U2's twelfth studio album, "No Line on the Horizon," released in 2009, was initially conceived as a departure from their more conventional rock sound, with the band exploring more experimental territories influenced by their recording sessions in Morocco.
While the final product, according to some critics, did not fully embrace this experimental ambition, it still presented a collection of songs that grappled with themes of spirituality, global issues, and personal introspection. Nestled as the eleventh and final track on this album is "
Cedars of Lebanon," a song whose placement suggests a deliberate concluding statement, offering a somber and reflective perspective on the themes explored throughout the record.
The song's unique atmosphere is further enhanced by its sampling of
Brian Eno and Harold Budd's ambient piece "Against the Sky," creating a sonic landscape that underscores the lyrical narrative. This essay aims to dissect the intricate lyrical themes crafted by Bono in "Cedars of Lebanon" and to illuminate the song's significant position within the broader context of the "No Line on the Horizon" album.
The opening lines of "Cedars of Lebanon" immediately establish a sense of weariness and the demanding nature of the protagonist's profession:
"Yesterday I spent asleep / Woke up in my clothes in a dirty heap / Spent the night trying to make a deadline / Squeezing complicated lives into a simple headline".
This imagery paints a picture of a war correspondent, exhausted and burdened by the task of condensing complex human experiences into concise news reports. The stark contrast between the basic need for sleep and the intellectual pressure of the job highlights the psychological toll exacted by such a profession, suggesting a state of detachment and internal conflict. The correspondent is physically present in a volatile environment but seems emotionally and mentally removed, perhaps as a necessary coping mechanism.
This sense of isolation is further emphasized by the subsequent verses, where memories of a past relationship surface:
"I have your face in an old Polaroid / Tidying the children's clothes and toys." This nostalgic image is tinged with sadness, particularly in the line, "Haven't been with a woman, it feels like for years / Thought of you the whole time, your salty tears".
The "salty tears" associated with the memory of this woman suggest a relationship that has ended or is under significant strain, adding a personal layer of sorrow to the correspondent's wartime experiences. The fleeting nature of positive moments in a harsh world is captured in the lines,
"This shitty world sometimes produces a rose / The scent of it lingers but then it just goes". This metaphor speaks to the transience of beauty and happiness amidst suffering and loss.
A cynical observation about human nature follows:
"The worst of us are a long drawn out confession / The best of us are geniuses of compression."
This could relate to the correspondent's work in summarizing events, but also metaphorically to how individuals cope with trauma by simplifying or suppressing difficult emotions. We suspect the 'geniuses of compression' may have double meaning that perhaps references The Edge. We have no evidence of that, just a thought.
The subsequent lines, "You say you're not gonna leave the truth alone / I'm here cos I don't wanna go home," hint at a potential motivation for the correspondent's continued presence in a dangerous zone – perhaps a desire to escape unresolved personal issues or a sense of alienation from his domestic life. The chaos of war might offer a strange sense of purpose or distraction from personal turmoil.
The narrative then shifts to vivid imagery of the war-torn setting:
"Child drinking dirty water from the river bank / Soldier brings oranges he got out from a tank / I'm waiting on the waiter, he's taking a while to come / Watching the sun go down on Lebanon".
These lines paint a picture of a society where everyday life persists despite the underlying conflict. Small acts of humanity, such as the soldier offering oranges, stand in stark contrast to the harsh realities of survival, like a child drinking contaminated water. The seemingly mundane act of the correspondent waiting for a waiter underscores his role as an observer within this environment, highlighting the complex position of journalists in conflict zones.
The setting of Lebanon directly connects to the song's title and the symbolism of the cedars. As the song progresses, the tone becomes more introspective and questioning: "Now I got a head like a lit cigarette / Unholy clouds reflect in a minaret."
The image of a "lit cigarette" suggests anxiety or a mind racing with thoughts, while the "unholy clouds" reflected in a minaret create a powerful visual of conflict potentially impacting religious sanctity or peace in a troubled land.
This question, directly referencing the title, can be interpreted in multiple ways. It could be a literal inquiry about the presence of God in a place marked by immense suffering, or metaphorically, it could question the absence of peace, stability, and hope, qualities often associated with the symbolic cedars.
Some interpretations also suggest that the Cedars of Lebanon were historically used to construct temples, considered the "home of God". The question's placement after the statement that God is "higher than everyone" creates a sense of distance and perhaps even abandonment, aligning with the album's broader spiritual explorations. The correspondent, witnessing the devastation of war, seems to question the role or intervention of a higher power in the face of such human tragedy.
The song concludes with a series of thought-provoking lines:
"Choose your enemies carefully cos they will define you / Make them interesting cos in some ways they will mind you / They're not there in the beginning but when your story ends / Gonna last with you longer than your friends".
These lines offer a cryptic and somewhat cynical reflection on the nature of relationships and legacy. They suggest that our adversaries can play a significant role in shaping our identity and the narrative of our lives, potentially even more so than our allies. The idea that enemies "will mind you" implies a constant awareness or even obsession, highlighting the powerful influence of conflict and opposition.
The notion that enemies might last longer than friends could reflect a pessimistic view of human connections or a recognition of the enduring impact of conflict.
Bono himself has offered insights into these lines, explaining that they reflect U2's long-standing approach of choosing "interesting enemies" that are often internal, such as their own hypocrisy, limitations, and ego, rather than external, more obvious targets. This interpretation shifts the focus from literal enemies in a war zone to more abstract, personal struggles, suggesting a broader applicability of the advice to "choose your enemies carefully."
"Cedars of Lebanon" resonates with the overarching themes of "No Line on the Horizon," which include peripheral vision, spirituality, and the search for meaning in a complex world.
The character of the war correspondent embodies the concept of "peripheral vision" by observing and reporting on events unfolding in a distant land. His internal reflections on loss, faith, and the nature of conflict contribute to the album's broader exploration of seeking understanding and grappling with spiritual questions amidst suffering.
As the final track, "Cedars of Lebanon" provides a somber and reflective conclusion to the album's sonic and thematic journey. The themes of war, loss, and spiritual questioning leave the listener with a sense of contemplation and perhaps unease, rather than a clear resolution. The "cryptic clue of spiritual wisdom" offered in the final lines reinforces this lingering effect. T
The title "Cedars of Lebanon" itself carries significant historical, cultural, and biblical weight. Cedar trees, particularly those of Lebanon, have long been symbols of strength, resilience, majesty, incorruptibility, holiness, and even pride in various cultural and religious traditions. In the Bible, cedarwood was used in the construction of Solomon's Temple, signifying its importance in sacred spaces.
The cedar is also the national emblem of Lebanon, representing its enduring spirit.
Given this rich symbolism, the question "Where are you in the Cedars of Lebanon?" takes on a deeper resonance.
