#chiastic structure

[melbatron5000]

Don't take my questions to Neil! Not any of them! Thank you.

Now.

I just spend four or maybe five days numbering every beat in the script.

Not every line, every BEAT. Every title card, every camera zoom, every line, every line that addresses more than one topic.

I'm looking for the middle. The center. The message the chiastic structure is trying to deliver. There are more messages, lots more, but the center is the main point.

Was it the "shades of gray" conversation?

No.

Was it Crowley saying, "you said trust me?"

Nope. Not by quite a ways.

Was it Shax closing in on both Crowley and Aziraphale?

Also no, though it was very close.

Look. Look at this thing I found in the very middle, and tell me that you are both as surprised and unsurprised as I am:

Now, explain to me what the hell it means.

The Song is The Clue.

[drconstellation]

Chiastic Structure of S1

Here it is!

Yes, I deliberately made it detailed. You NEED to see the detail, it is, quite frankly, eye-opening in parts.

If the image I have posted is not clear, let me know, and I'll post a broken-down version in sections so you can read it. I'm just not sure how this is going to work.

I've got five footnotes for various sections where I want to make extra comments, so see them below.

If you don't know why some of us are looking into this - a chiastic structure or pattern a literary device where a sequence of events is presented then repeated in reverse order. For a complicated story like Good Omens this can and does gives us some interesting insights into the hidden stories we meta writers like to speculate on and discuss.

I have to admit it got a bit messy in places, so there still might be some tweaking to do in the middle parts.

The plain parallels still exist - I have a couple to mention in the footnotes. I'm also very excited about taking this challenge on because I've basically found proof that backs up my theory about the scene at Tadfield Manor telling part of the story of the Great War in Heaven, and also proof that the Flood may have been the time of their first "vavoom."

[1] M-pair: When Newt turns up to his new job there is an office meeting called and the upcoming "training initiative" is discussed. This then leads on to the paintball fight at Tadfield Manor. I discussed how the two scenes give us an insight into the past and the Great War in two metas, The Great War of Tadfield Manor, and The Newton/Crowley Mirror-Parallel in S1. The mirror-pair here is Dagon is rousing the troops with reminders of the "Glorious Revolution," providing us with a direct connection to the events of Tadfield Manor.

[2] Q-pair: This is a really interesting pair, as as it is still tied in with Tadfield Manor. Does it give us any insights into Crowley's role in the Great War and his Fall? I'll be looking more closely at this in the future!

[3] There is an interesting set of parallels around this area that didn't quite fit into the chiastic structure proper that I though was worth mentioning and I have already flagged for a meta before I had finished plotting this out. It's to do with Newt and Anathema and the prophecies in the book - oh, and the Velvet underground reference. Actually, I really need more space for that...you'll have to wait for the meta, sorry.

[4] Ohhh yeah. This one. The Vavoom moment. I wondered if the sex under the bed between Newt and Anathema would reveal anything. It certainly did! If you haven't read @vidavalor's meta about the first time they probably kissed, then you should. Stat! This pair backs it up - and maybe more.

[5] There is a parallel noted here that doesn't fit in the structure, that Crowley signs to start everything rolling, and Aziraphale signs to end it.

On to S2. Then I'll see if I can work a three-series structure together for some predictions.

Link to S2 Chiastic Structure Post.

@aprilodite @kayleefansposts @ineffable-endearments @sendarya

[justhereforthemeta]

The Second Coming...of Agnes Nutter?

Come with me, and you’ll be In a world of GO speculation…

This is a meta-flavored GO Season 3 speculation post. Not to sound overconfident - I’m no Agnes, and these stray thoughts are decidedly not reminiscent of Nostradamus at his best - but DO NOT TAG NEIL, please and thank you kindly.

I’m rewatching season one, and couldn’t help but notice some interesting details about the depiction of Agnes Nutter and her death in S1E2. While a common line of speculation is that Jesus’ Second Coming in S3 will somehow mirror Adam Young’s story as the Antichrist, there are enough potential parallels, mirroring, and inversions in elements of Agnes’ story that I’m now wondering if we should instead be looking to her for clues about what Season 3 will hold.

I’ll also note that, unlike many wonderful meta authors on this site, my knowledge of Christian theology is limited to what I’ve picked up culturally. That said, I beg the reader’s forgiveness in advance for any errors or mischaracterizations in the commentary below.

@aprilodite and others have written about a possible chiastic story structure at work in S2, and potentially over both S1 and S2. So as I run though these points, I’m also looking for things that might have mirrors over the course of S3.

The S1E2 ‘flashback’ to 1656 ends with Agnes’ daughter Virtue and her husband John receiving their bequest: a box (later revealed to Anathema and Newt to contain the second book of prophecy) and a book (The Nice and Accurate Prophecies themselves). Working backwards within a presumed chiastic storytelling structure, we could have already been introduced to the mirrors of these items over the course of S2. There are two candidates for the box: the first, obviously, is Jimbriel’s box, which may or may not have been heavier when he started carrying it than when it arrived at the bookshop containing nothing but a fly. The other candidate might be Aziraphale’s briefcase, contents unknown, which he appears to leave behind to Edinburgh in S2E3. And of course, S2 introduces us to the Book of Life, which seems to contain information pertaining to the past (possibly names, or memories, or events relating to beings’ having never existed), mirroring Agnes’ book of obscure knowledge about the future.

Agnes is accused of witchcraft partly as a consequence of helping her neighbors (curing their poxes, dispensing health advice, and so forth). Watching the crucifixion in S1E3, Crowley notes that execution is a characteristically human reaction to Jesus’ injunction: “Be kind to each other.”

Like the Biblical Jesus, Agnes knows about her death in advance and goes to meet it willingly. In doing so:

She brings death-by-explosion-and-roofing-nails to those around her (inverting a promise of eternal life).

She uses her execution as a teachable moment: “And let my death be a message to the world. Come. Come, gather thee close I say, and mark ye well the fate of those who meddle with such as they do not understand.” Her words can be read as: in killing me, you meddle with the ineffable, and in so doing you doom yourselves. This could be a potential mirror to, or inversion of, something a returned Jesus might say in S3: you (humanity) killed me, thus meddling with the ineffable (or doing what She had planned all along?), but you have been forgiven.

[hamliet]

(1) Hi! Here's another literary ask if you don't mind. You made me interested in chiastic structures, so I made a research in order to understand them better:) If I get it right, chiastic structure is not only about parallels, but also about cycles? I find it fascinating. Do you personally like this kind of structure? What is special about it in your opinion? What kind of plot structure (beyond chiastic ones) is the most difficult to analyze?

Yay! I love chiasms (also known as ring structures)--they’re kind of my favorite types of stories. I'm not sure it is inherently about cycles, but it can be! 

I think what makes the story work well is that it the majority of details will come back to matter. It makes the story more likely to use the majority of topics it introduces to the maximum effect, which is hard to pull off in general. 

For example, I know JK Rowling is a Topic nowadays (transphobia is not okay) but Harry Potter is absolutely brilliant in using this structure. Every one of the seven books fits this structure, and the entire series does as well. The poison necklace that almost kills Katie Bell in book 6 is introduced in book 2. Sirius Black is focused on in books 3 and books 5. Book 4, the central book, is where everything changes. All the small details come back to matter. 

Everything coming back to matter appeals to readers a lot of the time because it is honestly satisfying. Those little things you noted were not useless, but instead providing little clues and hints to help you follow the story. It draws your reader in, in some ways inviting them to be a part of the story rather than just an observer. 

Talking about cycles a little bit more: I like how these stories often emphasize what has changed. Meaning, when everything introduced at the beginning--often a status quo--reappears in the ending, the reader can appreciate and understand the journey they have been on. For example, in the Original Trilogy Star Wars, the Death Star comes back in Return of the Jedi. However, this time they are able to keep the Death Star from destroying a planet, and the ending isn’t a temporary truce: instead of coldly torturing his daughter and not even recognizing her or his son, Vader gives up everything he has, even his life, to save his son and to ask him about his daughter. 

So, yeah. It’s one of my favorite structures. It’s also very much not mutually exclusive from other structures, such as the Hero’s Journey (used by Harry Potter and Star Wars), the Heroine’s Journey, the seven-step plot outline (again, Harry Potter uses this for each book and for the entire series), alchemy (Harry Potter, Tian Guan Ci Fu), etc. 

I don’t necessarily find any structures frustrating. I guess the seven-step isn’t as fascinating to me, but honestly it’s good too and can be exciting depending on the story. My personal favorite structures are chiastic and alchemical because both structures emphasize transformation. 

[ahopefuldoubt]

Chiasmus in The Prince of Egypt

Ring composition, parallels, reversals, mirrors…  AKA I love this kind of stuff and I love how well and consistently the movie does it.  The list below only covers broader story-beats and doesn’t detail, for example, parallels within scenes.

Images of slavery

Separation (riverbank)

Chariot race

Moses and Rameses talk (harmony)

Moses receives ring

(Well scene)*

Moses flees Egypt

GOD APPEARS BEFORE MOSES (turning point)

Moses returns to Egypt

Moses rejects ring

(Mud pit scene)*

Moses and Rameses talk (discord)

Chariot pursuit

Reunion (seashore)

Images of freedom

This text post is from 2016 originally, and it’s what my chiastic structure gifset (made earlier this year) is based on.  [EDIT] Link to gifset added.

[drconstellation]

Detective Aziraphale

Aziraphale's Edinburgh Journey: Part 1

This is the beginning of a series of posts focusing on Aziraphale's trip to Edinburgh in S2. Several times people have asked why he even had to make the trip - why didn't he just email the pub to ask his questions? Ah, thinking like true child of the 21st century, you are! In a narrative sense, its not that simple, especially in the GO narrative where there are always parallels to be found to enhance the story. And I think there a couple of other reasons why its been hard to understand the reason for this drawn-out and apparently dead-end investigation, which haven't really been explored or talked about much yet. We will start to look at one of them in this meta.

I mentioned a while ago when I was putting together the S2 Chiastic structure that I was hoping to find some hints to the purpose of the trip to Edinburgh. What it did reveal was that the trip was a larger parallel to Crowley's trip to Heaven with Muriel in S206. This is pair S; where the publican in the Resurrectionist asks Aziraphale if he one those investigative reporters in S203, matched with Crowley bounding up to Muriel at the end of S2E5 and declaring "Officer, I need to report a crime."

Both Crowley and Aziraphale have fantasy alternative personas. Most of us are familiar with Crowley's James Bond role-playing from time to time and other hints of tough masc characters he sees in films.

When he dons the "tactical turtleneck" we know there is some kind of super-spy power cosplay going on (and it also extends to other characters, such as Gabriel and Saraqael, if you pay close attention.) Hence why it's part of his costume when he infiltrates Heaven.

But we don't often see this wishful side of Aziraphale's, other than his dream of being a magician. According to Neil, he also sees himself as a journalist, a detective and a "man of the world." *

The publican asks Aziraphale if he is one of those "investigative reporters" when he arrives at the Resurrectionist, and sometimes that is the dual role of a journalist, to be both a detective and a reporter.

Crowley has gone upstairs to gain access Gabriel's record, the one place he can do that.

Aziraphale also gets hold of Gabriel's record...er, recorded song.

Hang on, no. That's not right way to look at it, actually.

While you might think the focus is still on finding out about Gabriel in Edinburgh, Aziraphale's mirror in S2 is Beelzebub, so there is a slight twist in the way we need to consider various aspects here.

Perhaps this should be "Aziraphale gets a hold of Beelzebub's music" instead, because he's really going to Edinburgh to find out more about Beelzebub, he just doesn't realize it.

Yep, you heard me right. The trip to Edinburgh is not a fact-finding mission about Gabriel, its actually a fact-finding mission about Beelzebub. And he doesn't get the answers he needs.

Neither does Crowley, by the way.

GABRIEL: I told you you could ask. However, I am the only First-Order archangel in the room, or, you know, the Universe, so I'm not gonna answer so much. But you feel free to knock yourself out with all the asking. Anyway, Armageddon the Sequel, that's a nah.

Crowley wonders out aloud why Gabriel changed his mind about starting another Armageddon, but the trial doesn't really answer that either. Nothing is really answered until Gabriel regains his memories, in the end.

To round out this post about the parallel investigations, each of them take an opposite with them, that they couldn't have got there without: Crowley takes an angel (Muriel) and Aziraphale takes a demon. Well, something demonic, anyway. **

Thank you to @komorezuki for pointing out that the trip to Edinburgh was really about Beelzebub. While you could still do this post making it a full Gabriel parallel, in the long run it makes more sense to look at the other way, as I hope to show you in the forthcoming posts.

*I thought I had a link to the post that this came from, then lost it. I've spent several hours trying to find it again with no luck, so if you know the post I'm referring to please let me know so I can link it!

**I've read that Aziraphale could have taken the train in less time it would have taken to drive, and that the train station is only a short walk from the pub etc. But this wouldn't have driven the narrative!

This series continues in the following posts:

Part 2: Aziraphale-Beelzebub Parallels Part 3: Stocktaking in the Basement Part 4: Judgement Day Part 5: I Know Where I'm Going

[melbatron5000]

Good Omens Season 2 Chiastic structure

Inspired by @drconstellation I am working on a chiastic structure for the second season.

I'm not done yet, but there are already some things I've noticed.

When Gabriel first arrives and says, "You're funny, I love you," Aziraphale stops himself from saying "I love you" back -- because he doesn't, and it's not a secret that he doesn't. In the Final Fifteen, after the Big Damn Kiss, Aziraphale also stops himself from saying "I love you," but this time because he DOES, but it is a secret that he does.

Directly mirroring Gabriel bringing something to Aziraphale so something terrible doesn't happen to him (but he forgets) is Crowley giving something to Aziraphale so something terrible doesn't happen to him, Aziraphale. There's been a lot of speculation as to what Crowley could have passed to Aziraphale, and I thought it was the fly and now I'm sure. Gabriel fails to give Aziraphale the fly and whatever is in it, Crowley succeeds.

The middle point is Shax confronting Crowley about Gabriel being in the book shop, and then confronting Aziraphale about Gabriel being in the book shop. Okay, Shax Closes In is the middlest bit -- what does that mean? If we assume that Crowley and Aziraphale are hiding something besides Gabriel, we get two tidbits: That Shax is looking for something besides Gabriel, as evidenced by her question to Crowley on the bench at St. James park -- got anything for me? And she asks about Crowley sharing anything he gets from his contact in the book shop. Whatever she's after, it's something Heaven and an angel would know about. Jesus, perhaps? Gabriel is a side-mission for her. She's after Jesus, and Crowley and Aziraphale are hiding her. The middlest bit is Shax Getting Too Close.

I'll be sure to post the finished chiastic structure once I have it all figured out!

[drconstellation]

Chiastic Structure of S2

The post preceding this is Chiastic Structure of S1.

S1 was neat, tidy and simple compared to S2.

S2 was...difficult. I have a feeling this is because of the missing minisodes. There felt like there were "holes" in places, where there was a strong scene with no corresponding pair, and yet in others there were single lines matching up.

You will also notice its quite...skewed? The hinging midpoint is right at the end of Ep4, which means the last two episodes mirror the preceding the four! So there are gaps. For example, the conversation in the pub in Ep2 doesn't match with anything specific.

One of the things I hoped it might shed some light on was the purpose of the trip to Edinburgh, which seems like a bit of a dead end. It does, in a way - I will discuss it a bit further below, along with some other parallels that didn't fit the structure.

A: Before the Beginning B: Aziraphale meets Crowley C: "How much trouble can I get into just for asking a few questions?"  D: "I'm very good at forgiveness. It's one of my favourite things." E: Gabriel: "I love you, you're funny" F: Argument about helping the other G: Crowley offered Duke of Hell position H: Crowley apologizes to Aziraphale I: Hiding of Gabriel - 25 Lazurii miracle J: Shax threatens Crowley K: Jobs children are turned into geckos M: Aziraphale's Trial by Temptation N: Aziracrow see God talking to Job: AZIRAPHALE: I don't suppose he's getting any answers. O: AZIRAPHALE: That sounds, um…CRAWLEY: Lonely? P: An angel asks permission for entry to the bookshop Q: Aziraphale makes unauthorized changes to the Bentley R: CROWLEY: Oh, come on, Mr. Dalrymple, it's not brain surgery! S: BARTENDER: You'll be one of those investigative reporters, no doubt? T: Aziraphale goes back to offer assistance to Elspeth and wee Morag U: Aziraphale stalls on saving wee Morag, says he doesn't have permission V: The laudanum toast to wee Morag W: AZIRAPHALE: Will you get into trouble? X: Crowley does Operation Lovebirds - Calls tempest Y: CROWLEY: "What are we talking about now?" GABRIEL: "Who am I? What's happened to me?" Z: Crowley confronts Gabriel about Aziraphale - Its always too late AA: Shax saying to Aziraphale she heard Aziracrow were an item 90 years ago BB: Zombies kill - 1st brain eaten CC: Crowley talks Aziraphale into performing a bigger magic act DD: Aziracrow shake on deal to do more miracles if needed EE: Zombies kill - 2nd Brain Eaten FF: The Staging of the Bullet Catch GG: Aziraphale gives permission for Furfur to enter the dressing room HH: Furfur says to expect a legion to come for Crowley in the morning II: Furfur's audience with the Dark Council, is treated condescendingly 

● SHADES OF GREY  - you said "TRUST ME."

II: Shax is stopped by Demon Josh, is treated condescendingly HH: Shax wants a legion to storm the bookshop GG: Beez asks if Shax has permission to enter the bookshop FF: AZIRAPHALE: I can guarantee you it will be a night to remember! EE: Shax wants killers, 10,000 demons DD: Deal for Dr Who Annual with Mr Arnold CC: AZIRAPHALE: Maggie and Nina are depending on me BB: 70 demons and a malignant and creeping sense of unease AA: Nina asks Crowley about how long he and Aziraphale have been together Z: Crowley confronts Gabriel about Aziraphale - stops him before its too late Y: Nina: "I’m going mad" - is spoken to by all the people at the Ball X: Aziraphale does Operation Lovebirds - Maggie asks Nina to dance W: AZIRAPHALE: I think you're overestimating how much trouble we're actually in. V: SHAX:… they are toast. T-O-S-T E. Toast. Now! U: Crowley stalls Shax on attacking humans, asks if she has permission T: Crowley says he's coming back, won't leave Aziraphale on his own. S: CROWLEY: Officer, I need to report a crime. R: Aziraphale: It all looks so simple in Jane Austen… the brains behind the 1810 Clerkenwell diamond robbery. Q: An unauthorized demon enters Heaven, changes P: Maggie gives permission for the demons to enter the bookshop O: MURIEL: It's a bit lonely. N: Aziraphale opens the portal to Heaven: GABRIEL: I told you you could ask. However, I am the only First-Order archangel in the room, or, you know, the Universe, so I'm not gonna answer so much. M: Gabriel's Trial K: Gabriel puts himself into the fly J: Aziraphale declares war on Hell I: Reveal of Gabriel - memories restored H: Gabriel apologizes to Beelzebub G: Aziraphale offered Supreme Archangel position F: Argument about helping the other E: The Big Damn Kiss D: "I forgive you" C: "Always asking damn fool questions, too."  B: Aziraphale leaves Crowley A: Beginning of  the End – Learn of Second Coming

Discussion on parallels that didn't fit the structure:

1. Crowley is given permission to destroy all of Job's possessions /  Gabriel refuses to give permission to destroy the Earth aka Armageddon II

There is a repeat emphasis on licenses, permits and authority throughout S2, so I really thought Crowley's permit to destroy of Job's possessions would have a match. It did, but it didn't fit the structure! If you look closely some of the other permits and authority lines do slot in. I'm planning some metas on these topics in the near future, as the use of language around these concepts is quite interesting, and there is some history to throw into the mix as well.

2. Crowley deceives the archangels with the help of an angel

This pair is a reference to Crowley and Aziraphale teaming up in the Job minisode to restore Job's children, and then Muriel aiding Crowley to sneak into Heaven. I'd just like to point out that Crowley could have gone to Heaven on his own - remember Eric went up with the hellfire in S1E6 - but he doesn't know where to go and get Gabriel's file, that is what he needs Muriel for.

3.  Popping up to Edinburgh

Ah, the trip to Edinburgh! Why? WHY!!! Why go all that way for ... nothing?

Guess what - it's a parallel sequence to Crowley popping up to Heaven.

I was going to write a companion piece to this but...my to do list is getting a bit long at the moment. Let me know if you want me to expand on it.

4. Ignoring messages

So this one started as "Nina gets txt messages from Lindsay, Mrs Sandwich says not to look at them," at the start of Ep3, then during the Ball Crowley is trying to lead the humans out of the bookshop and Shax confronts him with another bundle of mail. Crowley is succeeding in ignoring his messages from Hell, but Nina isn't.

5. Muriel and The Interrupted Tea Ceremony

In S2 it noticeable that everyone except Crowley needs permission to enter the bookshop, whereas in S1 they could just walk in. Originally I made a comment elsewhere that I thought this part matched with a sub-story to the Ball, the story of Sodom and Gomorrah and hospitality to angels, but then I came back and had another look and saw that there was a surface match - but I'm still going to do another post about the "cupperty" because it keeps getting lost in all the noise!

6. Threats and Declarations of War

Shax makes a number of threats throughout the series, to hunt Crowley down and to declare war on Aziraphale. So when Aziraphale inadvertently declares war on Hell with the halo toss, you'd think there would be a matching pair. There is, but not with a declaration of war, just a threat to Crowley. This is probably one of the weaker pairs.

7. Mysteriosity, audacity, ferocity and dangerocity

The Marvelous Mr Fell and his Mysteriosity has a pair with Shax's speech to her fellow demons about the unprecedented audacity of the attack on the bookshop, and how their lack of numbers will be made up for with their ferocity and...dangerocity. It should have fit, but it didn't.