This is not a song about a girl from his past. Historical & literary figure Francesca da Rimini gives her own account. Beautiful on it's own, this song is inspired by and references Dante's Inferno.
The second circle of hell is for the lustful; their restless, unreasoning nature, results in a torment of souls cast about in a restless, unreasoning wind.
The infernal hurricane that never rests...unto such a torment The carnal malefactors were condemned, Who reason subjugate to appetite.
artist - Joseph Noel Paton
Francesca is the first soul in Hell proper to be given a substantive speaking role. None of the men interrupt her; Dante & Virgil listen, and her lover Paulo weeps in the background. She describes her lust/love as a compulsive force that cannot be resisted.
Love, that exempts no one beloved from loving, Seized me with pleasure of this man so strongly, That, as you see, it still does not desert me; Love has led us into one death.
artist - Marie Philippe Coupin de la Couperie
The story of Lancelot inspired wild lust in Francesca and Paulo; she calls the author her jailer. Now the story of Francesca as told by Hozier is imprisoning us in wild lust.
One day we reading were for our delight Of Launcelot, how Love did him enthral. Alone we were and without any fear. When as we read of the much-longed-for smile Being by such a noble lover kissed, This one, who ne'er from me shall be divided, Kissed me upon the mouth all palpitating.
That day no farther did we read therein.
artist - Amos Cassioli
At the end of Francesca's testimony, Dante is overcome with pity and faints, "fell as a dead body falls." He awakens in the third level of hell (gluttony).
Hozier said repeatedly that Eat Your Young features an unreliable narrator, with beliefs that the singer does not necessarily agree. This song is likely the same; Hozier like Dante is moved by Francesca's description of love, but does not agree that lust overpowers free will and agency.
Remplissage des bidons d'eau pour la caravane l'hiver. Les cartes que je fais en ce moment. Lyon avec les coupins (beaucoup trop de monde au marché de Noël !). Et la route au village d'à côté qui s'est fendue en deux. ❄️
A new collaboration design by Maiwenn ( concept / sketch / lineart ) and me (coloring, certing and background)
This summer we were in the mood for something VERY colorful, and the South America's species, with their bright and metallic iridescence have been picked ♥
Golden Bellied Harpy - 160€
https://www.deviantart.com/giz-art/art/Adoptable-OPEN-Golden-Bellied-Harpy-982157464
The colored version comes on a transparent background and a higher ref cert.
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Une nouvelle collab/design entre coupine Maiwenn ( concept / sketch / lineart ) et moi (couleur, cert et background)
Cet été nous étions dans le mood pour quelque chose de TRÈS coloré, et c'est assez naturellement que notre attention s'est dirigée vers les grandes forêts d'Amérique du Sud et les plumages extraordinaire aux iridescences presque métalliques.
L'Inca Bonaparte Harpie - 160€
La version coloriée sera livrée sur fond transparent ainsi qu'un certificat en haute résolution.
November 22nd 1926 saw the publication of A Drunk Man Looks at the Thistle by Hugh MacDiarmid, one of Scotland's Greatest Twentieth Century poet.
I've lost count of the amount of times I have tried to fight my way through this poem, but I have no patience with it's rambling long verses, it's bloody 2685 lines long!!! The principal aim of the poem is to grapple with 'this root-hewn Scottis soul' and to analyse the nation of Scotland. I've said before here that I like my poems short, give me MacDiarmid's The Little White Rose any day of the week....
The rose of all the world is not for me.
I want for my part
Only the little white rose of Scotland
That smells sharp and sweet—and breaks the heart.
But this post is about the one described as his masterpiece, I wonder what Burns would have thought of it, I suspect he would have approved of the words, but the length, am no too sure. I'd rather grab the offerings that stand out in the poem, highlighted by others who have endeavoured to make it through "A drunk man", better men than me, at least I can say I have read wee bits of it, thanks to these folk.
Hugh MacDiarmid (a pen-name adopted by Christopher Murray Grieve) almost single-handedly forged a Scottish Renaissance movement that severed the nation's literary ties with the folksy sentimentality of the 19th century and dragged it into the European mainstream. MacDiarmid chose to write in Scots rather than Gaelic, but saw that it was necessary to improve the capabilities of the language by reviving old Scots words and borrowing freely from Gaelic and other sources. Thus he created a synthetic Scots, later sometimes known as 'Lallans'.
Critics continue to debate the dominant themes in MacDiarmid's poetry and rake through the embers of this awkward genius's life. Perhaps he is best summed up in his own words from A Drunk Man Looks at the Thistle: 'I'll hae nae hauf-way hoose, but aye be whaur Extremes meet.'
I'll leave you with a few lines of the poem and links to more of it, the Youtube link tells the story how long it is with the time it takes for the man to recite it. two and a half hours! The words in these four lines say it all for me "It's gey and hard wark!..."
I amna fou' sae muckle as tired - deid dune. It's gey and hard wark coupin' gless for gless Wi' Cruivie and Gilsanquhar and the like, And I'm no' juist as bauld as aince I wes.
Drink 'til you're drunk, smoke like a broke stove
Don't quit, take flight, I can't remember last night
It's a'ight, this the life of a superstar
Sci-fi with that boy troopin' hard, coupin' cars
Snoop be hard in the paint, drink another cup until I fall flat
All lead and then some 1-5-1, done dilly
Really for sure that, I'm towed back, intoxicated
Change over, game over, hangover, faded