#strong's concordance

[drconstellation]

Stocktaking in the Basement

Aziraphale's Edinburgh Journey: Part 3

Usually one would think of going through their memories as a learning experience as more of a "rummaging around in the attic" metaphor, since the brain, the keeper of memories, is in the highest part of our bodies. But one of S2's underlying themes is the looming Second Coming and the resurrection of the dead, so its underground that we need to head - to the basement.

Aziraphale does a great deal of "stocktaking in the basement" during his trip to Edinburgh. He recalls the encounter with the body-snatcher Elspeth and her companion wee Morag in 1827 on the way up, has his memory jolted by the statue of Gabriel to something more recent, then thinks about what happened in 1941 on the way back. We are largely going to deal with aspects of the 1827 minisode in this meta, and some possible implications for S3.

Lets have a look at why this year, 1827, was chosen for this minisode. The Anatomy Act of 1832 gave doctors and medical students legal permission to use donated bodies for research and educational purposes, and was made so to stop the distressing trade of body snatching that was occurring at the time. But this minisode isn't necessarily about stopping that activity, rather the reasons for doing it in the first place. Looking at Strong's Concordance, as we must, in the Greek, 1827 gives us "convince" or "prove to be in the wrong." This sounds about right for this minisode, which includes the conversation about poverty inducing more opportunities to be wicked, which somehow leads to holiness, from the book. The minisode shows how Aziraphale has this idea turned around for him - he's convinced otherwise, and shown how his initial beliefs about the practice turn out to be wrong.

Also, around 1827 is the time when the building of private mausoleums was at its peak. A mausoleum was (and still is) a display of wealth, so featuring one here plays into the story in the minisode of the virtues of poverty versus the rich. (It's also a call back to the origin of the Bentley's number plate, which was written on a mausoleum in a Monty Python sketch.)

Digging Up the Past

Shax does her own stocktaking when she receives the above push-back from Crowley, and realizes that Aziraphale is not in the bookshop at all at that moment, and goes looking for him. Later, she digs up his own dirty past to taunt him with, in an effort to make him crack and give up Gabriel.

But why is Aziraphale digging up this particular memory at this time? We know he is fond of Edinburgh and has visited many times, so this particular memory must contain something of importance for us to see.

There is the title of the minisode, some Masonic symbology and the metaphorical act of the snatched bodies as the dead rising from their graves which all point us in the direction of the Second Coming and Judgement Day, which we will cover in Part 4, so we'll put that to the side for the moment.

Changing Sides

Let's have a look at some of the blocking of the scenes in the Resurrectionists minisode. This wont cover everything, so if you do go back to have another look at it yourself, do pay close attention to who stands where.

When we first meet Crowley and Aziraphale in 1827, they are standing on what we think of as their "normal" sides, angel on the right and demon on the left. Elspeth, caught in the act of body snatching, is even further to the left, the real demon on the scene, which actually pushes Crowley back to the middle ground.

Straight afterwards, we see all three of them walking together through the streets of Edinburgh. Crowley is still in the middle, but now Elspeth is in the angel's position and Aziraphale on the far left as a demon, as they all discuss the virtues of poverty. Oh dear, Aziraphale, you're losing the argument here, and losing badly!

Inside Mr Dalrymple's rooms, Aziraphale decides to take matters into his own hands, where he thinks he is doing the right thing, and miracles the first body into soup. Elspeth is caught innocently in the middle of this, and Dalrymple is on the demonic left.

A conversation is had with Dalrymple following this. Crowley is hidden in the right-hand chair, Aziraphale, who needs to be swayed, is in the middle, and Dalrymple is still on the demonic left.

After heading back to the cemetery for another body, Crowley and Aziraphale inspect some of the protective measures set up to guard the graves. Crowley is still on the moral right, questioning if the rich are more worthy of being protected from body snatchers than the poor.

Despite changing his mind about body snatching, Aziraphale still ends up on the wrong side of the argument in the end. As a giant Crowley looks down on the two of them, its Aziraphale standing on the demonic left side as the virtues of poverty lose out once more.

Timely Lessons

Back to the fireside chat with Dalrymple. We have this heartfelt reaction from Aziraphale when he learns the preserved specimen he is holding came from a seven-year-old boy.

AZIRAPHALE: [takes the jar] Well, that's a foot. So it's definitely not a foot. [laughs] DALRYMPLE: That's my point. If you two smart gentlemen can't identify it, then what are my students to make of it? I removed this tumor from a seven-year-old boy. AZIRAPHALE: Oh. Oh dear. And… Is he…? DALRYMPLE: [shakes head] And that is why we need a steady supply of cadavers. We need to cut. If we can't cut, we can't learn. If we can't learn more, a lot more, then how on earth are we going to win the battle against monstrosities like this one? I'm just trying to save lives and teach students. I either end up with a knighthood or condemned as a resurrectionist and hanging from a rope.

This, I feel, is an important lesson for them, and it seems for Aziraphale in particular. Why? This part focuses more on his reaction to the tumor, rather than Crowley's, and when we focus on Aziraphale it has ramifications for the future.*

A physical problem is usually easily identified (such as the foot). But what if the problem is invisible, because its on the inside? How do you see into a body, find a problem and make it visible, if you have not been presented with this problem before? Or perhaps you know something is wrong, but don't know what to call it?

It doesn't even have to be physical, it can be a mental, or a psychological problem. One still has to learn how to "see" the problem, to identify what it is (such as a particular pattern of behaviour) and to know the best course of action to overcome it.

Crowley wishing for more murderers to facilitate Dalrymple's research is one thing, but not being able to save a 7 year-old boy...this is the theme of the death of innocent children we've seen repeated throughout the series (the Flood, Job's children, the aborted attempt on Adam, the Crucifixion, and the implications around Crowley's Fall, to name a few.)

This also plays into the "representation matters" theme from the end - you can't be what you can't see.

This is not a lesson about the fact that they care, because they do, but how they learn to see the real problem in the first place.** I'll be interested to see the matching scenes/parallels to this in S3.

The Two Dalrymples

It has not gone unremarked that there is a Dalrymple mentioned in S1 as well - Witchfinder Colonel Dalrymple, who made the fancy Thundergun that was taken to Tadfield to shoot the antichrist with.

Now we can talk about the connection between the two Dalrymples - they are both about removing "monstrosities" from humanity.

Take the line in the passage above: "If we can't learn more, a lot more, then how on earth are we going to win the battle against monstrosities like this one?"

As I've mentioned before, the root of the word monster is from the Latin for monstrum, "a divine omen (of misfortune)," but also monstrare, which means "to point out," which bring us back to this scene in S1, on the tarmac of the Tadfield Airbase:

Aziraphale took Witchfinder Colonel Dalrymple's Thundergun to remove the monstrosity that was Adam the antichrist to save humanity, and Mr Dalrymple the surgeon is trying to learn how to remove and save humanity from the monstrosity we know as cancer. I'm just making a spot now on my S3 bingo card for a third Dalrymple mention, that will no doubt have some connection to the removal of monsters and/or monstrosities from the world.

Balancing the Books

The final bit of stocktaking might just be the coldest part of the whole recall process.

When Aziraphale calls from the cemetery in Edinburgh, he mentions Dalrymple's fate to Crowley:

AZIRAPHALE: Oh, do you really think so? Um, Crowley… Do you remember Dr. Dalrymple, The one who bought, err… CROWLEY: Wee Morag's body. Not a doctor… A mister, yes! Yes, whatever happened to him? AZIRAPHALE: [reading pamphlet] He left Edinburgh in disgrace. And then he killed himself. CROWLEY: Mmm.

Mmm, indeed. They might have saved Elspeth from Hell to meet up with wee Morag again, but the count of souls was still balanced out in the end, with Dalrymple heading the other way. The last time we see him he is still on the demonic LHS of the screen in blocking as he pays for wee Morag's body. Hell had him marked well in advance of his demise.

Time to move on to Part 4: Judgment Day, where we look at all the signs that the End Times are approaching. Again.

Thanks to @vidavalor for the thematic inspiration for this post.

For further reading:

You Say Potato, I Say Excellent! Or blocking, accents and legacy of morality tales in ‘The Resurrectionists’ minisode PART II by @pommedepersephone

The linked post at the beginning Historical Analysis: class and injustice in 'The Ressurrectionists' minisode by @bowtiepastabitch is here.

An intro to Elspeth and wee Morag being parallel characters to Aziraphale and Crowley by @good-soupmens I'm going to follow up on this in Part 5.

*I explained in Part 2 that I believe we are being shown the future through Aziraphale and his parallel characters, Beelzebub and Maggie. Another reason for this is that in S1 is that Anathema is one of his parallels, and she is also caught up with living in the future through the prophecies of Agnes Nutter. In contrast, Crowley's story, and that of his parallels, such as Gabriel and Newt, are about the past and trying to live the life you want that isn't bound by expectations. Urrgghh, I can see I might have to expand on this somewhere later.

**Crowley, with most of his story in the past, shows us an example of this with his "looking where the furniture isn't" comment.

The other posts in this series can be found here:

Part 1: Detective Aziraphale Part 2: Aziraphale-Beelzebub Parallels Part 4: Judgement Day Part 5: I Know Where I'm Going

#good omens #good omens 2 #good omens meta #aziraphale #mr dalrymple #witchfinder colonel dalrymple #elspeth and wee morag #good omens 1827 #edinburgh 1827 #the resurrectionists #scene blocking #body snatchers #strong's concordance

[asphodel124]

When Aziraphale lists the times he did the "I was wrong" dance, the first date he gives is 1650. I had fallen down the rabbit hole of Strong's Concordance and looking up all the significant numbers I could think of in the show thanks to this post:

1650 seems to be kind of a random date, as we saw Crowley rescue Aziraphale in both 1793 and 1941. Looking up 1650 on biblehub.com, it corresponds to the Greek word "elegchos," meaning "a proof or test." And a tap on the "Topical" tab on biblehub.com shows that Archbishop James Ussher "proved" that the earth was created in 4004 BC in 1650. DID AZIRAPHALE HAVE SOMETHING TO DO WITH THAT? Is Aziraphale the reason Ussher got the timing wrong by nearly a quarter of an hour?? Did he let slip some major angelic intel that Crowley had to then help him resolve in some way?

#good omens meta #good omens fan theory #strong's concordance #strong's numbers #good omens #good omens 1650 #james ussher #this was also incorrect #by almost a quarter of an hour #good omens 2 #the “i was wrong” dance #apology dance #aziraphale #crowley #neil gaiman

[youryurigoddess]

Maggie’s pendants and good omens

Yes, you’ve read it right. This post is going to deal with some literal good omens, not just title drop! But first things first, let’s take a closer look at the topic of this analysis.

A toucan

The top necklace is a lovely design involving a crowned toucan — believed to be a messenger of gods able to travel between the spiritual and the physical world, often associated with rain and rainbow (a Christian symbol of divine love, grace, and mercy, a reminder of the covenant between God and humanity to spare the latter from future trials like the Flood) — encircled by a gold band (a symbol of infinity, eternal love and promise) spun by a small butterfly (a symbol of transformation, hope, and rebirth). All three symbols combined seem to deliver a divine message of hope for rebirth, possibly resurrection, and the eternal life. Very fitting in the context of the Second Coming.

The fact that toucans were revered by the native South Americans as rainbringers strengthens the symbolic meaning of another type of bird we can spot on Maggie’s clothes in the very first episode, as her character introduction — a swallow. Swallows flying low are also believed to be harbingers of rain and bad weather. If you see one close to Earth or a building, it means that there’s a storm — or a certain biblical tempest — on the horizon.

In Ancient Greece and Rome swallows were representing Aphrodite, goddess of love. In Christianity they were considered to be of God and symbolized hope, awakening, and revival of life as messengers of spring and protectors from winter colds. Also helped Jesus on the Cross — according to a Christian legend, a group of swallows was supposed to take out the thorns from the Crown of Thorns and alleviate His Passion on the Cross. Humans banding together in the name of good have been a big theme in the series ever since The Them made an appearance, and from what we already know about the unpublished Good Omens sequel, we can assume that Jesus is going to take the spotlight in the upcoming season.

Maggie definitely attracts sudden inexplicable weather changes, like a thunderstorm with weirdly localized lightning strikes or a sudden downpour. And we’re still waiting for some vavooming (and the following happy ending) to happen in S3.

A heart with an eye

Now, the more nuanced clue hidden in the bottom necklace. I know that some of us were trying to tackle the concept of Maggie’s eye in a heart pendant suggesting her Masonic connotations, but this symbol (or the Eye of Providence in general) isn’t strictly Masonic, it isn’t even limited only to Judeo-Christian art. And while it is used a lot in Christian iconography, we should focus on a very specific example of it already referenced in the show.

Buckle up, we’re making a parachute dive into S1.

It seems like our old friend, Agnes Nutter, still has our backs.

Prophecy 4020:

Let the wheel of fate turne, let harts enjoin, there are othere fyres than mine; when the whirl wynd whirls, reach oute one to another.

If you look closely at the bottom right corner of this frame, you will see that as an illustration for the above prophecy the production team chose a 1611 engraving titled The Minde should have a fixed Eye On Objects, that are plac’d on High first found in Gabriel Rollenhagen’s Nucleus emblematum selectissimorum.

In 1635 it was published in A Collection of Emblemes, Ancient and Moderne Quickened With Metrical Illustrations, both Morall and Divine, Etc by George Wither with the accompanying hymn:

A Heart, which bore the figure of an Eye

Wide open to the Sunne; by some, was us'd,

When in an Emblem, they would signifie

A Minde, which on Celestiall Matters mus'd:

Implying, by the same, that there is nought

Which in this lower Orbe, our Eyes can see,

So fit an Object for a manly thought,

As those things, which in Heav'n above us be.

God, gave Mankinde (above all other Creatures)

A lovely Forme, and upward-looking Eye,

(Among the rest of his peculiar Features)

That he might lift his Countenance on high:

And (having view'd the Beauty, which appeares

Within the outward Sights circumference)

That he might elevate above the Sphæres,

The piercing Eye, of his Intelligence.

Then, higher, and still higher strive to raise

His Contemplations Eyes, till they ascend

To gaine a glimpse of those eternall Rayes,

To which all undepraved Spirits tend.

For, 'tis the proper nature of the Minde

(Till fleshly Thoughts corrupt it) to despise

Those Lusts whereto the Body stands inclin'd;

And labour alwayes, upward to arise.

Some, therefore, thought those Goblins which appeare

To haunt old Graves and Tombes, are Soules of such,

Who to these loathsome places doomed were,

Because, they doted on the Flesh too much.

But, sure we are, well-minded Men shall goe

To live above, when others bide below.

And hey, guess what 4020, i.e., the number of the prophecy, symbolizes in Strong’s Concordance? Periergazomai, a Greek word meaning “to waste one's labor about something” — to meddle, going beyond proper boundaries (where a person doesn't belong); to fixate on what others are doing, instead of doing what the person himself is supposed to do.

It appears only once in the Bible:

2 Thessalonians 3:11: We hear that some among you are idle and disruptive. They are not busy; they are busybodies. Such people we command and urge in the Lord Jesus Christ to settle down and earn the food they eat. And as for you, brothers and sisters, never tire of doing what is good.

To make things slightly more interesting, in the Hebrew version of Strong’s Concordance 4020 has another meaning — migbaloth, meaning “twisted things, i.e. cords”. Which doesn’t make much sense until we read the actual passage:

Exodus 28:24 and two chains of pure gold, twisted like cords; and you shall attach the corded chains to the settings.

And compare it to the most recent post on the topic published directly by Word of God:

What if all these clues didn’t apply to Maggie and Nina, but Aziraphale and Crowley instead? What if Maggie served as a messenger — consciously or not — just like the toucan, delivering the prophecy to those who need it most?

“When the tempest comes and darkness and great storms, and the dead will leave their graves and walk the Earth once more and there will be great lamentations for the end is near, don’t lose hope, hold hands and look up.”

Basically what Aziraphale and Crowley already did when they performed the 25 Lazarii miracle, only with no interference from Gabriel this time around.

And, if both Strong’s Concordance and Maggie’s personal addition to her second pendant are to be believed, with a wedding band somehow involved in the process.

#everything has a meaning #the invisible and unbreakable line that joins Crowley and Aziraphale #two chains of pure gold twisted like cords #never tire of doing what is good #don’t lose hope #hold hands and look up #the good omens crew is unhinged #good omens props #good omens costumes #the nice and accurate prophecies of agnes nutter #agnes nutter #good omens #maggie service #good omens meta #good omens analysis #strong’s concordance #yuri is doing her thing #ineffable husbands #wedding bands

[toiletpotato]

one of the many interesting things about Rodgers and Hammerstein's Cinderella (1997) (the version starring Whitney Houston and Brandy) is that it incorporated songs from other r&h shows. one of these songs being "the sweetest sounds" - cinderella and prince christopher's duet in the town square. that song originates from the show no strings (1962), and was originally sung by Diahann Carroll.

With her starring role in No Strings, Diahann Carroll became the first Black American actress to win a Tony Award for Leading Actress in a Musical.

Here's Diahann Carroll performing on The Ed Sullivan Show:

and, just because, here's the version from 1997:

#the impact of r&h cinderella '97 was strong enough for concord theatricals to license its a theatrical version of it! #for which i am very glad because it is the best version of r&h cinderella #(it's called cinderella enchanted edition on concord's website) #i linked the clip of just Diahann singing the excerpt because the full song is five minutes and I cannot find a video #but no strings was also notable because it featured an interracial couple! #musical theatre #Youtube

[havemyheartaziraphale]

I've got another Strongs Concordance, @gallup24 ! (Apologies if you've spotted it already though!)

SC 1350: to redeem

#good omens #strongs concordances #hell is redeemable

[moshieee]

I wanted to take a break from making a reference for one of my friends (I never realize how many details I have until I try to write them out._.)

And sense I brought up the floffis before and how they all have names I think it might be nice to show off some of my favorites

(shhh don't tell them they're favored it will give them an ego/hj)

We've already met Razbur Tofu and Concord

But meet a few of my other favorites...

Wait a minute... what's this... color? On my blog???

Also woe to me who redesigned them and has to redraw the info page

#hehe #floffis lore #<- that will come into play here.... #floffis #infected floffis #dream floffis #clould floffis #fun fact depending on how strong the emotion is it can change how many stars a dream floffis has #color #Razbur #Durio #pomelo #Concord #seville

[neurosses]

Hiii! I know you are focused on AC right now, but do you have plans for more Pynch fics in the future? 👀👀 Your writing is incredible btw <3

PLEASE...!! Thank you! This is a very kind ask.

I do have two other pynch fics on my ao3 in case you don't know about them, though they are much, much (much!) smaller in scale than Concorde.

As for AC: I want to stress that while it is primarily and most importantly a fic about Ronan and Declan's FUCKED UP brotherly dynamic, it has profound arcs of romantic love as well. However, AC is only worth reading if you're also a fan of Declan Lynch.

I do have plans for more pynch fics! There is a really, really cool concept Fran and I have been developing (gothic/psychological thriller set post-Greywaren — I'm not sharing details right now because it doesn't even really exist yet, but YK!), but that's far away because writing AC and publishing Concorde are my two creative projects right now. There's also one shots I've been developing and/or writing, but they are not going to get published any time soon.

#asks #anon #yk its funny bc as i wrote concorde i was telling fran I COULDA WRITTEN 10 ONE SHOTS IN THE TIME IT TOOK ME TO WRITE THIS #(joking/lighthearted ofc) #and it made me realize that concorde taught me a lot abt having discipline as writer. savoring the process. developing strong concepts. #and i wanna take that into 2024. and write intensely and precisely. #(bc im pretentious abt writing.... HAHHAHA i'm obsessed with writing.)

[toruq]

#this is following my alternate timeline where concorde is alive btw #but it could work in the main story too ig #the headcanon here is that concorde never kept taking his rider to pandoria except for anne #he would do anything and everything she wanted #anne and concorde were the ultimate sun #ssoblr #sso #star stable online #sso anne #anne von blyssen #sso concorde #sso avalon #sso fripp #star stable #my art #there is something beautiful and twisted about concorde complying with annes desire to keep going back #even though it hurts both her and him he still takes her #there is so much internal conflict that could be explored in his character #it is such a strong conflict too why doesnt sso just like PUT SOME TIME INTO THESE THINGS #the conflict between keeping your loved one safe but annoyed or keeping your loved one happy but slowly dying

[submarinerwrites]

girl you know i walk the line between pastiche and parody every day.

#number one posts about susan howe #prof asked us to create poetry in the spirit of susan howe... like.... ok man..... #i picked out some of my favorite passages from strongs concordance and made a little collage. pastiche or parody? who knows. not me. #literature

[qiqemuxoceka]

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[drconstellation]

Come Back When You Can Make A Whale

This is going to contain some speculation for S3, so you know what to do! Or not do!

SITIS: What did God say? JOB: Um... I'm not sure. I didn't understand much. Things too wonderful for me. Ostriches came into it. SITIS: Ostriches? JOB: And whales. God's very proud of the whale. Went into some detail about... how great whales are. SITIS: But did They explain? JOB: [shakes head] I think the point was, if you want answers, come back when you can make a whale.

Whales, huh?

If you aren't well read, this could be quite the misdirection. It should be reasonably obvious, given who is doing the talking - Job - what he is actually referring to, then we can join a couple of dots to make some speculative leaps.

You still with me?

No? Then let us start with how do you make a whale?

By giving it another name.

Leviathan.

Chapter 41 of the Book of Job is all about the Leviathan, a great sinuous sea serpent with impenetrable scales and breath like fire. It sleeps beneath the sea until the end of days. Over time it came to be associated with any sea monster, then anything large, and what is the largest animal ever known to have lived? The whale.

The top of the matchbox is also worth a look. We have a skull and crossbones, which is classic Memento mori symbolism, fitting in with the resurrection theme of the Second Coming - but look at the way the address of the pub is spelt! Now, this not the same way it is spelt on the record single Maggie gives to Aziraphale; Goatgate is spelt as one word, not two. A little bit of searching reveals the meaning behind this fictional address that backs up and reinforces the quote on the side of the matchbox.

Strong's Concordance for 66 gives us "wild, savage, fierce." Goatgate is an interesting one, because it turns out to be a relatively modern term from the urban dictionary, and I'm just going to refer to the polite version of it here - it's another word for "mouth." So 66 Goatgate is a "fierce and savage mouth." Yes, that does sound about right - in more ways than one, once you know who it is. (If you want to look up the impolite version, go ahead - I'm sure you will still find the connotations very amusing.)

Our metaphorical Leviathan is Crowley. He gave the game away at the end of S1 during the appearance-swap.

This also means Aziraphale is his counterpart, Behemoth. Why - well, I made a bit of joke in my post here that he was playing at being a "river horse" while he wallowed in the bath of holy water during his part of the appearance-swap scene. Modern day scholars think the description of Behemoth in the Bible may be that of a hippopotamus in real life history. If that is so, I'd still be betting this is what the "dark horse" comment from Nina in S2E1 is foreshadowing.

Maybe none of this new to you if you've been hanging around the the fandom for a while. That's fine, I'm just trying to establish the scene. And the next bit we need to talk about is this one, where Job gets a lecture from God.

During this sequence, we hear lines that come from Job 38 and 39.

GOD: Job, if you have questions for me, I have questions for you. Do you know how I created the earth? Where were you when I laid the foundations of the earth, Job? Were you there when all the morning stars sang together and all the Angels shouted for joy?

These lines are paraphrasing some of the beginning of Job 38.

Then we have:

GOD: Do you know the rules of the heavens? Did you set the constellations in the sky? Can you send lightning bolts and get them to report back to you? Did you give wings to peacocks, Job, or teach the ostrich to run?

These lines are again, paraphrasing Job, half from 38 and half from 39.

So then, we need to ask, why highlight these lines in particular?

Job 38 is mainly about setting the boundaries of the universe around us. The Earth might seem impossibly huge to a human, but it started with a single stone at its foundation. Earth and the other planets obey certain laws as they move around the Sun. The patterns of the stars in the sky take so long to change that it seems like they are set and inconstant. Even the chaotic form of lightning respects its Creator and returns to its point of origin.

From the last part of Chapter 38 to the end of 39 God challenges Job with a list of animals. The theme here is about freedom and wildness. Whether it is a noble lion, a loathsome crow, a nimble mountain goat, the head-strong wild ox or the willing war horse, they all flourish upon the Earth under the sight of the Almighty. Even the mightiest and most fierce beasts of all, Behemoth and Leviathan, have a place, although only God has the means to control those two.

None of this needs a human to be involved. We are so often the center of our own universe, and try so hard to control every aspect of the world around us that we lose sight of the bigger picture. Shit happens. Some things are out of our control. That doesn't mean its your fault and you're wicked and damned to go to Hell because of it. And that was the point God was trying to make to Job. The world is a far bigger, wilder and chaotic than you can imagine, but its also incredibly beautiful, and it runs itself within the rules and limits that seem to be set by invisible forces you can't see.

So back to the script from the show.

The first set of questions from God could apply to both of the duo. They were both around when Earth was created and were more than likely there when the "morning stars" (the highest angels, such as Lucifer, Gabriel, Michael and angel!Beelzebub) sang together.

The second set of questions are the ones that seem to have got the most attention so far, with ops cross-matching them to things Crowley does in S2.

Do you know the rules of the heavens?

Did you set the constellations in the sky?

Can you send lightning bolts and get them to report back to you?

Did you give wings to peacocks, Job...

(I make a suggestion this has something to do with Michael, but also see comments below)

...or teach the ostrich to run?

The first three of those questions are fairly straight forward, and I doubt many would dispute what they are referring to. But the reference to the peacock and the ostrich are more subtle and curious, and I would like to take a moment to look at the actual verse - because it is only one verse that is providing both questions - that is being paraphrased here.

Job 39:13 Gavest thou the goodly wings unto the peacocks? or wings and feathers unto the ostrich?

Did you realize that the King James Version of the Bible is the only one that mentions peacocks in this particular verse? All the other versions mentions the first sentence of that verse in relation to the wings of ostriches: "The wings of the ostrich wave proudly." The ostrich is considered a cruel and witless bird in the Bible, pleased with the way it looks, and seemingly careless about its young.

Why does that sound familiar...

Shax thinks this ostrich feather-clad angel in disguise isn't too smart either.

So using the peacock line is a curious choice in the script. Other than the "eyes" in the tail of the peacock having a connection to Michael's many watchful eyes on the world, it's still not clear how Crowley helped them upwards. Unless both lines are supposed to refer to Gabriel, and how the vain peacock was helped to both fly and run to a distant location in the stars.

Edit: Since I first wrote this, @beebopboom pointed me to some more peacock lore, and this helped me delve a bit deeper into them. Peacocks were associated with wealth and royalty, but they were also associated with immortality in early Christian beliefs. There was a belief that the flesh of the peacock did not decay after its death. The bright colours in its tail came from its eating venomous snakes, which reminded people of Christ becoming sin for humanity's sake (think of Crowley downing the laudanum to save Elspeth from Hell in the crypt in 1827, its a similar action.) The "eyes" on the males tail also represented the all-seeing eye of God. So we have a connection with both royalty and resurrection here.

(Oh - just as an interesting connection here - a number of the newer versions of the Bible not only don't mention the peacock in this verse, they compare the ostrich to the stork! The meaning is meant to be that the stork cares more for their young than the ostrich, but if you read the words at face value, you could take a double meaning away...)

Let us return to questions, answers, and whales.

Questions. Always questions. It's like the proverbial toddler who's always asking a never-ending string of "but, why?" for funsies and you just want them to shut up for a moment and think about the last thing you said first. They, too, are a bit like Job. They are the center of their own universe at that age, having not had much experience of the world. They have no grasp of how far it extends beyond them, and how little even we as adults know.

If at this point you're going "oh, no, no, no, no, op, please don't tell me the point of this meta is it's all ineffable," relax. I'm not.

The point was to set you up for some nice, juicy, awesomely sweet S3 speculation.

Because I believe Crowley will finally get to ask his questions of God.

(oh lordy, I made the mistake of taking a break to have a shower before trying to finish this off, because I was having trouble seeing how to finish this in a tidy way, and that caused me to have "shower thoughts" and now the nice sweet simple speculation has turned into a slightly bat-shit crazy kind-of one, although still on the same track as what I was originally thinking. Here goes...)

We have this three card spread from waaay back at the beginning of S1. We all think its something to do with the three babies.

What if its not?

Because we need something like this to happen again - Aziraphale and Crowley either side of a third protagonist. What if it's the King of Kings, Love personified, Jesus, in the middle? (Or Adam again, I wouldn't discount that option either...)

If you would look at the GIF and the screenshot together again and go, well that makes, sense, white for the angel on the right, and green for the demon on the left, I would jump up and shout at you - NO!

Look at the cards again! In the Tarot, that's the Ace of Swords on the right - it belongs to Aziraphale. It's a very powerful card, about new beginnings and change.* Lets call the one of the left Knight of Wands, which also represents the element of Fire. Knights are all about movement and journeys. Who owns the Bentley? And look what Gabriel has instinctively done with his hands - he has held his screen-left hand out to Aziraphale, the Sword, the angel who wears green, and his right hand out to Crowley, the Knight of Fire. The yin and yang qualities are actually swapped. That was what I was trying to tell you in this post. They aren't as obvious as they seem at first glance.

And love is the answer, it turns out. Did you see my comment the other day on another post? In Strong's Concordance 25 = to love.

Anyway, we should get a third parallel scene somewhat like this, and like when Aziraphale and Crowley took Adam out of time to talk to him in S1.

Only this time the three of them (with who ever is in the middle) should be having a talk with God about what is or isn't supposed to happen.

JOB: I think the point was, if you want answers, come back when you can make a whale.

Crowley could be a literal serpent (though I would be very surprised if he did manifest that way) but it should be a metaphorical Leviathan that stands before the Almighty to ask his questions and get his answers. And it will be that he has earned the right to be there, because he finally understands the lessons of Job.

@makewayforbigcrossducks I hope this answers one of your questions

*The Ace of Swords speaks of new beginnings, but it is a two-edged sword that can cut both ways. It is strength in adversity, victory out of struggle, good out of evil, a change in the old order on the way.

#good omens #good omens 2 #good omens meta #crowley #aziraphale #job minisode #book of job #leviathan #behemoth #i only ever asked questions #come back when you can make a whale #gabriel #shax #did you give wings to peacocks? #teach the ostrich to run #king of kings #king of hearts #yin to his yang

[staysaneathome]

Not me imagining one day that a worn and withered mango is brought before Emperor Amethar of the Concordant Empire, the first of his name. She has been caught and is on trial for murder, for killing a seemingly innocuous servant of Vegetanian origin, but her final request is to be brought before the Emperor, to speak in private audience with him.

He recognizes her. Barely, the years cobwebbing his memories, but he remembers the mango who fought by Gustavo’s side. Amangeaux Epicée. The one who vanished mysteriously from before the war tent during the battle of Pangranos.

She laughs, a dry, raspy thing. “My liege, there is far more to the story than that.”

And she tells him.

She tells him of being a widowed queen, certain there were enemies all around her, placing her trust in only her faithful handmaiden, the kindly radish priest of the Bulb who did not abandon her like everyone else, and a young chili pepper she always saw as a daughter, despite the girl’s strength of character and martial prowess.

She tells him of receiving a letter, containing her darkest secret. Of meeting a thane of the meatlands and a cheesy sellsword outside the finished food pyramid, alongside her chili pepper spymaster and radish priest. Of descending into the depths to hold audience with the ones calling themselves “The Fellowship of Destiny’s Architects”, and the certainty they would all be called upon again one day.

Of escaping to Comida on the advice of her two closest advisors to throw her lot in with Tomaté. Of the summons sitting there in the carriage they were escaping in. Of being given a task: assassinate a threat to the future on behalf of the FDA.

Of not being told who the target was until the fatal blows had already been struck.

It is a miracle Amethar doesn’t rend her head from her shoulders then and there. He agrees to wait until her tale is done, one hand on the hilt of Payment Day.

Amangeaux explains the horror of learning what the FDA’s true purpose was, that it was headed by none other than the late Archbishop herself. Of running, abandoning all she loved save the one who depended on her the most. Of honing her knowledge and skills, giving herself to Gustavo, a blade to be wielded to help instead of harm. She speaks of the march to Pangranos, of reuniting with a demoted wreck of archdeacon and a cheesy knight of the Bulb. Of standing outside that tent, pretending her heart wasn’t leaping for joy at the sight of her little chili pepper grown into a fine and strong woman, of the thane turned warlord in his quest for power.

Of following the babbling, raving archdeacon when he sighted what they had come across so many years ago: a being of mold and fungus, gentle, expressive, and almost childlike. Who are connected, and communicate through emotions rather than words, who allow for the rot of death to be turned to the soil of life.

Of discovering the FDA’s taint had spread so far as to enslave an entire seventh kingdom of these beings, beneath the earth.

Of watching the Archbishop become an avatar of a monstrous existence beyond the Hungry One and the Bulb, a being of alien metal and spinning teeth that rent anything which entered it, uncaring and unnourished.

Of losing her two closest companions, her kindly radish and her little chili pepper, to its blades.

She speaks of vowing retribution. Of exterminating every last member of the FDA she could find, wherever she could find them. Of employing all the techniques she’d seen her spymaster use, oh so long ago.

Of completing her mission with this one, final death.

Amethar has to sit with this a moment.

“Why now?” He asks. “You have survived unseen all this time. You have told nobody of your crimes or exploits. Why me? Why now?”

Queen, then Lady, then just Amangeaux Epicée de la Pêche gives a tired grin.

“For you are the Concordant Emperor of Calorum,” She states, “And one of those most hurt by our actions. It is only fitting you should be aware of the seventh kingdom under your protection, and the chance to understand what circumstances delivered it to you.”

She is still smiling even when Payment Day’s blade cuts into her.

#a crown of candy #the ravening war #the ravening war spoilers #lady amangeaux epicée du peche #queen amangeaux epicee du peche #amethar rocks #king amethar #let 👏 Amethar 👏 have 👏 closure #dimension 20 acoc #dimension 20 trw #d20 trw #d20 acoc #acoc #is this a good end? #is it a bad end? #no one knows #it just possessed me #and i wrote it

[dragoncarrion]

oh my god i'm finally done. Say hi to Gravitron, my giant centrifuge lady from some tf oc story i've been cooking up... Design notes and extras under the cut

YES I KNOW SHE LOOKS LIKE CYC. IDGAF!

VERY tall and strong, more than your average cybertronian. smiles.

currently works as a mechanic for her crew in the Concorde (huge spaceship/station)

doesn't have blasters, but does have a blade in each arm

the plating at her back is like extra kibble, can move or lie flat

the orange lines on her plating are her lights, meaning they can be turned of and just be like. non visible lol

was a while on earth for reasons she can't quite remember, thats where she got her idea for an alt mode

a bit mean spirited sometimes. think a meathead highschool jock in an american movie. that but a girl. despite this, she still cares deeply for the people around her and is usually quite friendly. kinda

speaking of which, while not a triple changer, she can modify her alt slightly: one is the regular closed centrifuge (more compact + smaller) and the other is a bigger open ride (she would be stretched out thin here, but could fit smaller bots). The first one can also work as a moving saw blade –see the chainsaw on her calfs and back) just crazy style thang

The reason for her alt mode is she simply enjoys torturing people like that she just finds it funny to spin them fast as fuck for hours 👇some sicko shit

#transformers #maccadam #transformers oc #tf oc #my ocs #tf #oc: gravitron #my art #GRAHAHHHHH IM DONE. IM DONE IM DONE AAARGH #that single image legit inspired her creation LOL #anyways i like herrrrr #if you think this design is complicated oyu hsould've seen the first ref. good lird im so glad i redid it completely #now i gotta draw the other characters. sigh #DONT ask about the story i BARELY have anything 😭

[havemyheartaziraphale]

Just had another Strongs Concordances...90 guineas...

SC90: purity, to do with incorruptibility and integrity.

So is this in relation to Aziraphale, or Crowley, or Elspeth?

Or is it a totally tongue-in-cheek nod to the fact that all three of them aren't exactly incorruptible...

#good omens theories #strongs concordances #good omens #good omens 2 #crowley #aziraphale

[maufungi]

Something Dark or Death

So there is that scene in episode 5 where Crowley says to Nina:

"Give me coffee or give me death. Funny name for a coffee shop."

It's a strange time in the series to mention that now.

So I did what I always do when it comes to Good Omens at the moment… I look at the timestamp of the episode, when a suspicious line is spoken, and search for a fitting Bible verse with that number.

Here it is at minute 22:10. And this is the Bible verse (Revelation 22:10):

"Then he told me, “Do not seal up the words of the prophecy of this scroll, because the time is near."

It's from the Book of Revelation, you know, the prophecies of the last days before Christ’s return. The Second Coming.

So this sentence is important. I'm sure there is more to find and possible links to other metas. But for now, I want to focus on the funny name of the coffee shop.

Give me coffee or give me death. I say Neil loves words and their meanings. And Bible-related numbers.

So let's focus on the word "coffee". Why coffee? There could be any other shop, but without coffee, the hints that Neil wants to give us wouldn't work, I assume.

Coffee -from Arabic قَهْوَة‎ (qahwa, “coffee, a brew”) -The "coffee" sense is ultimately of disputed origin. (…), the original meaning could have been "dark stuff," related to Hebrew כָּהָה‎ (“dull, weak, dim”)

This post https://www.tumblr.com/gallup24/732418097410146304/the-clue-behind-them by @gallup24 introduced me to "The Exhaustive Concordance of the Bible" by James Strong. In short: it's a word index to the Bible. (It was used in season 1 for the room number of the hellhound = 2549, which is Strong's Number for "kakia" - meaning "wickedness", "evil").

According to Strong's Concordance, the Hebrew word כָּהָה (dark stuff) has the number 3543. You want to see what's going on at minute 35:43 of each episode in season 2?

Here you go:

Episode 1 = BEELZEBUB: No, it exists. Extreme sanctions.

Episode 2 = JOB: Our children are dead?

Episode 3 = CROWLEY: Yes, whatever happened to him? AZIRAPHALE: He left Edinburgh in disgrace. And then he killed himself.

Episode 4 = (The Nazi Zombies leave the backstage room. Also their last scene in this season.)

Episode 5 = The sentence starts at 35:42 but the second half is on point with the word "humans".

CROWLEY: (I'm gonna get the) humans out of here and then I'm coming back.

(This scene is about saving the humans from death, because Shax was ready to "(..)hurt them indirectly. We can definitely hurt them whilst battling angels. They'd be civilian casualties.")

Episode 6 = AZIRAPHALE: You brought me a coffee? METATRON: Are you going to take it?

And this.. reads to me as a death threat. I don't think Aziraphale had a choice.

Maybe he thought that by accepting the Metatron's coffee and his offer to come back to heaven, he could prevent the "give me death" part. But he gets both.

The coffee means death. And not taking the coffee also means death.

Nina should rename her shop to "Give me coffee AND give me death."

#Take the coffee #and you get death anyway #good omens #good omens meta #good omens spoilers #good omens season 2

[neurosses]

On a scale of one to the ocean burned HOW EXCITED ARE U TO SHARE THIS CHAPTER WITH USSSS??? 🫶🏻🫶🏻🫶🏻

I am a SOLID 420 🫡 (lighthearted)

#joking aside i feel like all the coming chapters are so good.... the back half of concorde is so narratively strong #im so excited for everyone's reactions to it!!!!!!! eeeeeeeeeeee #asks #anon #concorde