Fa la pubblicità che prima gli chiedevo Marracash (Ft. J-Ax) – ...Quando Ero Vivo
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Radio e TV presenti in massa
Anche chi non mi passava una traccia
Intervistano perfino mia mamma
Ancora sotto shock, che piange come da programma Marracash (Ft. J-Ax) – ...Quando Ero Vivo
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Adesso vedo un poliziotto e una cameriera
Vedo me stesso morto sul pavimento
Di quest'hotel a tre stelle e mezzo dopo un concerto Marracash (Ft. J-Ax) – ...Quando Ero Vivo
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In radio gira sempre una mia canzone
Chissà dov'era tutto questo amore
Quando soffrivo, quando ero vivo
Adesso finalmente sanno il mio nome
Bruciare il santo e fare la processione
A cosa serve tutto questo onore
Se non ero un mito quando ero vivo? Marracash (Ft. J-Ax) – ...Quando Ero Vivo
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What is this?
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Thou is an archaic form of you. It refers to the urn Keats is addressing through a rhetorical technique known as apostrophe. Keats saw the urn during a visit to the British Museum in London and was deeply struck by it.
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The Romantic Poets
Keats was one of the ‘big six’ Romantic Poets (Shelley, Wordsworth, Coleridge and Byron. A tenet of Romantic poetry is its focus on nature and man’s insignificance in comparison to the natural world. This was a subject of particular interest to Wordsworth.
It should be noted that life in the late 18th and early 19th Century life during the time of King George III, known — ironically given the terrible social conditions of the time — as the Romantic Era. The Romantics were also Pantheists, that is they believed that God was manifested in nature.
An ode is an elaborately structured poem praising or glorifying an event or individual, dealing with the subject intellectually as well as emotionally. Written in May 1819 and published in January 1820, this is one of John Keats’s “Great Odes” of 1819, which include “Ode on Indolence,” “Ode on Melancholy,” “Ode to a Nightingale,” “Ode to Psyche,” and, of course, “To Autumn.”
The poem plays on the tensions between mortality and immortality, art and nature, desire and fulfillment.
The truth of art is inseparable from its beauty, and is a “friend to man” that lasts through time.
Note: “Ode on Indolence” is usually considered a predecessor to the “Great Odes” and separately categorised. However. Keats drew on ideas that appear in “Ode on Indolence” and developed them in “Ode on a Grecian Urn.”
Structure
The poem comprises five ten-lined stanzas. The the rhyme scheme is complex, but broadly each stanza follows the pattern ABAB CDE DCE, though with variations on the last six lines. The metrical rhythm is iambic pentameter, with each line made of of five iambs or metrical feet per line, a iamb being one unstressed followed by one stressed syllable, which mimics a heartbeat, appropriate for a poem about life and immortality. The effect is a measured, elegant pace suitable for the seriousness of the subject.
Language and Imagery
The voice is that of a third person narrator, contemplating intellectually and emotional the urn and its significance. The ode is formed as a series of images which are described and considered. So, for example the urn is referred to as a ‘bride of quietness’; a 'child of silence, as a teller of pastoral stories etc. But the dominant image appears in the final stanza is as a ‘Cold Pastoral’, suggesting that its unfading beauty cannot give it the warmth and life of being human.
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Ron was born in Queens, New York, and he’s been a Knicks fan since he was a kid, he never played for them though.
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Nine of the Rings of Power were given to men.
Humans are more inclined to bind to the rings' power, so they received more rings. The nine men would become Nazgûls, or Ringwraiths.
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Seven of the Rings of Power were given to the Dwarf-lords.
These rings inflated their greed, and each became the foundation for a great hoard of treasure. Unfortunately for the dwarves, dragons were as greedy as them, and thus four of the rings were lost to dragons, while the remaining three fell back into Sauron’s hands.
The final ring to be lost, that of Thráin, was thought by the dwarves to have instead been lost by Thrór. Gimli’s cousin Balin (the reason he begins wailing and mourning when the fellowship arrives in Moria) travelled to Moria in part for the mistaken hope of recovering that ring. Sauron’s minions tried to use that ring to bribe dwarves to disclose the whereabouts of Bilbo, in hopes of recovering the One Ring.
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The deities or mortals are the gods and humans represented on the urn.
Both the (Valley of) Tempe and Arcady (Arcadia today) are Grecian regions, where the tale of the urn probably takes place.
Keats is an adept craftsman and uses words skillfully, as the concise compound description ‘leaf-fringed legend’ attests.
A string of rhetorical questions sets up the intellectual basis of what he wishes to say, creating tension that draws the curious reader in.
Introduced by the word “historian” (which carried the meaning of story=-teller), Keats now starts to see the urn not only as visual but as a vehicle for narrative. We get the picture of men or Gods pursing maidens–a motif found frequently on Greek urns and sometimes in a very revealing form.