LogFAQs > #948261292

Dang, I figured that one would stick around a little while longer.

Is a fairly bleak line, but not quite what Im looking for. Possibly because the song itself never hits the right notes, possibly because the story thats being told of stolen identity doesnt really lend itself to feelings of abject sadness. Dont get me wrong, its still goodIm still rating it a step above neutralitybut not exactly what Im looking for and it doesnt have enough positive things to get it out of the low 50s.

Just to clarify, the stolen identity is only part of the story here. You're right that the protagonist has assumed his half-brother's name and identity after his death in the war in Act III, but the main driver of the song is that the Mother, who's actually the one singing, is trying to get over the death of her husband in the same war. Those two lines you shouted out, along with the rest of the end part of the song, are her acknowledgement that even though she has doubts about whether the man that appeared before her is really her son (which in fact he isn't), she'll go along with it, because if she doesn't, she has nothing left. The soul she wants returned is hers, previously lost with the deaths of her family.

It's her way of moving on until she sees her husband again "at the end of the earth" - harmony, or rather necessity, instead of actual belief.

By the way, we're still 3-for-3 as far as being step-in-step with our respective rankings of Act IV songs. AtEotE is another one that I love even more now than I did when the album first came out, but 13th place out of 15 is where it still remains.

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