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Content Warning: This section discusses death by suicide.
In the 12 days since Frobisher’s last letter, Ayrs has fallen sick. Frobisher has used this time to write “music of [his] own” (457). Frobisher visits a cemetery with Morty Dhondt to see the grave where Adrian, Frobisher’s brother, is supposedly buried. However, the World War I cemetery contains so many gravestones that they can’t locate Adrian’s grave. They leave roses on a different grave. Frobisher reflects on how his parents always seemed to love his brother more than him. Traveling back to Zedelghem, Dhondt hits a “monster pheasant” with his car. The bird isn’t quite dead, so Frobisher kills it to stop its suffering. The incident may have damaged the car, so they stop in a small town to find a mechanic. As they sit together in the town square, Dhondt speculates on his theory that greed will cause the end of civilization.
With Ayrs still sick, Frobisher has time to work on his own music. He’s writing Cloud Atlas Sextet. The next day, he argues with Ayrs because Ayrs continues to take all the credit for their collaborations. Jocasta comes to Frobisher after the argument, begging him to stay. Eva talks to Frobisher, revealing that Mademoiselle Van de Velde wants to introduce Frobisher to her daughters because he’s “a genuine English gentleman” (465). When he visits the Van de Velde household, the five daughters line up on the stairs and sing to him. They ask him many dull questions. Later, they go for a walk. When they reach the clock tower at the town center, only Eva and Frobisher are willing to climb it. After they reach the top, they have a romantic moment together. She admits her affection for “a certain young man” (469). They don’t act on these romantic urges, however, because a group of tourists arrives. When Frobisher returns to Zedelghem, Jocasta confronts him, threatening to “destroy” his reputation if he makes romantic advances toward Eva. Frobisher insists that he isn’t interested in Eva.
Sixsmith is delayed in responding to Frobisher, who has been speculating about how to end his relationship with Ayrs. In another letter, he writes in heartfelt terms about his longing for Eva. He doesn’t consider himself worthy of such a beautiful person. Yet another letter describes Frobisher’s big argument with Ayrs. Their relationship ended, and out of pettiness, Frobisher tries to mock Ayrs with regarding his affair with Jocasta. Ayrs knew about the affair for a long time; he even told Jocasta to seduce Frobisher so that he wouldn’t leave. Frobisher steals Ayrs’s “flaunted Luger” (476) and some bullets for the gun. He thinks about shooting Ayrs but doesn’t want to do anything that might upset Eva. He flees into town, telling the passing Mrs. Dhondt that he has been called away on an urgent matter. She drives him to Bruges, and he finds a hotel. After signing the letter, Frobisher adds that Sixsmith shouldn’t worry and adds that he found and stole the second part of Adam Ewing’s journals. He’s excited to read them.
Frobisher works relentlessly on Cloud Atlas Sextet. When he isn’t composing, he walks feverishly through Bruges, thinking about Eva. He has received no word from her, though he’s convinced that she’s as in love with him as he is with her. Frobisher pays an unexpected visit to the Van de Velde house. There, he meets Eva’s fiancé, Grigoire. He realizes that his impression of Eva was mistaken; she doesn’t love him. Frobisher fights Grigoire and is thrown out of the house. A week later, the police visit Frobisher to tell him that he’s no longer welcome in the town. Frobisher gives his “word as a gentleman” (486) that he’ll finish his composition and leave in a week. In his last letter, Frobisher describes how he’ll shoot himself in the head with Ayrs’s pistol. He insists that his action isn’t selfish, as it would be more selfish to ask him to continue with his “intolerable existence.” He has finished Cloud Atlas Sextet. He ends the letter by reiterating his belief in reincarnation, in some form, as “we do not stay dead long” (490).
At the end of his story, Frobisher hints to Sixsmith that he has come to believe in a form of reincarnation. Exemplifying the theme of Eternal Recurrence, Frobisher’s belief is uniquely secular: He rarely shows any affinity for religion, and his only transcendental experiences involve music, art, or sex. Rather than any form of spirituality, Frobisher’s conception of reincarnation is unique to him. After spending so much time working on Ayrs’s Eternal Recurrence, he has come to view elements of Ayrs’s belief in the world around him. Repetitions, ideas, events, and emotions emerge as repeated patterns, either in Adam Ewing’s journal or the composition of the Cloud Atlas Sextet. In addition, Frobisher’s newfound belief lays the groundwork for his eventual death by suicide. Now that he believes in the recurrence of people, ideas, and emotions, he’s not abandoning his world—or Sixsmith. Rather than taking his own life, he’s moving on to the next cycle. Frobisher has come to view existence like one of his compositions, in which the end of one bar merely denotes the beginning of the next rather than the end of the piece. This lack of spirituality and the uniquely Frobisher-styled perspective demonstrate why his personal conception of this idea is more in line with recurrence than actual reincarnation.
Before he dies, Frobisher has an embarrassing demonstration on the importance of perspective. After his encounters with Eva, he mistakes her fleeting affection for deep romance. He convinces himself that she loves him and, as a result, he’s willing to risk his reputation by challenging her father. When he confronts Eva at a social gathering, he learns the truth. The small gestures and comments that he’d convinced himself signified love were relatively meaningless. Eva loves another man, and, given this context, Frobisher realizes that he acted like a fool. From his perspective, he and Eva seemed destined to run away together. From her perspective, the same interactions were a source of deep embarrassment. The two had different subjective versions of reality, constructed from their personal experiences. Unfortunately for Frobisher, his version of reality proved tragically miscalculated.
Another important prelude to Frobisher’s death is the completion of his Cloud Atlas Sextet. The piece is Frobisher’s life’s work. He’s completely satisfied with his composition, and as he tells Sixsmith, the sextet “holds [his] life, is [his] life” (489). Frobisher doesn’t need to continue to live in a physical form because the essence of his being will live on in the form of his composition. This adds a tragic element to Frobisher’s death. As evident in Luisa’s chapters, his sextet is largely unknown in the decades after his death by suicide. Although the characters adore the work, very few people know that it even exists. Ayrs succeeds in sullying Frobisher’s reputation and undermining his final acts. This spiteful act of vengeance contrasts especially with the enduring legacy of the film about Cavendish’s life, a seemingly inferior piece of art but one that endures far longer than Frobisher’s comparatively finer work.
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