Swan Upon Leda by Hozier Lyrics Meaning – Unraveling the Mythical Tapestry Woven in Song

You can view the lyrics, alternate interprations and sheet music for Hozier's Swan Upon Leda at Lyrics.org.

Lyrics

A husband waits outside
A crying child pushes a child into the night
She was told he would come this time
Without leaving so much as a feather behind
To enact at last the perfect plan
One more sweet boy to be butchered by man

But the gateway to the world
Was still outside the reach of him
Would never belonged to angels
Had never belonged to men
The swan upon Leda
Empire upon Jerusalem

A grandmother smuggling meds
Past where the god child-soldier Setanta stood dead
Our graceful turner of heads
Weaves through the checkpoints like a needle and thread
Someone’s frightened boy waves her on
She offers a mother’s smile, and soon she’s gone

The gateway to the world
The gun in a trembling hand
Where nature unmakes the boundary
The pillar of myth still stands
The swan upon Leda
Occupier upon ancient land

The gateway to the world
Was still outside the reach of him
Would never belonged to angels
Had never belonged to men

Swan Upon Leda is less of a song and more of a poignant tapestry, rich with mythical undertones and a subtle, yet scorching, commentary on the trespasses suffered through history. Hozier, an artist who has mastered the craft of embedding layers of meaning within his melodies, delivers a narrative that draws from the depths of ancient lore to reflect upon contemporary agonies.

Navigating through this complex melodic labyrinth requires an attentive ear attuned to historical, literary, and cultural cross-references. What presents itself as a soothing ballad reveals its claws in an exploration of power dynamics, the sanctity of bodies and lands, and the enduring legacy of imperial conquest. We embark on an odyssey through time, contemplating the duality of creation and destruction.

The Myth of Leda and the Swan: A Canvas for Cultural Commentary

At first glance, Hozier’s choice of Leda, a figure from Greek mythology who was seduced by Zeus disguised as a swan, might seem like an exquisite poetic flourish. Yet, it intentionally mirrors the dark undertones of coercion and violation wrapped in the facade of divinity—a recurring theme in tales where gods mingle messily with mortals.

He weaves this ancient myth with modern imagery, reflecting the contemporary parallels of power abuse. It’s an indictment of hidden violence, delivered with an ethereal touch. The swan’s feather-less departure is an echo of the faceless ways in which empire-imposed atrocities leave scars upon the lands and people they consume—silent, unaccountable, devastating.

Of Empires and Occupations: Echoes in ‘Jerusalem’ and ‘Ancient Land’

The song snakes through more literal historical corridors, summoning the specters of colonialism and occupation. ‘Empire upon Jerusalem’ and ‘Occupier upon ancient land’ aren’t mere references but are powerful invocations of centuries of contested territories, cultural imposition, and the quest for autonomy against towering Goliaths.

Hozier’s allegory is a testament to the perpetual struggle against dominion and the resilience of indigenous identities. It’s a resistance anthem disguised as a serene ballad, each note a footprint in the march against imperialist narratives and the fight for the right to self-definition.

The Unseen Gateway: A Hidden Meaning in ‘The Reach of Him’

The chorus repeatedly alludes to a ‘gateway to the world’ that remains just beyond ‘the reach of him’, an elusive threshold between conquest and integrity. This gateway is as much about the physical plundering of lands as it is about crossing moral boundaries, a delineation that once crossed, cannot be uncrossed.

In the context of the song, the ‘him’ could be the silent, complicit observer or the perpetrator of violence who both stand at the edge of decision—a decision that could preserve humanity or cast it asunder. Hozier’s refrain warns of the gravity that accompanies the acts of taking what does not belong to one, whether it’s ‘angels’ or ‘men’.

A Mother’s Smile Amidst Chaos: The Poignancy of Resilience

The vivid imagery of ‘a grandmother smuggling meds’ and ‘the frightened boy’ conjures up scenes strewn across strife-torn regions. The resilience of those living amidst conflict is painted with delicate strokes—the grace with which they navigate through ‘checkpoints’ while maintaining a semblance of normalcy and nurturing serves as a stark contrast to the imposing forces that seek to strip them of their humanity.

Here lies a powerful statement on the gritty determination of the oppressed—often the women who smile through their tears, bearing the weight of both life and survival. The grandmother’s act is a silent rebellion, her compassion an undying flame in the winds of turmoil.

Memorable Lines: ‘One More Sweet Boy to Be Butchered by Man’

Hozier’s songwriting often crystallizes its most confrontational insights into lines that resound long after the track has ended. ‘One more sweet boy to be butchered by man’ resonates as a lament over innocence lost, not only on an individual level but also on a wider, generational scale. It mourns both the individual and collective tragedies befallen upon those claimed by war and conquest.

These lines serve as a chilling reminder of the cyclical nature of violence and the sacrifice of youth on the altars of adult follies. Hozier’s words cut deep, offering a lamentation for every ‘sweet boy’, for every child who has become both victim and symbol of the insatiable hunger of man’s appetite for power and dominance.