When Two Become One || Dream of the Endless | Morpheus/Hob Gadling || Explicit || 8/? || 42,282 words
Alternate Universe - Canon Divergence, Arranged Marriage, Explicit Sexual Content, Fix-It, Centennial Conjugal Visits, Slow Burn, Despite the Fucking, Other Additional Tags to Be Added, Canonical Character Death, Poorly Negotiated Bigamy, Death in Childbirth, Stillbirth, Hurt/Comfort, Cuddling & Snuggling, Hand Feeding
On the seventh of June, 1389, Destiny’s book requires that Dream of the Endless marry.
His sister Death knows just where to find him a spouse.
Hob Gadling is just happy to be here.
Dream may have to marry, but he knows how to make sure his marriage lasts at least a hundred years before going down in flames.
A marriage, century by century.
Chapter 8: June 7, 1689
[Read the new chapter here!]
Hob and Dream both arrive at their centennial marriage night ready to reconcile, and their plans go off very nearly without a hitch.
Now, I know fandom bends over backwards to make this about Dreamling and often slots its meaning in during/after The Wake (or at least hinting at it because of the meeting with Death), but I honestly can’t see it?
I personally believe we need to step back a bit here and consider that this was painted long before the TV show, and Dreamling wasn’t really a thing (at least not in these epic proportions, plus it was always fanon, not canon), hence we can’t really do art analysis through that lens.
If you just put the 1689 meeting (also drawn by Zulli) right next to it, it becomes, at least to me, so blatantly obvious that it is set in the same timeframe. Hob wears nearly identical clothes, so does Dream (also, some of the original comics have been recoloured).
The woman at the table next to them holding the mask? Hm, there’s a famous artwork by Colleen Doran in which Death holds a mask, and she definitely seems to be listening in here. Which she might, considering the conversation Dream and Hob had in 1689. Could obviously also just be a random person covering up smallpox scars 🤣
In the grand scheme of things, I don’t think it matters so much whether Hob already met Death or not and would recognise her, it’s the symbolism of talking to her at this point more than anything.
So would it be totally outlandish to think the missing glass is also for Eleanor? Hence the red roses as well, because Zulli hardly ever uses red roses for Dream apart from one exception (he does so for Daniel though)—they tend to be blue and always hold connotations to grief, I wrote about this before. Or better: Symbolic for all those who aren’t at the table with him? And that’s why Death is there? Both for those she has taken, but also because this is very obviously the point where Hob is at his lowest and might rethink.
I think we really have to think about where Hob is in his life here and not erase Eleanor and his kids again.
“To absent friends AND lost loves”, right?
And I can’t look at that angel holding the table and not get references to pregnancy/childbirth (Eleanor and the second baby died during childbirth).
As for the raven looking away/pointing away from the table: Foreboding? Because apart from being Dream’s ravens, ravens were also associated with Apollo, who was also the god of prophecy and an oracle himself. That’s why Apollo himself eventually released Orpheus from his existence as one—long story (plus, Aristeas, who was also Dream’s raven, was Apollo’s raven in Greek mythology. Plus Apollo was also Orpheus’ father in some retellings. It’s all interwoven, but I feel the foreboding is a significant thing here for exactly that reason).
And foreboding-foreboding, of course Death and Hob meet again, and by that time, Morpheus will be gone, and the missing glass is also for himself.
I wrote about Zulli and his symbolism a few times, it’s all linked in my pinned post, but the ruins are one of the less subtle references:
Art by Michael Zulli
Fellow art lovers, we need to talk about this one…
I love Zulli (as many of you might have noticed by now), but this