"I like to sing a song which is called the 'Master Song' and it's 
  about the   Trinity.  Leave that for the scholars:  It's about three people." 
  -- Leonard Cohen, The BBC Sessions, 1968
 
  
  I believe that you heard your master sing 
  when I was sick in bed 
  I suppose that he told you everything 
  that I keep locked away in my head 
  Your master took you travelling 
  well at least that's what you said 
  And now do you come back to bring 
  your prisoner wine and bread
  
  If the master is part of the trinity of self, it stands to reason the
master
  equally represents its inverse since, by the conclusion of the tune, 
  the master has become the prisoner of (or slave to) longing.  The 
  contours of the energy of slaves dominate.  And, the second point in 
  the trinity, the prisoner or slave, likewise becomes the master.  
  Between the pair stands the
  woman; she completes the trinity of "three people."
 
  Leonard Cohen borrows recognisable touches from the Eucharist; but, he  borrows as only genius borrows, fusing and refashioning "wine and 
  bread"
in
  the carnal glow of an imagination tempered by the heartbreaking
devastation
  of inescapable isolation.
  
  You met him at some temple, where 
  they take your clothes at the door 
  He was just a numberless man in a chair 
  who'd just come back from the war 
  And you wrap up his tired face in your hair 
  and he hands you the apple core 
  Then he touches your lips now so suddenly bare 
  of all the kisses we put on some time before
  
  Mary Magdalen proves to be one of the three points of the equidistant 
  triangle.  She dries Jesus's feet with her hair.
 
  And he gave you a German Shepherd to walk 
  with a collar of leather and nails 
  and he never once made you explain or talk 
  about all of the little details 
  such as who had a word and who had a rock 
  and who had you through the mails 
  Now your love is a secret all over the block 
  and it never stops not even when your master fails
  
The tune -- incorporating possessiveness, isolation, and extreme compromise -- downshifts on the uspswing and reaches its destination examining the dynamics of power while one of its secondary themes reveals the writer's direction, that is, SOUTH. In context, the word, "German," reverberates with echoes of The Holocaust, the genocide of several million European Jews among others by the Nazis during World War II. Juxtaposed with the word, "shepherd," of course, the idea of Christ (and King David) may bear futher scrutiny in this context, particularly since Christ was nailed to the Cross with spikes.
 
  And he took you up in his aeroplane 
  which he flew without any hands 
  and you cruised above the ribbons of rain 
  that drove the crowd from the stands 
  Then he killed the lights in a lonely Lane 
  and an ape with angel glands 
  erased the final wisps of pain 
  with the music of rubber bands
  
  It is said during the twenties a popular medical procedure involved
seeking
  the fountain of youth and discovering it might well exist in the form 
  of
an
  extract made from monkey glands.  Here, the master, the one who apes 
  the prisoner, becomes "the ape."
 
  And now I hear your master sing 
  you kneel for him to come 
  His body is a golden string 
  that your body is hanging from 
  His body is a golden string 
  my body has grown numb 
  Oh now you hear your master sing 
  your shirt is all undone
  
  One item worth noting is the golden string echoing the sword of 
  Damocles.
 
  And will you kneel beside this bed 
  that we polished so long ago 
  before your master chose instead 
  to make my bed of snow 
  Your eyes are wild and your knuckles are red 
  and you're speaking far too low 
  No I can't make out what your master said 
  before he made you go
  
  Then I think you're playing far too rough 
  for a lady who's been to the moon 
  I've lain by this window long enough 
  to get used to an empty room 
  And your love is some dust in an old man's cough 
  who is tapping his foot to a tune 
  and your thighs are a ruin, you want too much 
  let's say you came back some time too soon
  
  It comes as no surprise "reaching the moon" infers orgasm; the woman's 
  ruined thighs refer not to the fact they're ruined for her; rather,
they're
  forever ruined for the prisoner who's become "used to a lonely room." 
  Additionally, it may prove useful to ask who ruined Her thighs and, 
  again, for whom are they ruined?
 
  I loved your master perfectly 
  I taught him all that he knew 
  He was starving in some deep mystery 
  like a man who is sure what is true 
  And I sent you to him with my guarantee 
  I could teach him something new 
  and I taught him how you would long for me 
  no matter what he said no matter what you'd do
  
  I believe that you heard your master sing 
  while I was sick in bed 
  I'm sure that he told you everything 
  I must keep locked away in my head 
  Your master took you travelling 
  well at least that's what you said 
  And now do you come back to bring 
  your prisoner wine and bread 
  
  In other words, it's about the entangling triangle, the ins and 
  outings so often associated with the way in which masters become 
  slaves and slaves become masters, as tangible as wounds, as 
  exhilarating and terrible as any power relationship.  You.  Me.  Her.  
  But, who is she and, more precisely, how has this Master undone her so 
  discourteously?  He's nothing but "a numberless man in a chair . . . 
  just come back from the war." Significantly, he bestows a German 
  shepherd upon Her, a dog -- Cohen is a Dog, by the way, in Chinese 
  astrology -- complete with "a collar of
leather
  and nails" while killing "the lights in a lonely lane."  But, the
feminine,
  the so-called Her?  Might she be that famous blue muse the Master
allegedly
  used and cheapened immeasurably?  Perhaps.  Images of combat and 
  conflict strengthen a concurrent set of images involving sickness as 
  well as an almost autistic isolation.  Master.  Prisoner.  Holy Ghost.  
  The Trinity
of
  which Cohen speaks.  A trio of voices at Cross purposes.
 
  Forced by circumstance to abandon his own true calling, the Prisoner 
  shuns Her perfectly.  Traditionally, the troubadour, at career's 
  close, is said
to
  renounce love and recant love poetry before taking up residence in a 
  monastery.  Retroactive food for thought, courtesy of your humble 
  scribe
who
  feels in some way duty-bound to quote the following lines LC puts in 
  the mouth of one of the angels in his seminal musical Night Magic:
 
   . . . But now I make my confession 
  Before all the mirrors of history 
  This power was given to me 
  It must have been given to me 
  For something more 
  Than a star on the door 
  And a foot in this shabby profession . . .
  
  Judith Fitzgerald
  26 April 2002
 
  
 
 
  
Suggested reading: 
Notes Towards A Definition Of A Masterpiece:
Ten New Songs From Sharon Robinson And Leonard Cohen,
with introduction to Judith Fitzgerald and her work
  
 
 
© 2002 The Leonard Cohen Files (Electronic Edition) 
© 2002 Judith Fitzgerald (Print Edition)
  
All Rights Reserved.  Duplication in whole or in part in any medium without the express written permission of the copyright holders is forbidden.
  
Lyrics cited by written permission. 
© 1968-2002 Leonard Cohen, Stranger Music Inc. (BMI) 
All Rights Reserved.
 
 
  |