Instead of interpreting his dreams to mean three children as heads of the dragon, Rhaegar determines it is three wives.
In addition to Elia Martell he marries Lyanna Stark and Cersei Lannister. The quartet’s marriage is rife with jealousy, competition and scheming until Robert’s Uprising. Robert Baratheon, embittered by the loss of Lyanna, his former betrothed, attempted to lead a rag-tag group of dissatisfied nobles and minor houses against the Iron Throne. Rhaegar, in an attempt to broker a bloodless peace rode out to meet with the upstarts.
Unwilling to broker any type of compromise Robert captured his king, refusing to release him until the marriages to his additional wives were annulled. Realizing they were likely their husband’s only hope for a quick and efficient rescue Elia, Lyanna and Cersei come together and form their own plan outside of the Small Council’s floundering.
Hey kids, here’s a little crop wip of my piece for @sibzine ! It’s all about siblings and I picked the Sand Snakes from A Song of Ice and Fire (left to right : Tyene, Sarella, Nymeria and Obara Sand) More news on the project soon !
A prickly, hot-tempered woman who is given to martial pursuits as she considers herself a warrior, wielding a spear, a whip, and a round shield of steel and copper. She is hard, quick, and strong. She is fond of wine and is a confident rider who uses spurs, often to the point where the animal is bloody, and always rides stallions. Obara is a big-boned woman near to thirty, long-legged, with close-set eyes and rat-brown hair.
You know what I just realized? D&D basically turned Dorne into how Westeros views/stereotypes Dorne. They turned the most culturally diverse land in the series into a goddamn stereotype. Dorne is a land where not only are there many different types of Dornish people that go from dark, with smooth olive skin and long black hair(Salty Dornishmen) faces burned brown by the hot Dornish sun, they are even darker than the salty Dornishmen.(Sandy Dornishmen) and brown-haired or blond with faces that are freckled or burned by the sun instead of browned but have the most Andal and First Men blood and mostly resemble the other people of the Seven Kingdoms in look, customs and traditions(Stony Dornishmen) But what makes Dorne so different from the rest of the Seven Kingdoms is the fact that the women rule Dorne ever since Queen Nymeria. Women get to inherit a kingdom. Bastards have rights and are treated with respect. Dorne is possibly my favorite part of Westeros.
Ellaria NEVER WANTED REVENGE. She never sought Myrcella’s death.
“Oberyn wanted vengeance for Elia. Now the three of you want vengeance for him. I have four daughters, I remind you. Your sisters. My Elia is fourteen, almost a woman. Obella is twelve, on the brink of maidenhood. They worship you, as Dorea and Loreza worship them. If you should die, must El and Obella seek vengeance for you, then Dorea and Loree for them? Is that how it goes, round and round forever? I ask again, where does it end? I saw your father die. Here is his killer. Can I take a skull to bed with me, to give me comfort in the night? Will it make me laugh, write me songs, care for me when I am old and sick?” -Ellaria Sand, A Dance With Dragons
They reduced Dorne to how Westeros views Dorne and it’s absolutely disgusting. They erased the importance of Arianne Martell and replaced her with Ellaria and Trystane just so they can have a love story(why was Myrcella recasted without Aimme’s knowledge though?) but the thing is Arianne is more interesting than Ellaria and Trystane. Arianne is important not only because she is a POV character but since she symbolises Dornish culture, different with the other regions. Arianne becoming Doran’s heir is fucking important. Not only for is this crucial for the story but it’s important because she’s a WOC who is inheriting a kingdom and women being heirs is a huge part of Dornish Culture and women are held as equals to men in Dorne. Her storyline was also all about liberating Myrcella and crowning her under dornish law, where women have the same inheritance rights as men, and aren’t passed over in favour of their younger male siblings. She never wanted any harm to come to Myrcella and deeply regretted including Gerold Dayne on the plan. She loved her just as much as she loved her cousins. Her entire storyline focused on females empowering other females.
I am actually glad Arianne wasn’t included. I would absolutely hate to see what they would have done to her. My princess deserves better than D&D!
Holy damn did I love this piece from fullofstoryshapes, especially the bits about how cruelly Obara Sand’s mother was treated by Oberyn. That whole “tears are a woman’s weapon” thing in ASOIAF disturbs me greatly because it feels (sometimes, not always) like GRRM actually thinks that, and it’s so sad that an expression of loss and grief is twisted into an act of callous manipulation, and even worse that men interpret their own emotional reaction to seeing a woman cry as an act of violence on her part. How dysfunctional can you get?
But, speaking of Oberyn, there is something to be said for how he wields the horrors inflicted on his family as a political weapon, even though the very fact that he does so speaks poorly of him and The System in which he’s embedded. It’s always driven me nuts when people wag their fingers at Oberyn for holding out for a confession from Gregor instead of finishing him off; this is one of very few moments where I feel like D&D has a handle on what a scene is supposed to mean, above and beyond how it’s supposed to look. Because in the middle of Oberyn’s Princess Bride mantra, the show adds this:
“Who gave you the order?”
And he turns his back on Gregor, like he doesn’t care if the Mountain grabs him and smashes his face in, because he doesn’t, because he came to King’s Landing to roar that question and then point his finger at Tywin Lannister. And he does so, and Tywin’s expression is a remarkable thing to behold: the smugness falls away, and a deep understanding of what Oberyn is doing settles on his face. This scene also features a cutaway of Jaime glancing at Tyrion with a goofy grin on his face, as if Jaime can’t hide how bemused-but-thrilled he is by Oberyn’s flamboyant badassery. That expression represents the superficial takeaway from Oberyn’s self-sacrifice; Tywin’s expression reflects Oberyn’s true mission.
That mission is the eradication of all plausible deniability on Tywin’s part, the destruction of his sacred reputation. Tywin Lannister is not, first and foremost, a political schemer for the ages. He is a violent murderer; as far as King’s Landing (during the Sack), the Riverlands, Houses Reyne and Tarbeck, and Elia and her children are concerned, he is the moral equivalent of the Mad King he served for so long. (Similarly, never let Roose Bolton fool you into thinking he’s any less sadistic than Ramsay. He wants you to think that. Roose Bolton knows you’re there, reader. He can see you.) Tywin’s political machinations are surface maneuvers, the means by which he murders.He uses Gregor Clegane to act out his violent power fantasies, and Gregor in turn uses the legitimacy Tywin grants him to act out his own.
If you believe (as I very firmly do) that Oberyn poisoned Tywin before facing the Mountain, then Oberyn probably never planned on leaving King’s Landing alive. He wanted Gregor’s confession to provide justification for that poison, casting his violence as a refutation of Tywin’s: justice delivered in the public square, where Tywin could no longer cover it up with silky denials. (”Categorically.” The finest line delivery in the show?) By asking who gave the order to murder Elia Martell and her children, Oberyn reveals that the Westerosi patriarchy seeks misery and death as ends, not just means.