If one were to look at my Maiden-related posts on these forums, you’d probably find a dominant theme that I keep emphasizing, almost ad nauseaum.
Essentially, I contend that nearly all Maiden songs can be divided into two categories: the concrete, and the abstract. These terms are used by literary critics to describe the nature of metaphors in prose and poetry, and I believe they can likewise be applied to the themes of Iron Maiden’s songs.
The Concrete songs are about current, historical, or mythological (Greek, Christian, Egyptian, etc.) events, much like minstrel’s ballads in the Early-Modern Era. The concrete songs “name a real thing or class of things” (Merriam-Webster’s Dictionary.) They deal with very human stories, but are sometimes not universal to all human societies. For example, one would hardly expect the same emotional reaction to “The Trooper” from a fan born and raised in South America or Japan as a fan in Britain.
The Abstract songs, on the other hand, deal with subjects which cannot be immediately defined. They “express a quality apart from an object” (Merriam-Webster.) I contend that these are the songs that make Iron Maiden truly universal. The themes which dominate the songs I label as abstract are, unlike the previous category, universal to just about everyone regardless of their ethnic origin, language, or belief. The best-known song I would put into this category is “Fear of the Dark.” Everybody, at some point in their lives, been discomforted by being alone in “the dark” (which does not necessarily have to refer to a lack of light; it could be interpreted as a state of ignorance.)
Of course, there are a few problems with this system of classification. Foremost, despite what post-modernists and post-structuralists tell you, we cannot go around assigning meanings to pieces of literature (be it a song, piece of prose, or historical document) which the authors themselves did not consider. It is doubtful that Maiden thinks of their songs in this manner when they compose them, so it would be unwise to solely interpret them in this dualistic manner. Furthermore, many songs can be placed in either category depending how the commentator interprets them. “Powerslave,” for example, can be interpreted both as a song about an Egyptian Pharaoh’s absolute power (a very real historical fact), or a song about death and dying (a universal, though abstract idea.)
While note entirely perfect, below is my categorization of some of Maiden’s songs into the two categories. I don’t include them all for two reasons: I’m not entirely comfortable with all of Maidens’ songs, so I don’t feel qualified to comment on them. Sencond, I’m feeling lazy and can’t be bothered.
Concrete
RunSilent Run Deep
Aces High
The Trooper
Montsegur
Run to the Hills
Rime of the Ancient Mariner
Mother Russia
Abstract
The Clansman
Brave New World
Out of the Silent Planet
Number of the Beast
Wildest Dreams
Powerslave
Essentially, I contend that nearly all Maiden songs can be divided into two categories: the concrete, and the abstract. These terms are used by literary critics to describe the nature of metaphors in prose and poetry, and I believe they can likewise be applied to the themes of Iron Maiden’s songs.
The Concrete songs are about current, historical, or mythological (Greek, Christian, Egyptian, etc.) events, much like minstrel’s ballads in the Early-Modern Era. The concrete songs “name a real thing or class of things” (Merriam-Webster’s Dictionary.) They deal with very human stories, but are sometimes not universal to all human societies. For example, one would hardly expect the same emotional reaction to “The Trooper” from a fan born and raised in South America or Japan as a fan in Britain.
The Abstract songs, on the other hand, deal with subjects which cannot be immediately defined. They “express a quality apart from an object” (Merriam-Webster.) I contend that these are the songs that make Iron Maiden truly universal. The themes which dominate the songs I label as abstract are, unlike the previous category, universal to just about everyone regardless of their ethnic origin, language, or belief. The best-known song I would put into this category is “Fear of the Dark.” Everybody, at some point in their lives, been discomforted by being alone in “the dark” (which does not necessarily have to refer to a lack of light; it could be interpreted as a state of ignorance.)
Of course, there are a few problems with this system of classification. Foremost, despite what post-modernists and post-structuralists tell you, we cannot go around assigning meanings to pieces of literature (be it a song, piece of prose, or historical document) which the authors themselves did not consider. It is doubtful that Maiden thinks of their songs in this manner when they compose them, so it would be unwise to solely interpret them in this dualistic manner. Furthermore, many songs can be placed in either category depending how the commentator interprets them. “Powerslave,” for example, can be interpreted both as a song about an Egyptian Pharaoh’s absolute power (a very real historical fact), or a song about death and dying (a universal, though abstract idea.)
While note entirely perfect, below is my categorization of some of Maiden’s songs into the two categories. I don’t include them all for two reasons: I’m not entirely comfortable with all of Maidens’ songs, so I don’t feel qualified to comment on them. Sencond, I’m feeling lazy and can’t be bothered.
Concrete
RunSilent Run Deep
Aces High
The Trooper
Montsegur
Run to the Hills
Rime of the Ancient Mariner
Mother Russia
Abstract
The Clansman
Brave New World
Out of the Silent Planet
Number of the Beast
Wildest Dreams
Powerslave