A Psychoanalytical Study on Arya Stark's Development In
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A PSYCHOANALYTICAL STUDY ON ARYA STARK’S DEVELOPMENT IN GAME OF THRONES
AN UNDER GRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters
By REBECCA THALIA CARISSA HALIM Student Number: 154214035
DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2020 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
A PSYCHOANALYTICAL STUDY ON ARYA STARK’S DEVELOPMENT IN GAME OF THRONES
AN UNDER GRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters
By REBECCA THALIA CARISSA HALIM Student Number: 154214035
DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2020
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"The world doesn't just let girls decide what they want to be.
But I can now."
(Arya Stark)
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For mami
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ACKNOWLEDGEMENTS
This part is especially made to express my gratitude for those who have helped and supported me during my thesis writing. I owe my deepest appreciation to my thesis advisor Sri Mulyani, Ph.D. for she has always been very supportive, to my co-advisor Dr. Gabriel Fajar Sasmita Aji M. Hum. for he has given me corrections and suggestions, to Mbak Ninik for she has always been so helpful and lastly to all of the lecturers of Universitas Sanata Dharma, thankyou for the education, thankyou for the time.
I am incredibly grateful for mami Nana’s never ending support and love to me during my writing. A massive gratitude to Epin for she has inspired me to write with this topic. I am also thankful for all of my classmates and juniors that have spent their time together with me during my whole semesters. Lastly, a special thanks to Mamas for always been there during my toughest times and giving me the shoulders to cry on. Thanks for your love, thankyou.
Rebecca Thalia Carissa Halim
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TABLE OF CONTENTS TITLE PAGE ...... ii APPROVAL PAGE ...... iii ACCEPTANCE PAGE ...... iv STATEMENT OF ORIGINALITY ...... v LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH ...... vi MOTTO PAGE ...... vii DEDICATION PAGE ...... viii ACKNOWLEDGEMENTS ...... ix TABLE OF CONTENTS ...... x LIST OF ABBREVIATIONS ...... xii LIST OF FIGURES ...... xiii ABSTRACT ...... xiv ABSTRAK ...... xv
CHAPTER I: INTRODUCTION ...... 1 A. Background of the Study ...... 1 B. Problem Formulation ...... 4 C. Objectives of the Study ...... 5 D. Definition of Terms ...... 5 CHAPTER II: REVIEW OF LITERATURE ...... 6 A. Review of Related Studies ...... 6 B. Review of Related Theories ...... 11 1. Theory of Character and Characterisation ...... 11 2. Theory of Character Development ...... 15 3. Relation Between Literature, Films and Psychology ...... 15 4. Theory of Tripartite Human Psyche ...... 17 5. Cinematics Point of View ...... 20 C. Review of Related Backgrounds ...... 23 D. Theoretical Framework ...... 25 CHAPTER III: METHODOLOGY ...... 26 A. Object of the Study ...... 26 B. Approach of the Study ...... 27 C. Method of the Study ...... 28 CHAPTER IV: ANALYSIS RESULT AND DISCUSSIONS ...... 30 A. The Description of Arya’s Characteristics ...... 30 1. Boyish ...... 30 2. Intelligent ...... 38 3. Short-sighted ...... 44 4. Brave ...... 49
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5. Vengeful ...... 55 B. The Development Process of Arya Stark ...... 60 1. Arya Stark’s Development ...... 60 2. Arya Stark’s Id, Ego, and Superego ...... 84 CHAPTER V: CONCLUSION ...... 95 REFERENCES ...... 97
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LIST OF ABBREVIATIONS
Para: Paragraph
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LIST OF FIGURE No. Figure Page
1. Fig. 1 Arya’s tripartite human psyche on season one and two ...... 89 2. Fig. 2 Arya’s tripartite human psyche on season three, four and five ..... 91 3. Fig. 3 Arya’s tripartite human psyche on season six, seven and eight ... 94
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ABSTRACT Halim, Rebecca Thalia Carissa. (2019). A Psychoanalytical Study on Arya Stark’s Development in Game of Thrones. Yogyakarta: Departement of English Letters, Faculty of Letters, Universitas Sanata Dharma. Game of Thrones tells about the war of five kings who play a deadly game to rule the Seven Kingdoms and sit on the Iron Throne. When Arya Stark is brought to King’s Landing, things start to turn chaotic. Starting from her father, mother until her brothers’ death. Undergoing these incidents, Arya changes from someone who is innocent to vengeful. Thus, this study tries to reveal Arya Stark’s development process with a psychoanalysis theory. There are two objectives in this study. The first one is to find out what Arya Stark’s characteristics are on Game of Thrones. The second one is to connect the tripartite human psyche by Freudian with Arya Stark’s decision to see how the process of Arya Stark’s development is in Game of Thrones. This undergraduate thesis uses a psychoanalysis approach because the researcher analyses Arya Stark’s development which needs to be deeply analysed with Freud’s theory of human psyche consisting of id, ego and superego. There are two kinds of sources that are used in this study: primary and secondary sources. The primary source is the movie series entitled Game of Thrones and the secondary sources are journal articles, thesis, books and internet articles. Therefore, it is concluded that this undergraduate thesis is a library research by searching the references in the library. The study reveals that in Game of Thrones, Arya Stark has five main characteristics: boyish, intelligent, short-sighted, brave, and vengeful which are described mostly through her speeches, actions, and decisions. This study obtains that Arya’s id is vengeance, but her superego knows that taking revenge by killing all of the foes by herself is not right, instead of doing what the id wants, her ego looks for another way to satisfy the id’s demand: she goes back to her family and fights the foes together to retaliate for her family. It concludes that Arya Stark’s development are well balanced as her id does not overrides her ego and superego.
Keywords: Psychoanalysis, Characteristics, Character Development, Game of Thrones.
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ABSTRAK Halim, Rebecca Thalia Carissa. (2019). A Psychoanalytical Study on Arya Stark’s Development in Game of Thrones. Yogyakarta: Departement of English Letters, Faculty of Letters, Universitas Sanata Dharma. Game of Thrones menceritakan perihal peperangan yang melibatkan lima raja yang bergelut dengan sebuah permainan mematikan untuk memistar Tujuh Kerajaan di Westeros dan duduk di singgasana tertinggi. Ketika Arya Stark dibawa ke King’s Landing, runtutan kecelakaan membuat situasi menjadi kacau- balau. Dimulai dari kematian ayah, ibu dan saudara-saudara laki-lakinya. Setelah mengalami kejadian-kejadian tersebut, Arya berubah dari seorang yang polos menjadi seorang yang pendendam. Maka dari itu, studi ini mencoba untuk mengungkap proses perkembangan Arya Stark dengan teori psikoanalisis. Terdapat dua tujuan dalam penelitian ini. Yang pertama adalah untuk mengetahui bagaimana karakteristik Arya Stark dalam Game of Thrones. Yang kedua untuk menghubungkan teori tripartite human psyche oleh Freud dengan keputusan yang diambil Arya Stark untuk melihat proses perubahannya dalam Game of Thrones. Dalam penelitian ini, penulis menggunakan pendekatan psikoanalisis karena perubahan Arya Stark perlu dianalisis dengan teori tripartite human psyche oleh Freud yang terdiri dari id, ego dan superego. Ada dua sumber yang digunakan di dalam studi ini: sumber utama dan tambahan. Sumber utama dari studi ini adalah film berjudul Game of Thrones dan sumber lainnya yang berasal dari jurnal artikel, skripsi, buku-buku dan artikel-artikel internet. Maka dari itu, dapat disimpulkan bahwa studi ini menggunakan metode penelitian kepustakaan dengan menggunakan acuan yang tersedia di perpustakaan. Penelitian ini memperlihatkan bahwa Arya Stark dalam Game of Thrones memiliki lima karakteristik utama: tomboi, cerdas, gegabah, pemberani dan pendendam yang digambarkan dari perkataan, perilaku dan keputusan Arya Stark. Penelitian ini mengungkap bahwa id Arya Stark adalah balas dendam, tetapi superego-nya mengetahui bahwa balas dendam dengan membunuh semua musuh yang ada bukanlah hal yang benar, daripada menuruti apa yang diinginkan id-nya, ego Arya mendapatkan cara lain untuk dapat memuaskan id-nya: yaitu dengan melawan musuh bersama dengan keluarganya untuk membalaskan dendamnya. Hal ini menyimpulkan bahwa perkembangan Arya Stark seimbang karena id-nya tidak mendominasi ego dan superego-nya.
Keywords: Psychoanalysis, Characteristics, Character Development, Game of Thrones.
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CHAPTER I INTRODUCTION
A. Background of the Study
An individual has a certain trait that is unique which differentiate his/herself from another person. A person’s characteristics can be seen from the outward appearance, a person’s personality can be seen from how that person expresses opinions, voice, accent, behaviour, reaction to people, situations, and events
(Murphy, 1972, p. 161). Someone’s characteristics may vary depending on their environment. It is written that personality as an individual’s overall, stable, and distinctive patterns of behaviour in responding to people and environmental events (Pettijohn, 1987, p. 239). However, there may be certain traits within an individual’s characteristics that may not be acceptable in their society. For example, it is rather unacceptable for females to display behaviour commonly associated with males, such as acting out on aggression or sexual desires.
Literature, films and psychoanalysis show a new way to express and cure human’s behaviour or problem in their own unique ways.
It is not just a birthday in the fateful year of 1895 that links cinema and psychoanalysis (a remarkable fact in itself); many other aspects draw these two highly diverse phenomena—one, a technological and scientific invention which gave rise to a new form of expression, and the other, a new epistemology which gave rise to a new way of listening and treating—so very close (Albano, 2013, p. 193). In this undergraduate thesis, the researcher discusses the character development of
Arya Stark, a character from a TV series Game of Thrones whose manners show
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actions that are usually related with males’ enterprise. Game of Thrones is directed by David Benioff and D. B. Weiss. Game of Thrones is originally written as a novel series called A Song of Ice and Fire written by George R. R. Martin.
The first political series and epic fantasy A Game of Thrones is published on the first August of 1996 followed by A Clash of Kings (1998), A Storm of Swords
(2000), A Feast for Crows (2005), A Dance with Dragons (2011), The Winds of
Winter (forthcoming) and A Dream of Spring (forthcoming).
Arya Stark is first introduced as a young noble lady on the first season of
Game of Thrones. She displays masculine demeanour, such as her affinity to swordplay and archery. Her bold, rebellious attitude earns the disapproval of her tutor, mother, and sister. As the story develops, Arya goes through both physical and psychological changes. In the story, her father, mother, and brother are executed by the enemies. Angered, she desires to seek revenge. In short, Arya
Stark abandons her identity, trains to be a skilled assassin, and kills her foes for revenge.
Arya Stark is one of the thoughest characters who undergoes a lot of obstacles which gradually changes her. Therefore, the researcher is attracted to study the development of Arya Stark. This undergraduate study analyses Arya Stark’s development in accordance to Sigmund Freud’s psychoanalytical approach.
Freud’s theory holds three main points which are id, ego, and superego or the tripartite of human psyche. Freud theorised that human thinking may be identified as the id, ego, and superego. The id refers to the instinct, and the unconscious energy that seeks immediate gratification. Then, the id is altered by the ego, as
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means to achieve id’s goals reasonably. Superego involves the internalised ideals, such as self-criticism and self-boundaries setting.
Psychoanalysis is often thought of as the basis of numerous psychotherapeutic treatment and theory. Psychoanalysis may be relevant due to its recognition of various factors that may govern their emotions and behaviour. It is stated that
Psychoanalitic criticism is a form of literary criticism which uses some of the techniques of pscychoanalysis in the interpretation of literature. Psychoanalysis itself is a form of therapy which aims to cure mental disorder ‘by investigating the interaction of concious and unconcious elements in the mind’ (Barry, 2009,p. 92).
From the theories that have written above, the researcher asserts that psychoanalysis is the perfect theory to analyse the problem formulation. Freud has illustrated a topographical model dividing the brain to unconscious, pre- conscious, and conscious. The unconscious is the part of the mind that exists without awareness and seeks immediate gratification. He further argues that human dreams create a passage to access the unconscious energy within humans.
Pre-conscious state consists of the thought that is not always active, such as recollecting a distant memory. The conscious is the accessible ideas, responsible for delivering speech.
The id (unconscious) is the innocent child which only cares about the immediate pleasure, ego (pre-conscious and conscious) is the adult while superego is the replica of one’s parents dominating the mind. Ego desires pleasure and combats anxiety by acting as the mediator between id and reality, whereas superego (pre-conscious and unconscious), utilising defence mechanisms by
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unconsciously reshaping reality. These mechanisms are triggered by the imbalance between ego and superego, bringing out anxiety and displeasure. The response to these negative factors can come through repression, denial, projection, displacement, regression, or sublimation.
Among Arya’s id, ego, and superego, her id oftenly overrides her ego and superego due to her strong desire to take avenge for her family. This leads Arya to pursue knighthood instead of being a damsel in distress. Arya meticulously plans how to retaliate for her family, but she does not care about how acting on her violent desire may impact her allies. It is stated by Pettijohn that the id is the most basic instinctual or biological drives, which “unconsciously and impulsively seek immediate pleasure and consider nothing else.” (Pettijohn, 1987, p. 245).
Therefore, the researcher is interested to identify deeper about Arya Stark’s character development on Game of Thrones to see the process of her character transformation with a psychoanalysis study.
B. Problem Formulation
Based on the phenomenon above, the researcher formulates two questions in the problem formulation:
1. What are the characteristics of Arya Stark in Game of Thrones?
2. How is the development process of Arya Stark’s personality in relation
with Freudian theory of the three part model of personality in Game of
Thrones?
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C. Objectives of the Study
The objective of this study is to answer the two questions in the problem formulation. First is to find out what Arya Stark’s characteristics are on Game of
Thrones. Then, the researcher connects the Three Part Model of personality by
Freudian with Arya Stark’s decision to see how the process of Arya Stark’s development is in Game of Thrones.
D. Definitions of Terms
In order to avoid misunderstanding, the key terms used in this undergraduate study are defined as follows
1. Character Development
Character development is the changing of the character from the
beginning until the end of the story. Characters are developing if they
experience a change in themselves, for from personality, disposition, or
outlook. They will change into a better character but of course, the
changing depends on the situation in the story (Forster, 1980, p. 54).
2. Psychoanalysis
Psychoanalysis is an intensive and prolonged exploration of the
pantient’s unconscious motivation (Pettijohn, 1987, p. 293).
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CHAPTER II
REVIEW OF LITERATURE
In this chapter of the study, some journals and theories that are related to the study are included. There are four parts which are Review of Related Studies,
Review of Related Theories, Review of Related Background and Theoretical
Framework. The first part which is The Review of Related Studies discusses two journal articles and an undergraduate thesis that have similar problems and theories related to this study. The second part which is the Review of Related
Theories covers theory of character and characterisation, theory of character development, the relation between literature, films and psychology and the theory of psychoanalysis which is the three-part model of personality by Freud consisting of id, ego, and super ego. The third part is the Review of Related Background which consists of the cultural background where the story takes place. The fourth part is the Theoretical Framework which explains about how each theories contribute its important point towards the analysis to solve the problems formulated in this study.
A. Review of Related Studies
In this undergraduate thesis, the researcher analyses Arya Stark and the process of her development throughout the whole story. In order to be able to analyse the character and the development of Arya Stark, the reseacher uses the theory of character and characterisation, theory of character development, the relation between literature, films and psychology and the theory of psychoanalysis which is the three-part model of personality by Freud consisting of id, ego, and
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superego. In this chapter, some journals and an undergraduate thesis that are related to the topic will be provided.
The first related study is an undergraduate thesis written by Dian Kristina Sari titled Reese Connolly’s Imbalance of Psyche Leading to His Being A Psychopath in J.T. Ellision’s All The Pretty Girls: A Psychoanalytical Study. In this thesis, she has formulated two problems in the research which are: what the characteristics of
Reese Connolly are and how his characteristics show the imbalance of human psyche that causes him to become a psychopath. In this undergraduate thesis, the objective of the study is to understand the characteristic of the serial killer, Reese
Connolly, and to reveal Reese Connoly’s imbalance psyche that causes him to become a psychopath.
Sari’s undergraduate thesis analyses a character with a psychopathic behaviour. Therefore, she uses the characteristics of psychopath to help her solve the problems. Sari, on her undergraduate thesis defines psychopath as someone who is dangerous and may pose as a threat to society (2017, p. 11). Psychopathy is a psychological problem. Therefore, she chooses to use Freud’s theory of tripartite of human psyche to help her analyse the problems.
At the first problem formulation, Sari mentions that Reese Connolly is a character who is depicted as a smart, manipulative, deceitful, lack of responsibility, likeable, remorseless, lack of empathy, short-tempered, impulsive and he displays early behavioral problem. Furthermore, she argues that Reese
Connolly is a psychopath when she analyses his id, ego and superego. Sari further discusses that Reese Connolly’s id is killing his victims and it leads to pleasure.
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Later, she explains that Reese’s ego is weak that it is only seen in a small part of the novel and she concludes that Reese’s ego does not work as it supposed to be.
In the end of the project Sari says, if Reese’s ego works appropriately, he will find another way, a better way that is nondestructive, to reach his goal. He will not kill those eight women if his ego works properly (2017, p. 32).
The second related study is a journal article by İsmet Toksöz titled
Psychoanalytic Analysis of the Character’s in Beckett’s “Waiting for Godot”. In this journal article, he has formulated a problem which what the characterisation of Beckett’s protagonists character Estragon and Vladimir and the hidden character Mr. Godot is. The objective of the study is to reveal the characterisation of Beckett’s protagonists character Estragon and Vladimir and the hidden character Mr. Godot.
Toksöz in his journal article Psychoanalytic Analysis of the Character’s in
Beckett’s “Waiting for Godot” conveys a full-psychoanalitic analysis for the characters. Therefore he uses Freud’s theory of personality. Toksöz on his journal article finds that the characters in his study is a form of representation. When the play is subject to a discourse analysis in terms of the Freudian Theory of
Personality, it could be asserted that the two protagonists Vladimir and Estragon, and the hidden character Mr. Godot are all representations of Freud’s ideology of the mind (Toksöz , 2017, p.67).
Later, Toksöz discusses the characters (Vladimir, Estragon and Mr. Godot) with the Tripartite Human Psyche and concludes that Estragon symbolises the id because he behaves with his impulses throughout the play as the id does,
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Vladimir, the most rational one, symbolises the ego, and Mr. Godot symbolises the superego because Mr. Godot is a God-like figure having norms, rules, and prohibitions. In the end of the study Toksöz concludes that the Tripartite Human
Psyche consisting of id, ego and superego complete each other and can not be separated. It is stated that
As in the case of the id, the ego, and the superego, these three characters cannot be separated from each other; they all contribute to the plot and stage development of the play. They cannot be complete characters even in the lack of one party. Similarly, it is the same case considering the id, the ego, and the superego of Freud. The mind cannot function well with the lack of each one in this triangle (2017, 68).
The third related study is a journal article by Giovanny Mario titled A
Psychoanalysis on the Main Character and the Author of Sherlock Homes: A
Study in Scarlet. The problem formulation of the journal article is focused on the analysis of the main character of the novel, Sherlock Holmes by using Sigmund
Freud's psychoanalysis theory (id, ego and super-ego). Mario on his journal article analyses the characteristics of Sherlock Holmes and his behavior and the reason of the author’s personal experiences is reflected so much in many parts of the novel.
The objective of the study is to know Sherlock Holmes’s characteristics and his psychological aspect and to find out how much impact the author of the novel has to his work.
Mario analyses Sherlock Holmes' characteristics based on the dialogues, showing how he behaves and defines himself as well as the reactions from those around him (direct and indirect characterisation). On the first problem formulation, Mario finds that Sherlock Holmes has a great interest in science and its application to the world of crimes. His deduction skill is very amazing that it
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astonishes many people, including the police force. But there is no such this as perfection in a human’s trait. Mario states that Sherlock Holmes is selfish because he is smart. Although Sherlock Holmes is an intelligent man who helps many people to solve their problems, he tends to become selfish especially when it comes between him and his needs (Mario, p. 5).
On the second problem formulation Mario conveys that this research shows that literary works can be used to reflect the author’s personal experiences in life.
He also indicates that the author of the novel, Sir Arthur Conan Doyle, gives a lot of reflections of his own experiences in the novel. He further explains that his conclusion is taken from several similarities that are found in the novel, for example: the similarities in occupation, habit, admiration, and experience between the author and the narrator of the novel. Both the author and the narrator work as doctors and used to serve as surgeons during the war. They also both admire the same poet, Edgar Allen Poe. Mario also says that there are similarities in the setting of place, time and social setting of the story.
Other than the similarities of the studies which are the approach and theories, the differences are that in this study, the researcher analyses Arya Stark’s characteristics on Game of Thrones and the process of Arya Stark’s development in Game of Thrones.
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B. Review of Related Theories
There are five theories that will be explained in this part. Those theories are used to help the writer analysing this undergraduate thesis.
1. Theory of Character and Characterisation
Character and characterisation are a part of the intrinsic elements in a story. It is important because it acts as the starting point and the base to analyse the character development of the character Arya Stark. In The Art of Watching Films,
Joseph M. Boggs and Dennis W. Petrie state,
To be interesting, characters must seem real, understandable, and worth caring about. For the most part, the characters in a story are believable in the same way that the story is believable (2012, p. 49).
In another word, a character has to be realistic, understandable and interesting in order to catch the audiences’ attention. Most importantly, Joseph M. Boggs and
Dennis W. Petrie relay eight methods for analysing film characterisation (2012, pp. 49-54), they are: a. Characterisation Through Appearance: A major aspect of film
characterisation is revealed visually and instantaneously—The minute we see
most actors on the screen, we make certain assumptions about them because
of their facial features, dress, physical build, and mannerisms and the way
they move (p.50). b. Characterisation Through Dialogue: Characters in a fictional film naturally
reveal a great deal about themselves by what they say. But much is also
revealed by how they say it. Their true thoughts, attitudes, and emotions can
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be suggested in subtle ways through word choice and through the stress,
pitch, and pause patterns of their speech (p.50). c. Characterisation Through External Action: Perhaps the best reflections of
character are a person’s actions—they do what they do for a purpose, out of
motives that are consistent with their overall personality—there should be a
clear relationship between a character and his or her actions; the actions
should grow naturally out of the character’s personality (p.51). d. Characterisation Through Internal Action: Inner action occurs within
characters’ minds and emotions and consists of secret, unspoken thoughts,
daydreams, aspirations, memories, fears, and fantasies. People’s hopes,
dreams, and aspirations can be as important to an understanding of their
character as any real achievement, and their fears and insecurities can be
more terrible to them than any real catastrophic failure (p.52). e. Characterisation Through Reactions of Other Characters: The way other
characters view a person often serves as an excellent means of
characterisation. Sometimes, a great deal of information about a character is
already provided through such means before the character first appears on the
screen (p.52). f. Characterisation Through Contrast: Dramatic Foils: One of the most
effective techniques of characterisation is the use of foils—contrasting
characters whose behavior, attitudes, opinions, lifestyle, physical appearance,
and so on are the opposite of those of the main characters (p.53).
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g. Characterisation Through Caricature and Leitmotif: In order to etch a
character quickly and deeply in our minds and memories, actors often
exaggerate or distort one or more dominant features or personality traits—A
similar means of characterisation, leitmotif, is the repetition of a single action,
phrase, or idea by a character until it becomes almost a trademark or theme
song for that character. Because it essentially exaggerates and emphasizes
(through repetition), such a device acts very much like caricature (p.54). h. Characterisation Through Choice of Name: One important method of
characterisation is the use of names possessing appropriate qualities of sound,
meaning, or connotation. This technique is known as name typing (p.54).
According to Murphy in his book Understanding Unseen: An Introduction to
English Poetry and English Novel for Overseas Student, there are several ways to find and understand the character’s personality (1972, p.161-173), they are: a. Personal description: The author describes the characters appearance and
clothes. The author describes the detail of the characters like the face, skin,
eyes, and clothes. From the descriptions, the characterisation can be described
(p. 161). b. Characters as seen by another: The author describes the character through
the eyes and opinions of another. A reflected image from another character is
what the reader gets (p. 161). c. Speech: The author can give the reader an understanding of a character
through the speech of character. Whenever a character speaks; says an
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opinion or has a conversation with other characters, it can give the readers
clues for his personality (p. 164). d. Past life: The author gives the reader something about a character’s past life.
The author can give some clues to an event from the past that shape his
character, it can give the reader the personality of a character (p. 166). e. Conversation of others: The author can give us clues to a person character
from the conversation of other characters when they talk about a certain
character (p. 167). f. Reactions: A person’s character can be known by letting the reader know the
reaction of a certain character on a various situations and events (p.168). g. Direct comment: The author can comment or describe a character directly
(p.170). h. Thoughts: The author can give us the thoughts of a character. The uthor can
tell about what the character is thinking. From this thoughts the reader can
learn a person’s character (p.171). i. Mannerism: From a person’s mannerism, habits, or idiosyncrasies that are
given to the reader, the author can give the reader clues about a person’s
character (p.173).
From the character and characterisation theory stated by Murphy above, characteristics of a character can be seen from many aspects, from the author itself as a personal description, other characters such as a with conversation, or from the character’s habit itself.
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2. Theory of Character Development
The change of a character comes from a lot of aspects. One of the aspects is the events that happen in the story because the researcher perceives that event is one of the most influental aspect of a character development. Without events, the character will not be able to play its role because the character interacts with the events over time throughout the whole story. Therefore, it makes character and events inseparable.
E.M. Forster in Aspects of the Novel states that character development is the changing of the character from beginning until the end of the story. Characters are developing if they experience a change in themselves, from personality, disposition, or outlook. They will change into a better character but of course, the changing depends on the situation in the story (1980, p. 54).
It can be concluded that a development process of a character does not only happen at the beginning or at the end of the story but it appears based on the events and situations that happen throughout the whole story.
3. The Relation Between Literature, Films and Psychology
Literature and psychology can relate to each other but it might not be the same thing. Both thing has a different explanation. Literature in general is a form of art whereas psychology is a scientific study of the human mind and its functions. Eventhough they both different but the relation between literature, films and psychology, more precisely for this case, psychoanalysis, are very tight.
Literature, films and psychoanalysis show a new way to express and cure human’s behaviour or problem in their own unique ways.
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It is not just a birthday in the fateful year of 1895 that links cinema and psychoanalysis (a remarkable fact in itself); many other aspects draw these two highly diverse phenomena—one, a technological and scientific invention which gave rise to a new form of expression, and the other, a new epistemology which gave rise to a new way of listening and treating—so very close (Albano, 2013, p. 193).
Jacques Derrida as quoted by Albano also says that
“psychoanalysis, psychoanalytical reading, finds itself at home in the cinema. Similarly, psychoanalysis and cine-matography are true contemporaries as numerous events linked to projection, spectacle and its perception have psychoanalytic equivalents” (Albano, 2013, p. 193).
Lastly, Albano states that psychoanalysis helps the audiences to see other things from different perspectives by opening up the art form with hermeneutic intuition to watch films. She also conveys that watching films on a small screen resulting the audiences to have some visual experiences but watching it on a big screen resulting a more diverse aesthetical visual experiences.
It is film that guides us, it is a hermeneutic intuition that offers us the first keys to reading a film, trying (thanks also to psychoanalysis) to help us make contact with the obscure elements and ambiguities of the text and the new, unforeseen dimensions opened up by this art form—Watching a film on an aeroplane, on a computer, on a videophone or, instead, on the big screen in a movie theater, constitute immeasurably diverse visual experiences—not only from a metapsychological point of view but also from an aesthetic one. (Albano, 2013, p. 196).
Those are some opinions that explain the relation between literature in films and psychoanalysis are closely related for psychology has entered the scope of literary world. In fact, Peter Barry in one of his chapter of his book Beginning
Theory mentions that a literary study may use a psychological apporach which is the psychoanalytic criticism and it uses some of the techniques of psychoanalysis in the interpretation of literature (2002, p. 98).
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This thesis acknowledges that literature in films and psychology has a close relation and it can be used as a base of the study because psychology is also a medium to develop someone’s character. Psychology and literature complete each other. Human creates the literature to express their mind and ease their feelings that the literature itself becomes the medium to capture the reality or the life truth to provide the perspectives of the human’s soul. It can be understood that literature is created differently with various feelings on each human’s soul and it can potray the truth of a creator’s life. Therefore, because this undergraduate thesis is using a psychoanalytical approach, this study will include some of the psychological factors in it including the three part model of personality by Freud.
4. The Theory of Tripartite Human Psyche
Three part model of human personality or “tri-partite human psyche” is the theory that is usually applied to analyse the unconcious mind of somebody. The theory is suggested by an Austrian neurologist and the founder of psychoanalysis
Sigmun Freud. On Hall’s A Primer of Freudian Psychology, theory of psychoanalysis is mainly based on the concepts that personality is made up of three major system, the id, ego and superego (1954, p. 22). The three aspects of id, ego and superego is related to each other and cannot be separated. a. Id
The id is the only element of personality that is created at the very first time a person is born. Id is unconscious and it includes the insctinctive and primitive behaviour.
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The id is the most basic instinctual or biological drives, which “unconsciously and impulsively seek immediate pleasure and consider nothing else” (Pettijohn,
1992, p. 262).
The id is basically a person’s need which needs to be granted and it is naturally driven by the pleasure principle, which strives for immediate satisfaction of all desires, wants, and needs. The id represents human desire which needs to be fulfilled. If these needs are not fulfilled immediately, it can result a state anxiety or tension that can lead an individual to become someone that is deviated from the society or simply being uncontrolable. However, it is not always possible to fulfill human’s id. Therefore, it is the development of the ego and the superego that allows people to control the id's basic instincts and act in ways that are both realistic and socially acceptable. b. Ego
The ego functions in the conscious, preconscious, and unconscious mind but it is majorly appointed in the preconscious mind. The ego is the component of personality that is in charge for dealing with reality for it becomes an intermediary between the id and the superego.
The ego develops from the id and ensures that the impulses of the id can be expressed in an acceptable manner in the real world.
The ego is “a conscious faculty for perceiving and dealing intelligently with reality” it acts like a mediator between the id and the superego (Pettijohn, 1992, p.
262).
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The ego works based on the reality principle, which aims to satisfy the id's desires in realistic and socially appropriate ways. The id’s impulses can be satisfied through a process of delayed gratification. It is explained by Regina
Conty on her article that delayed gratification is an act that postpone an urge to achieve bigger rewards in the future.
Delayed gratification is the act of resisting an impulse to take an immediately available reward in the hope of obtaining a more-valued reward in the future. The ability to delay gratification is essential to self-regulation, or self-control (Conti, 2007, para. 1).
In conclusion, once the delayed gratification meets with the id’s demands, the ego will eventually allow the behaviour, but only in an appropriate time and place. c. Superego
The superego is the aspect of personality that holds all of the internalised moral standards and ideals that is accepted in the society or in another word the sense of right and wrong. The superego basically functions as a judge to balance and control the id and the ego with morality. It paticularly provides guidelines for making judgments and is the final outcome from the id and the ego.
The superego is societal and parental values that have been instilled in the person. It is largely unconscious and restrains the impulses of the id (Pettijohn,
1992, p. 262).
Therefore, the superego acts to perfect and civilise our behaviour. It works to suppress all unacceptable urges of the id and struggles to make the ego acts upon idealistic standards rather that upon realistic principles.
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Balancing the id, ego, and superego is resulting a healthy personality because everything is balanced and they support each other. If the ego is able to adequately moderate between the demands of reality, the id, and the superego, a healthy and well-adjusted personality will emerge as an outcome.
Freud believes that an imbalance between these elements will lead to a maladaptive personality. An individual with an overly dominant id, might become impulsive and uncontrollable. This individual acts and behaves upon his or her most basic urges with no concern whether the behaviour is appropriate or acceptable in the society. All they can think of is simply to grant their wishes. An overly dominant superego, on the other hand, might lead to a personality that is extremely moralistic and it can make the individual unable or very hard to accept immoral things. Lastly, an individual with an excessively dominant ego might be really tied to reality and rules that they are unable to overcome any types of spontaneous or unexpected behaviour. This individual may seem very concrete and rigid, incapable of accepting change and lacking an internal sense of right and wrong. Therefore, it is very important to balance the id, ego and superego if someone wishes to have an adaptive behaviour.
5. Cinematics Point of View
Bogs and Petrie convey that, to appreciate fully the workings of the cinematic film, we must be willing to watch in a little different way, focusing not just on what we are seeing but also on how it is being shown and why it is being shown that way (2012 p. 105). It means that in order to enjoy and understand the film better, it is important that the audience is focused and understand why a certain
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act is done in certain way by the camera. Cinematic points of view makes the audience understand more about the film from the camera positioning, it allows the audience to see with different point of views (largely it is related with a camera placement to understand different point of views).
In The Art of Watching Films, Boggs and Petrie mention four points of view that are employed in motion pictures (2012, pp. 106-110): a. Objective Point of View: As cited by Boggs and Petrie, according to Ford
the camera is considered to be a window and the audience to be outside the
window viewing the people and events within. Boggs and Petrie later explain
that we are asked to watch the actions as if they were taking place at a
distance, and we are not asked to participate. The objective point of view
employs a static camera as much as possible in order to produce this window
effect, and it concentrates on the actors and the action without drawing
attention to the camera (p. 106). b. Subjective Point of View: The subjective point of view provides us with the
visual viewpoint and emotional intensity felt by a character participating in
the action. According to Alfred Hitchcock, as cited by Boggs and Petrie, the
point is to draw the audience right into the situation—instead of leaving them
to watch it from outside, from a distance. It makes the audiences see what the
character is seeing and in a sense to become the character (p. 107). c. Indirect-Subjective Point of View: The indirect-subjective point of view
does not provide a participant’s point of view, but it does bring us close to the
action so that we feel intimately involved and our visual experience is
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intense. Consider a close-up that conveys the emotional reaction of a
character. We recognise that we are not the character, yet we are drawn into
the feeling that is being conveyed in a subjective way (p.108). d. Director’s Interpretive Point of View: The director is always manipulating
our viewpoint in subtle ways. The filmmaker chooses not only what to show
us but also how we will see it. By photographing a scene from special angles
or with special lenses, or in slow or fast motion, and so on, he or she imposes
on the image a certain tone, emotional attitude, or style (p. 110).
It can be concluded that the four points of view that are employed in motion pictures differ from each other. The objective point of view is how a camera shows the actions and the characters from distance without the audiences’ participance—static and might be boring without other variations. The subjective point of view is how a camera angle ables the audiences’ to see and feel the characters’ actions, in another word to live in a certain character’s skin and it makes the audiences able to understand the character’s directly as the angle focuses on several point of views. The indirect-subjective point of view resembles the subjective point of view, but the audiences do not see directly from the character’s point of view. It makes the audiences has a certain emotional relation in a subjective way. Lastly, the director’s interpretive point of view is the director’s manner of making the film with his certain way such as angle, lenses, motion, and tone to make the film more interesting and enjoyable.
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C. Review of Related Background
In Game of Thrones, there are two types of people living in Westeros. They are the nobles and the common. The nobles are required to be able to act as a role model for the common people and they mostly live at a massive city or capital in glamorous kingdoms or houses with servants working for them. On the other hand, the common lives in a small city or town and usually their way of living is more free, rough, and unexpected.
In the era where the story takes place, it does not matter even if someone is a noble or a commoner, both men and women are treated differently. On the noble houses, men with stronger power usually will lead, slay, murder, and rape. Men with lower position usually go to war, serve their king or some high lords, and even die for them. But women from noble houses are being treated like a fragile thing. They are not allowed to act brutal, they have to be a lady. Their behaviour is restictly watched because a lot of people consider it as a shame on the family if a woman does not act accordingly like a lady in the house. Their job is just stays at the kingdom or the house takes care of the children and some mere problems on the kingdom.
On the other hand, in the small cities, there are a lot of prostitution happening and usually it is a job for a commoner. A lot of women and men are doing their job as a sex worker. In Game of Thrones, there is a place called Littlefinger’s
Brothel and it is known as the prostitution house that is held by Lord Petyr
Baelish. It is common in Westeros, Essos, Braavos, Lys, Volantys, Dothraki Sea,
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or even at Slaver’s Bay for having prositution related work for it is a good source of income.
Prostitution is tacitly legal in the Seven Kingdoms, in the sense that there is no official law preventing brothels from openly operating in the major cities and towns.Organised religion does discourage prostitution, and it is socially frowned upon, but it is nonetheless present, sometimes seen as an outlet for “uncontrollable male sexual desires”. Secular lords and kings have not tried to shut down prostitution, as taxing brothels is a good source of revenue (gameofthrones.fandom.com). Women who live on the noble houses are restrictly tought to act and behave like a lady and a lot of women or men in the cities will work as a sex worker and it is a common thing, but the researcher believes that not every women or men in that time can enjoy and feel comfortable in those kind of culture. Same with women, men can also be considered as a shame in the family. In this era, men are raised as strong as a steel and as sharp as a sword. Therefore, men who are soft are considered a shame in the family. There is a place called Castle Black and it is meant for people who rape, smuggle, and carry a status of illegitimate child. It is a place where men who are alone or have been thrown away by their family can stay. Basically, in this era, there are numerous imbalance treatments that are happening to both men and women but there is nothing much that they can do to avoid it. Eventhough there are people who fight against the imbalance treatment and prostitution, lords and kings do not really being bothered by it because they also use its service.
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D. Theoretical Framework
This thesis titled A Psychoanalytical Study on Arya Stark’s Development in
Game of Thrones focuses on two objectives. First, what Arya Stark’s characteristics are in Game of Thrones. Second, the researcher connects the Three
Part Model of personality by Freudian with Arya Stark’s decision to see how the development process of Arya Stark is in Game of Thrones.
The researcher applies five theories to answer the problems formulation.
Those are the theory of character and characterisation, theory of character development, the relation between literature, films and psychology, the theory of the tripartite human psyche and the theory of cinematics point of view.
The first theory which is the character and characterisation is used to identify
Arya Stark’s character for answering problem formulation number one. The second theory which is the theory of character development will be used to identify the development process of Arya Stark’s character on the problem formulation number two. The third and the fourth theory which are the relation between literature, films and psychology and the theory of the tripartite human psyche are used to identify Arya Stark’s id, ego, and superego. The fifth theory about the cinematics point of view will be applied to help the researcher answer both questions in the problem formulation. Those theories will be applied on the analysis and it will help the researcher to dig further about Arya Stark and her development process.
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CHAPTER III
METHODOLOGY
A. Object of the Study
The object of this study is a movie series titled Game of Thrones. It originally comes from a novel series called A Song of Ice and Fire written by an American novelist George R. R. Martin. Not only specialises in novels, Martin also writes short story in various genres, fantasy, horror, and science fiction. He is also a screenwriter and television producer.
The first political series and epic fantasy A Game of Thrones is published on the first August of 1996 followed by A Clash of Kings (1998), A Storm of Swords
(2000), A Feast for Crows (2005), A Dance with Dragons (2011), The Winds of
Winter (forthcoming) and A Dream of Spring (forthcoming). The story itself, based on the title, is literally about a game of thrones. It starts with a conflict between the successor of the Iron Throne of the Seven Kingdoms and the current ruler of the throne. Some noble families also fight for their independence from the cruel tyrant. Then it is followed by the true successor of the Iron Throne of the
Seven Kingdoms tries to reclaim the throne. There are also a chronicles, the threat of the impending winter and the legendary creatures and fierce peoples of the
North.
Game of Thrones, a serial drama and fantasy movie, is written and directed by David Benioff, D. B. Weiss and George R. R. Martin. More precisely Benioff is the co-creator, showrunner and writer, Weiss is the producer, writer, and director of the series, and Martin as the co-executive producer. Game of Thrones
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starts its journey from April 17, 2011 until May 19, 2019. Game of Thrones is broadcasted by HBO in the United States and by its local subsidiaries or other pay television services in other countries, at the same time as in the US or weeks (or months) later. It consists of eight seasons and 73 episodes and airs on the television for fifty to eighty two minutes.
Game of Thrones has been nominated for many awards, including six Golden
Globes Awards (one win), four BAFTA Awards (one win), ten Writers Guild of
America Awards, seven Producers Guild of America Awards (one win), eight
Directors of America Awards (two wins), eight Art Directors Guild Awards (five wins), twenty one Saturn Awards (two wins), fourteen Satellite Awards (three wins) and one Peabody Award. Game of Thrones has received 161 Primetime
Emmy Awards nominations, including eight consecutive Outstanding Drama
Series nominations (fourty seven wins). It also receive many nominations with awards recognising various aspects of the series such as, directing, writing, cast, visual effects or overall quality (imdb.com). The indented quotation of Game of
Thrones in this undergraduate thesis is taken from its subtitle and the line count is per episode not per page.
B. Approach of the Study
Psychoanalysis represents the foundation and cornerstone of nearly all psychotherapeutic treatment and theory. It means that psychoanalysis is based on the recognition that individuals are often unaware of many of the factors that determine their emotions and behaviour. Psychology and psychoanalysis might be something that is related to each other but they both are different. It is stated that
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Psychoanalitic criticism is a form of literary criticism which uses some of the tecniques of pscychoanalysis in the interpretation of literature. Psychoanalysis itself is a form of therapy which aims to cure mental disorder by investigating the interaction of concious and unconcious elements in the mind (Barry, 2009, p. 92). Psychoanalysis is found by Sigmund Freud (1856-1939). Freud believes that people could be cured by making conscious their unconscious thoughts and motivations, thus gaining insight. Heller stated that
Freud first used this term psychoanalysis in 1896. The theory of psychoanalysis proposes that problem arise from unconscious desires and unresolved childhood conflicts. It rests on the hotly contested tentes of determinism, conflict, and the unconscious (Heller, 2005, p. 184). This undergraduate thesis uses a psychoanalysis theory because the researcher analyses Arya Stark’s development which needs to be deeply analysed with the tripartite human psyche by Freud consisting of id, ego and superego and it represents different part in a person’s way of thinking. It also helps the researcher to analyse which part of the human psyche dominates Arya Stark’s mind.
C. Method of the Study
This undergraduate thesis was a library research by searching the references in the library. The primary source of this undergraduate thesis was the movie series entitled Game of Thrones and the secondary sources used in this undergraduate thesis were journal articles, thesis, books and internet articles.
Theories that were used in this undergraduate thesis were theory of character and characterisation by Joseph M. Boggs and Dennis W. and Murphy, theory of character development by E.M. Forster, the relation between literature, films and psychology by Peter Barry and Lucilla Albano, the theory of the tripartite human
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psyche by Freud in Pettijohn’s book, and the theory of cinematics point of view by Joseph M. Boggs and Dennis W.
There were several steps the researcher took to complete this undergraduate thesis. The first step was watching the whole eight seasons of Game of Thrones.
This was done in order to know how the story and the character were developing.
The researcher also took notes, and highlighting several important scenes about
Arya Stark and things that were surrounding her which has some probabilities on affecting her conscious and unconscious mind. After understanding the whole source and movie, the researcher started to made two questions for the problem formulation which were to found out what Arya Stark’s characteristics were on
Game of Thrones and to saw how the development process of Arya Stark was in
Game of Thrones.
The second step that the researcher took was finding journal articles, books and internet articles which consisted of theories, topics or the same approaches that might helped the researcher finished the undergraduate thesis.
The third step was analysing and answering the problems. The researcher gathered all the data, related studies, theories and references. After the problems were answered, the researcher made the conclusion to finish the undergraduate thesis.
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CHAPTER IV
ANALYSIS
Arya Stark at the beginning of the story is one of the minor characters that is underestimated. Her development is the main focus in this study. To reveal it, firstly, the researcher discusses the description of Arya Stark’s characteristics. It analyses Arya Stark’s traits by observing her thought, speech, action and behaviour from the beginning until the end of the story supported with the theory of character and characterisation and the theory of cinematics point of view.
Secondly, the researcher discusses about the character development process of
Arya Stark supported with the theory of character development, relation between literature, films and psychology, theory of tripartite human psyche, and theory of cinematics point of view.
A. The Descriptions of Arya’s Characteristics
This section explains Arya Stark’s characteristics. In Game of Thrones, the researcher finds that Arya Stark is described as boyish, intelligent, short-sighted, brave, and vengeful.
1. Boyish
Arya from the beginning of the story shows behaviour and appereance that is not far from a boyish look. The appereance is vague at the beginning of the story but as the story goes, her boyish appereance becomes more vivid. According to
Boggs and Petrie analysing a character can be seen by a characterisation through their appearance—where the audiences make certain assumption to the actors on
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the screen because of their facial features, dress, physical build, and mannerisms and the way they move (2012, p. 50).
The researcher finds that Arya Stark’s characterisation is boyish because her physical appereance is close to a boy physical features. The first proof that clarifies it is that Arya’s hair is always cut medium or short. Second, Arya is rarely seen wearing a dress. She does not fancy beautiful gowns, she does not care about glamorous accesories and she never thinks about marrying a handsome lord or prince like her sister does. At the film, Arya wears dress only at the beginning of the seasons in special occasions like a tournament celebrating his father appointment as a king’s hand in season one or when she disuguises herself as a girl named Lanna who sells oysters, clams, and cockles on the canal streets in season five. Other than that, Arya Stark is never seen wears a dress for her daily activities.
Arya Stark’s physical appereance on season 1 (GOT Season 1 Episode 2, 2011: 00:13:19-00:55:17)
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Arya Stark’s physical appereance on season 2 (GOT Season 2 Episode 2, 2012: 00:02:56-00:53:29)
Arya Stark’s physical appereance on season 3 (GOT Season 3 Episode 6, 2013: 00:13:30-00:53:22)
Arya Stark’s physical appereance on season 4 (GOT Season 4 Episode 7, 2014: 00:28:06-00:51:05)
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Arya Stark’s physical appereance on season 5 (GOT Season 5 Episode 6, 2015: 00:13:28-00:53:42)
Arya Stark’s physical appereance on season 5 (GOT Season 5 Episode 9, 2015: 00:19:07-00:52:22)
Arya Stark’s physical appereance on season 6 (GOT Season 6 Episode 1, 2016: 00:43:21-00:50:04)
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Arya Stark’s physical appereance on season 7 (GOT Season 7 Episode 1, 2017: 00:41:44-01:01:27)
Arya Stark’s physical appereance on season 8 (GOT Season 8 Episode 1, 2019: 00:16:23-00:55:47)
Another evidence that Arya Stark is boyish is when she declares herself she is not herself if she were marrying a high lord. Arya is a young tomboy girl who enjoys activities that are traditionally considered for boys. She does not like sewing lessons, she is more attracted to archery and knighthood, she loves to play with a sword. It does not take one or two tries for Arya being able to shot an arrow or to perfectly wield her sword, it takes her hundred or even thousand times of practice and yet she does not give up. As mentioned by Boggs and Petrie that inner action occurs within characters’ minds and emotions and consists of secret, unspoken thoughts, daydreams, aspirations, memories, fears, and fantasies (2012,
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p. 52). Since season one, Arya has spoken her daydreams and her emotions that she does not want to be a lady. Instead, she wants to be a knight who is skilled in fighting men, she refuses being a lady and marrying a high lord as it can be seen on Arya and her father’s conversation below.
Arya explains to her father that she does want to be a lady (GOT Season 1 Episode 4, 2011, 00:25:04-00:55:37)
ARYA: Can I be Lord of a holdfast? EDDARK: You will marry a high Lord and rule his castle. And your sons shall be knights and princes and lords. ARYA: No. That's not me. (line 450-457) Another evidence that Arya is boyish can be seen from her pet’s name,
Nymeria, which means a Warrior Queen.
Nymeria was the warrior-queen who led the Rhoynar refugees to Dorne a thousand years ago. She is an ancestor of House Martell and House Dayne, and is seen as the founder of Dorne as a unified realm under Martell rule (gameofthronesfandom.com).
Instead of naming her pet ‘Lady’ like her sister, Sansa does, she chooses a name that is more related to a boy-related-matter. As mentioned by Boggs and Petrie that a one important method of caracterisation is through choice of name: the use of names possessing appropriate qualities of sound, meaning, or connotation
(2012, pp. 49-54).
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Murphy states that a person’s reactions can be a benchmark of a certain character on a various situations and events (p. 168). The next proof that Arya stark’s characteristic is boyish can be seen from her reactions at King Robert
Baratheon’s arrival at Winterfell. She should be standing on the front line with her family and greeting the king. Instead, Arya climbs a tall carrier to see the king’s arrival more clearly and she wears an iron helmet on her head, looks excited, which is an act that a lady should not do.
Arya Stark climbs a carrier and wears an iron helmet to attain a better view (GOT Season 1 Episode 1, 2011, 00:24:47-01:01:37)
According to Murphy, mannerism can also be used in describing a person’s trait. He conveys that from a person’s mannerism, habits, or idiosyncrasies that are given to the reader, the author can give the reader clues about a person’s character (p.173). The researcher finds that Arya Stark’s manner shows a boy’s demeanor is when she plays with her food at the gathering night of King Robert
Baratheon’s arrival.
Arya plays with her food to make fun of her sister (GOT Season 1 Episode 1, 2011, 00:46:38-01:01:37)
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As stated by Boggs and Petrie that a character’s characterisation can be known from the subjective point of view which is how a camera angle ables the audiences’ to see and feel the characters’ actions, in another word to live in a certain character’s skin and it makes the audiences able to understand the character’s directly as the angle focuses on several point of views (2012, p. 107).
In this scene, Arya throws her food at her sister, Sansa, with a spoon and laughs out loud afterwards. Even the researcher herself finds this scene is very funny because the camera angle shows the audiences from several characters point of view which also think that what she does is funny. Confrontly speaking, Arya as a lady of the house should not have such act but from the beginning of the story the researcher finds that her behaviour shows a boy manner.
These previous evidences show how Arya Stark is boyish through her speeches, actions, physical appereance such as her haircuts and her manner. Arya always behaves not so-lady-like for her boyish characteristic starts to show from the very beginning of the film. Arya is barely seen having a long hair for her hair is always cut medium to short. She also rarely wears any dresses for any occasions. Arya also explains to her father that she does not feel like herself when she has to act like a lady and marries a high lord. Arya names her direwolf
Nymeria which means a warrior queen. At Robert Baratheon’s arrival on
Winterfell she even climbs a high carrier and her reckless manner such as throwing food to Sansa, her sister at the dinner.
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2. Intelligent
Arya is a very astute, crafty and resourceful person. She is quick at learning and understanding things and that is the mark of an intelligent person. Arya is also very swift in detecting danger and seeing through people. For example, in season one episode five when she overhears a conversation between Varys and Magister
Illyrio Mopatis of Pentos and instantly seeks for a hiding place in the dungeon.
Arya Stark seeks for a hiding place after she overhears Varys and Illyrio Mopatis’ conversation (GOT Season 1 Episode 5, 2011: 00:21:18-00:54:16)
VARYS: The gods alone know. The fools tried to kill his son. What's worse, they botched it. The wolf and the lion will be at each other's throats. We will be at war soon, my friend. ILLYRIO MOPATIS: What good is war now? We're not ready. If one Hand can die, why not a second? (line 300-306) For instance, she understands the situation and tries not the get caught while overhears them talk. She naturally seeks for a hiding place. After Varys and
Illyrio finish their talk, Arya runs to her father and tells him everything she knows to warn him to be more carefull in King’s Landing.
In season two episode eight seven, Arya becomes Lord Tywin Lannister’s cupbearer. It can be assumed as a good and a bad thing. A good thing because she
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can hear directly Tywin Lannister’s battle plan to attack her brother’s army and a bad thing because once she makes a little mistake she will fall under suspicion, even risks her life because she is exactly inside a lion’s nest.
As mentioned by Boggs and Petrie, characterisation of a character can be seen through a dialogue. It Says that characters in a fictional film naturally reveal a great deal about themselves by what they say. But much is also revealed by how they say it (2012, p. 50). Arya Stark comes from a noble house and it makes her language more ‘proper’ than the common people. In this episode, Tywin Lannister suspects her that she comes from a noble house. Unlike what she has told him that she is a commoner for Arya’s pronunciation resembles people from noble houses but because of her intelligence, she is able to convince him that she is a commoner.
Arya defends her identity as a cupbearer. (GOT Season 2 Episode 7, 2012: 00:14:24-00:55:10)
TYWIN: “Lowborn girls say "m'lord," not "my lord" If you're going to pose as a commoner, you should do it properly. ARYA: My mother served Lady Dustin for many years, my lord. She taught me how to speak proper properly. TYWIN: You're too smart for your own good. Has anyone told you that? ARYA: Yes. (line 264-272) In season two, Arya mainly has her act done in a place called Harrenhal as a prisoner and she befriends a guy named Jaqen H’gar who has a great assassin skill
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called a faceless man. Arya asks his favour to help her gets out of Harrenhal. Arya saves Jaqen when his wagon is almost on fire. Returning the favour, she has been given three names, any names to be killed by Jaqen H’gar. Except, getting out of there takes more than 10 lives and Arya already uses two. She plays him a little by giving him two choices whether to kill himself or help her gets out of Harrenhal.
Arya plays Jaqen H’gar with her intelligence. (GOT Season 2 Episode 8, 2012: 00:25:31-00:53:21) ARYA: You promised you'd help me. JAQEN: Help was not promised, lovely girl. Only death. There must be others. Give a name, any name. ARYA: And you'll kill them? Anybody? JAQEN: By the Seven New Gods and the Old Gods beyond counting, I swear it. ARYA: All right. Jaqen H'ghar. JAQEN: A girl gives a man his own name? ARYA: That's right. JAQEN: Gods are not mocked. This is no joking thing. ARYA: I'm not joking. A man can go kill himself. JAQEN: Un-name me. ARYA: No. JAQEN: Please? ARYA: I'll un-name you. JAQEN: Thank you. ARYA: If you help me and my friends escape. JAQEN: This would require more than one life. This is not part of our bargain. ARYA: Fine, Jaqen H'ghar. JAQEN: A girl lacks honor. If I do this thing, a girl must obey. ARYA: A girl will obey. JAQEN: A girl and her friends will walk through the gate at midnight. (Line 472-496)
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For a nine year old girl, arya is very mature for her age and she has proven that she has some improvements: to be very good at surviving dangerous situations with a little to no help. From hiding when she overhears Varys and
Mopatis talk until she has to defend her own life at Harrenhal. She has proven to be very good at lying and not getting caught in her lies, something only intelligent people are able to manage.
Another evidence that Arya Stark is intelligent can be seen in season six. This season, Arya has managed to achieve her new skill to become a faceless man and it makes her easy to kill and to become someone else. As mentioned by Boggs and
Petrie, characterisation can be seen through external action that a certain character do what they do for a purpose (2012, p. 51). Arya purposely goes to The Twins seeking for revenge in the House Frey because they have killed her mother, her older brother and his wife, also the Stark’s soldier. She hides herself in a another person’s face as a handmaiden using her skill as a faceless man and manages to execute her missions. First is by butchering Lord Walder Frey’s sons and serves it as a meat pie in his own dinner.
Arya goes incognito as a handmaiden to kill Lord Walder Frey. (GOT Season 6 Episode 10, 2016: 00:47:59-01:08:01) WALDER: Where are my damn moron sons? Black Walder and Lothar promised to be here by midday. HANDMAIDEN: They’re here, my lord.
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WALDER: Well, what are they doing, trimming their cunt hairs? Tell them to come here now. HANDMAIDEN: But they’re already here, my lord. Here, my lord. They weren’t easy to carve. Especially Black Walder. (line 449-457) After that, she opens her face mask, reveals her true identity and she slits
Lord Walder Frey’s throat with a knife. Arya looks pleased and relieved because she is able to kill someone she has been hating for so long. As the audiences can see here, Arya’s face is filled with enjoyment for she smiles and stares at Lord
Walder Frey’s dying face. As Boggs and Petrie have mentioned, the camera uses subjective point of view to show the character’s visual viewpoint and feeling to the audiences, so that they are drawn right to the situation (2012, p.107) for the researcher herself can feel an emotional kind of way how Arya feels at the moment.
Arya smiles and stares at Lord Walder Frey’s dying face (GOT Season 6 Episode 10, 2016, 00:47:59-01:08:01) ARYA: My name is Arya Stark. I want you to know that. The last thing you’re ever going to see is a Stark smiling down at you as you die. (line 459-462) Her third mission for purposely comes to The Twins is to kill all of the Frey clan. Later that night, she disguises herself as Lord Walder Frey and invites all of the Frey’s son, soldier and the other important persons to dine together celebrating
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their victory for killing the Starks clan. It turns out that she poisons the wine on their table and kills them all by it and her face says it all, that she feels glorious.
Arya smiles at the Frey bodies while she stares and walks through the hall (GOT Season 7 Episode 1, 2017: 00:06:25-01:01:27)
ARYA: When people ask you what happened here, tell them the North remembers. Tell them winter came for House Frey. (line 36-38)
It is a clear depiction that Arya Stark is an intelligent character for she uses not only her skill but also her brain to think about the best strategy for killing the foes. It also has proven her that Arya has a great skill in acting and lying for she can live under a handmaiden and Lord Walder Frey’s skin.
These proofs show that Arya Stark has an intelligent characteristic. Arya is always acts fast, nimble and swift. Every deeds she has done she executes it smoothly as she hides while she hears Varys and Illyrio Mopatis talk to each other in secret. She also manages to delude Lord Tywin Lannister, one of the most sly high lords. She is capable to play Jaqen H’gar, a man who has an amazing assassin skills to help her and her friends get out of Harrenhal. Also, Arya has proven herself intelligent when she murders every last bit of Lord Walder Frey’s
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clan with her smart brain using the skill called faceless man that she obtains from learning with Jaqen H’gar in Braavos.
3. Short-sighted
Arya does not think carefully about stuff before making or saying them, hence, it makes her has a short-sighted characteristic. When it comes to behaving in the heat of the moment, Arya is very reckless. She is so fierce that she often puts herself into dangerous situations without care. Simply, she never thinks longer about stuff, once she has formed an opinion on something she sticks to it.
According to Murphy, a person’s character can be known by letting the reader know the reaction of a certain character on a various situations and events (1972, p. 168). The first proof that Arya is short sighted can be potrayed in season two episode six when Arya becomes Lord Tywin Lannister’s cupbearer. For she is able to see, hear, and read Lord Tywin Lannister’s battle plan, she accidentally catches a glimpse of a hand writing as it says something about ambushing Robb
Stark’s clan tonight. In this situation, Arya’s reaction is obvious, without thinking for long she takes the paper when she has the chance. She manages to take the paper and reads it in secret.
Arya stark steals Tywin’s paper containing informations about her brother (GOT Season 2 Episode 6, 2012: 00:36:34-00:53:59)
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Arya reads Tywin’s paper in private (GOT Season 2 Episode 6, 2012: 00:37:01-00:53:59)
Immediately, she looks for Jaqen H’gar to kill Lord Tywin Lannister but on the run, she gets caught by a guard for she acts suspicious. Arya panicks and runs.
Manages to get away, the guard runs down to Lord Tywin Lannister to ask for a confirmation. Meanwhile, Arya immediately goes back searching for Jaqen H’gar to kill the guard to save her life. By the time the guard arrives in front of Tywin
Lannister’s door, the guard dies, shot with a poison on his neck by Jaqen H’gar.
Arya gets caught and runs from the guard looking for Jaqen H’gar (GOT Season 2 Episode 6, 2012: 00:37:33-00:53:59)
Arya finds Jaqen and orders him to kill the guard (GOT Season 2 Episode 6, 2012: 00:38:40-00:53:59)
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ARYA: Armory Lorch! JAQEN: A girl has named a second name. A man will do what must be done. ARYA: Now! JAQEN: A girl cannot tell a man when exactly he must do a thing. A man cannot make a thing happen before its time. ARYA: But he's going to tell Tywin. He's getting away. It has to be now. (line 677-684)
It is a proof of Arya being short-sighted because if she thinks twice and she does not take Tywin’s paper, she can use the chance for killing people given by
Jaqen H’gar more wisely instead of using it for a mere guard. Nevertheless, she manages to save herself.
The second proof that Arya is short-sighted can be seen in season three episode eight. In this season, Arya mostly travels to go somewhere safe with the
Hound (Sandor Clegane), a man who kills his innocent friend named Mycah on
Joffrey’s order and she hates him and wants him dead for it. One morning, when she lays on the grass after a long sleep at night, she spots a massive rock beside her. At once, she gets up quietly, picks up the large rock and creeps towards the sleeping hound. The Hound sleeps peacefully as she plans to kill him that morning by crushing the rock to his skull. When she raises it over her head to strike, the
Hound notices it and threathen to hurt Arya if she does not kill him with one strong hit. She backs off at once, freezed. Only if she thinks about this in a more clear way, the Hound will not impend to hurt her and her life might be more at ease.
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Arya’s attempt to kill The Hound (GOT Season 3 Episode 8, 2013: 00:02:20-00:56:21)
HOUND: I'll give you one try, girl. Kill me and you're free. But if I live, I'll break both your hands. Go on, hit me. Hit me hard. (line 49-53)
The third proof of Arya being short-sighted is when she kills Ser Meryn Trant in season five episode ten. Ser Meryn Trant is the guy who killed Arya’s sword instructor, Syrio Forel, back at King’s Landing in Season one. Eversince, she can not stop thinking other than killing him. When Ser Meryn arrives in Braavos, without thinking for long, she takes an advantage of her training process to become a faceless man. After she finds out that Ser Meryn Trant prefer to have sex with small girls, Arya gets her revenge by stealing a face from the the Hall of
Faces of the House of Black and White and pretending to be a brothel girl. She comes in with the other two girls. Ser Meryn Trant loves violence. Hence, he hits all of the girls inside the room including Arya Stark who uses another person’s face. The other two girls cry and scream but not Arya for she endures it all. After a while, she finally gets Ser Meryn Trant’s attention because she does not even shed a tear and kind of resistant to pain. Arya immediatelly jumps on him and she brutally stabs out his eyes, his chest, his back and then slowly she slits his throat.
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Arya kills Ser Meryn Trant brutally (GOT Season 5 Episode 10, 2015: 00:21:20-01:00:15) After Arya kills Ser Meryn Trant, she immediately gets back to the House of
Black and White. When she puts the stollen face back on the rack of the Hall of
Faces, she gets caught by Jaqen and the waif and is punished for the deeds she has done. At the hall of faces, Jaqen holds up the same vial he gave to Arya to give to the Thin Man. The waif holds Arya’s face up near the vial as she struggles. Then
Jaqen drinks the vial and falls on the floor. Arya cries and screams thinking that
Jaqen has died but it turns out that he is not that all of these is actually Arya’s hallucination.
Jaqen and the waif catch Arya steals from the Many Faced God (GOT Season 5 Episode 10, 2015: 00:23:47-01:00:15)
JAQEN: A girl has taken a life. The wrong life. WAIF: I was right about her. JAQEN: You were. WAIF: You’re not ready. Not at all. JAQEN: That man’s life wasn’t yours to take. A girl stole from the Many Faced God. Now a debt is owed. (line 165-173)
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Then Arya starts to swipe faces from the laying body. Arya reaches and pulls off the Jaqen face, revealing the face of an old man. Then, she pulls off the old man face to reveal a younger man’s face. She keeps pulling off the young man’s face to reveal a different old man. After pulling off multiple faces, revealing the face of multiple different persons, Arya pulls off the final face and sees her own face staring back at her. Arya’s vision begins to blur until the screen goes black.
In this season as a punishment, Jaqen H’ghar strikes her blind and makes her a beggar in the street.
Arya swipes faces at the hall of faces and gets blinded (GOT Season 5 Episode 10, 2015: 00:25:15-01:00:15)
These three evidences are the proof that Arya Stark has a short-sighted characteristics. First, when she steals the paper from Lord Tywin Lannister’s office and gets caught by the guard out of suspicion and waste her percious kill counts by Jaqen H’gar. Second, when she decides to kill The Hound and fails.
Third, when she steals from the Many Faced God and gets punished by it.
4. Brave
Arya has a brave characteristics because she is eager to do things that are dangerous and difficult. According to Boggs and Petrie a characterisation of a
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certain character can be seen through their dialogue: the characters in a fictional film naturally reveal a great deal about themselves by what they say (2012, p. 50).
The first evidence is seen in season one episode two, on the day where Arya play swords fighting with her friend Mycah using two long wooden sticks, Sansa suddenly calls her name and distract her from dodging the hit. Mycah gets her once and Joffrey sees it. For Joffrey loves violence, he utilises this accident to hurt
Mycah. Arya hates seeing this, so he hits Joffrey on his shoulder and he rages toward her. Arya almost gets hurt by Joffrey. Trying to protect Arya, her direwolf,
Nymera, bites Joffrey’s arm and it makes him cries like a little baby. That night, everyone including King Robert Baratheon, Queen Cersei, Joffrey, Eddark Stark,
Arya and Sansa gather together talking about this matter. It turns out that the queen, Cersei Lannister, gives Arya and Sansa a false accusation that she and her direwolf are suspected to hurt Joffrey. Instantly, she denies and screams to the queen telling everyone that she and Joffrey are liars. Arya is not afraid for saying the truth, even if it hurts. It is a dangerous thing she does for doing it in front of the king and the queen of the seven kingdoms but she does it in the name of justice. She boldly expresses how she feels and through her dialogue, Arya is potrayed as a brave nine year old girl.
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Arya boldly expresses the truth when Cersei gives her false accusation (GOT Season 1 Episode 2, 2011: 00:48:49-00:55:17) CERSEI: Your girl and that butcher's boy attacked my son. That animal of hers nearly tore his arm off. ARYA: That's not true! She just... Bit him a little. He was hurting Mycah. CERSEI: Joffrey told us what happened. You and that boy beat him with clubs while you set your wolf on him. ARYA: That's not what happened! JOFFREY: Yes it is! They all attacked me and she threw my sword in the river. ARYA: Liar! (line 555-564) The second proof that Arya Stark is brave is showed on the season six when she is blinded for stealing a face from the Many Faced God and becomes a beggar in the street of Braavos. One day, a waif approaches Arya, gives her a long wooden stick and suddenly asks her to fight with her. It seems impossible but
Arya fights with all of her might. Countless falls, bruises, and blood she gets but at once Arya also sharpens her other senses such as hearing, smell, taste and touch. Each day, the fight gets harder and harder but she learns. Therefore, she has managed to improve her senses and fighting skill. After that, Jaqen Approaches her again and asks the same question, he asks her who she is and Arya gives the same answer, always, that she is a no one. Not for long, Jaqen brings her back to the House of Black and White and lures her to give her sight back only if Arya
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gives him her name but Jaqen receives none. Therefore, he decides to give Arya’s sight back.
Day by day she trains with the waif and at a time she is given a second chance to become a faceless man. She has been ordered to kill an actress named Lady
Crane but after some observations, Arya finds that the woman is descent and she can not find any reasons to kill her. She has failed on her second mission and
Jaqen gives approval to the waif to kill Arya. Meanwhile, she goes back to the
House of Black and White, takes her sword and in the morning she plans to flee the city. The next morning after she makes a deal with a Westerosi (people from
Westeros), she walks casually on a bridge and she suddenly gets stabbed many times by the waif who disguises herself as an old lady. Arya fights back and jumps to a river. Panicks, she crawls back up to the alley, hurt, and terrified because she knows that the waif can pretend to be anyone Arya does not even recognise. She has nowhere else to go other than Lady’s Crane house. Manages to hide for a day, the waif finds her again and kills Lady Crane in the morning. Arya runs, then she jumps out of a window, and runs down the alley. Manages to escape only for a little bit. She runs again with all of her might. Jumps and falls, even badly hurt. But she manages to flee away again. This scene is very tense for the camera angle uses the indirect-subjective point of view: a camera angle which bring us close to the action so that we feel intimately involved and our visual experience is intense (Boggs and Petrie, 2012, p. 108). Arya ends up stucks at her hiding place, but once again is discovered by the waif but she does not give up and she does not tremble. Rather than surrenders, Arya takes her sword, cuts
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down the candle making the room compelitely dark and fights her. In the end,
Arya kills the waif because of her former blindness, she knows how fight in the dark and her hearing sense is more sensitive than the Waif. Later, Arya skins the waif’s face puts it in the hall and she tells Jaqen H’gar that she will go back to home.
Arya gets stabbed by the Waif who disguises herself as an old lady (GOT Season 6 Episode 7, 2015: 00:45:59-00:50:20)
Arya jumps down the alley while escapes from the Waif (GOT Season 6 Episode 8, 2015: 00:52:31-00:58:20)
Arya falls down the alley (GOT Season 6 Episode 8, 2015: 00:52:40-00:58:20)
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Arya puts the waif’s face on the wall of faces and says goodbye to Jaqen (GOT Season 6 Episode 8, 2015: 00:55:55-00:58:20)
The most obvious proof that Arya is brave can be seen in season eight episode three. In this season, all of her skill from her teachers (Syrio Forel for teaching her sword skill with Braavosi dance called the water dance, The Hound for teaching her to be ferocious and fight dirty, and Jaqen H’gar for teaching her to be an assassin, a faceless man) has been perfectly mastered. Arya manages to kill The Night King, the king of the dead, by stabbing him with a dagger of
Valyrian Steel and ends the endless fighting that night.
Arya earns her victory by defeating The Night King (GOT Season 8 Episode 3, 2019: 60:15:38-60:32:31) Those three evidences lead to a conclusion where Arya Stark has a brave characteristic and it has been proven on the film when she utters the true incident about what has happened between Joffrey, Mycah, and Nymeria. Arya is a girl who does not trembles even though death is right in front of her. She has managed to kill the waif in her severe condition when she is badly hurt. Lastly, Arya
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thriumps the war between the dead and the living at Winterfell for she kills The
Night King and ends the endless battle.
5. Vengeful
The directors of Game of Thrones has shown the viewers that Arya is a little girl that will undergo a lot of tough things since the beginning of the season and eventually, it makes her turns into a vengeful person for she wants to take vengeance and punish the person who has harmed her. At the first season, Arya loses her father Eddard Stark and her teacher Syrio Forel. Then followed by her friends, her mother Catelyn Stark, her brother Robb Stark, and her little brother
Rickon Stark. All of these events have shaped her into a person who has a vengeful characteristic because each death is very hurtful for her and she wants to take revenge for it.
First, she always mentions the names that she wishes to kill. It becomes her kill list. The kill list contains every foes’ names who have harmed her or her family and each day she grows more vengeful for the enemies keep hurting her families. Arya’s list starts way back in season two while she is on the road to go north with Yoren, who has rescued her from King’s Landing after the beheading of her father, Eddark Stark. On their trek, Arya tells Yoren that when she lies down to sleep at night, she is always consumed by the images of King Joffrey
Baratheon, his mother Cersei Lannister, and the King’s executioner, Ilyn Payne and it makes her difficult to fall asleep. Tries to comfort her, Yoren tells Arya the story of his brother, who is murdered when they were children, he also reveals to
Arya that he used to repeat the names of his brother’s killers every night before
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bed. With that, Arya Stark’s list was born. The list has grown and shrunk over the seasons but by the end of the penultimate episode of season eight, everyone on the list is gone, but Arya does not get to take them all out.
Arya lies on the mud while murmuring her kill list (GOT Season 2 Episode 4, 2012: 00:21:42-00:50:40)
ARYA: Joffrey. Cersei. llyn Payne. The Hound. Joffrey. Cersei. llyn Payne. The Hound. Joffrey. Cersei. llyn Payne. The Hound. (line 366-375)
Arya’s list grows and shrinks. The more people on her list is spoken, the more she feels angered. The proof that arya is vengeful can be seen on the dialogue between her and The Hound where she says she could not sleep unless she has spoken all of the names on her list.
Arya mentions her kill list by her campfire with The Hound (GOT Season 4 Episode 5, 2012: 00:21:25-00:53:11)
ARYA: Joffrey. Cersei. Lord Walder Frey. Meryn Trant. Tywin Lannister. The Red Woman. Beric Dondarrion. Thoros of Myr. Ilyn Payne. The Mountain.
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THE HOUND: Would you shut up? ARYA: I can't sleep until I say the names. THE HOUND: The names of every fucking person in Westeros? ARYA: Only the ones I'm going to kill. (line 301-314)
Arya whispers her kill list while practicing her archery skill. (GOT Season 3 Episode 6, 2013: 00:12:21-00:53:22)
ARYA: Joffrey. Cersei. Ilyn Payne. (line 193-195)
Even in Braavos, she brings her kill list with her. She hates them as much as she could and she really wants them dead.
Arya repeats the four names until dawn as rain pours outside. (GOT Season 5 Episode 2, 2012: 00:05:40-00:55:34)
ARYA: Cersei, Lord Walder Frey, The Mountain, Meryn Trant. Cersei, Lord Walder Frey, The Mountain, Meryn Trant. (line 19-22)
The second proof can be seen when Arya sees Lord Walder Frey and his clan murder her entire family in season three episode ten. That night, when Arya and the Hound finally arrive at The Twins, Riverrun, they are being forbidden to go inside the castle. While The Hound is busy distracting the guards to go in, Arya
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sneaks out. At the very moment she walks through the gate she seems happy and relieved because the Starks banner is displayed. Not for long, she senses something is wrong because Grey Wind, Robb Stark’s direwolf, is killed and the
Frey’s soldiers kill the Starks men. It turns out that Lord Walder Frey and his clan kill the entire Starks and the soldiers including her mother Catelyn Stark, her older brother Robb Stark, and his pregnant wife, Talisa Stark. They are killed brutally, the mother, slits on the throat, her brother, shot by a lot of arrows and her brother’s pregnant wife belly is chopped until she dies. Arya Stark feels the heat on the moment, she rages and walks to go inside. When she is on her way to walk through the main gate she is captured by the Hound and is taken by force from there. It all happens because Robb Stark is promised to marry Lord Walder Frey’s daughter but he disowns the promise for finding himself a true love. Lord Walder
Frey also gains support from Lord Tywin Lannister for he warrants Lord Walder
Frey to become the Lord of Riverrun if he murders all off the Starks.
This scene is incredibly sorrowful and tragic for it can be felt by the audience when Arya sees her brother’s dead headless body is being replaced with a direwoolf head. In here, she looks very lost, hopeless and vengeful. According to
Alfred Hitchcock, as cited by Boggs and Petrie, this kind of camera angle is called subjective point of view which to draw the audience right into the situation— instead of leaving them to watch it from outside, from a distance. It makes the audiences see what the character is seeing and in a sense to become the character
(2012, p. 107). This incident has made her grows more hateful for her foes and her urge to seek revenge who have wronged and hurt her and her family increases.
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Arya hopelessly sees his older brother’s head replaced with a direwolf head. (GOT Season 3 Episode 10, 2013: 00:03:00-01:02:43) The third proof that Arya Stark is vengeful can be potrayed clearly at the scene she has with The Hound in season four episode one when they are on their way to the Vale of Arryn where Arya Stark’s aunt, Lysa Arryn, lives. That evening in the woods, The Hound and Arya Stark spot an inn which sells food and ale. Arya spots Polliver, a Lannister man-at-arms, who kills Arya’s friend,
Lommy and he also takes her sword, Needle. Hence, there are two reasons for her to get him, Lommy and her sword. Arya decides to go in and just gets on with it but The Hound is against her plan. By the time Arya and The Hound are going to retreat, the door of the resting place is opened and they both go in. The Hound used to be famous for serving King Joffrey. Thingking he and The Hound is on the same page, Polliver offers The Hound to go back to King’s Landing together.
With every reasons he rejects the offer. After some pep-talk, Polliver asks to exchange a porsion of chicken with Arya. The Hound disagrees and the fighting starts. The Hound kills some other men and Arya helps with what she can do.
Polliver is badly hurt and Arya Stark manages to take back her sword and kills
Polliver with it the same way he kills Lommy, stabbing him at his neck.
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Arya manages to get her sword back by killing Polliver. (GOT Season 4 Episode 1, 2014: 00:55:31-00:58:13)
ARYA: Something wrong with your leg, boy? POLLIVER: What? What do you mean? ARYA: Can you walk? I've got to carry you? POLLIVER: Carry me? ARYA: Fine little blade. ARYA: Maybe I'll pick my teeth with it. (line 911-916)
These evidences bring and end to the conclusion which Arya Stark has been proven as a vengeful person for she has been through a rough journey and a lot of foes kill her families. The first proof is seen when Arya always mentions her kill list before she sleeps for she is unable to fall asleep unless she has spoken all of the names on her kill list. The second proof is depicted when Arya sees her entire family is killed by House of Frey. The third evidence is when she takes back what she owns and kills the person who takes it and hurts her in the past seasons.
B. The Development Process of Arya Stark
This section explains Arya Stark’s development through the whole eight seasons. In Game of Thrones, the researcher finds that Arya is a well- adjusted person.
1. Arya Stark’s Development
Arya Stark is the third child and youngest daughter of Eddark Stark and
Catelyn Stark who is born and raised in Winterfell. Arya has four siblings: Robb
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Stark, Sansa Stark, Bran Stark and Rickon Stark and a half-brother named Jon
Snow. In the first season of Game of thrones, Arya rejects the notion that she must become a lady and marry for influence and power (gameofthrones.fandom.com).
She is not doing well in embroidery and gets bored by it because Arya is more fascinated by warfare and training. As it can be seen with her distinct expression of her doing two different things below.
Arya’s expresion while sewing versus holding a bow (GOT Season 1 Episode 1, 2011: 00:10:58-01:01:37)
In season one, King Robert Baratheon asks her father, Eddark Stark to become his hand on the capital and it makes her and Sansa are brought to the capital to experience the court. At the Red Keep, not a lot has happened but it is enough to splat some fire to Arya. The first important highlight is when her father hires a sword master to teach arya how to fight properly with a sword. Arya is given a sword training with Syrio Forel a master sword-fighter who was formerly the First Sword of Braavos. He teaches arya the Braavo’s dance that is swift and sudden. One day in the middle of her practice, Ser Meryn Trant comes to take
Arya as a hostage and kills Syrio. Manages to flee, Arya discovers that his father is accused of being a traitor. The second important highlight on this season is when her father is charged with a false treason: that his father has been conspiring with King Robert Baratheon’s brother to deny the throne of King Joffrey and
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beheaded for it. Arya stands there near the baelor’s statue with Yoren, a brother of the Night’s Watch. Yoren plans to bring Arya back to Winterfell and changes
Arya’s identity as a boy for her own safety. In short, Arya’s development in season one is that she struggles with her identity: she does not feel ike a lady to being forced to lose her own identity as she has to flee King’s Landing and takes on the identity of Arry.
Arya when Yoren cuts her hair and gives her a new identity (GOT Season 1 Episode 10, 2011: 00:02:50-00:52:37)
As she discovers that his father has beheaded, on the season two, Arya flees
King’s Landing with the help of Yoren. She is given a new name which is Arry.
She travels the north of Kingsroad posing as one of the Night’s Watch recruit. On the trek, she meets a guy named Jaqen H’gar who is locked in a wagon for he is a murderer from the black cells of the dungeons. In this season, Arya has made a special bond with Gendry, a blacksmith, who sees her in disguise. That night Arya asks Yoren on how he survives all of the night terors. He tells her how he hushes his hatred toward the guy who kills his brother: by saying the killer’s name every
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night over and over before he sleeps. Yoren tells Arya not to become obsessed with thoughts of revenge as he is but what she understands is that she should chant each names that she has a grudge on each night like a prayer until the day she can get her revenge. From this, Arya’s kill list is born. A list where she puts all of the names that she has a grudge on. Not for long, the Lannister man-at-arms ambushes the Night’s Watch recruit including Arya’s friend and catches them including her. Before the arrest, she saves Jaqen H’gar and two other prisoners’ life by giving him an ax to help them getting out of the wagon. After arriving in
Harrenhal, she is immediately known by Lord Tywin Lannister that she is actually a girl posing as a boy and has been acquinted as his cupbearer for her cleverness.
While being a cupbearer, Arya is able to deceive Lord Tywin Lannister about her identity and she manages to conceal it until the end.
Jaqen H’gar returns the favour of what Arya has done by offering her three deaths of people from her own choosing. It makes her know how it feels to have power to kill someone, anyone. Her first choice is the Tickler, the man who tortures everyone. It is a proof of Arya being short-sighted: instead of choosing
Joffrey or Cersei she chooses to kill a mere torturer. The second name she mentions is also because of her fault for not being careful enough toward the things that she does. She asks Jaqen to kill Ser Armory Lorch because he catches her being suspicious after stealing Tywin’s paper. Later Arya seeks Jaqen H’gar and asks him to help her and her friends getting out of Harrenhal. At first, he refuses but then Arya gives him his own name and it makes him ends up helping her. Jaqen H’gar offers Arya to learn his assassination skills but she declines it
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because she needs to get back to her family. In season two, not a alot has happened but Arya has been fueled by the opinions of strong men: Yoren and
Jaqen. She struggles with herself as she has to choose between her two identities,
Arya Stark and death: to directly getting revenge on her enemies (Jaqen’s offer to follow him to Braavos) or obliquely getting revenge on her enemies and to go back to her family (Yoren’s advice to not make the same mistake as he did).
Arya declines Jaqen’s offer to take her to Braavos (GOT Season 2 Episode 10, 2012: 00:37:26-01:03:26)
ARYA: How did you kill those guards? Was it hard? JAQEN: No harder than taking a new name, if you know the way. ARYA: Show me how. I want to be able to do it, too. JAQEN: If you would learn, you must come with me. ARYA: Where? JAQEN: Far and away across the Narrow Sea to Braavos. ARYA: My dancing master was from Braavos. JAQEN: To be a dancing master is a special thing, but to be a faceless man, that is something else entirely. The girl has many names on her lips. Joffrey, Cersei, Tywin Lannister, llyn Payne, the Hound. Names to offer up to the Red God. She could offer them all one by one. ARYA: I want to. But I can't. I need to find my brother and mother. And my sister. I need to find her, too. (line 615-636)
Arya’s development gets more noticable at the third season as she changes into someone that is so vengeful. The third season of Game of Thrones is the season when the most tragic incident ever happens to Arya. In this season, Arya’s goal is to get back to her family as fast as possible but the quest is interrupted by the Brotherhood Without Banner. While travelling Riverrun with Gendry and Hot
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Pie, they are eventually get caught by the Brotherhood Without Banner who actually thinks that Arya, Gendry and Hot Pie are refugees from the Harrenhal.
Beric is curious on how they can manage to escape Harrenhal so he asks the three to eat together. After telling Beric what he wants to hear, they are allowed to leave but when they are about to go, the Hound, as a captive, comes and he reveals
Arya’s real identity. Later that night, when the Hound is brought before Beric
Dondarrion, she accuses him of the murder of Mycah. During the trial by combat ordered by Beric Dondarrion, Arya heartily calls out for the Hound’s death, but ultimately the Hound overpowers and kills Dondarrion, who is then resurrected by the Red Priest Thoros of Myr. As the victor, the Hound is declared innocent and released, much to Arya's disgust. Arya finds out that Gendry will stay with the brotherhood and she is sad because of it. That morning, while practices her archery skill with Anguy, Arya spots Melisandre. Melisandre or the
Red Woman is a Red Priestess in the religion of R'hllor, the Lord of Light, who comes looking for Gendry. Melisandre foresees the future by looking into Arya’s eyes telling her that she will shut many eyes forever. This prophecy will comes true later on the last season. The Brotherhood Without Banner sells Gendry for gold to Melisandre and Arya is very upset about it.
The second interruption is when Beric Dondarrion decides to postpone delivering Arya to Riverrun to raid a group of Lannister soldiers for their armor and weapons, Arya angrily calls them out on their hypocrisy and runs away, hoping the Lannister soldiers will kill them all. She evades the Brotherhood but before she gets too far, she is kidnapped by the Hound, who was lying in wait for
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her. Arya mistakenly thinks that the Hound will bring her to King’s Landing, but it turns out that he will bring her to The Twins where her family currently stays and exchange her for a ransom.
In their travel, Arya learns a lot from the Hound: to play dirty and not to be soft. One day, they meet a hog farmer who has a trouble with his wagon and the
Hound attempts to kill the hog farmer but is forbidden by Arya. Later when they arrive in the area of the Twins, and Arya nervously gazes toward the Stark camp.
The Hound tells Arya that she is visibly afraid that something may happen to ruin her reunion with her family. When they arrive, they are told to go away because the feast is over. Sensing something wrong, Arya sneaks out. On her walk, she sees Frey soldiers come out and murder the Stark soldiers. Arya also discovers that Grey Wind, Robb Stark’s direwolf, is killed by some crossbowmen. After the crossbowmen leave, Arya attempts to enter the castle, but is stopped by the
Hound, who says that it is too late to do anything. Arya struggles to get into the castle anyway, so the Hound knocks her unconscious and carries her away, realising that any attempt to intervene at this point would be a suicide.
Arya spots Frey soldiers murder Starks soldiers (GOT Season 3 episode 9, 2013, 00:45:14-00:50:48)
On their way out, they both witness the Frey soldiers parading her brother's mutilated corpse, with the head of Grey Wind attached to her brother's body. In
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here, Arya stares hopelessly and she becomes more and more vengeful to the foes for they have hurt her and her family. Arya and the Hound then flee the castle on horseback while the Stark army is massacred during the Red Wedding. After manages to escape the Red Wedding, Arya and the Hound meet some Frey soldiers on the wood, mocking and making fun of the death of Arya’s family.
Arya gets down the horse and kills one man and whispers “Valar Morgulis” which means all men must die while she holds the coin given by Jaqen H’gar. In short, Arya first wants to seek out her family and by many struggles on her path, she finally reaches her destination. Then being disappointed and hurt all over again, she becomes more to her other identity, ‘death’.
In the fourth season of Game of Thrones, the Hound has decided to bring
Arya to the Vale, to where her aunt, Lysa, lives and exchange her for a ransum.
On their way, they encounter Polliver, the Lannister man-at-arms who steals her sword and kills her friend named Lommy. Polliver is on Arya’s kill list. When
Arya and the Hound are in the tavern, Polliver looks over suspiciously. Arya is worried because she thinks that Polliver recognises her, but it is the Hound that he recognises. The Hound and Polliver's conversation eventually turns hostile which leads into a brawl in the tavern. The Hound kills most of the men, and Arya puts a sword through one man who the Hound has knocked to the floor. On this season,
Arya has officially turns into someone colder for she kills more easily toward the person she hates. When Polliver sneaks behind the Hound, she takes this as her chance to kill him and she does it the same way he kills Lommy and takes back her sword. Arya first gains respect for the Hound when he helps her clearing her
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enemies out of her way. On their trek, they meet a father and his daughter who offer them food and a place to rest for a night. That morning, Arya wakes up hearing a scream for the Hound robs the innocent father saying he will not survive until winter and Arya hates him for it. That night they build a campfire and finds out that she and the Hound has a same name to kill which is The Mountain, The
Hound’s big brother. In the morning, Arya practices her water dancing and mocked by the Hound and tells her to learn from the living not the dead.
As Arya and the Hound make their way to the Eyrie, Arya laments that she doesn't feel any satisfaction over Joffrey's death which they learned of from
Rorge, expressing disappointment in the fact that she was neither able to be present during his murder or be the one to kill him. When the Hound and Arya arrive at their destination, Arya finds out that her aunt just died several days before she arrives. This makes her laugh out loud because it is a kind of a bad luck when she gets closer to her family, her family dies. These ridiculousness makes
Arya laughs and she also feels that for all these times, the Hound has been so in control that he just wants to exchange her with gold but now she literally has no family and the Hound fails at acquiring his gold. She is happy looking at the
Hound feeling perplexed.
Arya later encounters Brienne of Tarth who offers her the choice to travel under her protection as she will bring her home. The Hound does not trust Brienne because she brings a Valyrian Sword gilded with a lion’s head hilt. He assumes that she is sent by the Lannister to bring Arya to King’s Landing and keep her as a captive. Both of them fight for they believe that each of them should be the one
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who watches over Arya. Instead of stopping the fight, Arya hides until the fight is over. She approaches the losing side, the Hound, dying with broken ribs and legs.
The Hound begs for mercy to kill him but Arya steals his silver and leaves him to die for he has killed his friend who begs for mercy. Arya spots a ship preparing to leave the port. She asks the captain to take her to the wall but he says he has no place for her and he does not head to Westeros but to the Free City of Braavos.
Arya immediately changes her travel direction because she thinks she has no family left, she shows him the iron coin that is given by Jaqen H’gar and says the word ‘Vallar Morgulis’, she finally gains a cabin. In this season, Arya becomes more and more drawn to her new identity, she takes the decision to leave the old
Arya behind to give her other identity a chance.
Arya leaves for Braavos (GOT Season 4 Episode 10, 2014, 01:03:23-01:05:19)
The fifth is the most influental season for Arya as she learns to throw her old identity. After she has arrived in Braavos, she knocks the House of Black and
White. She looks for a man named Jaqen H’gar but she finds none, then the door is closed again. She waits for a day but the door is not open. Arya decides to throw the coin and left the House of Black and White. At the alley, she meets two
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boys who intend to take her Needle but they get scattered by a man from the
House of Black and White. She follows him and after they arrive at the house,
Arya demands his identity. He gives back the coin to Arya and he takes of the mask he wears and uses Jaqen H’gar’s face. Arya cleans the hall for many days as she watches Jaqen assists another man drink’s from the temple’s well and dies.
That night a waif comes to her room and makes her play the game of faces. The waif asks Arya’s name and her answer is ‘no one’ and that is not how the game works. It is a game where someone should tell lies and if the other person catches a lie he or she loses the game. She hits her as Jaqen comes in. He tells her that she can not be ‘no one’ if she keeps Arya Stark’s clothes, silver and sword. The next day, Arya throws her stuff but not Needle for she is too attached with it. She hides her sword bellow a pile of rocks.
One day, Arya assists a dying little a girl to drink the water from the temple’s well. She tells the little girl that she used to be like her and is healed by drinking the water. Jaqen sees this as a proof that she is ready to become someone else.
Hence, he tells her to go to the city and disguises herself as a girl named Lanna, observe, and kill the Thin Man. As she observes the Thin Man, she notices Ser
Meryn Trant’s arrival on the dock. She gets distracted immediately. Arya follows him to go to the Iron Bank. That night, Arya follows Ser Meryn Trant and several other guards to a brothel. She is chased out by the owner, but not before she learns that Ser Meryn Trant prefers sex with very young girls. Arya reports her failure to kill the Thin Man to Jaqen, not mentioning why she has failed and promises to try again tomorrow. Ser Meryn Trant is given three little girls the next night, whom
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he beats for his amusement. The first two are left whimpering from his beatings, but not the third. The third girl manages to catch Ser Meryn Trant’s attention. He dismisses the first two and continues to hit the third girl, to no effect, so he punches her in the gut. Crumpled on the floor, the girl removes her face and reveals herself as Arya. Immediately Arya jumps on him and stabs one of his eye with a knife, then she stabs him on his chest several times, then stabs his other eyes. She tells him her identity, stabs his back and she slits his throat as she reminds him for killing her dancing master, Syrio Forel in King’s Landing. When she gets back to the House of Black and White, she gets caught stealing the face from the Many Faced God. Therefore, as a punishment, Jaqen takes her eyesight and makes her a beggar on the street for a while. In this season, Arya accepts her new identity and wants to be trained to become a no one. She struggles a lot to leave her old identity behind and fails nonetheless.
Arya as a blind beggar (GOT Season 6 Episode 1, 2016, 00:41:54-00:50:04)
In season six, as she becomes a beggar, she also learns to increase other senses, especially the hearing senses. At the street she hears about the death of Ser
Meryn Trant. While she sits on the street, suddenly the waif comes and throws a wooden stick to arya asking her to fight with her, blind. She has beaten, fallen, hurt and yet she does not give up. One day, Jaqen comes and asks for her identity,
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he lures her that she will be given her sight back only if she tells him her name.
Jaqen receives none and she brings Arya back to the House of Black and White.
In here, the waif keeps trainning her and they also play the game of faces.
Multiple stick fights between Arya and the waif ensue. At the same time, Arya learns to cope with her blindness while telling the waif her story and list of targets. With Arya finally holding her own, Jaqen gives her a cup from the well in the House of Black and White and tells her if she truly is no one, she has nothing to fear. She drinks the water and regains her sight back.
She has been given a second chance on her training to become a faceless man.
Jaqen orders her to kill an actress called Lady Crane. Disguises as Lanna, she observes Lady Crane and finds out that she loves rum. The next day, she goes back to the theatre, puts poison on Lady Crane’s rum with hesitation for she finds
Lady Crane is a decent person and she does not find any reasons to kill her then she leaves. After a while, she goes back and throws the rum from Lady Crane’s hand. Arya tells Lady Crane to be carefull with the younger actress as she gets jealous of her. The waif reports this incident to Jaqen and he gives her the permission to kill Arya. Arya knows that she has to leave the city as soon as she fails this mission. She retrieves Needle from its hiding place and prepares to defend herself, presumably abandoning the goal of becoming a Faceless assassin and knowing her failure has made her a target. After that, she buys a slot on a ship’s cabin which will go to Westeros with two bags of silver. Not for long, the waif, disguises herself as an old woman, approaches Arya and stabs her on the belly several times. It shocks Arya as she jumps to the river. Manages to run
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away, she hides on Lady Crane’s cupboard. Lady Crane helps to cure Arya. The next morning, the waif comes back and kills Lady Crane. Arya is terrified as she jumps from the window. She runs until she bleeds for her wound has not healed yet. She runs with her life from the wife and ends up in her hiding place. It makes her fight with the waif one on one. She slashes the candles and the room goes dark. Arya wins the fight since she has an experience fighting with no sight. Arya gets back to the House of Black and White and puts the waif’s face at the hall of faces. Awares that Jaqen sends the waif to kill her, Arya points Needle at him in an accusatory manner, though Jaqen claims that she has finally truly become ‘no one’, indicating the completion of her training as a faceless man. In reply, Arya reaffirms that she will never be ‘no one’ and is and will always be Arya Stark of
Winterfell. Arya lowers her sword, as she leaves the House of Black and
White and Jaqen for good, making the ultimate decision to return to Westeros, her home.
Arya slashes the candle to fight the waif (GOT Season 6 Episode 8, 2016, 00:54:43-00:58:20)
Upon her arrival in Westeros, Arya travels to the Twins where she disguises herself as a handmaiden. After Jaime and his soldiers depart for King's Landing,
Arya manages to kill both "Lame" Lothar Frey and "Black" Walder Rivers, who are responsible for the deaths of her brother Robb Stark, her brother’s wife Talisa
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Stark and her mother Catelyn Stark, respectively. She then proceeds to dismember their bodies and bake them into a meat pie, which she serves to Lord Walder
Frey as the two are alone in the dining hall, still wearing the face of a handmaiden. After she reveals her true identity, she slits Walder's throat and watches with amusement as he dies. Big things happen for Arya in season six.
Arya’s quest to acquire the powers to become a highly-trained assassin comes true with many ups and downs. She has always beem wanted to become a trained warrior. Hence, she trained with Syrio Forel way back in season one. She is now ready to bring justice to those who have wronged her.
In Game of Thrones season seven, after killing Lord Walder Frey, Arya uses her face to impersonate him and holds a feast in honor of his sons. Arya asks for a toast and gives a short speech about House Frey’s victory. Arya forbides the woman to take part because she is aware of their innocence. As the sons drink the wine, Arya mocks them by reminding them of how they butcher a pregnant woman, cut the throat of a mother of five, and slaughter the Starks after inviting them into their home. As the Frey sons begin to cough up blood from the poison,
Arya watches with satisfaction as they all die before removing her mask and revealing herself.
Arya disguises herself as Lord Walder Frey then reveals her identity (GOT Season 7 Episode 1, 2017, 01:05:43-01:01:27)
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WALDER: Maybe I'm not the most pleasant man. I'll admit it. But I'm proud of you lot. You're my family, the men who helped me slaughter the Starks at the Red Wedding. WALDER: Yes, yes. Cheer. Brave men, all of you. Butchered a woman pregnant with her babe. Cut the throat of a mother of five. Slaughtered your guests after inviting them into your home. But you didn't slaughter every one of the Starks. WALDER: No, no, that was your mistake. You should have ripped them all out, root and stem. WALDER: Leave one wolf alive and the sheep are never safe. ARYA: When people ask you what happened here, tell them the North remembers. Tell them winter came for House Frey. (line 54-73)
Arya then leaves The Twins and heads for King’s Landing. When she stops by in an inn she is reunited with her old friend, Hot Pie and finds out that her brother Jon has taken back winterfell. Knowing this, she immediately changes direction and goes straight to Winterfell. In the woods, when she warms herself by the campfire she builds, suddenly a pack of wolfs surround her. Ready to defend herself, she sees Nymeria, her direwolf. When she asks Nymeria to go back with her, Nymeria turns back and retreats with her pack. Arya understands this because what happens to Nymeria also happens to her as she says a similar thing to her father in season one when she declines her father’s words about marrying a high lord.
Arya asks Nymeria to go with her (GOT Season 7 Episode 2, 2017, 00:48:15-00:59:52)
ARYA: Nymeria? ARYA: Nymeria, it's me, Arya.
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ARYA: I'm heading north, girl. ARYA: back to Winterfell. I'm finally going home. ARYA: Come with me. ARYA: Come with me. ARYA: That's not you. (line 672-678)
Arya Stark finally comes back home. Reunited with her sister and brothers,
Sansa, and Bran but not her half-brother Jon Snow for he goes to the Dragonstone seeking an ally and support from Queen Daenarys Targaryen. In this season, Arya is given a dagger of Valyrian Steel by Bran at the Godswood, the place where she fights the Night King. She also trains and spares together with Brienne of Tarth.
She manages to avoid Lord Peter Baelish’s trick to separate her and Sansa. Lord
Peter Baelish is famous for his guile and is good in covering up his crime. In this season, Lord Peter Baelish plans to manipulate Arya. He tries to make Arya and
Sansa fight each other for they just reunited and he believes that the sisterhood will have a certain doubts to each other for they just reunited. While he thinks that his plan works perfectly, on the other hand, Arya is smart enough to understand the situation. She is good in reading people, therefore she knows it all. The researcher believes that Arya and Sansa clarify things to Bran. Bran is the Three-
Eyed Raven. A Three-Eyed Raven is someone sees things ordinary humans can not see, he can see the past, the present, and dreams that probably show them probable visions of the future happenings. After clarifying things with Bran, Arya and Sansa learn that all of these are just Lord Peter Baelish’s trick against the sisterhood. Not for long, Sansa summons her and Lord Peter Baelish to the great hall of Winterfell. At first, Lord Peter Baelish thinks that Sansa will judge Arya and remove her from Winterfell for her own safety but it turns out that the
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judgement falls down directly to Lord Peter Baelish himself. Sansa declares all of his crimes and Arya does the job for killing Lord Peter Baelish. In this season,
Arya and Sansa finally learn to work together, as Eddark Stark tells Arya to do so way back in the first season. The sisters have learnt that the Starks must always work together if they want to survive winter and it can be seen by their conversation below.
ARYA: Are you all right? SANSA: It's just strange. In his own horrible way, I believe he loved me. ARYA: You did the right thing. SANSA: You did it. ARYA: I'm just the executioner. You passed the sentence. You're the Lady of Winterfell SANSA: Does that bother you? ARYA: I was never going to be as good a lady as you. So I had to be something else. I never could have survived what you survived. SANSA: You would have. You're the strongest person I know. ARYA: I believe that's the nicest thing you've ever said to me. SANSA: Well, don't get used to it. You're still very strange and annoying. ARYA: “In winter, we must protect ourselves. Look after one another.” SANSA: Father. “When the snows fall and the white winds blow, the lone wolf dies, but the pack survives.” ARYA: I miss him. SANSA: Me, too. (line 915-939)
The last season is where the real battle begins. It is a battle between the dead and the living and Arya Stark pays a great deal to it. Without her, everyone would be dead. This season Arya is reunited with her half-brother, Jon Snow, Gendry, the Hound, Beric Dondarrion, and Melisandre. The day when Jon gets back from
Dragonstone, he brings back a Targaryen queen who has two fully grown dragons, ten thousand soldiers called the Unsullied and hundred thousands of the Dothraki army. When arya sees two fully gwon dragon fly in the sky she looks fascinated.
Preparing to fight the White Walkers, Arya asks Gendry to make her a weapon
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resembling her wooden stick back then in Braavos with two dragon glass blades on both end.
The night before the battle starts, everyone gathers around, waiting. Upon that night, knowing that everyone might die, Arya wants to have an experience about sex and she does it with Gendry. Not for long, she heards the signal that the White
Walkers approaches the area. She tells Sansa to go to the crypt and gives her a dragon glass dagger. The Dothraki attacks first, but almost no one gets back, just one or two. Then the Unsullied and the White Walkers clash and countless blood is spiled. They inniciate retreat and light the trench with fire. She skillfully fights a lot of the White Walkers but still she is surrounded and it makes her forced to go inside the castle. Room after room she visits is tremendously breath taking for the
White Walker has reached inside the castle. Arya barely survive on the library and when she goes out she meets the Hound and Berric Dondarrion. Arya fights with the Hound and Beric Dondarrion who later sacrifices himself to save Arya and the
Hound. When Beric dies, Arya feels hopeless. She and the Hound is trapped in a room with Melisandre, the red priest. Melisandre reminds Arya of her prophecy that Arya will shut many eyes forever and she also lits Arya’s courage back.
ARYA: I know you. MELISANDRE: And I know you. ARYA: You said we'd meet again. MELISANDRE: And here we are. At the end of the world. ARYA: You said I'd shut many eyes forever. You were right about that too. MELISANDRE: Brown eyes... green eyes... and blue eyes. MELISANDRE: What do we say to the God of Death? ARYA: Not today. (line 314-326)
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At the Godswood, as the Night King walks to Bran, Arya slips to him.
Unseen and unheard, with a dagger of Valyrian Steel, she aims the Night King’s head. Slipped, she swiftly catches the dagger with her right hand and stabs him on his stomach. Finally destroyed, the Night King turns to some icy shards.
Arya fights the White Walkers (GOT Season 8 Episode 3, 2019, 00:40:23-01:32:31)
Arya fights the Night King (GOT Season 8 Episode 3, 2019, 01:15:39-01:32:31)
That morning everyone that is still alive attends the cremation of the dead bodies. After the cremation, Arya learns that Jon Snow is not a Stark, but a
Targaryen. Arya and Sansa wonder why Jon has to bend his knee after the
Targaryen queen for the North demands to be an independent kingdom. Jon says that the more allies they gain, the more fortunate they will become. Trusting,
Jon’s decision, after attending the council meeting to prepare for the next battle
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against the Lannisters, she leaves the Winterfell and heads to King’s Landing to kill Cersei Lannister. On her way, she meets the Hound and decides to travel together again.
Upon their arrival on King’s Landing, the crowd’s situation is unbelivably messy for the war has come and people rush their way to save their lives. After some time, Arya and the Hound are finally manage to pass the gate and get in to the Red Keep. The Hound really cares for Arya as he tells her to back off from the
Red Keep for the building has started to crumble, literally. The Hound does not want Arya to die here. Arya agrees and she calles his name for the first time showing her respect toward the Hound. As she walks out, a lot of people are hurt, die, and burnt because of the queen’s dragon splats fire from its breath and it makes the city explodes because King Aerys plants wildfire beneath the city.
Before King Robert Baratheon, King Aerys II Targaryen plans to destroy the people who disobey him with wildfire. Hence, he engrafts a lot of wildfire on city.
"The Mad King was obsessed with it. He loved to watch people burn, the way their skin blackened and blistered and melted off their bones. He burned lords he didn't like. He burned Hands who disobeyed him. He burned anyone who was against him. Before long, half the country was against him. Aerys saw traitors everywhere. So he had his pyromancers place caches of wildfire all over the city. Beneath the Sept of Baelor and the slums of Flea Bottom. Under houses, stables, taverns. Even beneath the Red Keep itself"―Ser Jaime Lannister (gameofthrones.fandom.com).
At the alley, as she tatters, a mother of one daughter helps her walk. As Arya walks, she is strucked by the explosion of the wildfire and blacks out, separated with the mother earlier. Gaining her consciousness, she walks again and almost gets downtrodden by a falling building. She meets with the mother who saves her earlier and tells her and the daughter to follow her. On their way, the mother is
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stabbed with a sword and the dragon splats fire on her and the daughter. Arya sadly walks away and finds a horse. She rides it to get out of King’s Landing.
Arya barely escapes the capital (GOT Season 8 Episode 5, 2019, 01:09:03-01:20:06)
On the last episode, Arya warns Jon Snow against his loyalty to Daenerys because of his bloodline and Sansa's refusal to bend the knee to her in the future.
She also witnesses Daenerys' speech to the Dothraki and the Unsullied. After a lot of considerations, Jon kills Daenerys for good, making the Unsullied rages.
Weeks after Daenerys is assassinated, Arya takes part in the trial of Tyrion.
When Yara Greyjoy agrees with the idea of Unsullied doing whatever they want with Jon, Arya threatens to kill her. Davos however manages to defuse the situation. Tyrion then suggests that the lords of Westeros should choose their new king or queen and recommends Bran. Arya assents, though she withholds her vote as Sansa declares the North's independence at the meeting. From here, a new rule is born that the ruler of the kingdoms shall be chosen by the people and the lords of Westeros.
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After Bran exiles Jon into the Night's Watch to prevent a war with the
Unsullied, the Stark siblings bid him a final farewell on the docks of King's
Landing. Arya informs them all that she has decided to sail to the west of
Westeros, where no one has ever gone before, fulfilling her promise to Lady
Crane. She later captains a ship flying the Stark sigil, and departs into uncharted waters.
Arya tears up as she says her farewell to Jon Snow (GOT Season 8 Episode 6, 2019, 01:09:03-01:19:28)
Arya heads to west of Westeros (GOT Season 8 Episode 6, 2019, 01:14:57-01:19:28)
In Game of Thrones, everything happens for a reason. Every incidents and events that have happened to Arya since the beginning until the end of the season correlate to each other. From she denies the notion of being a damsel in distress until she becomes a dreadfull assassin. The plot tells the audiences that Arya Stark is the hero of the story for she manages to kill the Night King. She performs a variation of her killing move while sprawling with Brienne of Tarth. In season three, Melisandre’s words to arya that she will have three major kills: brown eyes,
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green eyes, and blue eyes. Those are the names that Arya has killed on Game of
Thrones. Brown eyes for Lord Walder Frey, green eyes Lord Peter Baelish, and blue eyes for the Night King. The weapon she uses to kill the Night King is called the cat’s paw dagger. The cat’s paw dagger is a very old Valyrian steel blade.
Lord Peter Baelish uses it to stage the assassination of Bran Stark which leads to pitting the Starks snd the Lannisters against each other. Starting the war of the five kings: Joffrey Baratheon the King of the Seven Kingdoms, Robb Stark, the
King in the North, Balon Greyjoy, the King of the Iron Islands and Robert
Baratheon's brothers, Renly and Stannis Baratheon. Lord Peter Baelish gives the dagger to Bran who gives it to Arya on the exact same spot where she kills the night king. All of these fold perfectly into the prophecy of Azor Ahai: the prince or princess who was promised. Azor ahai is a gender fluid. It can be a prince or a princess. This prophecy has been alluded to throughout the show and it is explained more details in the books. Basically, Azor Ahai originally brings an end to the long night thousands of years ago when the dead invades Westeros. To kill them, he uses a sword called light bringer. The sword has to first be tempered by and stabbed to the chest of Azor Ahai’s wife. Throughout the show, a lot of audiences and Melisandre have been guessing who Azor Ahai is but the guesses are all wrong. At first, Melisandre thinks that it is either Lord Stannis Baratheon or Jon Snow. Instead, the prophecy falls to Arya Stark because she is literally a princess and John is the king in the north. The cat’s paw dagger is the ancient blade light bringer and it does not literally stab her loved ones through the heart
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but the blade causes the deaths of her parents, brothers and thousands of other people.
Arya is an innocent little girl at the very beginning of the story but as she undergoes a lot of problems, she changes into someone that is so vengeful after
Cersei, Joffrey and Illyn Payne kill her father. Another proof that Arya’s character has developed can be seen at the season three after House Frey murders her entire family. E.M. Forster in Aspects of the Novel states that characters are developing if they experience a change in themselves, from personality, disposition, or outlook (1980, p. 54). Her character starts to change after she witnesses the tragic incident of her family at King’s Landing where her father is beheaded and her teacher is killed as well at The Twins where her mother and brother are murdered.
These events totally change Arya as she becomes colder in person and more saddistic. She also feels disoriented for she has lost most of her family. Arya also changes her mind after she lost her family for she thinks has no one else anymore.
Instead of lurking somewhere searching for her family, she now decides to go to
Braavos and trains to become a dreadful assassin called faceless man. In short,
Arya sacrifices her whole adolescence to become a warrior: she trains under the first sword of Braavos, Syrio Forrel, learns to fight dirty with the Hound, and
Jaqen H’ghar teaches her how to become a faceless assassin. She experiences a lot of changes and her character has successfully developed for good.
2. Arya Stark’s Id, Ego, and Superego
Psychology is also a medium to develop someone’s character and psychoanalysis is one of the methods to foresee things that are not able to be seen
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with naked eyes. Along with a psychoanalitical approach, a character development of a person can be seen with Freud’s theory of tripartite human psyche. Peter Barry in one of his chapter of his book Beginning Theory mentions that a literary study may use a psychological apporach which is the psychoanalytic criticism and it uses some of the techniques of psychoanalysis in the interpretation of literature (2002, p. 98).
Arya is boyish, she prefers things that are more related to a warfare. Hence, she is good being in a combat. She can bull’s-eye arrows like her brothers easily.
Her id is to be a skillfull knight who has a great skill and vengeance. As it can be seen on the pictures down below, Arya’s expression is very different when she holds a needlework and when she pulls her bow.
Arya is led by self-determination and mental tenacity. To others, this appears “strange and annoying” because young women in Westeros are expected to be docile, if not completely inert. Unlike her sister Sansa, Arya Stark is not gender-conforming: She enjoys fighting and exploring, not dancing and sewing (fandom.com).
Arya’s different expressions while doing embroidery and archery (GOT Season 1 Episode 1, 2011, 00:10:12-00:01:01:37)
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Her decision is supported by her half-brother and her father. She is given a sword by Jon Snow and names it Needle. Her father, Eddark Stark, also gives her a sword mastery lesson with Syrio Forrel. Arya also refuses to be a lady of the house and dismisses her father’s word about marrying high lords for power saying that is not her as the researcher has discussed at the first question of the problem formulation.
Arya’s expression when Jon gives her a sword (GOT Season 1 Episode 2, 2011, 00:13:51-00:00:55:17)
Arya’s expression when she is given a sword mastery training (GOT Season 1 Episode 3, 2011, 00:52:47-00:00:57:14)
SYRIO FORREL: You are late, boy. Tomorrow you will be here at midday. ARYA: Who are you? SYRIO FORREL: Your dancing master, Syrio Forel. (line 772-776)
Her first hate to the foes grows at the Winterfell when Joffrey and Cersei accused her, Sansa and her direwolf a false accusation and they both order Ser
Illyn Payne to kill the direwolf but it ends up killed by their own father. Joffrey also orders the Hound to kill the butcher’s boy named Mycah and Arya resents
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him for it. Arya’s hatred toward the prince is seen when she plays her knife at the dining table.
Arya plays a knife on a dining table expressing her hatred toward Joffrey (GOT Season 1 Episode 3, 2011, 00:10:51-00:00:57:14) SEPTA MORDANE: Enough of that, young lady. Eat your food. ARYA: I'm practicing. SANSA: Practicing for what? ARYA: The Prince. SEPTA MORDANE: Arya, stop! ARYA: He's a liar and a coward and he killed my friend. SANSA: The Hound killed your friend. ARYA: The Hound does whatever the Prince tells him to do. SANSA: You're an idiot. ARYA: You're a liar. And if you told the truth, Mycah would be alive. (line 156-163) Not for long, her father is asked to be the king’s hand. Arya and Sansa are brought to King’s Landing. Everything turns upside down when she practices her dancing lesson with her teacher. Suddenly a Lannister man-at-arms called Ser
Meryn Trant comes by the order of Queen Cersei Lannister’s to catch Arya to be kept as a hostage. Then Arya is told to flee the Red Keep and that in her knowledge, her dancing master, Syrio Forrel, is dead killed by Ser Meryn Trant.
This makes her resents Ser Meryn Trant and wants to venge him for his teacher.
At the capital as she walks, she finds the crowd goes to the same direction which is the Great Sept of Baelor. She heads the same direction as the crowd is headed. There she witnesses her father’s, Eddark Stark, death. Beheaded by Ser
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Illyn Payne by the order of King Joffrey Baratheon. This incindent makes her grudge for Joffrey, Illyn Payne and Cersei Lannister. On this scene, the camera angle uses an indirect-subjective point of view which a close-up that conveys the emotional reaction of a character (Boggs and Petrie, 2012, p. 108).
Arya’s expression when his father is beheaded (GOT Season 1 Episode 9, 2011, 00:55:00-00:00:56:16)
At season two when she is held as a prisoner and becomes Lord Tywin
Lannister’s cupbearer, she is affected with some influences of strong men and two of them are each others’ opposite. Yoren tells her not to be consumed with her own vengeance while Jaqen H’gar introduces her how it feels to have the power to kill someone or simply death. On this season, after she has managed to escape
Harrenhal, her id is that she wants to seek vengeance for her family, but superego ego knows that vengeance is not her priority for now and that she can venge her family later. Thus, her ego makes her choose Yoren’s option and tries to go back to her family. Arya’s id, ego and superego are still in a balance for she chooses to go to her family because her ego and superego have not been dominated by the id.
The diagram of Arya’s tripartite human psyche on season one and two can be seen at the diagram below.
id ego superego
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Figure 1. Arya’s tripartite human psyche on season one and two.
On the third season, she witnesses her family’s death at The Twins.
Butchered brutally by House Frey. Her mother Catelyn Stark, her brother Robb
Stark and his wife Talisa Stark and even the whole soldiers of House Stark. This incident is one of the most influental events on Game of Thrones that affects
Arya’s id and makes it grows stronger. After this incident, she becomes more furious and vengeful to the foes. She also changes into a colder and saddistic person for she kills more easily after she sees the real rough world with the
Hound. The evidence can be seen when she suddenly jumps from the Hounds’s horse, kills one of the Frey soldier, and her expression tells nothing about a regret for killing a person. It is a proof that Arya’s id starts to dominate her mechanisms as she is seen uncontrolable.
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Arya kills a Frey soldier (GOT Season 3 Episode 10, 2013, 00:40:03-01:00:02:43)
HOUND: Where did you get the knife? ARYA: From you. (line 548-549)
On season four, for what she knows, her family is ruined by Cersei and
Joffrey at the first place. All she can ever think is to murder them. After she has lost most of her family, she just wants to seek for revenge without thinking anything else. As Freud on Pettijohn’s book says that the id is the most basic instinctual or biological drives, which “unconsciously and impulsively seek immediate pleasure and consider nothing else” (p. 245). Arya’s id or basic instinct is vengeance. She does not feel satisfied when she knows Joffrey has died and she is not the one who kills him also she can not see it directly. The evidence can be seen on her conversation with the Hound below.
HOUND: I thought it'd make me happy, but it doesn't. Not really. Nothing makes you happy. ARYA: Lots of things make me happy. HOUND: Like what? ARYA: Killing Polliver, killing Rorge. HOUND: So you're sad because you didn't get to kill Joffrey yourself. Is that it? ARYA: At least I could have been there to watch. I wanted to see the look in his eyes when he knew it was over. HOUND: Aye, nothing in the world beats that look. (line 449-458)
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As her id increases, on season five, her superego is defeated by the id and her ego makes her choose option two by Jaqen H’gar which is death, training to be an assassin. Arya declares her desire to the Hound that she wants to visit Braavos because she wants to study the skill of a faceless man and it forces her to throw away her identity including her Stark title, her family, and her home to become one.
ARYA: I am ready. JAQEN: For what? For whatever you want. To be a Faceless Man. To be no one. JAQEN: Whose sword is that? It belongs to Arya Stark. Arya Stark's sword, Arya Stark's clothes, Arya Stark's stolen silver. A man wonders how is it that no one came to be surrounded by Arya Stark's things? (line: 443-452) Arya remembers that she has to venge for her family, it motivates her to study the skill of a faceless man. The training process to become one demands her to forget who she is and turns to a whole different person. Arya has the will to try that just to get her what she wants without considering what will happen to her if she really throws her identity. In this part of the season, Arya’s id dominates her ego and superego. Therefore, her id wins and the diagram can be seen down below.
Figure 2. Arya’s tripartite human psyche on season three, four, and five.
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On season six, Arya struggles to embrace her new identity as the process to become a faceless man. Her needle is given by Jon Snow and she is heavy hearted when she is told to throw her sword because she really loves her family and very close to Jon Snow. can not let go of her ownself fully for she keeps her sword hidden beneath a pile of rock when Jaqen H’gar tells her to throw it.
Arya cries when she is told to throw her sword (GOT Season 5 Episode 3, 2015, 00:30:51-00:59:56)
Arya hides her sword (GOT Season 5 Episode 3, 2015, 00:31:29-00:59:56)
She also fails her mission to kill two appointed people as she first, gets distracted, second, she finds no reasons to kill. Arya does not kill innocent people as she likes or because she has been commanded to because she knows that it is wrong to kill a person who has no bussiness with her. She knows exactly where she belongs and she belongs to House Stark. In the end of season six, she realises that she is a true Stark and can not abandon it. Eventhough her training as a faceless man has succeeded for she kills the waif, she declares herself to Jaqen
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H’gar that she will not abandon her identity and will go back to where she belongs.
On season seven, she departs from Braavos. She heads to the Twins first because to venge for her family. After that, she goes to King’s Landing to kill
Cersei but when she hears that Jon Snow, her half-brother, has conquered the
North back from the Bolton, she immediately retreats and finds her way back home. It is a proof that Arya’s priority is her family. On season seven, Arya concentrates to kill the white walkers, but it does not make her forget to get her revenge. She excecutes her vengeance with the Hound’s companion in season eight but the situation does not support it for the city has literaly crumbled. The
Hound tells Arya to retreat and she listens to him.
The Hound tells arya to retreat and she listens (GOT Season 8 Episode 5, 2019, 00:56:59-01:20:06:) THE HOUND: Go home, girl. The fire will get her, or one of the Dothraki. Or maybe that dragon will eat her. It doesn't matter. She's dead. And you'll be dead too if you don't get out of here. ARYA: I'm going to kill her. THE HOUND: You think you wanted revenge a long time? I've been after it all my life. It's all I care about. And look at me. Look at me! You wanna be like me? You come with me, you die here. ARYA: Sandor. Thank you. (line 578-592)
Arya acknowledges that the Hound is actually cares for Arya’s life and she
respects that. She even calls him his name for the first time and she does not
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force herself to do the dirty work. She can finally controls what she wants and
what she needs. It is a result of a great balance of her mechanism as it can be
seen on the diagram below:
Figure 3. Arya’s tripartite human psyche on season six, seven, and eight.
Eventhough her id is strong from the beginning of the season and overrides her ego and superego, by the end of the season, her ego manages to make a way out and able to satisfy the id’s demand realistically and morally. Arya’s tripartite human psyche is well balanced and adjusted because she does not compel herself into her own destruction. First, she knows who she is and she keeps her identity.
Second, she immediately goes back to her family as soon as she hears the news of
Jon has conquered back the North. Third, she listens to the Hound and does not coerce her vengeance to defeat her for her ego and superego able to stop the id from doing what it wants.
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CHAPTER V
CONCLUSION
This study is done to reveal the development process of Arya Stark in Game of Thrones. The researcher focuses on answering the two questions found in this study’s problem formulation. The first question is to find out what Arya Stark’s characteristics are on Game of Thrones. The second one is how the process of
Arya Stark’s development is in Game of Thrones seen with a psychoanalysis theory.
In the first part of this study, the researcher explains the characteristics of
Arya Stark in Game of Thrones. Understanding Arya’s characteristics is necessary because the characteristics also affect the development process. The researcher uses theory of character and characterisation by M.J. Murphy to find the answer.
It is found that Arya is described as a boyish, intelligent, short-sighted, brave and vengeful person. Furthermore, Arya’s characteristics are also revealed through the way the camera shoots the expressions and actions by using cinematics point of view methods.
Arya Stark’s development can be seen after she loses her family, friends, and teacher. At the beginning of the story she is seen as an innocent girl who is confused with her own identity as she dislikes being a damsel in distress and wants to be a knight. Later, after the incidents that kill her father, mother and brothers, she becomes someone that is very vengeful. This represents her id: vengeance. At the middle of the story, her id grows very strong and dominates the ego and superego. Thus, Arya fails to keep her mechanism balanced, the id
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consumes her ego and superego. She keeps killing her enemy without considering anything else. As the story goes, she finds out that her home has been conquered back and it brings Arya to her sense. Her ego manages to give some senses to the id and Arya’s superego makes her decides to go back to her family because her mechanism is finally balanced.
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