Never say that my heart seemed false, though absence seemed my flame to fade
Cry my name
All my paintings turning to grey, though my heart keeps following your light
Cry my name
No one else has ever lived me, my stolen sense is changed since then
I made your own asylum, I made it 'till you're gonna come here
Finding peace in roots of anger, finding pictures of your memory
I made your own asylum, You made it 'till I'll come here
Cry my name
I pray for my little angel, can you hear my breathing?
Can you feel my breathing?
I pray for my fallen angel, can you hear my crying?
No one else has ever lived me, my stolen sense is changed since then
I made your own asylum, I made it 'till you're gonna come here
Finding peace in roots of anger, finding pictures of your memory
I made your own asylum, I made it 'till you're come here
Cry my name
I pray for my little angel, can you hear my breathing?
Can you feel my breathing?
I pray for my fallen angel, can you hear my crying?
Can you feel my cry?
The forward violet thus did I chide:
Sweet thief, where did you steal your sweet that smells I know, for me without compare?
The forward violet thus did I chide:
Sweet thief, where did you steal your sweet that smells I feel, for me is closed.
I pray for my little angel, can you hear my breathing?
Can you feel my breathing?
I pray for my fallen angel, can you hear my crying?
The lyrics SWEET THIEF of TYSTNADEN is also present in the album In our eye (2008)
Tystnaden (Il silenzio) è un film del 1963 diretto da Ingmar Bergman, ultimo episodio della cosiddetta Trilogia del silenzio di Dio, iniziata nel 1961 con Come in uno specchio e proseguita l'anno seguente con Luci d'inverno. Il film racconta la storia di un gruppo di monaci che vivono in una remota abbazia medievale e si confrontano con i dubbi esistenziali e le difficoltà della fede. La pellicola esplora temi come la solitudine, il dubbio religioso, la ricerca di significato nella vita e l'impossibilità di raggiungere la vera pace interiore. Bergman utilizza un linguaggio visivo potente e suggestivo, caratterizzato da lunghi silenzi, inquadrature statiche e una fotografia monocromatica che contribuisce a creare un'atmosfera cupa e introspettiva. Il film è stato accolto con grande successo dalla critica e considerato uno dei capolavori di Bergman.
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