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Siege of Riverrun, here we come! He also slips one of his sneaky-bastard ideas into her head, planting the concern that Jon’s army is not her own. She’s learned to hold her cards closer to her chest- perhaps one of the lessons she did pick up from Littlefinger, at a steep price, and that she may ultimately use in tearing him down, when that day comes. We know that she can trust Jon, but who can blame Sansa for wanting to have an army that is loyal to her. Jon suggests gathering the smaller houses of the North to form one army to match the larger one of their opponent. Sansa brings up the Tully army that Blackfish now has at Riverrun, but lies about how she learned the information. Sansa says she trusts Jon- but can’t explain why she lied about Riverrun. Perhaps lingering guilt is why, along with the wolf-sigiled dress she made for herself, Sansa fashions a Ned Starkish cloak for Jon. Before getting around to sharing the assignment (bumping off an actress), the Faceless Man shares the background of the House of Black and White, and the people who founded it. The Faceless Men were once slaves who prayed to the Many-Faced God, and were rewarded, able to share the gift, eventually killing all the overseers and masters. As a reader of ASOIAF, I found the slight divergence interesting, as the version from the novels is that the first Faceless Men brought the gift of death to the slaves who were suffering. Death was a gift to relieve pain, not just retribution. This streamlined version of the story dovetails with the show’s depiction of Daenerys freeing the slaves. She finds her target performing at a charmingly crude theater. Richard E. Grant is obscenely funny as the theater troupe’s leading man, and Essie Davis as Lady Crane, the assassination target, joins him in the political pantomime. She’s certainly not “No One” when she sees the play version of her sister Sansa being stripped, and her father killed, standing in the crowd as she did that day in “Baelor. After the performance, Arya determines how she’ll kill the actress, and sees she is simply a normal, seemingly kind enough woman.

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His house is encircled by the king's men. The cock changes into a Garuda, the great mythic bird of lndic legend, and carries the hero and his wife to safety in the heavens. When the people see this, they make the hero king and his w ife queen and they return as such to earth. Men go on allegorically humiliating one another and being allegorically humiliated by one another, day after day, glorying quietly in the experience if they have triumphed, crushed only slightly more openly by it if they have not. You cannot ascend the status ladder by winning cockfights; you cannot, as an individual, really ascend it at all. Nor can you descend it that way. s All you can do is enjoy and savor, or suffer and withstand, the concocted sensation of drastic and momentary movement along an aesthetic semblance of that ladder. Like any art form-for that, finally, is what we are dealing withthe cockfight renders ordinary, everyday experience comprehensible by presenting it in terms of acts and objects which have had their practical consequences removed and been reduced (or, if you prefer, raised) to the level of sheer appearances, where their meaning can be more powerfully articulated and more exactly perceived. What it does is what, for other peoples with other temperaments and other conventions, Lear and Crime and Punishment do; it catches up these themes--death, masculinity, rage, pride, loss, beneficence, chance-and, ordering them into an encompassing structure, presents them in such a way as to throw into relief a particular view of their essential nature. It puts a construction on them, makes them, to 28 Addict gamblers are really less declassed (for their status is, as everyone else's, inherited) than merely impoverished and personally disgraced. The most prominent addict gambler in my cockfight circuit was actually a very high caste satria who sold off most of his considerable lands to support his habit. Though everyone privately regarded him as a fool and worse (some, more charitable, regarded him as sick), he was publicly treated with the elaborate deference and politeness due his rank. An image, fiction, a model, a metaphor, the cockfight is a means of expression; its function is neither to assuage social passions nor to heighten them (though, in its playing-with-fire way it does a bit of both), but, in a medium of feathers, blood, crowds, and money, to display them. The question of how it is that we perceive qualities in thingspaintings, books, melodies, plays-that we do not feel we can assert literally to be there has come, in recent years, into the very center of aesthetic theory. 9 Neither the sentiments of the artist, which remain his, nor those of the audience, which remain theirs, can account for the agitation of one painting or the serenity of another. We attribute grandeur, wit, despair, exuberance to strings of sounds; lightness, energy, violence, fluidity to blocks of stone. Novels are said to have strength, buildings eloquence, plays momentum, ballets repose. A cultural figure against a social ground, the fight is at once a convulsive surge of animal hatred, a mock war of symbolical selves, and a formal simulation of status tensions, and its aesthetic power derives from its capacity to force together these diverse realities.

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