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In Darkness Let Me Dwell Lyrics
In darkness let me dwell; the ground shall sorrow be,
The roof despair, to bar all cheerful light from me;
The walls of marble black, that moist'ned still shall weep;
My music, hellish jarring sounds, to banish friendly sleep.
Thus, wedded to my woes, and bedded in my tomb,
O let me dying live, till death doth come, till death doth come.
In darkness let me dwell
The roof despair, to bar all cheerful light from me;
The walls of marble black, that moist'ned still shall weep;
My music, hellish jarring sounds, to banish friendly sleep.
Thus, wedded to my woes, and bedded in my tomb,
O let me dying live, till death doth come, till death doth come.
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Written by John Dowland and featured in Sting’s Songs From the Labyrinth, this is the last song. I was thinking he must be sad but of course, he’s not. Songs back then were always dolorous. No one really wants to dwell in darkness unless they’re doing the goth thing—and even then … Maybe he is sad. Seems happy enough in the media and then he’s got nothing to be unhappy about—great career, sweet wife and family, lots of homes, loved by his peers, good looks, mind and body—what could possibly be missing in this charmed life? Nothing I can think of … Well, perhaps you’re right …
The cd “Songs From the Labyrinth” showcases lute music—specifically the songs of composer, John Dowland. Sting apparently became interested in lute music [a lute is a guitar-type instrument sometimes seen in the hands of cherubs on Christmas cards] when Dominic Miller gave him one as a gift. This explains Madadi’s reference to a banjo—not that there is anything wrong with a banjo. Ozzie Nelson played one.
In the same dark gardens We have drunk—the same difficult waters Under the trees Oh you … to be the heart (There was a demon in those veins …) And I … knife … pure knife … A man in heart A man in words A man in moon wreck
I have run—riveted to the road’s light Until the wind yields Nothing is moving I was imprisoned in unknowing Let’s talk, they say But you … Looking at me in the light of love Write? I cannot follow you, two by two, beneath the moon Perhaps she no longer remembers us
[paraphrased]
Summoned Pierced Snatched Displaced His mirror smashed a thousand times Now, I miss you, but … I have dealt with you over my shoulder
The snake does not know you The butterfly hates no one
Leave me unhealed with no love object left!
And here—am I—looking at you With the music of happiness With our love …
Uncertain weather Furtive moments We will keep the snow in reserve! No matter what!
Silence makes the echo A bit of hysteria—the question mark
Flay yourself, will you? I shall still be there Where love fuses
[paraphrased poetry]
Comprising of five instrumental tracks, eleven tracks with vocals and seven extracts from Dowland's aforementioned letter to Sir Robert Cecil interspersed between the music, newcomers to Dowland's music will be pleased to learn that although his lyrics may have often been despondent and sad, on the evidence of the pieces on this album his music was often not. It is almost hard to believe that the Elizabethan "King of Pain" who wrote 'Flow my tears' and 'In darkness let me dwell' (which must be one of the darkest and most dissonant songs ever written) was the same person who wrote the beautiful melody of 'Come again' and demonstrated the pop sensibilities displayed in 'The lowest trees have tops'
[sting.com]