To me the artist seems to be ensuring his love that wherever she goes, he will follow. And when she dies, whether it be heaven or hell in which she belongs, he will go there too.
The second verse is a story of assurance of this. When he explains that the nun told him that "fear is the heart of love", and so he never returned, he is saying that he is confident and sure of their love for each other, and isn't afraid to say that he will follow her anywhere.
The third verse is a different kind of assurance. It seems his love's time has come: "the soles of your shoes are all worn down, the time for sleep is now". He is telling her not to worry, that death isn't scary or bad:"it's nothing to cry about", an that they will together again in the "blackest of rooms", that is, of course, peaceful oblivion.
The main line,"I will follow you into the dark", does not neccessarily mean she is going to hell, rather that he will follow her into the unknown, totally trusting their love in being utterly unconditional.
To me the artist seems to be ensuring his love that wherever she goes, he will follow. And when she dies, whether it be heaven or hell in which she belongs, he will go there too.
The second verse is a story of assurance of this. When he explains that the nun told him that "fear is the heart of love", and so he never returned, he is saying that he is confident and sure of their love for each other, and isn't afraid to say that he will follow her anywhere.
The third verse is a different kind of assurance. It seems his love's time has come: "the soles of your shoes are all worn down, the time for sleep is now". He is telling her not to worry, that death isn't scary or bad:"it's nothing to cry about", an that they will together again in the "blackest of rooms", that is, of course, peaceful oblivion.
The main line,"I will follow you into the dark", does not neccessarily mean she is going to hell, rather that he will follow her into the unknown, totally trusting their love in being utterly unconditional.
It's a beautiful song.