| Dimmu Borgir – Cataclysm Children Lyrics | 15 years ago |
| It´s not against dumbass church, it's against the principles of goddamn Christian society! | |
| Dimmu Borgir – Vredesbyrd Lyrics | 15 years ago |
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The lyrics sound quite Nietzscheanian, thus I present a translation suitable to an interpreation, where every connotation containing disdain refers to Christianity and Christian heritage of thought (like valuing the "heavenly" higher than the earth, socialism, communism, liberalism, praise of the unselfish, a.s.o.). Hence, "cursed ground" is ground, which first was not cursed, until Christianity made it "holy" by the means of Christianisation. The same theme occurs with "Eradication Instincs Defined": "As mortal manufactured waste/ and part of the commonly infected/ you [people with Christian heritage in mind] prevent the ones worthy the gifts of life/ to surface on once a prosperous soil" "Confidence in the the bread of the one without soul" - I´m sorry, but I am not adept at English word compositional rules, so, just tell me, if there is a single word expression for "someone without soul", that does not sound extensively shitty when combined with Saxon Genitive, so to say "The Souless's bead" - what i actually want you to catch attention upon is the reference to "bread and wine" - "broed og vin" symbolizing Christo body and blood. So, this is one of the genuine ideas that Erkekjetteren put into his lyrics: Christ has no soul, no "arcane life force". The people that worship him, worship his "bread", they worship a soulless, bloodless, lifeless body - that's what we are suppossed to call a severe critic, not that dumbass shit output produced by regular critics of merely the church. Now let me tell you, that the curch is the most honourable thing about Christianity, and, truly, there are not many things to be honoured about Christianity. There are many words conveying distinct meanings, while having only one single phonological realisation, as the word "skjoed" of the third verse, which at the same time means: lap, womb, bosom (of the family) and fold. So, of course, when translating into English, that richness gets lost. What is happening, is that Silenoz speaks to the people. The chorus speaks of "you" as his congregation (cf. Progenies of the great apocalypse); whilst in the verses, the "you" is referring to the common people following traditions; and of course, Christians. It is kind of a test: if the things he says to "you" hurt your feelings, and if you can merely hardly feel with the lyrical first person, than you can consider yourself Christian. Or as Satyr would say, then you know "what's wrong with you". ("Du er kristen, der er feilen med deg." - "You are christ, that's what's wrong with you." -- Last page of the booklet of "Nemesis Divina" ) That's quite cool, because there are languages, which can express the first "you" as a special "inclusive we", whereas the second "you" would have another form. But maybe, that's only of interest to lingustists; linguists as me sometimes don't know what is of interest to non-linguists. "The pain, which is in m y heart, is not the thirst for celestial healing. Neither is the failing quest for angelic might. It is fire, and that burns! It is right that, which you are ashamed of!" - Here the main difference between worship of the unliving, timeless, unspational being on the one hand, and living life with soul is contrasted. The lyrical first person has strong feelings and drives, he also loves his drives, even if they make him feel pain from time to time. He rather really lives and thus despises the "thirst for celestial healing" - but that's what Christians are after, and Christians tend to propose, that every single man on earth has this need for the unreal, for the one and only, for the platonic idea, the "Ding an sich", "God", life after death, paradise, heaven, freeness from pain; and all those abominations to people who love life and earth. It seems to me, as though the lyrical first person does actually know, that Christians are straight away unable to understand, that drives and passion are not bad, that they are nothing to be ashamed of. But Christians are ashamed of it, because it is earthly, animate, lively - unheavenly. After that, the "you" is allowed to speak up; it's reply is stated on from "Ta del i skyldens skygge..." -"Take part in the shadow of the guilt..." -- Shadow is, in contrast to mere darkness, suggesting a source of light. Is there a light of the guilt, too? Or is the guilt the cast shadow of the one sole light? Anyways, what the replier does, is blaring out threats, when not following the way of Christ. The author, thus, illuminates Christian belief as forced by angst. (Angst in contrast to fear, just the way Kierkegaard drew the line.) I took these lines from a translation at this place, as well as both of the last verses: www.mp3lyrics.org/d/dimmu-borgir/vredesbyrd/ "Where will you be, when the lamp is extinguished?" - General intimidating strategy of those "you". I concede lacking understanding of the last verse, so maybe someone could help me out at that point. (?) All in all: Great Art! Burden of Wrath Rise up! Let us overcome our inherited thoughts! And cultivate on a cursed ground a family of pain In order to insaminate and weigh down the womb of the mercyful who have confidence in the bread of the one without soul Because the creed that you own is nothing else than disgust and haughtiness and your need for knowledge is an overflow of derision and disgrace The pain, which is in m y heart, is not the thirst for celestial healing Neither is the failing quest for angelic might It is fire, and that burns! It is right that, which you are ashamed of! Take part in the shadow of guilt Please your soul with the wonders of sin For where will you be When the lamp is extinguished But death comes not With our message Reverberations from the splendid inheritance Will redeem the eternal corruption Bring judgement over heads other than your own Where you hide your shame in songs of praise Then you shall taste the fruit Of your own demise Like a flock of hellspawns And stewards of the son of despite We parry their guile with the magnificence of disgust By the evidence of our heavy burden Lies their mind drowning Left dessicated without power |
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| Dimmu Borgir – Vredesbyrd Lyrics | 15 years ago |
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I actually discussed that song with together with a native Norwegian, who - in addition - is PhD of Norwegian literature. It was quite hard for her to understand, too, because many lines are purely ambigue. This really is a case, where translation would imply interpretation; unless we asked Erkekjetteren how each line is to be interpreted. Maybe it's like with Gaahl: that he wants his lyrics to inspirate people, not to teach katechisms. Well, many other of his works speak of the opposite... |
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| Dimmu Borgir – Broderskapets Ring Lyrics | 15 years ago |
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I´d much rather suggest that it is spoken from the view of Christianity. "Brorskap" - "Brüderschaft" - "Brotherhood": that clearly reminds of abissal origin. I mean, it is Christian thought that values death as the beginning of the "true life" - that's one point being truly disgusting: "true, better life" starts at the end of life? How much would someone need to hate and reject life in order to make up the idea, that life starts at the end of life!? So, what I think is the meaning of this, is that a Monk or some other fiend of life talks to a young person, in order to get him join the circle. (People hating life don't want others to enjoy living. Jealousy - if that's the English word for "Neid"...) The twist is, that the Brother is not able to utter the lies he normally utters in such cases. It´s like in the film with Jim Carrey, where he is a lawyer and keeps saying what really thinks is true. (That movie sucked so much ass, though...) In the case of the brother: he tells the young boy, what he really does with him: draining life and soul off of him, letting him be obsessed by "Geist", logos, ratio. Thus, these lyrics express the core of Christian belief. |
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| Belphegor – Chants For The Devil 1533 Lyrics | 15 years ago |
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The "feast of feastes" was celebrated in France. The German historian Karl Friedrich Flögel, for example, described it in his writing "On the History of the Grotesc-Comical" - "Von der Geschichte des Grotesk-Komischen" (cf. p. 396 http://books.google.de/books?id=5kRAAAAAYAAJ&printsec=frontcover&source=gbs_v2_summary_r&cad=0#v=onepage&q&f=false). A translation of the original text, from which Helmuth only took pieces, can be found here: www.danielmitsui.com/hieronymus/index.blog/1933198/feast-of-asses/ So, first of all the corrections respective the German parts: "Reit mit dem Bock durch die Wolken" - Ride with the buck (billy goat) through the clouds "Verprenth zu Staub und Asch" - Burn to dust and ashes "Teufelsspuk und Zauberei" - Devil-worship and sorcery "Sein Weihwasser erregt das Weib" - His Holy Water (sexually) arouses the trull/broad Thus, a more correct translation would be the following: Feast of feastes Ride with the buck through the clouds Incense and myrrh Burn to dust and ashes Gold of rich Arabia - Incense and myrrh. All, the Church now offers - To an Ass's virtue. In the eastern regions - Chanced an Ass to be, Beautiful and bravest - Virtue of the Ass. Feast of feastes Devil chant and sorcery Beautiful and bravest His Holy Water arouses the trull In order to not prevent non-Germans from understanding the background of the lyrics some information. When church first conquered the "Pagan Vastlands", people there had their own traditions, as anyone knows. In contrast to the church's cult of forcing all natural bonds and emanations of life to not be lived, Pagan tradition was much closer to life and thus it's expressions, like "having fun". So there were feasts when people could actually live at least some of their drives. These debaucheries were a scorn to Roman church members, because they did not understand it's necessity for the people to have a chance to express their life. "The feast of feasts" could also be called "donkey feast" - "Eselsfest": The most beautiful young virgin of the surroundings was bedecked and made up. Then she was set up on a donkey representing the donkey carrying Mary on her escape to Egypt. (Also besung in several songs.) In contrast to the normal mess, not Amen was replied to the priests, but "Himham! Himham!" (French for "I-a!") - und thus, hopingly, did the donkey! Than they sang a song similiar to the one from Belphegor. This feast first occured in France from the ninth century on. Nietzsche oftenly refers to it regarding debaucheries, as well as he set up his own Eselsfest in "Also sprach Zarathustra". Feasts as those were abolished by the Roman church in the time around the half the sixteenth century, so maybe 1533 refers to on of the last feasts of feasts. It is devil chant when remembering, that it was abomination to christianity to be happy in any other respect as by "The love" - so, a love, which is not love at all, but a fiend against life. This kind of "love" as "sense of life" will also be discussed in my upcoming release "Sinn als Lebensfeind". But when in need for information, one can look up "Der Einzige und sein Eigentum" by Max Stirner: http://dereinzige20.de/projekt/index.php?page=The+Moderns So, that´s it. |
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| Belphegor – Chants For The Devil 1533 Lyrics | 15 years ago |
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The "feast of feastes" was celebrated in France. The German historian Karl Friedrich Flögel, for example, described it in his writing "On the History of the Grotesc-Comical" - "Von der Geschichte des Grotesk-Komischen" (cf. p. 396 http://books.google.de/books?id=5kRAAAAAYAAJ&printsec=frontcover&source=gbs_v2_summary_r&cad=0#v=onepage&q&f=false). A translation of the original text, from which Helmuth only took pieces, can be found here: www.danielmitsui.com/hieronymus/index.blog/1933198/feast-of-asses/ So, first of all the corrections respective the German parts: "Reit mit dem Bock durch die Wolken" - Ride with the buck (billy goat) through the clouds "Verprenth zu Staub und Asch" - Burn to dust and ashes "Teufelsspuk und Zauberei" - Devil-worship and sorcery "Sein Weihwasser erregt das Weib" - His Holy Water (sexually) arouses the trull/broad Thus, a more correct translation would be the following: Feast of feastes Ride with the buck through the clouds Incense and myrrh Burn to dust and ashes Gold of rich Arabia - Incense and myrrh. All, the Church now offers - To an Ass's virtue. In the eastern regions - Chanced an Ass to be, Beautiful and bravest - Virtue of the Ass. Feast of feastes Devil chant and sorcery Beautiful and bravest His Holy Water arouses the trull In order to not prevent non-Germans from understanding the background of the lyrics some information. When church first conquered the "Pagan Vastlands", people there had their own traditions, as anyone knows. In contrast to the church's cult of forcing all natural bonds and emanations of life to not be lived, Pagan tradition was much closer to life and thus it's expressions, like "having fun". So there were feasts when people could actually live at least some of their drives. These debaucheries were a scorn to Roman church members, because they did not understand it's necessity for the people to have a chance to express their life. "The feast of feasts" could also be called "donkey feast" - "Eselsfest": The most beautiful young virgin of the surroundings was bedecked and made up. Then she was set up on a donkey representing the donkey carrying Mary on her escape to Egypt. (Also besung in several songs.) In contrast to the normal mess, not Amen was replied to the priests, but "Himham! Himham!" (French for "I-a!") - und thus, hopingly, did the donkey! Than they sang a song similiar to the one from Belphegor. This feast first occured in France from the ninth century on. Nietzsche oftenly refers to it regarding debaucheries, as well as he set up his own Eselsfest in "Also sprach Zarathustra". Feasts as those were abolished by the Roman church in the time around the half the sixteenth century, so maybe 1533 refers to on of the last feasts of feasts. It is devil chant when remembering, that it was abomination to christianity to be happy in any other respect as by "The love" - so, a love, which is not love at all, but a fiend against life. This kind of "love" as "sense of life" will also be discussed in my upcoming release "Sinn als Lebensfeind". But when in need for information, one can look up "Der Einzige und sein Eigentum" by Max Stirner: http://dereinzige20.de/projekt/index.php?page=The+Moderns So, that´s it. |
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| Belphegor – Chants For The Devil 1533 Lyrics | 15 years ago |
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The "feast of feastes" was celebrated in France. The German historian Karl Friedrich Flögel, for example, described it in his writing "On the History of the Grotesc-Comical" - "Von der Geschichte des Grotesk-Komischen" (cf. p. 396 http://books.google.de/books?id=5kRAAAAAYAAJ&printsec=frontcover&source=gbs_v2_summary_r&cad=0#v=onepage&q&f=false). A translation of the original text, from which Helmuth only took pieces, can be found here: www.danielmitsui.com/hieronymus/index.blog/1933198/feast-of-asses/ So, first of all the corrections respective the German parts: "Reit mit dem Bock durch die Wolken" - Ride with the buck (billy goat) through the clouds "Verprenth zu Staub und Asch" - Burn to dust and ashes "Teufelsspuk und Zauberei" - Devil-worship and sorcery "Sein Weihwasser erregt das Weib" - His Holy Water (sexually) arouses the trull/broad Thus, a more correct translation would be the following: Feast of feastes Ride with the buck through the clouds Incense and myrrh Burn to dust and ashes Gold of rich Arabia - Incense and myrrh. All, the Church now offers - To an Ass's virtue. In the eastern regions - Chanced an Ass to be, Beautiful and bravest - Virtue of the Ass. Feast of feastes Devil chant and sorcery Beautiful and bravest His Holy Water arouses the trull In order to not prevent non-Germans from understanding the background of the lyrics some information. When church first conquered the "Pagan Vastlands", people there had their own traditions, as anyone knows. In contrast to the church's cult of forcing all natural bonds and emanations of life to not be lived, Pagan tradition was much closer to life and thus it's expressions, like "having fun". So there were feasts when people could actually live at least some of their drives. These debaucheries were a scorn to Roman church members, because they did not understand it's necessity for the people to have a chance to express their life. "The feast of feasts" could also be called "donkey feast" - "Eselsfest": The most beautiful young virgin of the surroundings was bedecked and made up. Then she was set up on a donkey representing the donkey carrying Mary on her escape to Egypt. (Also besung in several songs.) In contrast to the normal mess, not Amen was replied to the priests, but "Himham! Himham!" (French for "I-a!") - und thus, hopingly, did the donkey! Than they sang a song similiar to the one from Belphegor. This feast first occured in France from the ninth century on. Nietzsche oftenly refers to it regarding debaucheries, as well as he set up his own Eselsfest in "Also sprach Zarathustra". Feasts as those were abolished by the Roman church in the time around the half the sixteenth century, so maybe 1533 refers to on of the last feasts of feasts. It is devil chant when remembering, that it was abomination to christianity to be happy in any other respect as by "The love" - so, a love, which is not love at all, but a fiend against life. This kind of "love" as "sense of life" will also be discussed in my upcoming release "Sinn als Lebensfeind". But when in need for information, one can look up "Der Einzige und sein Eigentum" by Max Stirner: http://dereinzige20.de/projekt/index.php?page=The+Moderns So, that´s it. |
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