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k0mmari · 27 days ago

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SYSTEM! SHEN YUAN PT.3

Too tired to do my obligations, but too stressed out to sleep, so here we find ourselves again.

This, once again, got horribly long- so long, in fact, I think this is the longest post in this 'trilogy'-, so I apologize in advance (╥ᆺ╥;) I also apologize for the lack of doodles, but dont worry! Im preparing a special one for later <33

After that night where SY offered Binghe an umbrella, things have certainly… changed. Unlike before, where SY spent most of his time mapping away at the ridiculously complex castle hallways and carefully marking away which times it was most likely for SY to be able to get close to Xin Mo, alongside doing his ‘servant’ duties of gathering dirty laundry and cleaning a room here and there, his routine had been suddenly adjusted; now, while he still needed to do everything he was doing before, his servant duties consisted of accompanying the chosen Wife Of The Day.

Or, well, that’s how one of the higher ranking staff had put it, that he was to attend to whatever wife Lord Luo decided to entertain for the day, but honestly, SY was starting to suspect that that had been a convoluted way for Binghe to have SY around whenever he wanted, which…. Was frankly quite worrying! To have the golden protagonist keep his eyes glued on his back almost every second they were in the same room, which - if SY looked back- usually led to Binghe looking away in a (bad) attempt to pretend he wasn’t glaring daggers at SY was more than enough for SY to think the Emperor was probably plotting his demise.

What else could it be? Specially with the way Binghe’s hand seemed to always be lightly tugging at the tassel on his hair every time SY caught him looking, he suspects Binghe had caught onto SY not actually being a servant, and instead that weird guy he saw before he fell into hell that one time. What if Binghe thought SY was somehow involved into the Abyss Incident?? Lord Luo, please have mercy on this servant!

Though, maybe the strangest part of it all, was that sometimes Binghe and SY would just… talk. Usually when the Wife Of The Day was doing something else (e.g. playing music for her husband, or practicing archery, or doing anything that didn’t involve LBH 100% at her side), Binghe would just start musing out loud about the strangest things. It started with questions that were all fair to ask, like ‘How come this servant is a human in the demon realm’, or ‘How come this servant has such short hair’ (SY bullshitted something about being a former slave) but eventually it shifted to questions that were a bit more… random. Or, well, not even questions, musings that Binghe muttered out loud but clearly wanted SY’s input.

It started with minimal things, like Binghe wondering about some type of monster he wanted to fight but he forgot how to do it without damaging the fur too much, which, after a minute of silence and a not-so-subtle look at SY, led to SY nerding out and saying not only the monsters weakness, but what could be done with every important part of the body. Though, the day after that SY realized how strange it was that Binghe was wondering that out loud, since he only fought that monster well into his time as an Emperor, and he swore he remembered one of the wives gushing about her new bracelet that was made from the rare bones of that creature just a few days ago…

Anyways, it continued with questions of similar nature: musings on how to kill a monster Binghe would have no problem killing, to what he should eat for dinner, to what gift should he get for Wife Of The Day. Of course, SY answered all the ‘questions’, and sometimes they even made it to having an actual conversation! Sure, it was a little stilted, SY could not figure out for the life of him why the great Lord Luo was interacting with a random servant, but one day it all finally clicked to him. Binghe had been in the middle of ‘musing’ about hair oils(??), when SY couldn’t help but interrupt him:

“Ah…. Apologies if this lowly servant is overstepping, My Lord, but does My Lord just want someone to talk to?”

A few emotions flashed through Binghe's face quickly enough for SY to not be able to decifer any of them, but eventually landing on a sheepish smile. "This Lord has been found out."

Oh, how cute! And how sad! SY had noticed when SQH was just showing him his shitty story how sad that LBH, even after getting the world to bow at his feet, never really had friendships. Sure, he still had all the love he could want, but sometimes people need friends to talk to, not lovers!

While he knew that he shouldn't interact with characters in world overlooked by the System unless they were transmigrators, SY couldn't help but feel that the situation was dire enough that LBH would turn to a no-name servant in this time of desperation. And it would be a great opportunity to study Xin Mo more closely as well! If SY showed LBH the wonders of friendship, maybe he could pass by his supervisor that he only had to do what was necessary for this world to not implode on itself.

Besides, who could even say no to such a handsome man such as LBH? Is as the old saying goes: what the protagonist wants, he shall have.

SY's friendship plan has been going great! After figuring out Binghe's intentions, it seems all of the protagonists reservations flew out the window, and SY was now responsible for being Binghe's personal retainer. Not that that meant too much, since Binghe liked to bend the rules to his liking, and some tasks that should be SY's responsability sometimes were pushed to another servant or Binghe himself made them (which, ???)

Mostly, SY stood at Binghe's side, served tea, was used so Binghe could bounce ideas off of someone, and tended to finer details. All of that very much manageable, if not for the weird mood swings LBH would have sometimes. Yuan, as he has told Binghe was his name after being too scared of the repercutions of using 'Shen', was to accompany him all the time, but sometimes not all the time, or else LBH would get moody; Yuan was to listen to LBH's ideas and plans, and should always comment back or else Binghe would feel neglected, but not too much or else, as LBH had put it, could 'bring back bad memories'; Yuan was to tend to LBH's night routine, even as far as to brush his hair, and if he refused LBH (again) get all moody, but he couldn't brush too much, and he had to do at least one braid but NEVER touch the old, frizzy braid that still had that damn tassle-

Honestly, it was a careful game of balance, which reminded SY more often than not of a child that got mad when their older sibling didn't quite understand the redundant rules they made for a make-believe. Any other person would get fed up, and probably scared of Binghe's constant mood swings, but SY had him all figured out, and his resilience proved to be useful time and time again, since most of the time after his sour mood passed, Binghe would come crawling back with the most pitiful face ever, and what was SY to do? As LBH's friend, it was his duty to hug him and pat his head! (And no one could judge him for that, since if he didn't pat Binghe's head, his mood would plummet all over again.)

Though... SY did feel kind of bad. He wouldn't be able to stay with Binghe forever, and would even need to potentially steal his all-powerful sword for a little bit so everything wouldn't get corrupted. Honestly, the only thing keeping SY from worrying about being labled as a traitor and potentially getting killed was that he would just go back to the System's office and go on with his life.

LBH, eventually, caught onto SY's plan on leaving - really, it was only a matter of time. After that fateful encounter with that other SQQ, LBH had found himself in rather pitiful state, questioning everything he knew until that moment and wondering why he couldn't achieve that happiness, and desperately trying to search for a SQQ of his own. He had contemplated going back to that first world, but what would it even matter? Even if he took SQQ by force, his heart would still be with that other LBH, and Binghe couldn't bear the thought that he wouldn't be everything in SQQ's world, as he had become for LBH.

Specially after Meng Mo had one day interupted his carefully crafted dream of an idelic world and pointed out some curious memories he'd almost forgotten about. That day, when back in his childhood, when he'd been beaten up by a buch of older kids and hallucinated a man in strange clothes before passing out and waking up protected from the rain. Or when he thought he'd lost his jade pendant forever, only to magically appear in the cabin later.

Or the strange man in the Immortal Alliance Conference.

After SQQ- SJ , that good-for-nothing scum- pushed him to the Abyss, he tried his best to never think about that day again, too scared by how weak he'd been, pleading to man that would sell his soul for one more night at that brothel of his if he could, but now... Now that he could mold his dreamscape any way he wanted, he could look back with a clear mind, which eventually led to the conclusion: It must have been the same person. The same strangely dressed man that helped him in his childhood somehow appeared at the Immortal Alliance again, and even had left provisions right next to where Binghe had fallen.

He'd convinced himself, after many, many years of wishing for a miracle, that he's simply imagined the man, one last thread to keep himself from going insane, but after meeting the other SQQ...

And then Yuan came in. A new servant that seemingly appeared out of nowhere.

It took some observation, and a lot preparing himself to face dissapointment that maybe he was just projecting, putting the image of someone else onto a random man, but that day, when LBH was wondering if he was just wasting time, that that beautiful dream of having his version of SQQ would not happen any time in this world, that maybe he really should just go look at other worlds; after all, if it happened once, it had to happen again, right? Not that it mattered in the end, since while he spireled, much to Xin Mo's pleasure, an umbrella was put over his head, and all his doubts had washed away.

Yuan had to be his version of SQQ, it had to be. And after all his effort of getting close to him, after going so far to keep Yuan at his side, even if he still battled with that his perception of SJ and the other SQQ sometimes overlapping with Yuan's image, even if he still wasn't ready to let go of that one braid, he was becoming more and more sure in his assumption that his SQQ had come to him. Everything was going as planned, and LBH was in track to finally begin to properly court him, and yet-

He was sure Yuan wanted to leave. He wasn't sure why, not how he would do that, maybe just dissapear like he had all those years ago and either only appear again 5, 10, 100 years in the future or go back to wherever he came from in the first place. But LBH knew Yuan wanted to leave, that he needed to complete whatever mission he had (after LBH managed to pry that out of his dreams, which where another source of confusion, with how absurdly difficult they were to even get a grasp of), and that, under any circumstances, he could let Yuan escape his sight.

Not again. Never again.

Binghe had become even stickier in the last few weeks. Not that SY minded, it was very cute to see such a different side from the cool, badass Lord Luo, but SY was running out of time. Since Binghe became stickier, his mood swings had worsened even more, now not wanting SY to be anywhere that Binghe wasn't, and Xin Mo seemed to be thriving off of whatever was making Binghe extra protective, though it was becoming a genuine problem now, since Binghe suddenly refused to see any of his wive's to deal with the Xin Mo problem, and he seemed to be on the verge of qi deviation at all times.

In fact, the only reason Binghe hadn't already qi deviated was because SY was abusing his Personal System and chipping away at the qi deviation in Binghe's night routine, since it was the only time where he was physically very close to Binghe and could spend long periods of time manually coding away at the System screen without it looking suspicious.

But, as if that wasn't enough of a problem, since Xin Mo was having the time of it's life recently, the virus clinging to the sword was also getting stronger, leaving even more residuals all along the castle and bordering on infecting Binghe himself.

His Scissors where thankfully, repaired, and his sweet, sweet manager was even kind enough to send him some extra energy supplies, but at the rate the virus was spreading, he was worrying that he would have to deal with the source as soon as possible or else it would become to strong to deal with it in a non-destructive way.

He... Didn't want to leave Binghe just yet, specially since he wanted SY's attention more than ever recently, but...

No, he needed to do this; their time together was never supposed to be eternal anyways, and if he let the virus spread, he would only be putting LBH's life in danger, and he couldn't continue living with himself after that. He decided he would fix the virus at night, while Binghe slept, and by the next morning he would be gone - he would have, after all, just enough energy to go back to the office.

He just hoped Binghe would be able to forgive him later.

When night came, and SY got to doing the usual night preparations, it just felt like an extra needle being stabbed in his heart when, while brushing Binghe's hair, Binghe looks back uncharacteristicly anxious, and asks if SY can undo the braid and remake it. SY does, and if Binghe notices SY takes extra long to pamper him that night, he says nothing.

When SY is sure Binghe is asleep, he sneaks out of his room and heads to back to Binghe's. Yeah, maybe he stalls a bit with snipping off every piece of the residual virus he came across, but one could argue he was just being extra thorough with his job.

The excuse, unfortunately, didn't last long and eventually he found himself in front of Binghe's room, staring at the door as if he was about to be sentenced to death. After a few minutes of reminding himself that he needed to do this, he took a deep breath and slowly opened the doors. Binghe usually slept with the sword perched right beside his bed, so SY would probably have to use the System and put Binghe in an extra deep sleep if he wanted to make sure the other didn't wake-

The moment he places a foot inside, though, he realizes something is wrong; the room is empty, Binghe is not asleep in his bed and Xin Mo is not besides the bed. Oh, oh no, had Binghe-

"A-Yuan." Binghe says, and SY nearly jumps as he turns around. There LBH stands in the middle of the hallway, not even in his sleeping robes, with a hand clutched tightly on Xin Mo's handle. His eyes are watery but no tears spill.

SY tries to speak but finds he doesn't even know what to say, he can't even try to deny that he's up to something, since his gigantic Scissors are just out an about. Still, he tries to make Binghe understand, say that he needs to do this, and after this Binghe won't have to worry about anything anymore. Though it barely seems like Binghe is listening, and eventually just cuts in when SY starts to say anything in his panic.

"This is what A-Yuan wants, right?" He asks, extending one arm and presenting the glitched out Xin Mo. SY doesn't even have the chance to find an excuse, as Binghe immediately continues. "Than take it."

"Wh- Huh?" "Take it."

He's so shocked he almost drops his Scissors. What does he mean 'take it'??? Binghe has to know everything that's at stake here! He doesn't even know what SY wants to do with it! He tries to say that, how Binghe shouldn't just hand the sword to anyone like that, but a sudden burst of energy set his priorities straight. Shit- The virus! It's growing by the second, at this point SY will have to cut Xin Mo-

"...Binghe, I-" "I don't care what A-Yuan wants with Xin Mo! Take it, use it, break it if you want, I don't care! But if A-Yuan takes it, than he will have to stay." "Binghe, that's not..." "Why not?! That's your goal, right? Do whatever it is that you want to do with Xin Mo? Than here you go, A-Yuan can do it, but I won't let you leave me again."

SY can't even mask when his eyes dart towards the tassle on Binghe's new braid. Binghe just clenched his jaw, but it feels like confirmation enough.

He adjusts his grip on the Scissors, and, as he has nothing else to hide, dispels the System's illusion, his simple clothes glitching out to reveal the System's uniform. Binghe's eyes fill even more with tears, but none fall."

"I... I'll have to go back, Binghe." "No." "Binghe, listen to me, I-" "No. No! A-Yuan will get Xin Mo, and then he will stay." "I-" "You will stay! I can't-" Binghe can't even finish his sentence before he has to choke out a sob.

The virus starts warping the air around it, and slowly crawling up Binghe's arm. SY's decision has practically been made for him. He lifts the Scissors. Binghe pushes Xin Mo forward.

"...I'll come back." "A-Yuan-" "I'll come back, Binghe." One single tear falls and his arm jerks, not knowing if he trusts SY's words or not. He still his arm as the Scissor blades encircle Xin Mo.

"A-Yuan..." "I'll come back, I promise." "..." "I promise."

"......Okay."

Shen Yuan cuts Xin Mo.

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fawnforevergone · 1 year ago

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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.

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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 !!!

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