deep analysis of a very obscure thing in lockwood and co (bc why not)
Omg ok (spoilers for episodes 2 and 3 of lockwood and co, and also the books)
So the song that plays when Lucy is holding the ring in episode 2, during the experiment, that she says is Annabel Ward and her lover’s song (“it’s their song”), is Peer Gynt Suite No. 2: Solveig’s Song.
The version I listened to that made me go “oh okay this is the same song” (after playing it through my earphones in one ear and playing the episode in the other and desperately trying to get the timings to match up to see if there were differences in the singing) is by Edvard Grieg — Yvonne Kenny, The Melbourne Symphony Orchestra & Vladimir Kamirski. From what I could work out, the song starts in the episode from just before the singing starts.
The story behind the song is as follows:
"The long-suffering Solveig is devoted to Peer and she sings the song just as he – once more – abandons her. As she sits at the spinning wheel, she sings that although the years may pass she knows that he will come back to her – and that he will find her waiting for him, just as she promised.”
Lyrics:
Perhaps both winter and spring will pass by
And next summer and the whole year will expire
But surely you will return to me, I am certain
And I shall be waiting as I once promised.
May god give you strength, wherever in the world you may go
May god give you joy, if you before his footstool stand
Here I shall wait until you come back
And if you wait above, we’ll meet there again, my friend.
I did an initial analysis and stuff and then did further research, so I’ve rejigged the document I had before to make more sense here :D
Story of the whole play:
The title character, Peer Gynt, is based on a Norwegian folk hero who is a rogue and will be destroyed unless saved by the love of a woman.
He is described as a lazy and arrogant peasant youth who leaves home to go in search of his fortune. He’s very confident that he’ll succeed, but he keeps having disasters on his journey.
At one point, he goes to the wedding of a wealthy young woman (that he might have married), where he meets Solveig. She falls in love with him, so naturally his first thought is to abduct the bride from her own wedding and abandon Solveig.
Then he has really cool and awesome adventures, going around the world and gaining wealth and fame from all his different exploits, but he is, at the middle of it all, deeply unhappy. Eventually, when he is old and disillusioned, he goes back to Norway, where Solveig awaits him, welcoming him home and redeeming him.
Annabel and John Fairfax are sort of foils to Solveig and Peer respectively, in that they are what happens as a result of a different kind of abandonment (Annabel’s murder).
Solveig is what Annabel would have been had she stayed alive and Fairfax had simply broken things off in a more traditional sense (i.e. if he hadn’t killed her), and while Peer is redeemed and saved by the love of a woman, Fairfax is destroyed by it, because he twisted the love into hate.
Now for the parallels between Fairfax and Peer:
Peer is a peasant with little success in life
-> in episode 3, as they get off the train, Lockwood notes how Fairfax “came from nothing”.
Peer has a series of unfortunate disasters on his hunt for success -> Fairfax (in the books), before the Problem, spent his time drinking, gambling, and getting into show business, instead of going into the family business. In the show this does not seem to be the case, but it’s a nice parallel that includes the books!
Peer abandons Solveig to run off with the bride
-> I interpreted this as Fairfax abandoning (murdering) Annabel for his own bride, which is his desire for success. In a way his bride is the Fairfax iron company, because he’s practically married to it.
After the abduction, Peer has really successful and fantastical adventures, very different to the disasters that he had previously experienced before the kidnapping
-> after Annabel, Lockwood again (Lucy says he has a hard-on for Fairfax which I think is hilarious) in episode 3 (just before talking about how Fairfax came form nothing) notes that Fairfax “succeeded in everything he’s tried. Publishing, show business - he didn’t even start smelting until he was in his thirties. Now look at him”. Fairfax by his own admission also worked in casinos, adding another job (or adventure) to his list.
Peer gains wealth and fame
-> Fairfax gains wealth and fame (just dropping in “miss Kingston got her hair done special” because I love it and it's vaguely related)
And this is where the similarities split off from one another:
Peer is deeply unhappy
-> Fairfax seems to be perfectly fine with his situation.
Peer comes back home old and disillusioned
-> Fairfax in a way comes home, as he ends up back in Combe Carey Hall (although this is not where Annabel was killed, it is still one of his properties), and he is old, but he is not disillusioned. He says in episode 3 that he doesn’t regret buying the ring, he regrets “leaving it behind when I bricked her into that chimney” and that he “knew it was monstrous. But I couldn’t throw my whole life away for one mistake. Not then, not now.” He still isn’t willing to give up his life, because he is perfectly content where he is.
The final parallel I want to note is between Annabel and Solveig. While one was murdered and the other neglected but still devoted and in love, both women wait for their old lover. In completely different ways, sure, because one is sitting at her spinning wheel hoping that he’ll come back and see that she’s the right one for him (cue “you belong with me”) and the other is bricked into a chimney as an angry Type Two ghost that kills people, but both are waiting.
“She’s been wanting to see you for a very… long time, Mr Fairfax” Lucy says.
Annabel is devoted to Fairfax, and as she dances and sings along to the song, he abandons her (kills her). while waiting in that cavity in the wall, and her spirit is bound to the ring/necklace, she is waiting for him.
We see in episode 3 that when Lucy lets Annabel out of the ring, throwing it in the air to set her ghost free, Annabel doesn't attack the agents, or even Ellie who is stood nearby.
She goes straight for Fairfax, because she's been waiting for him. Her devotion to him may have changed into devotion for revenge over the years, but she was waiting for him nonetheless. In a way he did come back to her, even if it was unintentionally, and he ended up being greeted by her one last time.
He is not saved by coming home and finding his version of Solveig, he is instead destroyed, because his version of Solveig was killed along with any love she might have had for him.
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In the past the plans with Error being in a relationship was kinda up in the air, I think Blue or Fresh were mentioned? (I don't remember) what happened exactly to choose the sneaky/free spirit/blood hungry Ink as Error's companion?
That is quite simple, dearest anon, because Ink and Error’s relationship would be open and not restricted to just them. It is what works best when it comes to Ink because he is indeed such a free spirit and it is just not in his nature to settle down in one place for too long, but he wouldn’t wish for Error to feel abandoned and neglected, so he was the one to propose an open relationship, one where Error can find someone else he might love and cherish, too. Ink has a way of growing fond of anyone, so someone good enough for Error will surely gain his favour as well.
That someone might just be – and I quote from Error – an ‘annoying and persistent parasitic fairy who speaks in riddles and tongues and won’t leave me the fuck alone’. Fresh is a jester through and through, and although none knows from whence he came, it is clear that it is somewhere on the mainland, so he’s seen and experienced much and more. The island was just a new place for him to see, a new place to find another body and a new place where he would inevitably grow fond of a prickly ice queen who hates his riddles and throws insults at him.
Fresh: “Hehehe, mine bones once stolen tickles and pricks in pain and pleasure. What a proud and bewitching fairy thy queen of ice is.”
Ink: “Haha! I like your funny words!”
Error does not yet realise the doom he’s about to experience once Ink and Fresh become just as close to each other as they are with him, and their japes and ridiculous jests will drive him up the wall! But… the heart grows fonder.
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Every time you and Authority speak with each other there's an Energy... Chemistry, on might say. Ever considered just asking the guy out? (Empathy would probably be cool about it)
ENCYCLOPEDIA — 'Cool about it'? Well, they *have* said before they would support us no matter what we did, but I'd like to draw attention to the fact they've previously shown distress at the prospect of losing us to someone else.
AUTHORITY — Sure, whatever, but are we just going to ignore the fact Suggestion exists too? That'd be fucked up to do that to him.
COMPOSURE — You guys are boring. I could totally whip up something, anon, just give me some time to gather some inspo.
VOLITION — I think maybe we should be taking into account the fact I just *don't* feel that way first and foremost?? No confessions are going to be happening. Not sorry.
AUTHORITY — No, the *biggest* fucking issue is that you take fifty goddamn morale damage every time he even LOOKS at you. That's not fucking good to build a relationship on. Manage *that* first before you even consider a FRIENDSHIP, fuckwit. By the way, have you ever considered that in your shit-ass relationship with Empathy, you don't--
VOLITION — No.
PERCEPTION — Okay. But, what if--
VOLITION — Nope.
ENCYCLOPEDIA — That would be an interesting theoretical to ponder, though. If Au--
VOLITION — My verdict is final, dammit.
ENCYCLOPEDIA — Okay.
COMPOSURE [Legendary: Failure] — O, Authority! How, the nonpareil! In time we hate that which we often fear – and fear the flutter of our pages when ye wert near, sir-reverence, we didst… Fie upon’t, foh! Our maltreatments leave a foul taste in our mouth.
VOLITION — What are you doing.
AUTHORITY — Oh, for fuck's sake.
COMPOSURE — O me, I cry your worships mercy! Beseech you, sovereign, give’s pardon. What our contempts doth often hurl from us, we wish it ours again… the prevailing prejudices, by revolution lowering, does become the opposite of itself. Byrlady…
VOLITION — ...Hey, wait. Didn't we hear someone--
ENCYCLOPEDIA — What does 'byrlady' mean, Composure?
COMPOSURE — I knoweth not!!!!
⠀⠀Y’wrest’d us from the clammy grips of death with absolute celerity, my lord, and with this hast wrest from us our grip on our wanton feelings. Alack, we do regret our decadence, ‘tis dishonourable to hurt th’heart of sweet Empathy--
VOLITION — Keep Empathy's name out of your fucking mouth.
ENCYCLOPEDIA — Also, would you do us the service of not referring to us as a collective, in this instance? I am not regretting any decadence right now for I have not participated in it.
COMPOSURE — --but mine aching heart balance the feather of austerity.
⠀⠀E’en so! The possibility we are doom’d to belove more than beloved oft agnize I, the arm of your companion’s body ye art. But my lungs ‘chill not contain this blaze no longer… thou art the greatest soldier of the world, the heart where mine thoughts did kindle. Made from fire and air, you and I, the other elements left to baser life, and your continued breath alone fans my flame.
⠀⠀Prithee, allow me to be the armourer of your steely heart. I ask no more. In fine, for the love of Love and her soft hours, let’s not confound the time with conference harsh.
⠀⠀Come, sir, come, I'll wrestle with you in my strength of love...
PERCEPTION — Where did that spotlight come from? No, wait, where did those paper roses come from...?
COMPOSURE — Thank you, thank you! Oh, you've been such a beautiful audience!
PERCEPTION — Wait, Poseur dON'T--
⠀⠀Oof...
COMPOSURE — fffffffffff
AUTHORITY — Just because I share a name doesn't mean I'm gonna catch you when you swoon, dickhead!
COMPOSURE — You're a *shit* acting partner!
AUTHORITY — You're a *shit* skill!
VOLITION — ...Uh. So. What's with the EModS?
COMPOSURE [Medium: Success] — Ooh, want an encore with even older Suresne, do we? Of course I will give that to you. Khm, khm...
⠀⠀Lufast ðū mē? Ðū mē scýedest mid frēondsċipe hæfdest, ic eomge-feall-en--
ENCYCLOPEDIA — Quit that. I can accept plagiarising from creative works, but academic texts are where I draw the line.
COMPOSURE — Uh. Isn't plagiarising from academic texts all you do, though...?
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