn like acid (Dealing one point of unpreventable acid or necrotic / unholy /profane damage per round) to good and neutral creatures but is completely harmless to evil bearers and does not effect objects or clothing whatsoever. Knowledgeable PC's will know that the crown is called “Volbeat” and is a demonic royal symbol of the bearer's power, ruthlessness and ability. Finding the crown is fairly simple as the devil who usually wears it never makes an effort to hide or blend in. The crown makes the bearer a target for lower ranking devils to kill him and take the crown, therefore cementing their own place as a prince of devils. This crown is infamous for never being on the same horned head for any length of time. In fact clever devils will sometimes place it on the heads of captured enemies as a torture device, letting the tears burn them slowly until the devil grows bored. Occasionally used to to convert captured enemies to evil by attaching the crown to their heads and placing tests in from of the subjects. For example: “Kill the other helpless prisoner and the burning will end. Your own life matters more than them and stopping the pain means more than their life.” If the subjects commit enough evil acts, their moral alignment changes and the crown will stop burning them.

—Keep reading for 90 more trinkets.

—Note: The previous 10 items are repeated for easier rolling on a d100.

A suggestively cut, finger lengthed, black diamond that causes erotic dreams when it is placed under a sleeper’s head

A fine tortoiseshell comb that if used to brush a creature’s hair for one uninterrupted minute, causes that hair to grow by one inch.

A crystal vial of a rare, high quality perfume that is all but legitimately intoxicating to inhale. The precisely cut vial refills itself each dawn.

A curved horn of dragon bone, inlaid with gold. When blown into, it produces a rich brassy tone that is audible only to those in a five mile radius that the bearer considers allies.

A complete set of noble's attire fit for a king in the modern fashion style. The fabric is mildly enchanted and never dirties, stains, smells unpleasant, and automatically mends itself of all but the most serious wear and tear.

Crown of the Undoubting, Damaged: An ornate golden crown studded with large, clear diamonds and deep blue sapphires. When worn, the gemstones glow and shine with their own inner light, proclaiming the bearer is a true and rightful ruler. A knowledgeable PC will recognize the crown as an ancient method of proving the legitimacy of a person's claim to the thrown, however it's enchantment seems to be failing miserably. Any creature who dons the crown believes themselves to be the rightful ruler of the land they are standing on. While wearing the crown, the bearer cannot be dissuaded from that idea that they are royalty and will not wish to remove the crown under any circumstances. The crown's effect's fade the moment its removed and never cause the drinker to violate any of their strongly held ethics or morals.

A heavy gold bracelet with a tiny platinum bell charm that rings out like a large gong when intentionally rung.

A gold plated dragonhide pouch with dwarven runes that suggest it once belonged to some great slayer. The gold plating has seen better days and is missing in some places. Inside will be found a series of artistic stones crafted from platinum. It is obvious that the entire collection is not present. When assembled together the stones actually create a rough map which ultimately shows the location of a dwarven tomb. The missing stones will need to be found to complete the map.

A string of large, lustrous pearls long enough to loop around the neck five times over. When worn, the bearer can cause their hair to appear grey or white with age, from peppered with grey and white to a full head of aged hair. If the bearer's hair is already grey or white, they may will it to look like it's natural youthful colour. The change is instantaneous and the illusion is perfect and lasts until the necklace is removed.

A large platinum mug, set with a sparkling star sapphire and enameled in gold. The interior is dark, polished maple.

A life sized rose made of a single nigh-indestructible, crystal clear, multifaceted diamond..

A large duffel bag containing an impressive collection of ostentatious religious objects made primarily of silver, gold and precious gems that were all stolen from a the largest place of worship (Cathedral, temple, church, etc) of the God of a Random Domain.

A secure, enameled box, bound with silver cord. Inside is a healthy purple seedling growing a single golden leaf. Extremely knowledgeable PC's can identity the plant as Goldenward, long thought to be extinct. Some records suggest it can be made into a special tonic with protective and life extending properties.

A shallow glazed ceramic bowl that makes all spellcasters who eat or drink directly from it feel feverishly ill and immediately vomit regardless of their physical constitution. The severe nausea lasts for an hour, during which time they are able to take actions and cast spells but are hard pressed to do either.

A silver ewer that fills itself with wine of exquisite quality every dawn. The wine evaporates if not consumed by dusk. If the empty ewer is placed within five feet of a selection of foodstuffs, the created alcohol will act as the perfect wine pairing to the meal.

A large, heavy bar of orichalcum, a reddish-gold metal only mentioned in ancient literature as the process for making it has been lost to memory. It is rumored to have extraordinary properties when incorporated into weapons and armor.

A foot-tall platinum sculpture of thin, elaborately bent cylindrical twists that form the shape of a stylized egg. At the center rests a multifaceted golden topaz.

A platinum pendant worked into the shape of a pixie, dotted with emeralds and mother of pearl, strung on a braided cord of silver wire.

An steel-bound oaken chest lined with velvet, containing a dozen, delicate porcelain plates. They are all inlaid with gold and each one is magnificently decorated with a different zodiac symbol. The 12 animals were applied just before the baking process with a specialized paint consisting of mainly of powered gemstones, with each symbol using only one of type of precious jewel.

A bundle of good quality, feathery griffon pelts tied together with silk and wrapped in a protective oilskin case.

An ornamental rapier with a blunted silver blade, gold filigree on the guard and an electrum pommel. A collection of precious jewels are set into the hilt and it is clear that the object was built to been seen not used, as the “weapon” is neither designed nor weighted for combat.

Chalice of Uncomfortably Tempered Liquid: An ornate golden chalice encrusted with gemstones. No matter what liquid is in the cup, it will seem to be at a temperature that is unpleasant to drink (Either warmer or colder, whichever is subjectively worse for the drinker) . The cup does not actually change the temperature of the liquid, it simply changes the drinker’s perception of the liquid’s temperature. This gaudy object was no doubt some sort of aristocratic prank or test of character for nobles.

Elven Earrings: A pair of delicate leaf shaped earrings made of silver, delicately harvested without disturbing the natural world. When worn, the bearer’s ears become narrow and pointed like those of an elf and facial features become slender and graceful. Any onlooker paying attention would swear that the bearer can traces of elven blood in his veins. This is an instantaneous, painless physical change (Not illusionary and thus can be felt) which reverses itself the moment the earrings are removed.

A dog sized, domesticated water elemental that is afraid of eels but is extraordinarily loyal to whoever employs it. The flowing creature goes by the name Brook and speaks Common and Aquan in the babbling rush of a waterfall, with words continually torrenting out of the general shape of its face. Brook considers it's employer to be the last creature to present it with a gallon of pure ice harvested from one of the polar caps. The elemental takes the ice into itself which melts, incorporating the rare liquid throughout its body.

A silver cup inlaid with ivory and covered with elvish script that sings mesmerizing elvish chants with the full tone, harmony and range of a full choir when filled with wine but howls in tortured anguish when filled with anything else.

A delicate porcelain cup that instantly cools any liquid of any sort (From hot tea to hotter lava) placed in it to 40 F (4.4C). The cup itself remains at room temperature and is never harmed by heat, hot liquids or temperature changes of any kind for any reason.

A platinum tuning fork that when struck, produces the single most satisfying note anyone has ever heard. It can be rung as often as desired and can quickly become addicting to listen to.

A beautifully decorated crystal vase that magically preserves any flowers placed in it while still allowing this fresh scent to fill the air. As long as the flowers stay in the vase that remain in full bloom and free of any wilt despite a complete lack of light, fertilizer, air, proper temperature or water. Although many vases are magically enchanted to have similar properties, this one is unique in that the blooming flowers remain fertile and produce pollen as if they were in their prime. These vases are usually owned by serious horticulturists who use them to keep dozens of different species of delicate flowers alive, healthy and continually providing genetic material for pure and crossbreeding.

A one foot tall, platinum figurine of a regal dragon striking a dramatic pose with its head upright, claws firmly planted and its wings fully spread.

Harp of the Pure: A one handed, triangular shaped harp, made of willow wood and strung with silver strings. If a good hearted creature sings while playing the harp outdoors, cute harmless creatures in the nearby area such as squirrels, songbirds and rabbits will approach the bearer. The animals cavort around the bearer and dance to the clear sounds of the silver strings for as long as the bearer continues to sing and play music. Intelligent animals and humanoids find the music soothing and it fills them with energy and a willingness to dance, sing and make merry. The harmless animals will continue to frolic until any creature in the area shows signs of open hostility or violence, at which point they scatter and resume normal behaviors for their species. The harp can be played as much as desired but never functions for a user who played the harp in order draw creatures in to be harmed or who harmed a defenseless creature while the harp was being played.

Cloak of Demon’s Shadow: A sinister black leather cloak trimmed with coarse red fur, unwillingly taken from an unholy demon. The cloak never becomes stained or dirty and always smells faintly of brimstone. While worn, the bearer's shadow appears to have large demonic bat wings and the bearer gains full mental control over their shadow's movements. While worn the bearer gains advantage on all charisma checks (Diplomacy, intimidation, bluff, etc.) made against demons, who recognize the sight and smell of their kin. The bearer suffers disadvantage on all charisma checks made against angels, who recoil at the stench of their ancient foe.

Song of the Ocean: A fist sized elaborately scrimshawed piece of whale skull, carved in the shape of a humpback whale. When both are completely submerged in water, the bearer can telepathically communicate with whales in the same ocean or sea as himself.

Courtesan’s Little Helper: A pair of delicate silver tweezers with diamond studs that would not amiss in a noblewoman’s purse. Any hair follicles plucked by these tweezers do not begin to regrow until a year and a day has passed. The hairs must be plucked individually for the magic to take effect but there is no limit on the amount of hair that can be plucked.

A drinking horn fashioned from a pristine unicorn horn with a shoulder strap made from braided hair from the unicorn’s mane. Any liquid drank straight from the horn tastes pure and sweet and the drinker gains advantage on any checks to resist poisons, toxins or disease the liquid may contain. However, the drinker becomes wracked with shame and guilt, feeling that he has spoiled something wonderful.

An elegant puppet theater one cubic foot in size,containing magically animated dolls. Although its wood is brightly polished and the red of its satin curtains is bright and fresh, the hand-painted sign upon its front (Reading “The Wondrous Shows of Punch and Judy” in carnival lettering) is chipped and faded. If the curtains are opened (Using a set of finely woven pulley ropes which lie inside the theater), the puppets (Stored in a concealed compartment “backstage”) will come to life and perform elaborate shows of their own volition. The puppets can speak and interact with the audience to a limited extent for entertainment purposes and the theater creates lively background music. The puppets can remain animate indefinitely and will continuously create new stories, plots and jokes for as long as it remains active.

A silk pouch containing a dozen, oval shaped, platinum coins, displaying a dragon on one side and a shield on the other. The stamping reveals the coins were minted in the draconic tongue.

A beautiful pair of indestructible glass high heeled slippers that change size based on who’s trying them on. Creatures without any form of noble blood themselves or who are not related to nobility in any way, find that the high heels fit perfectly and are very comfortable. Creatures who are of any noble standing or are related to nobility in any way find that the high heels are far too small and that they cannot put them on. Desperate enough nobles do find that if they cut off their big toe, the high heels will fit their feet.

A golden disk inset with nine small gems (diamond, emerald, sapphire, ruby, onyx, pearl, moonstone, jacinth, and jet) arranged in a spiral pattern. When worn by a creature capable of casting magical spells, the jewels glow with their own inner light. Disks such as this are used in the Mage's Guild to identify the bearer as ranking of the arcane order.

A court seal composed of silver and carved lapis lazuli that bears the personal mark of the king. Knowledgeable PC's can identity the seal as genuine and realize that there would be an official and fair reward for returning it to the king's court. Alternatively a significant profit could be made selling it to any number of criminal organizations.

A miniature golden chest with tiny emeralds lining the top that trace out a mage’s sigil. The chest is crafted in exquisite detail and radiates powerful conjuration magic. Spell casters may recognize it for the material component of the spell “Secret Chest” and the mage’s sigil is that of the ruthless mage Aumurille, who will likely want her property back....

A roughly beaten solid gold orb, roughly ten inches in diameter, etched with the likeness of an orcish skull with an axe embedded in it. Knowledgeable PC's can determine that is was used by an orcish chieftain as her royal orb.

A five-gallon cask of blessed silver nails, each etched with the holy symbol of a Random Good God and all completely submerged in holy oil.

A strange abacus made of ebony with counting beads made of ivory, silver, gold, and vitrified humanoid eyeballs.

A set of stamps and hammers designed for minting the local coinage. Knowledgeable PC’s can determine that they are not forgers reproductions but genuine minting tools. These would fetch a fair reward for returning them to the proper authorities or a sizable monetary compensation if sold to forgers and black marketeers.

A finely crafted compass of gold and silver, stamped with ornate dwarven runes. The compass functions perfectly while underground, near large sources of metal and while while interacting with other magnetic or magical fields.

A hand sized statuette of a dragon forged from the finest, purest mithril, which responds cryptically to yes or no questions which are posed to it in draconic. The answers given may appear prophetic or oracular, but are actually completely random.

A travel sized Clàrsach harp in the style of the northern barbarians, but crafted with an elegance which suggests the decadence of a great civilization. Its strings are almost too fine to be perceived with the naked eye and when played, they resonate with the force of a full orchestra.

A thumb sized diamond of incredible beauty which slowly shifts its color from the purest clear white to yellow to blue to black and back again. A bearer can choose the halt or continue the colour transition with a thought, allowing for a jewel whose hue can match an entire wardrobe. The gem begins its colour shifting rotation when it's removed.

A bundle of good quality, fluffy pegasus pelts tied together with silk and wrapped in a protective oilskin case.

A loop of chain made to be worn as a form of necklace, with each large link made of a different type of metal. There is one link of each of the following metals: gold, silver, iron, black iron, lead, copper, bronze, steel, electrum, brass, pewter, platinum and tin. Knowledgeable PC’s will recognize this as a symbol of membership and status of an ancient order known as the Maesters. They were an order of scholars, healers, postmen, and scientists who were trained at a school called the Citadel. Sometimes called “the knights of the mind”, Maesters often served as advisers in matters of warfare. Each different metal stands for a different area of expertise and knowledge, meaning this chain came from a Maester who had experience in nearly all of their disciplines. Very few, if any of their order remains and their existence itself is sometimes debated as legend rather than fact.

A large golden chalice encrusted with jewels and writings from a forgotten language. At a casual glance the symbols appear to suggest that the cup was used during sacrifices and could be a key element in a divine ritual.

A small, magically preserved painting of a well-known historical figure. The painting was stolen by raiders during a large war and lost until now. Not only is the figure in the painting famous but it was also created by a renowned artist from that era. This genuine artifact has both extreme historical significance as well as monetary value to the right buyer.

A dog sized, domesticated air elemental that is afraid of bats but is extraordinarily loyal to whoever employs it. The insubstantial creature goes by the name Gale and speaks Common and Auran in breathy, whispering words that seem to have been carried in on the breeze. Gale considers it's employer to be the last creature to present it with a pair of feathers from an extinct species of flying creature and currently sports an example of such of plumage as “eyes”.

A rich maple travel case lined with purple velvet that contains a dozen opulent war darts. Each lavish missiles is comprised of a single razor sharp point cut diamond in a platinum setting which then thins into a loose spiral around the dart's black ebony wood core, that's been impeccably fletched with peacock feathers. The weapon's obscenely expensive materials combined with their masterful craftsmanship results in a collection of darts that may be used to kill, but are unlikely to be the murder weapon. Their value is such that it would be far more efficient for the wielder to simply offer one as payment to a reasonably priced assassin rather than stooping to actually throw it at a target.

A small, compact mirror made of platinum. The outside is embellished in a sketching of a beautiful woman inlaid with fine strips of gold. Once opened, the viewer sees themselves as they have always wanted to appear. It changes nothing of their actual visual appearance, but their reflected image is of how they've always wanted to be seen.

An ornate hair net fashioned from silk and gold wire, interwoven with numerous precious jewels. Knowledgeable PC's will recognize this piece as part of the family jewels of an old and influential noble family, who would no doubt pay handsomely for the return of a family heirloom.

An ornate, crystal hourglass set in a heavy golden frame with silver filigree running up and down the sides. Within, in lieu of sand, the crystal is filled with ruby fragments, ground to a fine powder to keep track of the hour. The crystal vibrates and tinkles as the powdered gemstone slides down it, making an almost musical song while the time passes.

A whalebone corset embellished with prominent gold treading and set with a dozen sparkling sapphires along the top of the bosom. The golden embroidery flows in a gorgeous filigree pattern. The wide silk laces in the back are a deep blue to match the sapphires on the front.

Gloves of the Lady: A pair of ladies black, silken evening gloves that were worn by a royal snob for the majority of her social outings. While worn, the bearer becomes an expert in etiquette and gains an uncanny knack for upper class social queues and manners. The bearer gains advantage on all knowledge checks related to high class etiquette, court manners, codes of royal social behavior and upper class social norms and gains advantage on all diplomacy checks made to interact with members of high society, royalty or nobility in a formal setting. However the gloves also impart the arrogant, snobby and downright condescending way of holding oneself and tone of voice that creates resentment in those of the lower classes. The bearer suffers disadvantage on all charisma based checks (Diplomacy, intimidation, bluff, etc) towards creatures that are not nobility, royalty or general high society. This penalty includes servants, guards, maids, butlers and footmen who serve nobles and interact with them regularly but who are not nobles themselves. The gloves must be worn for one hour before the bearer gains the benefits, however the penalty to charisma checks takes effect immediately when worn.

A lightweight feather quill crafted entirely out of platinum. The hundreds of delicate bards were each expertly crafted to look like nothing other than a natural, organic feather. The quill's tip is masterfully carved ivory and on the other end is a perfectly painted, bright green cat eye.

An ewer consisting of dozens of interlocked pieces of ivory that fit together like a puzzle, with gold along the seams acting as a lavish glue. Knowledgeable PC's will recognize it as the centerpiece of an ancient ritual by a high priestess to appease a long since forgotten Demigod of an old, and powerful river. The minor deity has not been prayed to using the ewer in centuries and would no doubt greatly appreciate a creature who completed the ritual.

Animated Shaving Razor: A wickedly sharp, silver straight razor that trembles in anticipation when held close to uncut hair. A creature holding the razor can let it go while giving it an order to “Shave X” after which it whips though the air like a whirlwind of swishing fury and gleaming metal, cutting away all the bearer's designated hair in a matter of seconds leaving behind smooth moisturized skin without harming the affected creature in the least. More precise instructions can be given to have the razor style hair into patterns or shapes. The blade refuses to draw blood under any circumstance and cannot be used as a weapon. The bearer can only use the razor to shave themselves, the blade ignores instructions to shave other creatures or objects.

A dog sized, domesticated fire elemental that is afraid of salamanders but is extraordinarily loyal to whoever employs it. The blazing creature goes by the name Ash and speaks Common and Ignan in the hoarse rasping of a lifelong smoker, whose dry words are undercut by constant crackling noises. Ash considers it's employer to be the last creature to present it with ten pounds of powdered magnesium and stands far back. The elemental immediately takes the metal into itself and burns it in a brilliant explosion of fiery white light. This process never harms Ash who compares the sensation to humanoids when they eat extremely spicy food.

A globe shaped pendant of clear crystal that hangs from a thick platinum chain. When held up the light of a half moon, the crystal will takes on the appearance of a watchful icy blue and silver eye.

A heavy scepter with an hourglass-shaped goblet affixed atop it, made entirely of gold. The scepter can be separated into two pieces; a golden rod as long as a man's forearm, splaying out into a disc shape just below the end, and a golden cup that can be locked into place by sliding it down the rod.

A detailed, regular sized arrow made entirely of gold, including it's head and fletching. Knowledgeable PC's will recognize this as the first place trophy of the annual archery competition of the largest metropolis of the land.

A seamlessly shaped pocket watch made of platinum and gold with what looks to be copper running in branching veins along and under the surface of the case. The dial (face) is protected by a hinged cover that's decorated with the nearest other planet and an hourglass delicately etched into the precious metals. The interior is a stunning array of gears and hands and notches and springs that seem to move in relationships that grow infinitely more complex the longer one watches them. The watch always tells perfect time and has no need of winding or maintenance.

Ascot of the Gentleman: A black, silken ascot that was worn by a royal snob for the majority of his social outings. While worn, the bearer becomes an expert in etiquette and gains an uncanny knack for upper class social queues and manners. The bearer gains advantage on all knowledge checks related to high class etiquette, court manners, codes of royal social behavior and upper class social norms and gains advantage on all diplomacy checks made to interact with members of high society, royalty or nobility in a formal setting. However the ascot also imparts the arrogant, snobby and downright condescending way of holding oneself and tone of voice that creates resentment in those of the lower classes. The bearer suffers disadvantage on all charisma based checks (Diplomacy, intimidation, bluff, etc) towards creatures that are not nobility, royalty or general high society. This penalty includes servants, guards, maids, butlers and footmen who serve nobles and interact with them regularly but who are not nobles themselves. The ascot must be worn for one hour before the bearer gains the benefits, however the penalty to charisma checks takes effect immediately when worn.

A bundle of good quality, luxurious unicorn pelts tied together with silk and wrapped in a protective oilskin case.

A circular gold medallion strung on a thick purple ribbon. The medal is plain except for a set of five interlocking circles underneath the word “1st” which has all been etched into the gold. Knowledgeable PC's will recognize this as the first place trophy of multiplanar sporting event that occurs every four years.

Morning Bell: A platinum handbell that when rung, allows the bearer to magically clean themselves. When rung, the bearer and the set of clothing that they are wearing are instantly cleaned and freshened. Stains are washed away, dirt is brushed off and falls to the ground, exposed metal is buffed and polished, the user’s hair and skin are cleaned, their nails are clipped and their teeth brushed. Any bad scents are completely dispersed and replaced with a faint aroma of the bearer choosing. The bell functions twice per day. Though there is no actual restriction on when the bell is used, its name comes from the common usage; to assist a person (Typically a wealthy couple) in freshening up in the morning to they can meet the day neat and clean.

A razor sharp ceremonial dagger bearing an electrum blade a large black pearl set in the pommel

A single platinum bracer etched with a large symbol of an open eye. The armband is set with a hollow, disk shaped sapphire that forms the iris and a deep black opal that creates a pupil that seems to drink in light.

A finely carved cherry wood travel case containing a jade chess board with solid gold playing pieces

A beautiful life sized ice sculpture of a graceful swam that never melts or becomes damaged.

A gracefully shaped, one foot tall statuette of a genie formed of clear crystal. Its hands are posed holding a diamond orb above its head.

A one foot tall, highly polished silver statuette of an adorable blue dragon hatchling that is posed resting in the cracked remains of a shell of pure sapphire.

A small hand mirror made from polished platinum with a handle made of a demon's horn. The reflective surface reflects only the ill intent and evil nature of any creature that holds it.

A gold and enamel brooch in the shape of a swan. The jewel is formed as a standing mute swan "gorged" with a gold collar in the form of a royal crown with six fleur-de-lys tines. There is a gold chain terminating in a ring attached to the crown, and the swan has a pin and catch on its right side for fastening the brooch to clothes or a hat. The swan is just over one inch tall and two inches wide, with a three inch chain. The swan's body is in white enamel, its eyes are of black enamel, and the beak is decorated in red enamel. Knowledgeable PC's will recognize it as a livery badge, a sign of association and loyalty to a rich noble house.

A pink porcelain brooch with platinum inlay with the image of a smiling and handsome (But portly) bald cleric in sackcloth looking up into a sun with beams of light cast down upon him, his hands clasped together before him in prayer. The brooch can be used as a holy symbol for any creature casting spells of a healing or restorative nature.

A six inch gold fish hook encased in a clear crystal prism. Knowledgeable PC's will recognize this as the first place trophy of the annual fishing competition of the largest port city in the land.

A lavish, palm sized brooch made of gold and lapis lazuli, fashioned in the shape of a scarab beetle.

A silk pouch containing a dozen, square shaped, electrum coins, displaying a skull on one side and a staff on the other. The stamping reveals the coins were minted in the elvish tongue.

A goose egg made of pure, solid gold. The metal lacks any sort of tool or craft marks and looks like it was laid rather than forged.

A exquisitely made, life sized, half a pomegranate made of pure silver with luscious garnet seeds that rests on a small onyx stand.

A heavy mask made of finely hammered gold, that covers the bearer’s face from the chin to the top of the forehead. The mask’s expression shifts between three different states: solemn, fierce, and mournful, in order to match its bearer’s mood.

A soft, silk scarf that has been enchanted to look like pure flowing water. The water ripples and flows like a clear stream, its current traveling in a single direction in relation to the scarf. The bearer can concentrate on the scarf to alter the illusion slightly, changing the direction of the current or to increase or decrease the amount of eddies and ripples in the water’s flow. The scarf never dirties and resists most forms of damage.

A collapsible telescope made of gold and crystal. The adjustable scope allows the bearer to increase magnification from ten times to 100 times normal sight.

A sturdy iron banded wooden travel case. Inside the case are two cushions, a layer of velvet, and several silk straps all meant to secure and protect a single object; a small unlabeled vial made of thick hardened glass with a stopper that’s been covered in several layers of sealing wax. Inside the vial floats the blood and small chunks of brain matter harvested from a living Elder Brain of a Mind Flayer city. The vial has a preserving enchantment on it that keeps the blood and brain matter as fresh as if it was still alive. To say that this is a rare material would be to say that the sun is warm and only extremely knowledgeable PC's would be able to identify it properly. Selling this object should theoretically be simple, as anyone familiar with the contents would covet the brain matter for their own personal gain and would buy it from the bearer. Selling the vial for the value of what it is actually worth will be next to impossible given its sheer rarity.

Wizard’s Chess: An ornate marble chess set, bearing incredibly detailed humanoid pieces which rest on a checkerboard of deepest black and purest white. The underside of each piece as well as the board itself bears arcane runes of transmutation, illusion and memory. At a passing glance it is obvious that entire set has been enchanted with several magical effects. The board can understand verbal commands which allows the players to order their pieces to move remotely, negating the need to physically interact with the board at all. The board contains a measure of intelligence, strategies and movesets, allowing a single creature to play full games against the board itself. The creature can choose from a “simple” “moderate” or “challenging” difficulty setting which dictates the board’s level of skill. A creature can also set the board to have no players and simply watch the set play against itself and to begin a new game as soon as checkmate is reached, creating an endless loop of play. An individual chess piece that strays farther than ten feet from the set, instantly teleports back to its proper place on the board. Finally, the set can be commanded to pack itself up which causes the pieces to fold up the board along invisible seams collapsing the entire board into a fist sized marble cube that weighs one pound. The most obvious enchantments lie with the carved figurine pieces. While they remain within three feet of the board, the masterfully detailed pieces take on lifelike qualities. The stony faces of the pawns tighten into expressions ranging from nervousness and clueless bravado to outright terror as they fiddle with their makeshift weapons adapted from simple farming tools. Horses paw at the ground while their knights ready their maces and shields. Bishops raise hands and staffs to the sky as their mouths move to speak prayers of victory and hymns of battle, while miniature bowmen can be seen peeking from the rook’s archer slits. The kings and queens being the largest pieces have the most noticeable details and are perhaps the most impressive. The queens stand tall with a regal bearing, wearing well-fitting armor that is as functional and it is beautiful. Their thin tiaras hold back their shoulder length hair that blows dramatically in the wind but never obscures their faces. They each bear a single weapon, a heavy royal scepter, beautiful and deadly, which they wield in both hands. The kings on the other hand are haggard and stooped over as if weighed down by their garishly oversized crowns and heavy fur cloaks that trails on the ground. They wear foppish court clothes lacking any trace of actual protection and each hold (It would be too generous to call the action “wielding”) a small overly jeweled dagger with a sense of frantic paranoia in their marble eyes. When a piece would normally take another piece, the two figurines play out a few moments of a choreographed duel which ends in bloodshed and the death of the taken piece, which then moves itself to the side of the board.

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