#15x05: proverbs 17.3

[bvtchcas]

Season 15

[drsilverfish]

Nothing Gold Can Stay... (15x04 Atomic Monsters)

Nature’s first green is gold, Her hardest hue to hold. Her early leaf’s a flower; But only so an hour. Then leaf subsides to leaf. So Eden sank to grief, So dawn goes down to day. Nothing gold can stay.

Robert Frost

Hey everyone, as ever, I am catching up British-time, so I haven’t jumped into your posts yet, but I’m looking forward to it!

I’m sure there are some great gifs and discussions already out there about Dean and his “man meat” grief-eating. 

But I thought I’d start with Veronica and Robert Frost.

Those of you who’ve been following mine or @occamshipper​ ‘s musings on the use of alchemical themes in Dabb-era SPN will know that gold was highly significant to the medieval alchemists. It was their ultimate goal, to turn “base metal” (lead) into gold, and that was understood as a metaphor (or a mirror on the earthly plane) for the refinement of the soul on its journey to God. 

Next week’s episode, 15x05, is titled  Proverbs 17.3, and in the Bible, Proverbs 17.3 reads (King James version):

The fining pot is for silver, and the furnace for gold:

But the LORD trieth the hearts

Gold is, officially, a theme. As is the symbolic red of the heart.

As Becky tells Chuck, it’s not the monsters (ooh shade at the Leviathan, whom Chuck thinks were “great”, just like he thought the ending of Game of Thrones was “great”) which SPN fans are really interested in, it’s the emotional interactions between the characters - i.e. their hearts. 

Becky, in Perez’ metafictional commentary, is the fan-fiction representative who has come to understand the SPN story better than sucky origin-writer Chuck. She knows it’s about the emotional notes, the heartfelt conversations between the hero characters (including Cas, since she shades his non-mention all too often in Chuck’s MOTW stories) - aka the real “gold” of the story.

Interesting also, in terms of alchemical colour symbolism, are Sam’s God-wound induced “red visions”, which seem to be of an AU in which Sam has succumbed to his old demon-blood addiction (symbolic of his S5 apparent “destiny” of possession by Lucifer):

I was waiting for the Ouroboros (spiral/ circular narrative) reference to 5x04 The End (in its numerical correspondence to 15x04). And here it is, because Sam in the red-vision in 15x04 speaks in a similar voice to Lucifer!Sam in The End. Dean in the 15x04 red vision is a desperate fighter and Sam has said “Yes” to the demonic, just as was the case in 5x04 The End.:

In alchemy, there are four traditional colour-stages along the alchemical transformational road from lead to gold - nigredo (blackening) albedo (whitening) citrinitas (yellowing) and rubedo (reddening). Reddening is the final stage before gold. So Sam’s red-visions, and the gold which becomes a theme in 15x04 by means of the quotation from Robert Frost’s beautiful poem, are linked pieces of alchemical symbolism. 

Their meaning, I think, is that just as Amara’s link to Dean through the Mark of Cain changed Amara for the better (she learned about love through experiencing Dean’s “heart” through the Mark in S11, thus shaking off The DarknessTM to become clothed in yellow, the colour of the sun, at the start of S15), so Sam’s link to Chuck through the God-gun (of equalising/ revenge) will (hopefully, eventually) change Chuck for the better. A balance of powers - the feminine God-principle and the masculine God-principle, both learning compassion and becoming their higher selves (achieving the spiritual synthesis of “gold”) through their links to the (red) hearts of the Winchesters.

That means suffering for the Winchesters along the way, of course, as they too, undergo the alchemical process of self-transformation by (eventually) fully facing their Shadows (their unconscious); Sam’s fear of being permanently “contaminated” by the demon-blood fed to him as a baby, and Dean’s fear of abandonment (stemming from the loss of his mother) which leads him to be over-controlling and to act out and push people (ahem, Cas) away.    

But back to Veronica. Veronica who quotes Robert Frost’s lovely poem in her tribute speech to her “best friend” Suzy (possibly, her lover - that subtextual reading is certainly available).

Veronica is a fascinating character, because she is “read wrong”, by Dean in particular, who thinks she’s the vampire, the one killing her cheerleader rivals in order to get the top spot. And he’s wrong because, as Sam points out, she has braces, a no-no for vamp-teeth. Dean is really sarcastic about the memorial speech Veronica is practising for Suzy, of whom she says, “I’m lost without Suzy, it’s like a piece of my heart is gone.”  

Here is Dean, being a sarcastic little shit about Veronica’s emotive school-girl speech: 

Of course, Veronica’s eulogy for her dead beloved, who was “gold” and thus (in her Frost’s poem analogy) was too beautiful to last in this world, is too painful for Dean to hear. It verbalises what he cannot (he can’t even bear to speak Castiel’s name, all episode):

“My best friend Suzy who I miss like she was a part of me, and in many ways she’s still a part of me.”

In subtext, Dean also reads Veronica “wrong” because he thinks she was Suzy’s rival, when in fact, she was her lover (part of a Veronica-Suzy-Billy love-triangle, the F/F element emphasised by their attendance at a school called “Beaverdale” where “beaver” is of course slang for vagina). 

Look at all those red hearts (symbols of romantic love) on Suzy’s memorial pin-board, Indeed, look at all that red in general. A “match” for Sam’s “red-visions”. If Sam’s rubedo (alchemical reddening) trial is his God-wound, Dean’s is his separation from Cas: 

Veronica, it seems (unbeknownst to the Winchesters) is a neophyte hunter (as well as, in subtext, Suzy’s lover) a sleuth, on the trail of whoever killed Suzy. And it looks like she knows it was a vampire. When Sam and Dean are questioning her (and she’s clearly suspicious of them) we see her with a syringe of what looks like blood behind her back, ready to jab them:

We know, from 1x20 Dead Man’s Blood, that in the SPN universe, a dead person’s blood can temporarily take down a vamp. So it seems that whilst Dean suspects Veronica of being the vampire, she suspects the Winchesters (a recurrence of SPN’s perennial - “Who is really the monster?”/ it’s not black-and-white theme. The reference to Dead Man’s Blood is also interesting, as this was an early episode in which Dean defied his father (stepped out of being John’s “good little solider”, who did see monsters in black-and-white) yet now, we have, Ouroboros-style Dean regressing to old John-learned behaviours (conceal, don’t feel) after the second death of Mary. 

I love this little Veronica detail. It’s an un-explored thread in the story, a piece of fan-fiction catnip begging for further elaboration. More Perez meta-narrative, in fact, in which he suggests that, despite the sinister Chuck and his insistence on a final SPN ending with a gravestone reading “Winchesters”, the story itself is WaywardTM; it is capable of fluidity, of control being wrested from the origin-creator (God). After all, Chuck created free will, and despite his desire for total control, he cannot undo this wild-card element in the narrative, which Veronica’s little secret hunter-identity (in subtext, also, her secret queer identity) just like Becky’s fan-fic, is a mirror for. 

Veronica’s citation of Frost’s melancholic poem becomes a metaphor for (Dean’s) lost love. Just as Sam’s mention in the final Impala scene, of how he still thinks about Jess often, becomes a verbalisation for Dean’s own constant (unspoken) thoughts about his own lost love; Cas.

 Veronica and Billy (who were possibly both Suzy’s lovers; although in text it’s Billy, in subtext Veronica, true to SPN’s ongoing bisexual subtext in relation to Dean) exchange a memorial bracelet to Suzy in front of Suzy’s picture, as Veronica tells Billy a piece of her heart is gone:

Both are mirror images for Dean - Veronica-the-vampire-hunter who mourns excessively, and Billy-the-vampire, who has killed the person he loved (just as Dean has driven Cas away):

Dean is forced by Chuck’s authorial hand to kill Billy, who is both a representation of his own lost son, Jack (Chuck’s cruel re-staging of the scene in which Dean almost kills Jack in 14x20 Moriah) and of Dean himself (symbolising Dean’s present “self-murder” aka his self-punishment and repression re Cas):

Nothing gold can stay....

Frost’s poem is also used by Perez as a metanarrative commentary on the sadness we all feel as SPN draws to a close. Everything beautiful has its time to fade and die, Frost says; even SPN, says Perez.

Frost’s poem also makes reference to Eden, to the Fall, and how that was, in God’s plan, an inevitability; the descent from the Godly to the earthly. 

It’s noticeable how, just as The Fall was presented as Eve’s fault in the Bible, Chuck is, yet again, trying to eliminate the feminine principle from the narrative, just as he has always done throughout SPN (which began with the deaths of Mary Winchester and Jess). Chuck kills Suzy, as the driver of the episode, and he “poufs” Becky (the fan-fic writer) out of existence (possibly into an AU) so he can finish the story the way he wants, just as he has re-murdered Mary Winchester (or possibly also poufed her into an AU) to continue the Winchesters’ suffering. 

But Chuck’s determination to arrive at a tragic ending, an ending in which the feminine principle is still subjugated, Perez suggests, can be subverted, because the seeds of subversion are already there in the story; Veronica’s secret and subversive sleuthing (slash her subtextual queerness), Becky’s emotionally open, subversive, fan-fic, and the continued yearning of the Winchesters for true free will (not yet knowing Chuck is still actively f-ing with them) despite the burden of their grief,  

If gold is the result of the final alchemical synthesis, of “masculine” and “feminine” principles, of the conscious and the unconscious mind, here represented by Chuck-the-author and Becky-the-fan-fic writer (who were once a couple, but are now broken up, just as Chuck and Amara, Dean and Cas, are currently broken up).... Then, the alchemical symbolism suggests, the darkness of the break-up stage (The Abyss, which we are currently in) can be overcome by the red (rubedo) power of the heart - Sam’s God-wound trial, his heart-connection to Chuck, and Dean’s own heart-wound trial, the loss of his (heart) connection to Cas.

Yes, we are still working on the power of love.

Love ultimately confounded Chuck’s apocalypse in S5, when TFW went “off script” and, Ouroboros-style, it can do so again in S15.

Chuck can be overthrown (transformed), Perez tells us, by his own story; and thus the story can find its own (heart-filled) free will ending. 

Perhaps, after all, something gold can stay.*   

*My usual disclaimer applies - none of this suggests or implies an inevitable Dean/ Cas romantic (unequivocal) textualisation. 

Although, I would like to think that Perez, by including the by now all too formulaic Dean-is-bisexual subtext via bisexual (subtextual) mirroring in 15x04, is commenting, meta-fictionally, on Chuck’s (aka TPTB’s) (wearisome) eternal tendency to do this, thereby suggesting that the over-turning of Chuck’s narrative control should, by rights, also include the overturning of this formula into... something new. 

[supernatural-1967-chevy-impala]

Supernatural - 15x05 - Proverbs 17.3