I tried my best to read and figure out the words of the song from the scene where sherlock figures out the cypher. The words were blurry so they may not be 100% accurate. This is as close as im going to get to the actual lyrics.
I that am lost, oh who will find me?
Deep down below the old beech tree.
Help succour me now the East winds blow.16 by 6 brother, and under we go!
Be not afraid to walk in the shade.
Save one. Save all. Come try!
My steps – 5 by 7.
Life is closer to heaven.
Look down with dark gaze from on high.
Before he was gone – right back over my mill.
Who now will find him?
Who absolutely will.
Death shall be going to him. Almost off clean.
Lost here master. 9 by 19.
Without your love, he’ll be gone before .
Save pity for strangers. Show love the door.
My sould seeks the shade of my willows bloom inside.
Brother mine – let death make a room.
Thank you!
No problem! 😘
Thanks so much for transcribing the lyrics. I just wanted to add that the tune that Eurus sings is “Go Tell Aunt Rhody.” I thought it might be cool to look at the lyrics of the original, also:
chorus:
Go tell Aunt Rhody Go tell Aunt Rhody Go tell Aunt Rhody The old gray goose is dead
verses:
The one she’s been saving (x 3) To make her feather bed
She died in the mill pond (x 3) Standing on her head
She left nine little goslings (x 3) To scratch for their own bread
The goslings are crying (x 3) Because their mother’s dead
The gander is weeping (x 3) Because his wife is dead
It is interesting to me that the song she chose is also about a drowning and the impact it has on the family of the drowned. Also, this is pretty out there cracky but I can’t help but make a connection between Aunt Rhody and Uncle Rudy.
“Go tell Uncle Rudy that Eurus drowned Redbeard.”
ALSO in another little wrinkle, “Aunt Rhody” is one of the first tunes you learn when starting the Suzuki method for learning music, particularly for violin. I imagine that, to both Sherlock and Eurus, the tune is irrevocably tied to learning violin as children (and presumably playing together as children, as well).
So there was a CLOWN and mycroft was going to duel him with his umbrella because it was actually a sword that was actually a GUN but actually it was sherlock’s plan and he was like HEY BRO! and then john was like oh yeah last ep’s cliffhanger? nah just got shot but it was a tranquilizer anyway let’s go back to baker street OH LOOK A DRONE GRENADE
So, I can’t find this post again as always, but there was some discussion at some point about Oscar Wilde’s role in this episode.
The short story: I think Wilde is actually very important to this episode and to Sherlock as a whole, not so much for the specific Wilde references as in understanding the evident disconnect between what Mark Gatiss seems to have thought he was doing with queer sexuality in Sherlock and what a lot of Sherlock’s queer fans thought he was doing.
I was so, so pleased when they brought Wilde into it. I have a Devil’s Foot send up among my drafts wherein Sherlock thinks that De Profundis is a fun beach read. I want Holmes and Watson and their universe to talk across to Wilde. For me, even now, even as I’m sitting with my disappointment, Sherlock is still a queer text. Maybe it’s a queer text that failed or one that didn’t come out or never even intended to come out or had no interest in addressing contemporary sexual politics (or even realities, really), but, for me none of those possibilities invalidate its fundamental queerness.
I think you make an excellent point at the end of this, plaidadder –
“And ultimately, that’s the source of a lot of the fan anger: the fact that the show, because it refuses to go beyond Wilde’s methods, seems stuck in the Wilde era. So determined to BE stuck there, in fact, that it sacrifices verisimilitude and even modernity in order to stay there.”
As I’ve seen others note (and, yes, I can never find the damn posts, either), The Final Problem is straight-up nineteenth century, gothic horror. The comparisons to Jane Eyre have been made (along with the comparisons to Saw, but, hey, that’s not the point I’m making right now, so.) and they’re apt. This means… something? for the show’s treatment of queerness, too. I wonder how many possibilities exist.
so let’s say hypothetically that you are going to shoot someone with tranquilizer dart and then transport them to your ancestral home and lock them up in cell you hastily constructed on the lawn
do you:
a) just toss them in a heap on the floor because there is no point to wasting extra effort on this shit
b) give them a cot or something and like lay them on their back because this is simple and logical
c) opt to put them on a table because reasons and lay them out in a dramatic pose with their coat on and also provide some extra decor in the form of photographs stuck haphazardly to the wall because why the fuck not
My fave thing is thinking about those henchmen working together to manoeuvre floppy tranq’d-up Sherlock into his Belstaff
i like the concept of eurus speaking to them via earpieces and being like “make sure his body is dramatically centered in the patch of moonlight coming in through the skylight”
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