An Interpretation of Coldplay’s Violet Hill

(For my reading of Viva La Vida, click here)

Violet Hill

It was a long and dark december

from the rooftops i remember

there was snow

white snow

clearly i remember

from the windows they were watching

while we froze down below

when the future’s architectured

by a carnival of idiots on show

you’d better lie low

if you love me

won’t you let me know?

It was a long and dark december

when the banks became cathedrals

and a Fox

became god

priests clutched onto Bibles

hollowed out to fit their rifles

and the Cross was held aloft

bury me in honor

when i’m dead and hit the ground

a love back home unfolds

if you love me

won’t you let me know?

i don’t want to be a soldier

with the captain of some sinking ship

with snow, far below

so if you love me

why’d you let me go?

i took my love down to violet hill

there we sat in snow

all that time she was silent still

so if you love me

won’t you let me know?

if you love me,

won’t you let me know?

This song, like Viva La Vida, is a protest song. But where Viva La Vida is written from the perspective of the pious-but-perplexed head of state (whether that be George W. Bush or an English king of old), this song is from the vantage point of the foot soldier. As such, it is less oblique than Vida, and about as preachy as Coldplay gets.

The song begins with snow, which is often a symbol of purity, in Scripture (eg, Psalm 51:7; Isaiah 1:18 ) and elsewhere in literature—perhaps indicating innocence and purity of heart in the soldier.

But it also indicates vulnerability. He’s freezing “down below” on the ground, in the cold of the snow (it is a “long and dark December,” after all), trying to make sense of his circumstances.

As the pulsing drumbeat kicks in, reminiscent of both armies marching and cannon fire, his position is contrasted with that of his leaders, who are up high in some edifice “architectured” (is that a word?) by the “carnival of idiots on show.” They are watching “from the windows” (and warmth and safety). This soldier is like one of the Revolutionary soldiers at Valley Forge, but without the benevolent George Washington leading him.

The bleak December continues as corruption politics makes its way into money and the media: The banks became cathedrals—in worship of the “almighty dollar.” Soldiers are being sent into battle not for peacemaking, but for money.

“The Fox became god”: Rolling Stone caught that this was a Fox News reference. Very clever, there Chris. (Thanks to the commenters below for catching it too!)

But TV is not the only propaganda tool. Again, (as we see in Viva la Vida) religion was employed in efforts to marshal support for military action: priests with Bibles in one hand and rifles in the other. The Cross was held aloft, as a banner to rally to, as a banner to lead into battle. This war is couched as a religious effort, a new Crusade. Despite the aforementioned unrighteous motives, public opinion is swayed by more righteous motives.

In the US, evangelical Christians have been seen as the “useful idiots” of the Republican party, whose hot-button issues have been co-opted by power brokers to further Right wing agendas. Bush won election, and especially re-election, with the support of this powerful voting bloc.

(Interestingly, unconditional evangelical support of Republican politics seems to be changing. The recently issued Evangelical Manifesto declared, among other things, that Christians ought not to fit comfortably into either political party, and called for a new style of political engagement. Also, voting habits of younger Christians reflect broader and different areas of concern, which in some cases make them more left-leaning).

Back to the soldier at the center of this song. He is conflicted about the conflict he finds himself in. He’s skeptical, even cynical, about the motives for this conflict, and doesn’t want to be a soldier on a sinking ship. But if he must fight, and likely go to his death, he wants to be buried in honor. He will serve with honor even if the conflict itself is not honorable.

While he clearly can’t control world events, he pleads for his love to at least let him know if she loves him. He would like to know this before he is buried with honor. This is a plaintive, heart-rending cry. As he stares death in the face, he repeats “If you love me/won’t you let me know” several times. It is his greatest wish, desire, and vulnerability. He feels powerless, and wonders what will happen to him.

In keeping with the “Death and All His Friends” theme of this album (which is shaping up to be more political, angry, and morbid than previous efforts), it seems that the Violet Hill in question may be this soldier’s cemetery plot, where flowers are laid on his burial mound. At this final resting place, he hopes his love will finally be requited by her presence, if not her words.

Why a violet hill? Perhaps we are meant to recall the Purple Heart, the award to those who have been wounded or killed in combat.

Some have suggested that the Violet Hill is a snow-covered hill stained with blood. This seems unlikely given that the song is called “Violet Hill,” not “Crimson Hill.”

It the end, this song protests unjust war by compassionately entering into the condition of the individual soldier. It is a caring expose of the pressures placed on soldiers in wartime. As recent media reports have noted, divorce rates and depression rates among US soldiers are sky high.

This song also demonstrates that this foot soldier is no faceless entity, a numbered dog tag attached to a “military asset,” but a human being with love and fear and questions. He isn’t as dumb or naïve as the carnival of idiots think he is—just vulnerable.