Wir müssen in deutsch eine gedichtsanalyse zum Lied ich lass für dich das Licht an von revolverheld schreiben weiß jemand wie das geht?

If you ask the internet for popular German love songs, so is almost always RevolverheldsI’ll give you the lightin the United Kingdom. From the “80 most beautiful German love songs” (musikradar.de) up to „20 Deutsche[n] Lieder[n] for the opening dance and the wedding“ – there even place 1 – the song appears. And if you believe the comments gathered under the music video, the song is right on these lists. There, from emotional reactions (“I have the only one who cried?”), about marriage requests (“I had made a request for marriage to my girlfriend for the song…….and she has said YES”) to longing fantasies (“And who doesn’t ask “why doesn’t happen to me” beautifully! Tears in the eyes!”) reported.

So all right: a beautiful love song that makes the listeners tears in their eyes and motivates them to ask for marriage, right? Just because the song is so popular, a more critical reading is to be proposed here, which critically questions the idea of romance shown in the text. The interpretation puts the sung female protagonist in the foreground.

The content of the text is quickly outlined: The speech instance of the song describes what she has done or would do for another person. Particularly important is a scenario in which the two people walk home at night. The gender of speaking and sung person is never explicitly mentioned, but the description is so conventionally gender-standardized that it can be suspected that it is a male speaking instance that sings a female person. This assumption is supported by the music video in which a man of his girlfriend makes a request for marriage.

So if one assumes that the sung person is a woman, there are some problems with the text. For, strongly overspirated, a sentimental and disgusting woman is depicted here, and along with this a very classic role-prediction of the man is conceived as a protector and problem-solver. Some examples: The woman is cold and so the man must enter as a warming protector or the woman looks at the “slimest snoops”, the hypermasculine man then probably the action films. This protector’s themes also appear in the title-giving line “I leave” the light for you, although it’s too bright to me”. Does the woman want to leave the light because she’s afraid?

But in addition, the structure of the text is very problematic for two reasons: first, the male speaker counts all the victims he has to bring to prove his love. It is clear that both sides must compromise in every interpersonal relationship in order to ensure success. But by the fact that here the man so explicitly lists all the things he does to meet the woman, a strange power gradient develops: The man brings these victims, from the generosity of the woman. As a result, there is also a clear appreciation: Schnulzen are “schlimm” and the sung woman is not loud but “too loud”.

The fact that the woman is “too loud” is interesting because she plays with a popular misogynous topos. If women are not susceptible, they are called hysterical, and the ideal of the retaining lady is maintained (see e.g.pussy.com). In the Lesart proposed here, these connotations of the circular, hysterical woman floated on this line. The man, on the other hand, thought quite classically and heteronormatively, is a kind of counter-poluser that balances the problematic aspects of the woman—here through his silence.

The man feels very comfortable as a martyr for love in his skin. This tendency is so pronounced that it not only lists what he has already done, but also what he would do (burn his plates and trample to Barcelona). As much as the song is focused on the speech instance, the repeated use of the first person Singular becomes clear. The refrain is about “me”.

This also leads to the second problem: the fact that we only hear this story from the point of view of the man. Maybe the woman has good reasons to want to sleep with light? Maybe she would call the man too quiet? Either way, the listener or the listener gets a very one-sided view, which by counting his victims, clearly represents the man as the stronger, ultimately better part of the relationship. Of course, there are many successful love songs in which only the view of one of the two involved is addressed. But the focus on the man in combination with the valuable representation of the woman makes this kind of representation problematic in this case.

This Lesart is also supported by the pappsweet music video. If one believes the explanation in the video that it is an authentic situation, the band plays the song for a friend who wants to make his girlfriend a marriage proposal. Significant are two things: first, that the girlfriend is not told what is going to happen before, and thus will be deprived of information that would give her the opportunity to object. On the other hand, what the friend is said is that she is supposed to “skill”. Secondly, the fact that, of course, the man makes the request. Classically, he takes the initiative and remains fully faithful to the traditional understanding of the roles also presented in the song. In the end, the man is the determining and decisive element.

How romantic?