#i know queue all

like

what fandom can we count on to have a gif for every situation now

what about the situations that haven’t previously been covered

9 people you’d like to get to know!

Lipstick or chapstick: lipstick with some chapstick on underneath so my lips don’t dry out!

Relationship status: single and sad

Favorite colors: dark green, silver, black (can you tell i’m a slytherin)

Last movie I saw: god i feel like it was Mad Max Fury Road

Top 3 shows: The Magicians, Criminal Minds, TURN

Books I am currently reading: War and Peace (round three!)

Up next on my list: An Oresteia by Anne Carson, Circe by Madeline MIller

the song starts with anatole’s narration “waiting at the door/waiting at the door/waiting”, and it’s very clear that this section is in simple meter (i think it’s 3/4 but i can’t be sure) but then when we get into natasha’s inner thoughts “i am seized by feelings of vanity and fear” we switch into complex meter, most likely 6/8. it makes sense that natasha’s thoughts here would be in complex meter because No One Else, her big ‘i want’ number, is also in complex meter. so right away we’re set up with the idea that natasha’s meter is complex, and conversely, anatole’s meter is simple meter.

the song continues with natasha’s narration, and in accordance with that, in complex meter, until Anatole’s next big chunk, beginning “gaze in my eyes/i love you”. what’s interesting about this section is that the accompaniment is still in complex meter, as are parts of what anatole is saying, but we also get him doing duplets, or simple meter on top of the complex meter of the accompaniment. these can be heard most clearly at “don’t lower your eyes i love you/i am in love dear/i am in love” but throughout that section. what’s interesting about that is that musically speaking, it reads like anatole trying to overpower her meter with his, and only really succeeding in causing musical confusion.

natasha continues in her own meter “don’t say such things/i am betrothed/i love another” and anatole follows her into complex meter in their next exchange: “don’t speak to me of that/when i tell you that i am madly, madly in love with you?/is it my fault that you’re enchanting?” Having failed to musically overpower natasha, he next tries to speak to her in her own language, as it were. what’s really interesting is that in her next line, “i’m so frightened”, natasha switches into anatole’s meter, doing duplets over the complex metered accompaniment. his musical assault has tripped her up.

the next section, with natasha and anatole interrupting each other, is all in simple meter, giving the sense that musically, natasha has lost her footing and is in anatole’s meter out of confusion more than anything else.

the kiss comes next, leaving natasha in simple meter as she narrates her inner turmoil in the section “burning lips pressed to mine” as she processes what’s happened. it’s important to note that she’s, by her own words, still not on a good footing mentally. she’s in anatole’s meter not of her own volition. when she does recover her footing in the next section, “but i love him” she’s back in triple meter, meaning that whatever she does next, it’s her own choice.

so then when she sings the next line, “i will love you, anatole” in simple meter, anatole’s meter, it means that she’s making the deliberate choice to do so. she’s not acting as a frightened little girl, but making a choice as an adult.