There's a light in my beyond-hope trip
It seems like a fire that grows fed on
What you would be
Lead me through the unpleasant dark.
Under your sky
You would me live in your world
And all the light i can see could inflames
My dry inside
Please don't let me burn!
Don't laught, I believe in the light (that) I see in your eyes
Don't laught, I let all my wishes fall down in you
Don't laught, show me the truth of your inside
Don't laught, or do you fear of my uncertain soul?
No one knows what you're!
Maybe I'm the cancer that grows among our warrior
in a battle but I'm the warrior of another world
Everyone comes to me slowly dies and i'll kill you all,
There's no victory that can keep me high
As to see my enemies asking help to me...
I'm the hypocrisy that brings the evil,
I'm the devil in the mirror,
I'm the wickedness that let you survive
Leave what you're and everithing you did
that brought you until me
don't you see that I'm your master, the King?
I could leave my armour
The time for me has come
I don't know
Maybe the strenght in myself will rise again,
Help me
Let your spirit free throught the windows of your mind
Falling in the bitter sweetness of my world
Since your soul'll scream a weeping of pain, I'll be there
Everything you'll decide, soon or later you'll come to me!
The lyrics WEEPING OF PAIN of TYSTNADEN is also present in the album Tystnaden (2000)
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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