Hegarty creates a spectrum of life and death, and jumps focuses on these transitions laced with empathy. The first quatrain literally speaks of death "Oh her eyes are underneath the ground" (line 1), then later juxtaposition with that of life in the second quatrain "Oh her eyes are basking in the sun" (line 5), and then later again in the third quatrain a sort of limbo is created with that of the womb "I saw six eyes glistening in my womb / I felt you calling to me in the gloom" (lines 11-12) in that he is acquainted with the darkness, yet able to see the light and have feelings. This is also the spectrum of nominalism in that we are unable to understand universal truths and find reality only in the things which we use to describe them. Limbo, the first circle of hell, is where Hegarty resides on this entire album, with the exclusion of the final song which is a sort of crossing over. The disestablishment of stages of life creates a sort of yearning for the listener, as if through music Hegarty is trying to create a time machine to relive or forgive or reassure the moments of life since passed. This is similar to that of Neutral Milk Hotel's timeless album "In an Aeroplane Over the Sea" in which he agonizingly tries to bring back to life the woman for which he has such strong affection:
"Where their bodies once moved but don't move anymore
And it's so sad to see the world agree
That they'd rather see their faces fill with flies
All when I'd want to keep white roses in their eyes" (Lines 34-38, "Holland, 1945")
Hegarty also makes an allusion to the Christan Master narrative in that of original sin "In the garden with my mother I stole a flower / With my mother and in her power I stole a flower" (lines 10-11/17-18) in a sort of remorse for having taken the apple from the tree, and now having 'infinite knowledge' by that of knowing both good and evil.
I'd also just like to comment that the title alone of this song evoked a great deal of emotion for me. Literally it means to be buried underneath the ground. Metaphorically illustrated to me the idea of being removed from your senses, or even the idea of senses existing outside of your body. Thematically it is an excellent emphasis on the darkness of humanity, the unknowing. Stylistically it turns 'eyes' into a suggest part of your existence (also known as a metonymy) , which I do find to be true: it is the eyes through...
I'd also just like to comment that the title alone of this song evoked a great deal of emotion for me. Literally it means to be buried underneath the ground. Metaphorically illustrated to me the idea of being removed from your senses, or even the idea of senses existing outside of your body. Thematically it is an excellent emphasis on the darkness of humanity, the unknowing. Stylistically it turns 'eyes' into a suggest part of your existence (also known as a metonymy) , which I do find to be true: it is the eyes through which the brain creates subjection. The line itself is also written in Iambic Tetrameter which create heartbeat-like pulsations, further adding to the sentimentality.
Hegarty creates a spectrum of life and death, and jumps focuses on these transitions laced with empathy. The first quatrain literally speaks of death "Oh her eyes are underneath the ground" (line 1), then later juxtaposition with that of life in the second quatrain "Oh her eyes are basking in the sun" (line 5), and then later again in the third quatrain a sort of limbo is created with that of the womb "I saw six eyes glistening in my womb / I felt you calling to me in the gloom" (lines 11-12) in that he is acquainted with the darkness, yet able to see the light and have feelings. This is also the spectrum of nominalism in that we are unable to understand universal truths and find reality only in the things which we use to describe them. Limbo, the first circle of hell, is where Hegarty resides on this entire album, with the exclusion of the final song which is a sort of crossing over. The disestablishment of stages of life creates a sort of yearning for the listener, as if through music Hegarty is trying to create a time machine to relive or forgive or reassure the moments of life since passed. This is similar to that of Neutral Milk Hotel's timeless album "In an Aeroplane Over the Sea" in which he agonizingly tries to bring back to life the woman for which he has such strong affection:
"Where their bodies once moved but don't move anymore And it's so sad to see the world agree That they'd rather see their faces fill with flies All when I'd want to keep white roses in their eyes" (Lines 34-38, "Holland, 1945")
Hegarty also makes an allusion to the Christan Master narrative in that of original sin "In the garden with my mother I stole a flower / With my mother and in her power I stole a flower" (lines 10-11/17-18) in a sort of remorse for having taken the apple from the tree, and now having 'infinite knowledge' by that of knowing both good and evil.
I'd also just like to comment that the title alone of this song evoked a great deal of emotion for me. Literally it means to be buried underneath the ground. Metaphorically illustrated to me the idea of being removed from your senses, or even the idea of senses existing outside of your body. Thematically it is an excellent emphasis on the darkness of humanity, the unknowing. Stylistically it turns 'eyes' into a suggest part of your existence (also known as a metonymy) , which I do find to be true: it is the eyes through...
I'd also just like to comment that the title alone of this song evoked a great deal of emotion for me. Literally it means to be buried underneath the ground. Metaphorically illustrated to me the idea of being removed from your senses, or even the idea of senses existing outside of your body. Thematically it is an excellent emphasis on the darkness of humanity, the unknowing. Stylistically it turns 'eyes' into a suggest part of your existence (also known as a metonymy) , which I do find to be true: it is the eyes through which the brain creates subjection. The line itself is also written in Iambic Tetrameter which create heartbeat-like pulsations, further adding to the sentimentality.