Queen - Bohemian Rhapsody lyrics explained

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[@EltonWhenRockWasYoung]

The meaning of ‘Bohemian Rhapsody’s lyric is, to my mind, very clear. Let’s examine it sequentially:
1. “Is this the real life?” etc
Lyrically, the opening section is a condensed version of the story we’re about to hear; it functions as an overture.
2. “Mama, just killed a man” etc
The young protagonist has committed a crime punishable by death, and “thrown [his life] away”. Was this “crime” a metaphor for Freddie’s emergent inclination towards homosexuality? Is this something his “mama”, a devout Zoroastrian, might have considered unforgivably abhorrent?
The protagonist has some vague hope of a pardon, but considers this unlikely (“if I’m not back again this time tomorrow, carry on”). “As if nothing really matters” recapitulates the theme that his life is meaningless (“anyway the wind blows/nothing really matters to me”). This theme’s significance is underscored by its recapitulation at the song’s closing.
3. “Too late, my time has come” etc
The protagonist’s execution is imminent, possibly in the coming morning. Although this terrifies him, he bravely acknowledges that, with all other options exhausted, he must “face the truth”. (Somewhat prophetic, given how Freddie, in his final days, terminated all pharmaceutical interventions except for analgesics.)
4. The Operatic Section
Opera is, of course, theatrical. And it is common for opera to employ supernatural characters to theatrically illustrate humankind’s relationship with Fate and Destiny.
So, at this point, the scene abruptly shifts from the protagonist’s darkened cell (and the imminent threat to his *physical* being) to a spiritual locale, where the fate of his immortal *soul* - also imperilled by the crime - will be debated by a supernatural court.
“I see a little silhouetto of a man”: someone in the court mockingly acknowledges the protagonist’s arrival. The preeminent surroundings intimidate him (i.e. he is “little” and, being in silhouette, he is facing darkness).
(Compare with Pilate’s condescension upon meeting Christ in ‘Jesus Christ Superstar’: “who is this broken man, cluttering up my hallway? Who is this unfortunate?”)
“Will you do the fandango?” The court taunts and humiliates the protagonist, entreating him to dance for their pleasure.
(Compare with Herod’s taunts to Christ in ‘Jesus Christ Superstar’: “Prove to me that you’re no fool/walk across my swimming pool”.)
“Thunderbolt and lightning”: the protagonist expresses his reaction to this fearful environment.
“I’m just a poor boy”: he pitifully beseeches the court for mercy.
“He’s just a poor boy”: the protagonist’s ‘legal team’ begins its defence.
“Easy come, easy go”: the protagonist recapitulates the idea that his life is essentially meaningless and therefore not worthy of this trial. As such, with trepidation, he asks, “will you let me go?”
“No!” ... “Let him go!”: the defendant’s and plaintiff’s teams debate among themselves. The protagonist, his confidence somewhat restored, loudly adds his voice to the cacophony: “Let me go!”. But plaintiff’s team emphatically and conclusively tells him “no, no, no, no, no, no, NO!”
“O mamma mia ... Beelzebub”: the protagonist acknowledges that his soul is now irredeemably lost to eternal damnation.
5. The Hard Rock Section
We abruptly return to the material world to find that the protagonist is momentarily (and inexplicably) emboldened: he will NOT be judged by others, he will NOT accept condemnation, and he is determined to “get right out” of his predicament.
5. “Nothing really matters” etc
The protagonist’s momentary bravado deflates and, with morose resignation, he recapitulates the prevailing theme one final time: that his life is ultimately without meaning.
Of course, as suggested earlier, the entire lyric may be a metaphor for Freddie’s struggle to reconcile his emergent homosexuality with his parents’ religious position. And we know that Freddie loved his parents and strove to shield them from embarrassment, so this idea has some validity. Alternatively, the lyric may not be autobiographical at all. If the latter, the lyric nonetheless has an internal logic that, I hope, is illuminated by the above analysis.
Kind regards,
Jason Paris
www.eltonoutofthecloset.com
[e-mail]