#hozier lyric analysis

[darling-archeron]

my favorite unreal unearth lyric parallels

part two || part one

[corvid-corvette-coven]

thinking about Unknown/Nth

specifically i’ve found myself drawn to one possible interpretation as this being a song about pulling away from a relationship that can just no longer support a connection and proper understanding of both members.

(Hearsay) I’ve heard that Hozier himself may have brought up the idea that this song is sung from the perspective of lucifer, and his lost love he cannot connect with is God, and the divinity he can no longer reconcile within himself.

Taking it from that perspective and expanding the meaning to “a disconnect from divinity or love caused by the ever growing understanding there will always be a disconnect between oneself and the other” kind of sums up my current impression of the song.

The second last line in particular i’ve fixated on because i feel like it really cradles this idea well (from the perspective of lucifer)

“So much of the livin’, love, is the being unknown

i feel like that might be a sortve double meaning or double entendre depending on how much attention you pay to the first comma.

It could be “So much of the living, Love, is the being unknown” OR “So much of the Living Love, is the being unknown”

The second interpretation, where “Living Love” is the subject of the statement, i feel like reaffirms all these references to divinity and perfection as unknowable, and distant things.

Since God is the Life and the Love of the world, is it in his very nature to be unknowable, to be distant, there is infinite distance that love claims to be able to bridge, but how can you grow close to something unknowable, how can the love of god let you see the truth.

After all, since God is the light of the world, it really is “funny how true colours shine in darkness and in secrecy”, since he cannot be cast in such a darkness, and there is no secrecy of his that can be understood, you cannot know his true colours.

When the inherent nature of the divine is something impossible and unknowable, is it only then natural for it to be the splinter that spreads and cracks and shatters ones love, one’s faith?

And how did Lucifer, when he lost his faith, fail to loose the memory and the feeling of love he still plainly burns to revive.

The narrator goes to great lengths to profess he would do anything to return to his love again, but thinking of the disconnect being not only synonymous with an intimate relationship, but also the relationship one shares with faith, personally makes this desperation to return feel so very real to me.

there is nothing quite like the assurance of faith. It’s a love and a drug you cannot just move beyond so easy. If god was knowable, if god was real, if the Living Love was somebody i could know, i would, but i can’t, those perfect things are unknowable, and there are some things that are better unknown.

[fawnforevergone]

The Ultimate List of Dante References in Hozier's "Unreal Unearth" !!

Hello and welcome to my new-and-updated ultimate compilation of all 'Inferno' references I found in Hozier's new album! If I think of anything else, or if anyone else suggests something, I will be sure to add it, but, for now, enjoy this ridiculously long (you've been warned) list I made!

Since I didn't wanna make a post for every individual song and spam you all, the songs are separated by their respective circles! I hope that organises stuff a bit more :]

Usual disclaimer: I could be wrong about some stuff! I've read 'Inferno' and try to stick to the objective references, but sometimes I let subjective interpretation bleed through. If anyone has any corrections for anything, just lmk!! Okay, cool <3

DESCENT:

"De Selby (Part 1)"

We start the album not in the circles, but instead at the Gates of Hell. One of the main themes of Inferno is darkness, and these first two songs are embodiments of that.

The lyrics mention the idea of this being a "new empty space", suggesting that Hozier is being introduced to the feeling of Inferno through the relationship he's singing about, and, so, we begin the descent.

"The likes of a darkness so deep that God at the start couldn't bear." God is obviously a large theme of Inferno and is, biblically, the creator of light, hence the absence of it in Inferno. In fact, the first three stanzas all reference the heavy darkness of the threshold and its estrangement from God.

The Irish/Gaeilge lyrics roughly translate to: "Although you're bright and light, you arrive to me like night fall. You and I, together. You and I, metamorphized. Although you're bright and light, you arrive to me like night fall. The art of transformation is a dark art." The imagery of light and dark mixing together mimics the idea of walking from the brightness of Earth into the darkness of Inferno.

This entire album appears to be the recounting of a relationship and how it feels like walking through Inferno. Here we see the beginning of this relationship, of Hozier losing himself to the threshold.

"De Selby (Part 2)"

Part one appeared to be the step through the gates, whereas part two seems to be Hozier being enveloped by the threshold. In 'Inferno', Dante says the entrance to Hell is a darkness that no stars could shine in. We hear this shift from Earth to Unearth through the production alone; the weightlessness of part one falling into the heavy grunge of part two.

"Your heart, love, has such darkness, I feel it in the corners of the room." The theme of dark continues, as it will through the entire album, but, this time, Hozier feels it radiating from within his lover rather than the space around them. Though, him saying his lover carries darkness is not an insult. This extra depth to his lover is something more to know, something more to love. This idea actually differs from Dante, who sees the darkness as deceitful.

"I want to be so far from sight and mind." Inferno is a lawless place. He would be far from sight due to the darkness, and far from mind due to the insanity that persists within the circles.

"Let all time slow, let all light go." This lyric shows me that he has been submerged in the threshold. Again, the lack of light, but also the slowing of time. Punishment after death is eternal, something that time has no grasp on. Hozier is willing to let these aspects take a hold of him.

"I'd still know you not being shown you, I'd only need the workin' of my hands." Christianity is a heavy theme of Inferno, and this lyric plays on the proverb 'Idle hands are the devil's workshop', a proverb Hozier also hinted at in his song "No Plan" (from 'Wasteland, Baby!') - "My heart is thrilled by the still of your hand."

Now, though, Hozier's hands aren't idle, instead the opposite, his hands are working as God intended. Drawing us back to that idea we were given at the end of part one, we get the feeling that Hozier is bringing something light/Godly to Inferno, and he and his lover are fusing the ideas of Heaven/Earth and Hell.

FIRST (LIMBO):

"First Time"

We now enter circle number one, 'Limbo'. Limbo is an uneventful circle for those not worthy of punishment but also not fit for Heaven. It is mainly for those who do not believe in God, the unbaptised.

Firstly, to get to circles, Dante and his guide, Virgil, must be chaperoned by the Greek Psychopomp Charon down the river Acheron, and we see that in Hozier's first couple stanzas.

"And the soul - if that's what you'd call it, uneasy ally of the body - felt nameless as a river, undiscovered underground." This appears to be Hozier mentioning the river Acheron, one of the five rivers of the Underworld that surround Hades, and, in 'Inferno', are used to transport the souls of the dead to their respective circles.

"The first time that you kissed me, I drank dry the river Lethe." The river Lethe is another one of the five rivers, and is one that causes anyone who drinks from it to forget everything they know. Hozier is simply saying that kissing this person wiped his mind clean, similar to the end of "De Selby (Part 1)" where he mentions partaking in a transformation.

"Some part of me died / Some part of me came alive the first time that you called me 'Baby'." Relating to the previous quote, souls that drink from the river Lethe usually do so before being reincarnated, so they forget their past life. Hozier seems to experiment with the idea of being reborn by his partner's love for him - an idea prevalent throughout his entire discography.

"To share the space with simple living things, infinitely suffering, but fighting off - like all creation - the absence of itself." This lyric tells us that we should not ignore the privilege of living just out of the fear of dying. This lyric is reminiscent of "All Things End" and the circle of Heresy. Since Limbo is home to those who don't believe in God, the theme of Heresy is a very fitting one.

SECOND (LUST):

"When I was young, I used to guess 'Are there limits to any emptiness?'" The punishment for those in Limbo is to exist eternally with the curse of a hollow, empty feeling meant to represent the lack of God in their lives. This punishment seems referenced in this lyric.

[ i ended up thinking about this song more so if you want even more "first time" content, here ya go: "first time dante references." ]

"Francesca"

Into circle number two, 'Lust', we have the story of Francesca Da Rimini, a woman Dante spoke to during his visit to circle two. Francesca fell in love with her husband's brother, Paolo, and when her husband discovered the affair he murdered them both.

Hozier seems to be singing from the perspective of Francesca/Paolo but throughout the album we see Hozier liken his lover to aspects of Inferno - darkness in "De Selby (Part 2)" or Lucifer in "Unknown / Nth" - so the story of Francesca and Paolo is fitting as another metaphor here.

"Do you think I'd give up? That this might've shook the love from me?" Even in Hell, Paolo and Francesca physically cling onto another. They do not let their death affect their love.

"My life was a storm since I was born. How could I fear any hurricane?" The punishment in Lust is an eternal storm meant to replicate the throws of passionate love - a storm also depicted in the production of the end of this song. Hozier/Francesca/Paolo says that it's impossible for them to care about this punishment when life was already as treacherous as it was.

The whole chorus emphasises the imagery of Francesca and Paolo not being able to let go of each other.

"When the heart would cease, ours never knew peace. What good what it be on the far side of things?" Francesca and Paolo lived their love secretly and anxiously, so what good would peace be in the afterlife when they've already become accustomed to difficulty?

"Heaven is not fit to house a love like you and I." In the opening songs of the album, Hozier describes his lover as darkness, akin to something God cannot bear. Due to the depth of his lover, the mix of light and dark they've made, he believes Heaven would crumble beneath the weight of their relationship. That something as corrupt as Inferno is the only place suitable for them to live.

"I, Carrion (Icarian)"

Still in circle two, Hozier plays on Dante's own metaphor. In Canto 17, Dante refers to his own dread of descending Inferno to the same dread that the 'ill-fated Icarus' must've felt on his fall from the sky.

Hozier twists this, instead comparing his love to the hope Icarus must've felt as he flew towards the sun. He said, during a live show, this song is based on the idea hat Icarus never realised he fell, and woke up dead, too clouded by joy to realise what had happened.

"If the wind turns, if i hit a squall, allow the ground to find its brutal way to me." Again, we mention the storm of circle two. Lust is also said to have treacherous terrain - sharp rocks and jagged stone - that seems to be hinted at in the second half of this lyric.

"While you're as heavy as the world that you hold your hands beneath." This imagery seems reminiscent of the Greek Titan, Atlas, who holds up the Earth on his back. Dante talks about seeing Titans and Biblical Giants at the transition point of circle eight to circle nine, 'Fraud' to 'Treachery', which makes this lyric a sad hint to where Hozier will end up finding his lover; Taking the place of Lucifer in the deepest part of Inferno.

THIRD (GLUTTONY):

"Eat Your Young"

We enter the third circle of Inferno, 'Gluttony'. There are no specific references to Inferno, but the concept of gluttony is apparent. Hozier does what he frequently does throughout this album; He refuses to see the sin as "right or wrong" as Dante so stubbornly implies.

Hozier often divulges in a grey area, a spectrum or sale of severity, when it comes to the sin. Hozier's perspective seems more nuanced than Dante's, seeing sin as layered rather than objectively bad. In this specific song, he displays the different sources of hunger in humans, and where the line should be drawn.

"I'm starvin', darlin', let me put my lips to something, let me wrap my teeth around the world." We start, and reference back to in verse two, a sexual hunger, a harmless passion between two people. This is an innocent side of the sin, not deserving of the punishment of Lust which is to be ripped apart by Cerberus (the three-headed dog from Greek mythology) for all eternity.

However, Hozier moves onto the hunger of politics.

"Pull up the ladder when the flood comes." The government refusing to help the people when the sea levels rise.

"Throw enough rope until the legs have swung." When you don't have a ladder, you use a rope. This lyric plays on the notion of when governments give the impression they are helping, but are only making things worse - a take on the saying 'Give someone enough rope and they'll hang themselves', since what else are they meant to do with it?

"Skinnin' the children for a war drum, puttin' food on the table selling bombs and guns." The hunger for power manifests in war.

"It's quicker and easier to eat your young." Here, Hozier uses the common saying in a more literal sense, saying that if these politicians are hungry enough to destroy the world, they may as well physically eat their young, since it'll have the same effect.

FOURTH (GREED):

"Damage Gets Done"

This song takes place in circle four, 'Greed'! The title of the song alone is already very meaningful. In circle four, the main punishment is that the inhabitants are split into two groups and are forever forced to charged into each other and fight. Dante describes them are being so injured and damaged that they have become 'unrecognisable'.

The song is about greed within the changing of the world. It's about growing up and losing the naivety and innocence you once had, no longer able to ignore the burden of politics and money. Hozier and Brandi sing about the excitement of being young and in love, but, with the rise of inflation, it's hard to exist like that anymore - You need greed to survive.

"Wish I had known it was just our turn being blamed for a world we had no power in." This seems to be a reference to two things. One, the idea that governments blame the people for their own poverty, and Two, the idea of arriving in circle four by no fault of your own. It's not their fault they wanted more money with the world being how it is, but, nevertheless, they're being punished for it.

"I haven't felt it since then. I don't know when the feeling ended, but I know being reckless and young is not how the damage gets done." They talk about the enjoyment of the love they're singing about fading, and how they miss that, but they know that, again, this is not their fault. They know they didn't change, the world did, and they won't take responsibility for their 'sin' when all they did was adapt.

As aforementioned, the inhabitants of the fourth circle suffer extreme injuries, so Hozier saying "I know being reckless and young is not how the damage gets done" is him saying "I know that we are not at fault for being served the punishment of Greed."

FIFTH (WRATH / ANGER):

"Who We Are"

We enter the fifth circle, 'Wrath', where the inhabitants spend their time fighting to stay at the surface of the river Styx, another one of the five rivers of the underworld.

"Falling from you drop by drop." / "To hold me like water." These lyrics obviously give the idea of water, representing the river Styx.

"Or, Christ, hold me like a knife." This lyric comes in quite loudly, Hozier's voice strengthening with it. The subtle blasphemy of "Christ" and the violent imagery of "knife" comes across as a sort of anger. Being held "like a knife" is representative of how those is Wrath must feel - like they are something particularly dangerous, but still desperate to be held.

"We're born at night, so much of our lives is just carving through the dark to get so far." Again, this theme of darkness that is so frequently displayed in Inferno is mentioned again. After this song comes "Son Of Nyx", which Hozier said was the transition into the darker half of the album, and Nyx is the Goddess of the Night. Being "born at night" would make Hozier the son of the night, the son of Nyx. This gives the impression that, if the album is following on chronologically, this is the point where the relationship portrayed in the album begins to fray as Hozier starts to be consumed by the darkness.

"And the hardest part is who we are." Those in the circle of Wrath possess a 'savage self-frustration' that Hozier seems to represent throughout this whole song - A fierce annoyance with the way he and his lover let things go: "We sacrificed, we gave our time to something undefined", "Chasing someone else's dream", Etc.

SIXTH (HERESY):

"Son Of Nyx"

We have no lyrics for this song (though you can hear him faintly saying some things, one of which is him saying "who we are...") but we know it takes place in circle six, 'Heresy'. Heresy is a belief or opinion that is contradictory to religious doctrine, especially Christianity. As aforementioned, Hozier said this track is a transition song meant to replicate a descent into the darker half of the album.

Nyx is a Greek Goddess and is often known as the personification of night. She had many children all representing different things but the title would essentially mean 'The Son Of Night', and, as dissected in the previous song, we can see that Hozier sees himself as reborn into the darkness.

Once again, darkness is a large theme of Inferno, but Hozier saying in circle six that he is the Son of Night is particularly meaningful due to the association of light with God. He has been reborn as something that could not be further from God, something that opposes the idea of God, something of a Heretic.

Nyx was feared and respected by all, including Zeus, and, though I believe there is no reference to her in Inferno, she was described as residing in the dark recesses of the Underworld, which is heavily incorporated into Inferno.

"All Things End"

This song does not have many overt references to circle six but definitely incorporates the idea of heresy. As mentioned, heresy is an idea that contradicts (especially, but not always) Christianity. In this song, Hozier talks about the ephemeral nature of all things, particularly romance.

"When people say that something is forever, either way it ends." Whether it be death or a break-up, God doesn't plan for you to be able to spend eternity with your lover.

"Movin' on in time and taking more from everything that ends." Hozier, however, argues that things still have meaning beyond their end. That, even after moving on, we will remember and learn from the things we have lost.

"Just knowin' that everything will end should not change our plans." Throws back to the idea of the second verse of "First Time". If you avoided something just because it was going to end eventually, you would never achieve anything. That's like refusing to finish a movie just because you don't want to get to the credits.

When this concept of ignoring the end comes to death, we ultimately cross the concept of God. There are many rules people follow in religion, avoiding certain things because they are against 'God's Will'. Although this practice can be kept in moderation, it can quickly become self-imprisoning.

Not living your present life out of fear for an unproven afterlife can be limiting, especially if you dictate who you love due to what supernatural punishment may or may not follow. Hozier sings that we should not let God's plan interfere with what we need from life, allowing ourselves to indulge in love even if it will end - ultimately, Heresy.

SEVENTH (VIOLENCE):

"To Someone From A Warm Climate (Uiscefhuaraithe)"

This song places in circle seven, 'Violence'. Violence is split into three subcategories, or 'rings'; Violence against others, violence against self, and violence against God. I believe this song gives an overview of all three.

With this song, we recognise that the title says "To someone..." and Hozier said this song was a gift to someone who was from a geographical warm climate, but there is also a lot of heat in circle seven.

"A joy, hard learned in winter, was the warming of the bed." Throughout this song, Hozier describes himself as cold, and his lover as warm. The idea of warming the bed is a concept Hozier mentioned in his song "Nobody" (From 'Wasteland, Baby!') where he sings that, if he had a choice between the warm bed of his lover or performing on stage, he'd go home to the bed. Since this song comes after "All Things End" (the break-up song), this call back to "Nobody" could be instead referencing a permanent distance, rather than a temporary one (like the temporary distance in "Nobody").

"And, darlin', all my dreaming has only been put to shame." This could have two meanings. One, Hozier waking from a dream about his lover to find them not here. Or, two, Hozier's expectations of his lover falling short as their relationship has finally fallen through. These expectations could be a form of violence against self, the second ring, as he set himself up for heartbreak.

"And I wish that I could say that the river of my arms have found the ocean. I wish I could say the cold lake water of my heart- Christ, it's boilin' over." As mentioned, Hozier is cold, his lover is warm. His wishes he could find something to to fill the loss of his relationship, but he still feels the heat from his lover in every part of him.

"It's boilin' over." References the river of boiling blood in the first ring, violence against others, Hozier could be talking about the way his partner loved him, how that was almost an act of violence with how hard it is to now let go.

"Butchered Tongue"

This song has less references to 'Inferno', and is more of a commentary on the act of violence itself. Hozier sings of places and cultures lost to the violence of man, and he mourns this deeply.

"To say 'Appalacicola' or 'Hushpukena', like 'Gweebara'. A promise softly sung of somewhere else." This grieving for a time when native land wasn't colonised and culture wasn't violently erased is prevalent throughout the song.

In the second verse, he sings very strongly of the brutal acts inflicted upon Irish rebels by the British forces in the Wexford Rebellion of 1789. As we know, Hozier is from Ireland, and he incorporates both the Irish language and history into this album, and recounting such violent acts for this song feeds into the grieving of what has been lost: "Between what is lost forever and what can still be known."

In the context of 'Inferno', it feels as though Hozier is listing the sort of actions that would land someone within the circle of Violence whilst also appreciating the efforts those above ground take to preserve erased culture. Altogether, the song is a very moving commentary on modern violence.

EIGHTH (FRAUD):

"Anything But"

The eighth circle is 'Fraud', split into ten subcategories that are positioned around the circle in trench-like ditches, known as 'Bolgia'.

"I wanna be loud, so loud, I'm talking seismic," follows up with, "I want to be as soft as a single rock in a rain stick." Who he wants to be fluctuates between moderation and severity. He is changing, unreliable, possibly referring to bolgia one, Panders and Seducers. Seducers tend to 'lead astray', as Hozier's unreliable narration does.

The punishment of bolgia one is to be marched backwards and forwards rapidly whilst being whipped, very much evoking the imagery of a stampede: "If I were a stampede, you wouldn't get a kick." This alludes to the fact that if Hozier were sent to hell for the various sins he commits for his lover, he wouldn't resent them for it at all.

"If I was a riptide, I wouldn't take you out." The second bolgia of Fraud is for Flatterers, 'the act of giving excessive compliments, sometimes for romantic courtship'. Obviously, the song is filled with these compliments.

"I hear He touches your hand and then you fly away together. If I had his job, you'd live forever." The imagery of "fly away" gives the idea of ascending, perhaps to Heaven, as hinted at again by the idea of the longevity of living. Bolgia three is for Simoniacs, those who would sell church roles, offices, or sacred things. This seems to fit with Hozier saying that if he had a divine role, he wouldn't follow protocol, he would allow his lover immortality.

Simoniacs were sinners because they were disobeying God's trust, because the selling of divine roles would lead to corruption in the Church. Hozier is using this hyperbolically, saying that if someone were to sell him the role of God, he would most definitely be a corrupt power.

"I'd lower the world in a flood, or better yet I'd cause a drought." In bolgia four we have Sorcerers. Although Dante used this term in a more logical sense for fraudulent sorcerers - false prophets, fortune tellers, those who lied about the plans of God - Hozier uses the term in a supernatural sense. Sorcerers were punished for trying to interrupt God's prerogative, whereas Hozier is blatantly saying he would summon another flood, usurping God's plan overtly.

"I'm talking seismic." The bridge that leads to bolgia seven was collapsed by the great earthquake and, as we know, seismic activity leads to earthquakes.

"Worry the cliff side top as a wave crashing over." There happens to be a cliff near the entrance of circle eight that a large waterfall plunges over.

"Abstract (Psychopomp)"

This song appears to be the crossover point from circle eight to circle nine that I mentioned when discussing "I, Carrion (Icarian)". Before we get to that, the title itself is significant.

A psychopomp is a chaperon of death; Someone like the Grim Reaper, or Charon from "First Time", or Dante's guide through Inferno, Virgil. Here, Hozier is describing the act of hitting an animal with your car as taking on the role of a psychopomp, whilst also relating this idea to the act of letting a relationship die, leading it from life to death.

In the crossover point from eight to nine, Dante and Virgil stand and look at the large well that leads down to circle nine, 'Treachery'. The Titians and Giants burst out of the well, to big to fit, but their feet stand stubbornly in Treachery. I believe that, at this point in the album, Hozier stands here, too. He's visited all eight circles, and has one last place to go before he leaves Inferno, and ultimately his lover, behind. This song is him realising he has to let his relationship end, he has to act as a psychopomp for his love.

"Sometimes it returns like rain that you've slept through." Circle nine, 'Treachery', is a frozen over lake, aka a memory of water, similar to the residue of rain. With viewing this song as the predecessor to "Unknown / Nth", we can take this as a hint of what's to come.

"The Earth from a distance." Since Inferno is arranged in rings (like a circular staircase), Dante could feasibly look up and still see where he started his journey. The same way Hozier could look up and see where his relationship began, "De Selby (Part 1)", The Gates.

"Streetlights in the dark blue." We have the mix of light and dark again, as mentioned in the opening track, referencing back to Hozier and his partner falling in love.

"Darling, there's a part of me I'm afraid will always be trapped within an abstract of my life." Of course, Hozier is talking about the memory of the animal hit with the car here, but the way this relates to circle nine is beautiful. As we'll properly dissect with "Unknown / Nth", sat within the most central point of circle nine, the deepest part of Inferno, is Lucifer, the fallen angel. Lucifer was thrown down to Hell from Heaven, and found himself trapped in Treachery, his body too big to escape. Dante says that the more he struggles, the more stuck he becomes.

That moment he was struck down to hell is a moment he finds himself forever stuck in, just as Hozier is saying here. In the next song, Hozier relates his lover to Lucifer, but these lyrics are a gorgeous mirroring of Lucifer's experience, and another hint at the final circle we will now head to.

NINTH (TREACHERY):

"Unknown / Nth"

Okay, buckle in.

The ninth circle, 'Treachery', is also one split into subcategories, yet Hozier appears to be singing about the centre. The frozen over lake of Treachery gets more frozen the closer you get to the centre. The inhabitants start half-submerged in ice to fully plastered in it. Throughout Inferno, and the deeper we descend, a soft breeze becomes a strong wind, that, as we reach the centre, we find is caused by the violent flapping of Lucifer's wings. Here he sits, stuck and chewing on Judas, another one of God's biggest betrayers.

After "Abstract (Psychopomp)" Hozier is now exploring the final stage of his relationship. The circles of Hell had mirrored the love he once had, and Treachery is where it shall be buried. He also represents his lover as Lucifer, though not maliciously. In interviews, Hozier spoke about the song being about a heavy betrayal he suffered from someone he truly loved, and likening this to God and Lucifer is just heartbreaking.

"You know the distance never made a difference to me." The song is about knowing someone in their entirety, discovering their best and worst parts. Hozier uses Inferno to talk about the tiresome journey of finally knowing someone. He says he would've made the trip all the same, that he would've walked this far for his lover no matter what.

"I swam a lake of fire, I'd have walked across the floor of any sea." This mirrors the previous lyric, but also references specific parts of Inferno. The are many fires in Inferno, particularly in circle seven, 'Violence'. The sea floor lyric reminds me of the lake of Treachery. Though a surface, not a floor, the lake would still be below any seabed, since Inferno is geographically below the Earth.

"Funny how true colours shine in darkness and in secrecy." You guys are probably sick of hearing me say it but... Darkness is a big theme in Dante's Inferno. It is meant to represent the deceiving nature of humans when light is not being shone. Secrecy is a running thread through 'Inferno', too, as Dante finds many people he thought had done no wrong residing there. Hozier is simply saying how (sarcastically) funny it is that he only truly knows his lover in the remains of their relationship; How he only knows them after seeing them in their cruellest form.

"Where you were held frozen like an angel to me." There are many angel lyrics, but this one specifically references the ice of Treachery. The fallen angel is indicative of Hozier's experience: Seeing someone he regarded highly, even heavenly, falling from that pedestal and turning into something that couldn't be further from God's work.

"You called me angel for the first time, my heart leapt from me. You smile, now, I can see its pieces still stuck in your teeth, and, what's left of it, I listen to it tick. Every tedious beat going unknown as any angel to me." Hozier references his ex-lover chewing on his heart the way Lucifer chews on Judas. He listens to it somehow still ticking, however slowly, and at the end of the song we hear something akin to a heartbeat. The beats are "going unknown as any angel to me" since he can no longer recognise his own heartbeat after it has been mangled by another, and, since he mistook someone alike Lucifer to an angel, the idea of angels must be "unknown" to him.

"Do you know I could break beneath the weight of the goodness, love, I still carry for you? That I'd walk so far just to take the injury of finally knowing you?" We again have this imagery of walking far, referencing the journey of Inferno, and, even though he's aching with the realisation of who his lover truly is, he can't help but be grateful that he does now know them, no matter how painful that may be. That he would do this all again if it meant he at least got to the answer of who they are.

His weak heartbeat follows him through to final track as we begin the Ascent.

ASCENT:

"First Light"

The title is very meaningful for the Ascent. The song references both Dante and Virgil's ascent and the creation of light by God himself. Dante and Virgil leave Inferno through a tunnel that Lucifer left in the Earth as he was thrown down to Hell, and they emerge on the other side of the hemisphere. This song signifies Hozier stepping away from the relationship as he also makes that journey out.

"One bright morning changes all things." Dante is disorientated when he exits Inferno. He'd become so accustomed to the darkness that he asks Virgil, 'How is it that the sun progressed so rapidly from evening to day?' Hozier seems to recognise here that his relationship is no longer fit for him, that the darkness has become too encompassing, just as Dante realises on his ascent.

"The sky set to burst, the gold and the rust, the colour erupts...the sun coming up." Not only does this give the imagery of the birth of light, but it also represents Dante's view on his exit: 'Until...I saw the lovely things the sky above us bears. Now we came out, and once more saw the stars.'

"Like I lived my whole life before the first light." Hozier says that the darkness from his lover was so overbearing that it was hard to believe he'd ever felt light before - that light could not have exists with a darkness this heavy alongside it. It is a call back to "De Selby (Part 1)" - "A darkness so deep that God at the start couldn't bear."

"One bright morning comes. Darkness always finds you either way, it creeps into the corners as the moment fades." He speaks of bringing light to a moment between them, but has it quickly smothered by the darkness inherent in his partner. Another call back, this time to "De Selby (Part 2)" - "And your heart, love, has such darkness, I feel it in the corners of the room."

"After this I'm never going to be the same, and I am never going back again." This lyric is heart-breaking. Hozier states that Inferno has changed him, but he has no wishes to re-enter it. At the beginning of this album, he was begging for the likes of Inferno - "De Selby (Part 2)": "Let all time slow, let all light go." - and now he is desperate to get away from it. In "Francesca", he said, "At the end, I'd tell them, 'Put me back in it.'", yet, now, he's at the end, he's ascended, and he has no desire to go back at all.

He is letting go of his lover because he recognises that this pain was not worth it, that this love was not worth the punishment he received, so he leaves.

---

That was Hozier's Inferno !! I hope this was helpful to some people since it was very fun to make (I'm exhausted) and it's very enlightening to see how these lyrics relate to Inferno (I'm heart-broken) !! Okay, wooooo !! Enjoy !!!

[madbard]

I just realized another reason I love Hozier’s music. It’s not just that the lyrics are complex, or the music itself is beautiful - it’s that Hozier is a musical liar.

Take Cherry Wine. This is a song about an abusive relationship, told from the perspective of someone very much in love with their abuser. Throughout the song, the narrator describes their lover’s cruelty. Lyrics like “I walk my days on a wire” and “open hand or closed fist would be fine” make the darker aspects of their relationship all too evident. At points, the song suggests that they are defending this relationship to someone else who cares about them (“it looks ugly but it’s clean. Oh mama, don’t fuss over me”) and even the more beautiful and seemingly romantic lines later in the song (“oh but she loves like sleep to the freezing”) have dark undertones (what else is sleep to the freezing but death?) Still, I often come across the song being used in a wholesome, romantic context. A lot of factors contribute to this, but I would argue that this song mainly gets mistaken for a romantic song because of how soft and gentle the music is - it presents as a sweet love song in every way except the lyrics. Even those lyrics are told through the lens of someone defending their broken and abusive relationship, deepening the lie. Our narrator wants to portray this relationship as something dark, yet also immensely beautiful and encompassing. The result is a song about the agony and pleasure of a broken relationship, disguised so well as a love song in every possible way that it gets mistaken for something romantic. (Even if you are aware of the meaning, there is still that deep urge to experience the song as something romantic. Just like the narrator, the listener is drawn in by beauty and the powerful idea of love, so much so that it can blind them to reality.)

Variations of this can be seen in Talk. In this song, the narrator makes their intentions very clear - they are sweet-talking someone in order to hide their own thoughts and desires (“I try to talk refined, for fear that you find out how I’m imagining you”). Despite knowing this, the sheer power of the lyrics (“I'd be the voice that urged Orpheus / when her body was found. / I'd be the choiceless hope in grief / that drove him underground. / I'd be the dreadful need in the devotee / that made him turn around, / and I'd be the immediate forgiveness in Eurydice”) overwhelms the listener. We know the speaker is putting on a show. We know they have ulterior motives, and likely don’t even believe what they are saying. But their words are so beautiful that we don’t care. The intense, almost mythic music in the background is so lovely and deep, it makes the lyrics seem genuine, because what lie could sound so astounding and true? In this case, the song about smoke and mirrors and empty talk becomes a love song because the narrator is just that skilled at lying.

Even songs like Too Sweet, sung by a narrator who refuses to be with someone unless they allow their standards to slide, become ‘romantic’ and ‘sweet’ to certain listeners - not because the lyrics are impenetrable, but because so many of Hozier’s narrators are unreliable. His songs spin sweet stories, lies so stunning that listeners are willing to deny what they know in order to experience the beauty of that untruth, the complexity of that space between what is real and what we want to believe.

And isn’t that more true to the experience of being a person, and loving other people, than the simple truths we often see in these types of songs?

[thisphantomlife]

thinking about how we go into these beautiful in-depth analyses of hozier’s lyrics and then he’s out here writing “I aim low, I aim true and the ground is where I go” about being hungover and falling down and hitting his head

[justgivemeabookplease]

I feel like I'm seeing only one interpretation of "Who We Are" and the iconic line "To hold me like water/Or Christ, hold me like a knife" and as someone who has done martial arts and knife work, as well as an English major, I'd like to throw in my two cents.

So what I've seen are the metaphorical interpretations (mostly on TikTok too) where they compare water to life/sustenance and a knife to death/injury to the narrator, and so the narrator wants to be held like something life-saving or, in a desperation to be held at all, held like they're something dangerous.

I think the opposite.

From a martial arts perspective, if you're the one holding the knife, you're not a danger to yourself. Obviously, if a weapon is involved at all there is a level of danger, but it is way more difficult for the person/thing on the other end. They have to be concerned about near 360-degree mobility of the wrist and the ability to change hands quickly, so targeting the hand holding the knife becomes trying to completely isolate it from the other side of the body while also preventing the wrist from rotating. I'd much prefer to be the one holding the knife.

Meanwhile, there are other lines in the song to suggest that the knife is more valuable than water.

The opening lines are:

You only feel it when it's lost Gettin' through still has a cost Quietly, it slips through your fingers, love Falling from you drop by drop

This is what it sounds like when you're trying to hold water. No matter how tightly you cup your hands, it will find cracks and spill through. And you'll feel it when it's lost; your empty hands will be wet.

Now look at the chorus:

We're born at night So much of our lives Is just carving through the dark To get so far

The knife is being used to carve through the dark. It is vital, a means of survival.

And also, just think of how your hands are when you hold something like water versus something like a knife.

One is loose and gentle, open. The other is gripped, tightly. If I were touch-starved, I wouldn't want a gentle hand to cup my face, I'd want someone to hold me in a vice as if doing so would mean they are protected from danger, ready to face the darkness.

This is the circle of anger, after all.

[stay-pos-cos]

Y'all I've been thinking about the second verse of Too Sweet by Hozier. There has already been a lot of discourse about it but here's my two cents.

"Treat your mouth as if it's Heaven's gate" To enter heaven one must theoretically be pure of heart or beg forgiveness for one's transgressions. Implying that the subject won't stand their ground when wronged as long as he apologizes. While the speaker (a cynic) is likely unforgiving of even perceived slights.

"The rest of you like it's the TSA" The TSA heavily regulates what's allowed in planes, this can be taken two ways: the subject has already been described as being much healthier and less hedonistic than the speaker so this may relate to treating one's body as a temple. Or the dirtier version is that the subject is virtuous and won't allow just anyone to share intimacy with them. Especially since the speaker references them going to bed at different times, implying that they do not sleep together.

"I wish I could go along. Babe, don't get me wrong" The speaker has tried to improve to become less hedonistic but is unable to change, to become the person he perceives the subject as deserving.

"Bright as the morning... Soft as the rain" further deifying and reducing the subject to non human idealism. The bright morning could been seen as referencing the subject's waking tendencies or their disposition. Where as soft as the rain has purifying connotations, rain is cleansing and brings life where the speaker see the opposite as true for himself.

"Pretty as the vine. Sweet as a grape." The subject is representative of the purity of nature and it's fruits. Beautiful, untouched, and sweet.

"If you can sit in a barrel, maybe I'll wait" If time makes you jaded and bitter maybe then I'll deserve you. Maybe then our flavors will match, you'll no longer be pure and untouchable but more like me. Fermented and aged past naivety.

[starfallkaz]

When I say oh to be loved the way Hozier loves, I mean it, like I mean it. the way that man croons and sings about love and kindness and boundless devotion beyond the constraints of mortality. There’s such an intimacy to his words in how he describes the human condition, and the sort of love I can only dream of experiencing.

[kacievvbbbb]

Been thinking a lot about Northern Attitude by Noah Kahan (the hozier version) specifically the line.

“If I get to close

And I’m not how you hoped

Forgive my Northern Attitude

Oh I was raised out in the cold”

And it’s a simple line but it’s sung with so much apology that it immediately stood out to me, combined with having heard Hozier explain the thought behind To Someone from a Warmer Climate, how it’s about the way that the phyical climate of the places we grow up affect the way we showcase and experience love, it proceeded to consume my every waking moment

Cause, interestingly, these two pieces are clashing. As To Someone from a Warmer Climate focuses more on how the cold allows you to hold each other close for warmth and how that builds a relationship but that makes it that when you finally experience the heat you’re uncomfortable in it, you don’t know what to do with it. What is our relationship if we don’t need to keep each other warm?

While Northern Attitude is about how growing up cold has by extension made him cold, personality wise. Like I don’t know how to properly showcase affection because that’s not something you learn when you are just trying to survive the cold. You don’t get to explore the depth of what you mean to each other when the cold is the most pressing enemy and you’ll take any body as long as it’s got heat, doesn’t matter who it’s attached too as long as it can make the house a little warmer.

But both songs are essentially saying the same thing;

I was raised on little light, all my life has taken place in the dark. I don’t know how to love you in the warmth of daylight.

And As someone who grow up on the equator it really got me thinking about how growing up in extreme heat affects the way I showcase my love and how that manifests differently from someone that grew up in the cold.

Cause I don’t like to sleep to close to people because I can feel the heat radiating of them and that’s uncomfortable. I don’t like to sleep in long pants or sweaters because I can feel the warmth seeping into my skin. I don’t like to walk out in the sun cause the heat frustrates me. And now that I have winters I still run the air conditioning all the time because I’m scared of all the memories attached to the heat.

All this to say that as always all roads lead back to Mishanks because whether Mihawk grew up on a cold winter island as his personality suggests or on a burning hot Spanish inspired sun. He has only ever known extreme ways to love.

As compared to someone like Shanks who grew up on the ever changing ocean. Whose never stayed anywhere long enough to be wary of the cold or untrusting of the heat. Who’s never known anything but loving freely untempered by weather. He’s always just been everything.

[virgoactias]

Unknown/nth - Hozier

lyric interpretation/analysis by me

the lyric „Where you were held frozen like an angel to me” lives in my head rent free, it’s literally so genius and i need to talk about it.

knowing the entire album concept, but also with the lines „I swam a like of fire i’d have walked across the floor of any seas” (lake of fire - circle vi, floor of any sea - circle v, the river styx) we know that the narrator quite literally went through the entirety of hell just to be with his lover and now they are in the furthest part. the part the closest to exit, the way to heaven, but it’s the worst one as well. those who get there are the worst people to ever exist, lucifer himself is eternally stuck in the 9th circle.

so the 9th circle consists of a frozen lake and satan is right in the middle of it, frozen from the waist down. In his three mouths he eternally chews judas, brutus and gaius cassius, history’s most famous traitors. and the cycle repeats over and over (woah this already a crazy setting for a breakup song are you okay andrew)

now we get to my favourite part. who is lucifer if not the former angel of light? god’s greatest creation in the entire world, the perfect entity, pure sublimity. you see where i am getting, right?

the girlfriend. is the satan. woah.

the former perfection, what used to be the best creation for the lord. the angel. yet he’s now held frozen in the lake, bound to cause suffering by literally chewing people up. “you called me angel for the first time, my heart leapt for me, you smile now, I can see its pieces still stuck in your teeth” - she chewed him up, from the very first moment she was giving away that she is the devil, in small actions, covering them up with smiles and niceties.

is it easy to mistake lucifer for the angel he was? forget that he is no longer the sublime angel? when you’re in love, probably yes.

all of this to say, hozier literally compared his partner to lucifer chewing him up. mistaking a bad person for the greatest entity ever encountered. falling completely, ignoring the “scarlet flags” just to one day realise that all this time you were in love with the traitorest of traitors.

[lavenderpanic]

I'm so fucking tired of idiots with no media literacy I've been watching people (on tiktok, which is a cesspool of idiots with no comprehension skills) argue about Eat Your Young by Hozier for months and they're like "it's a song about sex" "no it's about war and corruption" "no it's about cannibalism" Can you genuinely put on your thinking caps for two seconds and comprehend that maybe MAYBE a song can be about multiple things? That an artist could use metaphors relating to sex to make a point about corruption and greed? That themes could be interconnected and related?? I'm so fucking tired.

[lovefromivy]

metaphors in hozier's 'would that i'

the song doesn't make a lot of sense until you decode the metaphors he uses in it, but then it all clicks. the use of extended metaphors for his present and previous lovers is really important and significant because it tells the listener a lot about how he experiences these different loves in very different ways, and why his current love isn't 'just another date', but something entirely new that he values very highly and cherishes to the point that he 'worships' it.

hozier compares his past loves to plants - he describes his past lover as having 'hair like the branch of a tree' and calls her a 'willow', and, when talking about forgetting other loves in the wake of his current lover, he says that he watches 'still living roots' be destroyed. plants are beautiful, but they require a lot of care. there's a specificity to each type of plant, because different plants have different needs in terms of water, types of food, mineral content, soil pH, and the list goes on. it's easy to accidentally kill plants with just one misstep. they are delicate and difficult and progress is slow because it takes years and years for trees to grow and reach their full potential, start producing fruit, etc. hozier is saying that his past loves were a lot of work and they didn't give anything back easily, even though he had to give them everything to try and make them work.

by contrast, hozier calls his new love 'the fire', 'flames', and so on. fire is wild, all-consuming, and can be terrifying. but fire is also powerful and free. when we think about fire, we mostly think about destruction - wildfires or burning buildings or similar disasters - but fire is also life. before human ancestors had fire, they were cold and vulnerable and in the dark. but, after fire, their survival was completely revolutionised: it was an entirely new way of life. for the first time, they could control when it was light; they could keep warm in the winter; they could cook food, and, subsequently, their diets were transformed; they could protect themselves much better from predators. fire represented energy, innovation, life. yes, it was dangerous. but it was also majorly useful and ultimately it was something they needed, not just to stay alive, but to live. to call your love not just a fire but the fire - as in, the first fire, the only fire, the fire to rival all other fires - is to call it the introduction of warmth, protection, light, growth, energy, and power; it is to call it the biggest advancement possible in your lifetime; it is to call it the single root cause of a metamorphosis. the speaker is commenting that this newest love has entirely changed the way that he sees and experiences love.

the metaphors also allude to the speaker's own inner turmoil and problems with love and loving. when hozier talks about his prior trysts, he uses precise, controlling language: he's very specific when he talks about exactly what the relationship was and how it worked in his first verse, detailing what was 'under' him and what was 'over' him. then, in the next verse, he repeats the verb 'must', giving that verse a desperate, urgent tone. 'must' is a harsh verb and it doesn't leave much room for debate. the level of control that hozier is exerting (or, at the very least, trying to exert) over this relationship is made clear linguistically, but is also mimicked in that extended metaphor of the willow tree. taking care of them is long, hard, and mostly fruitless work, and maybe he even feels like it's his duty to take control of the relationship because he feels that his lover needs that control, maybe because she isn't giving him anything much back, just like that volatile, hard-to-care-for willow tree. that same verse sees an allusion to the time that he 'fretted fire', and, if the tree is control and stability, then surely fire is the opposite - anarchy and disorder? - except that he comes to see fire as freedom. he manages to let go of the need to be in control. he finds a relationship where he doesn't need to be the one doing everything: he doesn't address his past lover(s) at all (perhaps he knows it's pointless, since they won't respond?), instead talking about them passively, but he does talk a lot about what he does, relying heavily on first person singular pronouns. in the fourth verse, he addresses someone else for the first time - his 'flame' - personally, and the fifth verse is entirely directed at her. he talks about her actually taking action, actually doing things. when he says that she 'licked off the grain', i think that he is alluding to her taking all of his bad memories, all of his felled willow (and other?) trees, and simply taking away the rough, uneven parts (the grain), leaving him with the smooth wood, and that she is able to do this because he no longer has any reason to lament his past failures in love - he has his 'flame', and the trees of his past can't use their roots to trip him up or push their branches in his face any more, and so he is simply left with happy memories, the best of his ex-lovers, whatever is left that he can still appreciate and be thankful for. and that's significant because he's found a love who has helped him let go of the need for control. he doesn't need to control the relationship any more, for his sake or for his lover's, because she is here and she is willing to do things with him and for him and give back to him and help him to be free, and offer him warmth and protection and energy and all these things that fire is, and he doesn't need to do anything except love her back, because fire only needs one thing to stay alive, and everything else simply becomes fuel. if his love is her flames' version of oxygen, then everything else is just flammable material. nothing he does can make her stop loving him because fires aren't difficult to keep alive, they are difficult to put out. fires don't need food with specific mineral ratios or a certain volume of rainfall or the right soil pH. they just burn. she just loves him - that is what she does. and he watches 'in awe' because that kind of unconditional love is so far removed from his carefully-measured, carefully-controlled previous relationships.

and those last two lines of the last verse are so beautiful: "long as amber of ember glows/all the 'would that i'd loved' is long ago". he's saying that even when the flame burns out, even if she stops loving him, even if she is dead and gone and buried, the freedom that she gave him will remain in the 'amber', that beautiful colour linked to energy and the sun and wealth (because isn't that what love is?), of the last, residual 'ember', the dwindling remains of the love and freedom they shared. and as long as he can hold onto that freedom, even if it does dwindle down to embers and ashes - treasured memories and the fears that you'll forget what their smile looked like or the way they scrunched their nose when the disliked something or the cute expression they assumed when focussed - then he never has to go back to feeling like he needs to grip onto a half-hearted relationship, where he must always be responsible and in control and doing.

but yeah i just love that fire metaphor. can you tell??? probably not

[m3r1m4r5u333]

I saw some people critiqueing Hozier's Too Sweet for "the quality of the lyrics being low", being too "mainstream", too "pop".

I don't know if I want to laugh or despair. Like obviously nobody is obligated to like a song, but sneering that the lyrics are too "popsongy" is just such an unfair, dumb take to me.

This song is exactly the sort of song that would be perfect for teaching literary/lyric/art analysis because it's so much deeper than it appears to be when you first hear it.

It's upbeat, catchy, sounds like a basic breakup-song at first glance, right?

It's a love song - sounds like the protagonist is talking to a lover, right?

...Is it though? Listen again, read the lyrics.

I think it's really quite political. It's a society critique. I think it's about (willful) ignorance, wearing blindfolds in a world that's burning.

"Baby I can never tell/

How do you sleep so well?"

Also, "You're too sweet for me". The line sounds like it's about lack of self-worth. ... Is it, though? Maybe it's an expression of disgust. People who like their coffee unsweetened tend to go "yack" when the coffee is sweetened.

Also, he sings "I think I'll take my whiskey neat". Sounds like a simple line... Is it? Hozier is irish. To quote wikipedia:

"Uisce beatha (Irish pronunciation: [ˈɪʃcə ˈbʲahə]), literally "water of life", is the name for whiskey in Irish. It is derived from the Old Irish uisce ("water") and bethu ("life").[1] "

"A neat whiskey" btw means that the whiskey is pure, as it is, not even ice added.

So the chorus:

I think I'll take my whiskey neat

My coffee black and my bed at three

You're too sweet for me

You're too sweet for me

I take my whiskеy neat

My coffee black and my bed at three

You're too sweet for mе

You're too sweet for me

... Kinda sounds like the idea is that the protagonist thinks that he's a better person than the one who is "too sweet", who ignores the dark, bitter things in life, and takes their world "sweetened".

However, I think the chorus is actually also a self-critique. Are you really doing much if you're drinking a black coffee? Sure, it sounds all moody, bitter and cool, but anyone who knows anything about the coffee industry knows that whenever you're drinking coffee you are also kinda wilfully ignoring all sorts of problems caused and surrounding the coffee industry.

"A neat whiskey" sounds like you're taking the world as it is... But what is alcohol but oblivion?

"Taking the bed at three" also sounds quite deep, like you're choosing to see the darkness of this world instead of avoiding it. Staying up, or not being able to sleep, hardly solves any problems either, though.

I could go on analyzing the song, but I think I'll leave it at that. I think the beauty of the lyrics is that the lines are so multidimensional.

Like when he sings "I aim low", is he talking about ambitions, punches, or Hell? Something else?

I certainly feel gut-punched, as I always do, when I listen to Hozier!

Edit. Oh and the music video!! Ants nesting in a desert. That's us, people, isn't it?

[fawnforevergone]

the way hozier titles a song "i, carrion (icarian)" where he sings about the self-destructive idea of sacrificing himself by flying into sun to save his relationship, and compares himself to 'carrion', the decaying flesh of animals, often a word used for roadkill. to then go and write a song called "abstract (psychopomp)" about how holding an animal whilst it dies mirrors the mercy of ending a failing relationship, similar to a 'psychopomp' - a deliverer of death. and we watch as hozier turns from 'icarian' to 'psychopomp' when he realises that prolonging suffering is crueler than just letting love die. i'm both in awe and crying on my bedroom floor.

and the way a carrion crow is also a symbol of death ?? and how 'carrion' sounds like 'carry on' the way icarus kept going ?? and how he sounds envious of his lover's courage in "abstract" ?? how when the sun is gone - "streetlights in the dark blue" - he can no longer blind himself and is forced to look at the corpse of his relationship ?? how to love is to let go ?? how can he keep getting away with this i'm sobbing ??

[madbard]

The journey from “heaven is not fit to house a love like you and I” to “I’d walk through hell on living feet for you” is a sweet and violent one; a transformation that cannot be undone.

At what point does passion become destructive? Can a strong enough love ever truly be separated from the desolation it begets?

What is this world, that leaves a lover frozen?

Some say that flames redeem through suffering, all we know for certain is that they reduce their kindling to ash.

Is not your lover a part of the world? Are not you?

To destroy everything for a moment of warmth - the promise of paradise turned to ash outside your reach. All the promises in the world are not worth that heat.

[dysfunctionalcreature]

ok but there are definitely some parallels and similarities with In The Woods Somewhere and Abstract (Psychopomp) that we gotta talk about