Recently, I posted to FaceBook an intriguing video for "Carnival Of Souls," a song by the Finnish rock group Poets Of The Fall. This video generated a lot of discussion, and several FB friends opted to re-post it to their own walls. One friend of a friend who watched the video said: "Love the music, NOT the video. They always ruin the music!"
This individual is a Christian and is doing the Lord's work in a public service agency, "... help(ing) people in the community manage their mental health symptoms and develop better living skills." I very much admire that.
As to the video, to each his (or in this case, her) own. To a great extent, such things are a matter of taste. But to say that it "ruin(s) the music" is to miss the entire point. Think of "Carnival Of Rust" as something of a stealthily Christian, allegorical "mental health" song and video. (Because that is exactly what it is.)
The acronym for the title is COR, which is Latin for "heart" and is the root for all sorts of words in English, as well as the Romance languages, for things having to do with the "heart." In the sense used here, "heart" is the place where love resides, and the seat of emotions.
This idea is reinforced near the end of the video/song, when time literally "runs out" for the greeter/fortune teller guy in the booth, despite his longing and pleading, and the machine expels a ticket ("fortune") that says "Cor Cordis," which means "heart of hearts."
Where have we heard that phrase before?
"Ode: Intimations of Immortality from Recollections of Early Childhood," by William Wordsworth (1770-1850)
In the following excerpt, from line 180 to the end of the poem, "heart of hearts" appears on line 194:
What though the radiance which was once so bright
Be now for ever taken from my sight,
Though nothing can bring back the hour
Of splendour in the grass, of glory in the flower;
We will grieve not, rather find
Strength in what remains behind; 185
In the primal sympathy
Which having been must ever be;
In the soothing thoughts that spring
Out of human suffering;
In the faith that looks through death, 190
In years that bring the philosophic mind.
And O ye Fountains, Meadows, Hills, and Groves,
Forebode not any severing of our loves!
Yet in my HEART OF HEARTS I feel your might;
I only have relinquish'd one delight 195
To live beneath your more habitual sway.
I love the brooks which down their channels fret,
Even more than when I tripp'd lightly as they;
The innocent brightness of a new-born Day
Is lovely yet; 200
The clouds that gather round the setting sun
Do take a sober colouring from an eye
That hath kept watch o'er man's mortality;
Another race hath been, and other palms are won.
Thanks to the human heart by which we live, 205
Thanks to its tenderness, its joys, and fears,
To me the meanest flower that blows can give
Thoughts that do often lie too deep for tears.
Wordsworth may have been influenced by the following line from William Shakespeare:
"Give me that man / That is not passion's slave, and I will wear him / In my heart's core, ay, in my heart of heart," says Hamlet (Act 3, scene 2).
And Shakespeare himself probably was echoing the Preacher's means of forming a superlative, as in "vanity of vanities; all is vanity."-- Ecclesiastes 1: 2 (KJV). "Song of Songs," or Canticum Canticorum in Latin, would be another example (there's that lating root for heart--cor--again).
So, if you really want to understand the video, consider the lyrics for "Carnival Of Rust," read the Wordsworth poem or at least the excerpt above (which speaks of "the faith that looks through death, and refers to the Christ child allegorically as "Day"), and reflect upon all of this as you watch it again, and perhaps it will all seem to make more sense.