The spectator seats are orientated to the south, towards the ancient city in the lowland and the Rhodope Mountains. In outline, the theatre is a semi-circle with an outer diameter of 82 meters. The theatre itself is divided into the seating section (auditorium) and the stage (orchestra). The auditorium, the area in which people gathered, is hollowed out of a hill or slope, while the outer radian seats required structural support and solid retaining walls. The auditorium was not roofed. The spectator seats (cavea) surround the stage – the orchestra – which has the shape of a horseshoe, 26.64 meters long, includes 28 concentric rows of marble seats, divided into two tiers by an aisle (diazoma). The upper part of the tiers is interrupted by narrow radial stairways, which divide the cavea into wedge-shaped sectors (kerkides). The theatre also has a podium, which supports the columns of the scaenae frons.
Similar to all the theatres on the territory of the Roman Empire, in the theatre of Trimontium the honorary spectator seats were inscribed. There were inscriptions not only for the representatives of the city council but also for magistrates, friends of the Emperor, etc. Some honorary inscriptions show that the building was used as the seat of the Thracian provincial assembly. Built with around 7,000 seats, each section of seating had the names of the city quarters engraved on the benches so the citizens knew where they were to sit.
“This girl is not your sister, Jon, nor is she the girl you once knew. She’s accused of murdering a child. The Lords of the Vale are determined to see her brought to trial for Robert Arryn’s death. Furthermore, she was found with Petyr Baelish’s blood literally on her hands.” Altered summary: Years after the war, dangerous circumstances reunite Sansa Stark, former Queen in the North and now Lady of Winterfell and accused traitor and murderer, with Jon, now Prince Jon of the Targaryen Empire. Together with some old friends and Jon’s Aunt Dany, they try to cope, stay alive, sane, and keep the new empire afloat. Politics, intrigue, action, angst, romance and sex abound.
Arya Stark wanted to be a knight; she wanted to find glory and adventure with Needle in her hand. But that is not an appropriate life for a highborn lady, and that was all Arya of House Stark was allowed to be.
No one said life was easy. Tomorrow is not promised to anyone. Death has become our world and within it, we are slaves to its horrors. Take my hand, for the moment you let go of me will be the moment I lose myself.
Ser Gendry of the Hollow Hill survives the massacres in the Riverlands. At Castle Black he reveals to Melisandre that the rescued Arya is not the true Arya. Both the Acting Commander and Melisandre send him on a mission to save Westeros from the Cold Children of the Great Other by stealing and retrieving the Darkheart acolyte of the Many Faced God in Braavos.
“What?” Arya snapped her head to look at her father. “You’re leaving us?” Ned looked to the floor. “We’re leaving to go to King’s Landing.” By the tone of his voice, it was apparent that there wasn’t any room for compromise. “ Arya Stark leaves the life she knows behind and meets Gendry Waters who forever changes her life.
You laid down
And I found
Decayed and sacred
Marrow and blood
Lost to dust and quiet
In that sacred hollow hill
I heard your song
Into my rib cage
My caged beating
(Not the same anon) I kind of chalked Ice Spiders as a literary trick rather than being actual giant spiders. I mean I remember that in one of Jon's chapters in ADWD that he had a dream while defending the Wall, and he was fighting wights climbing the Wall "like Ice spiders". I thought it was potential foreshadowing where GRRM revealed something out of the horror genre with the undead twisting and clawing up the ice, serving as impromptu mounts for the others.
If ASOIAF has taught us anything, it’s that Old Nan speaks the truth:
“Now these were the days before the Andals came, and long before the women fled across the narrow sea from the cities of the Rhoyne, and the hundred kingdoms of those times were the kingdoms of the First Men, who had taken these lands from the children of the forest. Yet here and there in the fastness of the woods the children still lived in their wooden cities and hollow hills, and the faces in the trees kept watch. So as cold and death filled the earth, the last hero determined to seek out the children, in the hopes that their ancient magics could win back what the armies of men had lost. He set out into the dead lands with a sword, a horse, a dog, and a dozen companions. For years he searched, until he despaired of ever finding the children of the forest in their secret cities. One by one his friends died, and his horse, and finally even his dog, and his sword froze so hard the blade snapped when he tried to use it. And the Others smelled the hot blood in him, and came silent on his trail, stalking him with packs of pale white spiders big as hounds—”
And elsewhere in the woods, there is a party, one taking place inside a hollow hill, full of night-blooming flowers. There, a pale boy plays a fiddle with newly mended fingers while his sister dances with his best friend. There, a monster whirls about, branches waving in time with the music. There, a prince of the Folk takes up the mantle of king, embracing a changeling like a brother, and, with a human boy at his side, names a girl his champion.
A/N: This fic is really long and it’s my first time writing for LOTR so I’m kind of worried that I didn’t get Aragorn’s character right.
“You took a sword for me,” he says finally as his expression once again returns to careful neutrality. There is a hint of a question in his voice- as if he cannot bring himself to believe that such an action is possible.
“Yes, and I would gladly do it again,” you reply and he simply stares at you for several moments, shocked into silence.
“Why? Why would you do such a thing?” he asks you after a few more moments pass and the tightness of his jaw tells you that he is angry, though you cannot understand the reasons for such a reaction.
The story of the Last Hero is one that gets tossed around quite a bit within the fandom- both show and book wise- and I’ve seen it applied to many different characters as well. Something that may be overlooked is that the story of the Last Hero is introduced within Bran Stark’s POV and he’s the only one to continuously mention the story in canon:
“Now these were the days before the Andals came, and long before the women fled across the narrow sea from the cities of the Rhoyne, and the hundred kingdoms of those times were the kingdoms of the First Men, who had taken these lands from the children of the forest. Yet here and there in the fastness of the woods the children still lived in their wooden cities and hollow hills, and the faces in the trees kept watch. So as cold and death filled the earth, the last hero determined to seek out the children, in the hopes that their ancient magics could win back what the armies of men had lost. He set out into the dead lands with a sword, a horse, a dog, and a dozen companions. For years he searched, until he despaired of ever finding the children of the forest in their secret cities. One by one his friends died, and his horse, and finally even his dog, and his sword froze so hard the blade snapped when he tried to use it. And the Others smelled the hot blood in him, and came silent on his trail, stalking him with packs of pale white spiders big as hounds.” -A Game of Thrones - Bran IV
By this story, the Last Hero will have to have Blood the First Men- bringing it down (POV wise) to Arya, Bran, Jon and Sansa. It’s mentioned more than once that the Blood of the First Men flows within the blood of House Stark. It goes hand in hand with the “our way is the older way.” Another idealism that’s fist mentioned within Bran’s POV.
The story of the Last Hero is left unfinished when Bran’s story is interrupted by Theon but it’s made apparent that he should bring around the end of the Others. In all context to this, it’s obvious that Bran has a role to play in this. It’s literally planted in his narrative since the very beginning.
Finally he looked north. He saw the Wall shining like blue crystal, and his bastard brother Jon sleeping alone in a cold bed, his skin growing pale and hard as the memory of all warmth fled from him. And he looked past the Wall, past endless forests cloaked in snow, past the frozen shore and the great blue-white rivers of ice and the dead plains where nothing grew or lived. North and north and north he looked, to the curtain of light at the end of the world, and then beyond that curtain. He looked deep into the heart of winter, and then he cried out, afraid, and the heat of his tears burned on his cheeks.
-A Game of Thrones - Bran III
This passage, in fact, goes as far as to suggest that what Bran has to live for is the Battle Against the Others:
Now you know, the crow whispered as it sat on his shoulder. Now you know why you must live.
If we’re going to take “plot directly intertwines with the Others and the fight against them,” as a key feature that means Arya and Sansa won’t be fulfilling this. While their plots are very important to overall narrative structure, they aren’t tangled up with the events at the Wall and beyond it as Bran and Jon are.
One of the things that will put Bran beyond Jon in this sense is how much the Last Heros’ story leans towards the Children of the Forest. The entirety of the actual Last Heros’ story is that he’s heading out in hopes that the Children of the Forest would be able to help in the fight against the Others. While Children of the Forest do pop up within other storylines (Arya’s and Dany’s for example.), Bran’s defintely the one where they have the most significance. He mentions them often, continues to be adamant about their existence even as Maester Luwin tells him that they don’t live anymore- and possibly never did- and he’s saved by one. He interacts with them, lives among them in the cave beneath the weirwoods.
Then, of course, there’s the actually connection beneath the course of the story itself:
One by one, his friends died: Though they seem to be show-only at the moment, there’s not much argument that Jojen and Hodor will pass before the end of the series (There’s actual speculation that Jojen may be dead already.)
And his horse: While not specifically a horse, the elk that carried them beyond the Wall with Coldhands dies before they reach the tree
And finally, his dog: Again, show based, and there’s more arguement on whether or not Summer will die but if he should it fits perfectly in with the Last Hero debates.
So while bits and pieces of the story can be applied to fit with other characters, it can be clear that the majority seems to sit best with the narrative course of Bran Stark
“We read fantasy to find the colours again, I think. To taste strong spices and hear the songs the sirens sang. There is something old and true in fantasy that speaks to something deep within us, to the child who dreamt that one day he would hunt the forests of the night, and feast beneath the hollow hills, and find a love to last forever… They can keep their heaven. When I die, I’d sooner go to Middle-earth.” ― George R.R. Martin
This time the lightning lord did not set the blade afire, but merely laid it light on Gendry’s shoulder. “Gendry, do you swear before the eyes of gods and men to defend those who cannot defend themselves, to protect all women and children, to obey your captains, your liege lord, and your king, to fight bravely when needed and do such other tasks as are laid upon you, however hard or humble or dangerous they may be?” “I do, m'lord.”
The marcher lord moved the sword from the right shoulder to the left, and said, “Arise Ser Gendry, knight of the hollow hill, and be welcome to our brotherhood.”
Gendry’s book plot in ASoS and AFfC (requested by anonymous)
“The best fantasy is written in the language of dreams. It is alive as dreams are alive, more real than real … for a moment at least … that long magic moment before we wake.
Fantasy is silver and scarlet, indigo and azure, obsidian veined with gold and lapis lazuli. Reality is plywood and plastic, done up in mud brown and olive drab. Fantasy tastes of habaneros and honey, cinnamon and cloves, rare red meat and wines as sweet as summer. Reality is beans and tofu, and ashes at the end. Reality is the strip malls of Burbank, the smokestacks of Cleveland, a parking garage in Newark. Fantasy is the towers of Minas Tirith, the ancient stones of Gormenghast, the halls of Camelot. Fantasy flies on the wings of Icarus, reality on Southwest Airlines. Why do our dreams become so much smaller when they finally come true?
We read fantasy to find the colors again, I think. To taste strong spices and hear the songs the sirens sang. There is something old and true in fantasy that speaks to something deep within us, to the child who dreamt that one day he would hunt the forests of the night, and feast beneath the hollow hills, and find a love to last forever somewhere south of Oz and north of Shangri-La.
They can keep their heaven. When I die, I’d sooner go to middle Earth.” ― George R.R. Martin
I’m jumping on this hallowe’en “Check Please characters as supernatural creatures” bandwagon with an AU where Jack is, as he puts it “half British Isles fairy, half Canadian hockey player”.
For Alicia, actor/model is a perfect job for a fairy. She needs to be beautiful, great at acting (lying), and want to be adored. Plus, fairy/human marriage is not uncommon in the mythology
My fave theory about fairies is that they were the people who lived in Britain before the Celtic invasion and they went into hiding, which is where all those stories about hollow hills and people who can disappear in the blink of an eye come from. And tbh think about the name “the hidden people” and our Jack’s anxiety. He very quickly learns how to vanish when he needs to and finds all the hidden places but he doesn’t go far enough to find the markets or anything because he feels kinda isolated from that world. Even though all fairies in the Americas would be immigrants and a lot of them would be part human tbh
Okay so Jack had to have gotten good at illusion so he can pass for completely human. There are a lot of different types of fairies so deciding what he’d look like is more a matter of imagination tbh. But we can rule out Jack being tiny, really tall, “grotesque”, murderous, or really old. Which rules out the most common types like jack o’lanterns/will o’ the wisps, red caps, etcetera
There are still nature types, and the fairy aristocracy, and those thought to be the descendants of the Old Gods. So I’m picturing Jack with the stereotypical pointed ears and skin that’s so pale that it’s purplish blue in places, and probably something like unusually sharp teeth and fingernails. But he only looks like that around his home in Montreal, and his parents can tell when his anxiety is getting bad because he won’t drop his illusion even at home
Also I have a lot of feelings about autistic!Jack having the most accidentally accepting and helpful parents ever because they never think anything’s “wrong” with him because Bob assumes it’s a fairy thing and Alicia assumes it’s a human thing so they let him be nonverbal sometimes and encourage him to stim and only work out he’s autistic when a teacher picks it up
Also Alicia trying to teach Jack other magic and it’s anyone’s guess if he’s gonna get it or not bc he’s too human to be reliably good at magic so he mostly just uses it to play tiny pranks on people. The baking equipment Bitty’s about to use ends up on the highest shelf at least three times a week