Once the dreamer, the solitude seeker, let us call her Fylgja, is detached from her solitude, she latches onto what has detached her from her original peace—either something destructive or something loveable. Although the philosophy of latching is prominent only in a few beings, it can be seen negatively in most.

As the werewolf attaches itself to the subconscious of a man, so does the ‘lover’ or the ‘destruction’ attach themselves to the subconscious of the dreamer—here is the key—they attach themselves to the subconscious and not the ‘conscious’. Which means it is not a desire or a longing but a desperate need, a desperate dosage of love, or destruction, that the dreamer requires, that the dreamer acts on, and desperation leads to violence. The dreamer and the lover, then, connect subconsciously in order to solve the moral dilemma they face—the battle with destruction. In reality, minds get foggy and both are transported to an inner world where nothing is true and no word and no silence matters. This is why most of their conflicts will result in isolation, loneliness and guilt.

Essentially, the solitude seeker will remain in solitude to refine her sorrow, cultivate it and focus on the craft of her work. The dreamer, in contradiction of herself, is a practical person and the lover, in return is a dreamer of ideas and methods, not an executioner of actions but a realm of words that keeps flowing like a most ethereal waterfall or a broken drain. The destruction is a set of demons that keep on appealing the solitude seeker with the most intense of harmful pleasures.

To Fylgja, life is a series of stories and her identity a series of ever evolving characters. For a person who is not stable, a model of stability, that is, the lover, is threatening and also a revelation of the truths of the outer world. For the one who chases stories, a lover is a character of much curiosity, to be looked upon in wonder and compassion. Yet, his stability, his inability to ‘explore’ within his mind, makes it a trap, a prison that traps the darkness and adventure of Fylgja’s fantasy world.

The destruction, however, pulls in Fylgja with a painful pleasure that consumes her eyes. She becomes unrecognizable with the hunger for exploring the depth of the darkness. This makes her cruel and alone, yet ambitious and full of desire and art. To be taken away from the darkness or the harshness of nature is for Fylgja to be imprisoned subconsciously by the burdening and useless confines of love. This keeps increasing the rage within her to explode and because Fylgja rarely allows an explosion, this rage becomes an inner cruelty and an external coldness towards the light—that is, the love or the lover.

For the solitude seeker, there are multiple realities. Only one world that they know and many realities that they do not understand. The thoughts within her mind are scattered and there is a difficult path to navigate around each of them. Fylgja’s obsession with stories and her passion about living a daring life is constantly running her mind in circles to devise a strategy for perfection. Yet, the lover, who seeks attention as every human, might feel alienated and lonely in her presence. On a contrary note, when he indulges the same behavior, of focusing on his own thoughts or sleep or craft, Fylgja might feel betrayed, angry and cold-hearted due to an isolation mechanism that she has developed throughout her life. Yet, because she has already latched onto the lover, the separation fills her up with rage first, then guilt and finally sorrow within her soul.

What is the cure, well? The lover might wonder. But for the lover to find the answer, he must let Fylgja return back to her belonging, her wilderness. The lover is like the demon in many ways, like in his gentle yet firm possession for the ‘good’ of Fylgja’s soul where the demon focuses on harm. Yet, to return to her true passionate soul, Fylgja must return to the vastness of the sky, the wrath of the weather, the unpredictability of the wind, the uncertainty of her home. The lover must willingly let her go and he must encourage her to battle the inner demons herself, for they are resilient and cannot be tamed by anyone other than herself.

To return back to these scenes of Mother Nature is for the demons within her soul to shy away, as they are powerful only in ‘words’ and ‘desires’ and ‘games’, rather than in actions and risks. Fylgja in her purest form, is a daring and enchanting soul, it does her no good to be hidden away either by too much light or too much darkness. A simple term for her is wild. And as she remains wild and free, she shall remain silently strong and wise.