Little thinks, in the field, yon red-cloaked clown,
Of thee from the hill-top looking down;
The heifer that lows in the upland farm,
Far-heard, lows not thine ear to charm;
The sexton, tolling his bell at noon,
Deems not that great Napoleon
Stops his horse, and lists with delight,
Whilst his files sweep round yon Alpine height;
Nor knowest thou what argument
Thy life to thy neighbor's creed has lent.
All are needed by each one;
Nothing is fair or good alone.
I thought the sparrow's note from heaven,
Singing at dawn on the alder bough;
I brought him home, in his nest, at even;
He sings the song, but it pleases not now,
For I did not bring home the river and sky; --
He sang to my ear, -- they sang to my eye.
The delicate shells lay on the shore;
The bubbles of the latest wave
Fresh pearls to their enamel gave;
And the bellowing of the savage sea
Greeted their safe escape to me.
I wiped away the weeds and foam,
I fetched my sea-born treasures home;
But the poor, unsightly, noisome things
Had left their beauty on the shore,
With the sun, and the sand, and the wild uproar.
The lover watched his graceful maid,
As 'mid the virgin train she stayed,
Nor knew her beauty's best attire
Was woven still by the snow-white choir.
At last she came to his hermitage,
Like the bird from the woodlands to the cage; --
The gay enchantment was undone,
A gentle wife, but fairy none.
Then I said, "I covet truth;
Beauty is unripe childhood's cheat;
I leave it behind with the games of youth:" –
As I spoke, beneath my feet
The ground-pine curled its pretty wreath,
Running over the club-moss burrs;
I inhaled the violet's breath;
Around me stood the oaks and firs;
Pine-cones and acorns lay on the ground;
Over me soared the eternal sky,
Full of light and of deity;
Again I saw, again I heard,
The rolling river, the morning bird; --
Beauty through my senses stole;
I yielded myself to the perfect whole.
10 Nisan 2010 Cumartesi
The Indian Burying Ground by Philip Freneau
In spite of all the learned have said,
I still my old opinion keep;
The posture that we give the dead,
Points out the soul's eternal sleep.
Not so the ancients of these lands--
The Indian, when from life released,
Again is seated with his friends,
And shares again the joyous feast.
His imaged birds, and painted bowl,
And venison, for a journey dressed,
Bespeak the nature of the soul,
Activity, that knows no rest.
His bow, for action ready bent,
And arrows, with a head of bone,
Can only mean that life is spent,
And not the finer essence gone.
Thou, stranger, that shalt come this way,
No fraud upon the dead commit,
Yet, marking the swelling turf, and say,
They do not lie, but here they sit.
Here, still a lofty rock remains,
On which the curious eye may trace
(Now wasted half by wearing rains)
The fancies of a ruder race.
Here, still an aged elm aspires,
Beneath whose far-projecting shade
(And which the shepherd still admires)
The children of the forest played.
There oft a restless Indian queen,
(Pale Marian, with her braided hair)
And many a barbarous form is seen
To chide the man that lingers there.
By midnight moons, o'er moistening dews,
In habit for the chase arrayed,
The hunter still the deer pursues,
The hunter and the deer-- a shade.
And long shall timorous fancy see
The painted chief, and pointed spear,
And reason's self shall bow the knee
To shadows and delusions here.
I still my old opinion keep;
The posture that we give the dead,
Points out the soul's eternal sleep.
Not so the ancients of these lands--
The Indian, when from life released,
Again is seated with his friends,
And shares again the joyous feast.
His imaged birds, and painted bowl,
And venison, for a journey dressed,
Bespeak the nature of the soul,
Activity, that knows no rest.
His bow, for action ready bent,
And arrows, with a head of bone,
Can only mean that life is spent,
And not the finer essence gone.
Thou, stranger, that shalt come this way,
No fraud upon the dead commit,
Yet, marking the swelling turf, and say,
They do not lie, but here they sit.
Here, still a lofty rock remains,
On which the curious eye may trace
(Now wasted half by wearing rains)
The fancies of a ruder race.
Here, still an aged elm aspires,
Beneath whose far-projecting shade
(And which the shepherd still admires)
The children of the forest played.
There oft a restless Indian queen,
(Pale Marian, with her braided hair)
And many a barbarous form is seen
To chide the man that lingers there.
By midnight moons, o'er moistening dews,
In habit for the chase arrayed,
The hunter still the deer pursues,
The hunter and the deer-- a shade.
And long shall timorous fancy see
The painted chief, and pointed spear,
And reason's self shall bow the knee
To shadows and delusions here.
Emerson's Optimism
"In the woods we return to reason and faith.
There I feel that nothing can befal me in life,
--no disgrace, no calamity, (leaving me my eyes)
which nature cannot repair.
Standing on the bare ground,
-- my head bathed by the blithe air,
and uplifted into infinite space,
--all mean egotism vanishes.
I become a transparent eye-ball.
I am nothing.
I see all.
The currents of Universal Being circulate through me; I am part or particle of God."
(Nature, p 10, in Collected Works vol 1, Ferguson, ed.)
http://hua.umf.maine.edu/Reading_Revolutions/Emerson.html
There I feel that nothing can befal me in life,
--no disgrace, no calamity, (leaving me my eyes)
which nature cannot repair.
Standing on the bare ground,
-- my head bathed by the blithe air,
and uplifted into infinite space,
--all mean egotism vanishes.
I become a transparent eye-ball.
I am nothing.
I see all.
The currents of Universal Being circulate through me; I am part or particle of God."
(Nature, p 10, in Collected Works vol 1, Ferguson, ed.)
http://hua.umf.maine.edu/Reading_Revolutions/Emerson.html
9 Nisan 2010 Cuma
Je dis que Dieu est mort! ''John Proctor''
Gökyüzündeki babamız adın kutlu olsun.
Krallığın gelsin, iraden genişlesin hem dünyada hem de cennette.
Bize bugünlük ekmeğimizi ver.
Günahlarımızı bağışla bize karşı günah işleyenleri bağışladığımız gibi.
Baştan çıkarılmamıza izin verme, bizi kötülükten uzak tut.
Çünkü krallık, kudret ve yücelik ebediyen senindir!
''Leave me my name!''
Krallığın gelsin, iraden genişlesin hem dünyada hem de cennette.
Bize bugünlük ekmeğimizi ver.
Günahlarımızı bağışla bize karşı günah işleyenleri bağışladığımız gibi.
Baştan çıkarılmamıza izin verme, bizi kötülükten uzak tut.
Çünkü krallık, kudret ve yücelik ebediyen senindir!
''Leave me my name!''
Metal Alerjisi Nedir? Neler Metal Alerjisine Sebep Olur?
Metal alerjisi, alerji yapan maddelerin vücuttan uzaklaştırılmasıyla engellenebiliyor. Bu durum hayatı olumsuz yönde etkileyebiliyor.
Aslında zararsız olan nikel, kobalt, krom gibi metaller bazı kişilerde alerjiye yol açar. Özellikle farklı takılar kullanmayı seven kadınlarda sık görülen metal alerjileri, deride döküntü ile başlayıp kabarıklık ve çatlaklara yol açar. Alerji nedeniyle takı, saat, hatta metal düğme ve fermuarlar bile alerjiye neden olur. Alerji sebebiyle bazı kadınlar takı ve aksesuarlara uzaktan bakmakla yetinmek zorunda kalır.
Derinin bir maddeyle temas ettiğinde gelişen; kaşıntılı, kızar tılı, sonrasında su toplamalı döküntülerle karakterize, aşırı duyarlılık reaksiyonlarına alerjik kontakt dermatit denmek tedir. Günümüzde altın, birçok alanda yaygın olarak kullanılan en çekici ve göz alıcı metaldir. Saflığı, parıltısı, nadir olması ve değeri altını dünya çapında aranılan bir element haline getir miştir. Ancak bazı durumlarda altın, nikel gibi başka metallerle karıştırılır. Ortaya çıkan alaşım ile alerjik reaksiyon lar ortaya çıkabilir. Bunun yanında, saf altın ise nadiren alerjeniktir.
Takılarda bulunan altın harici alerjenik metaller temas ettik leri ciltte, kızarıklık, şişlik ve doku hasarına neden olur. Reaksiyonlar genelde takıların kulak, burun, dudaklar, dil ile temaslarından birkaç saat sonra ortaya çıkar. Bu reaksiyonlardan başlıca sorumlu etken nikel olup, kobalt ve krom gibi metallerle de reaksiyonlar izlenebilir. Metal alerjileri takı kullandıkları için genellikle kadınlarda görülür. Çocuk ve yaşlılarda sıklık daha azdır. Bununla birlikte erkekler arasında, gerek takı kullanımının artması, gerekse mesleki maruziyet nedeniyle de sıklığı artmaktadır. Sadece takılarda değil, metal içeren birçok inşaat-yapı mal zemesi de alerjik reaksiyonlara neden olur. Mesleki maruziyeti olan kişilerin deri döküntüleri tipik olarak ellerde görülür. Takı merakı metal alerji sıklığını hem erkek hem de kadınlarda artırıyor.
Metal alerji semptomları metale maruziyetten ortalama 6-24 saat içinde ortaya çıkar. Deri reaksiyonları genellikle metalin doğrudan temas ettiği bölge ile sınırlıdır.
Ancak alerjenin parmak uçları ile yüz, gözkapağı veya mahrem bölgeler gibi vücudun diğer yerlerine taşınmasının bir sonucu olarak yayıl ma da gösterebilir. Metal alerjilerinde şu belirtiler görülür: Kızarık, kaşıntılı, şiş bir deri. İçi su toplamış kabarıklıklar. Kabuklanma veya haşlanmış deri görünümü. Deri renginde koyulaşma, kuru deri. Metal alerjilerine ilişkin şikâyetler maruziyet kesildikten sonra kaybolmaya başlar.
Metal alerjisinin sıkça görüldüğü ürünler şunlar: Deodorantlar, kemerler, çakmaklar, zincirler, küpeler, gözlük, saç boyaları, tokalar, el çantaları, takılar, metal düğmeler, iğneler, tıraş bıçağı, ayakkabı, yapay çiçekler, piller, deterjanlar, kapı kolu, mutfak kapları, metal süs eşyaları, cam pamuğu, gümüş eşya, çamaşır suyu, çimento, boyalar, polyester reçine, boyalı dövmeler.
Metal alerjisinin tedavisi NASIL YAPILIYOR?
Metal alerjisinin bilinen kesin bir tedavisi yoktur. Ancak belir tiler fark edildiğinde; ilk yapılması gereken, alerjenin vücuda temas ettiği yerden uzaklaştırılmasıdır. Alerjiye neden olabi lecek benzeri etkenlerden de uzak durulması sonraki reaksiyonların engellenebilmesinde faydalı olacaktır. Bazı vakalarda hekim gerek döküntü gerekse kaşıntıyı azalt maya yönelik kortizonlu krem reçete edebilir.
Şikâyetleri azaltmak için ne yapmalı?
Alınacak tüm ürünlerin içerikleri metal alerji potansiyelleri açısından kontrol edilmeli.
Nikel içermeyen, hipoalerjenik takı veya eşyaları tercih edin.
Paslanmaz çelik, küpe, broş ve düğmelerde kullanılmaktadır.
Alerjen temasının engellenmesinde hem evde hem de işyerinde koruyucu ekipman giyilmelidir.
Metal eşyalar yerine, tahta, plastik, kâğıt veya kumaşların kullanılabilir.
Aslında zararsız olan nikel, kobalt, krom gibi metaller bazı kişilerde alerjiye yol açar. Özellikle farklı takılar kullanmayı seven kadınlarda sık görülen metal alerjileri, deride döküntü ile başlayıp kabarıklık ve çatlaklara yol açar. Alerji nedeniyle takı, saat, hatta metal düğme ve fermuarlar bile alerjiye neden olur. Alerji sebebiyle bazı kadınlar takı ve aksesuarlara uzaktan bakmakla yetinmek zorunda kalır.
Derinin bir maddeyle temas ettiğinde gelişen; kaşıntılı, kızar tılı, sonrasında su toplamalı döküntülerle karakterize, aşırı duyarlılık reaksiyonlarına alerjik kontakt dermatit denmek tedir. Günümüzde altın, birçok alanda yaygın olarak kullanılan en çekici ve göz alıcı metaldir. Saflığı, parıltısı, nadir olması ve değeri altını dünya çapında aranılan bir element haline getir miştir. Ancak bazı durumlarda altın, nikel gibi başka metallerle karıştırılır. Ortaya çıkan alaşım ile alerjik reaksiyon lar ortaya çıkabilir. Bunun yanında, saf altın ise nadiren alerjeniktir.
Takılarda bulunan altın harici alerjenik metaller temas ettik leri ciltte, kızarıklık, şişlik ve doku hasarına neden olur. Reaksiyonlar genelde takıların kulak, burun, dudaklar, dil ile temaslarından birkaç saat sonra ortaya çıkar. Bu reaksiyonlardan başlıca sorumlu etken nikel olup, kobalt ve krom gibi metallerle de reaksiyonlar izlenebilir. Metal alerjileri takı kullandıkları için genellikle kadınlarda görülür. Çocuk ve yaşlılarda sıklık daha azdır. Bununla birlikte erkekler arasında, gerek takı kullanımının artması, gerekse mesleki maruziyet nedeniyle de sıklığı artmaktadır. Sadece takılarda değil, metal içeren birçok inşaat-yapı mal zemesi de alerjik reaksiyonlara neden olur. Mesleki maruziyeti olan kişilerin deri döküntüleri tipik olarak ellerde görülür. Takı merakı metal alerji sıklığını hem erkek hem de kadınlarda artırıyor.
Metal alerji semptomları metale maruziyetten ortalama 6-24 saat içinde ortaya çıkar. Deri reaksiyonları genellikle metalin doğrudan temas ettiği bölge ile sınırlıdır.
Ancak alerjenin parmak uçları ile yüz, gözkapağı veya mahrem bölgeler gibi vücudun diğer yerlerine taşınmasının bir sonucu olarak yayıl ma da gösterebilir. Metal alerjilerinde şu belirtiler görülür: Kızarık, kaşıntılı, şiş bir deri. İçi su toplamış kabarıklıklar. Kabuklanma veya haşlanmış deri görünümü. Deri renginde koyulaşma, kuru deri. Metal alerjilerine ilişkin şikâyetler maruziyet kesildikten sonra kaybolmaya başlar.
Metal alerjisinin sıkça görüldüğü ürünler şunlar: Deodorantlar, kemerler, çakmaklar, zincirler, küpeler, gözlük, saç boyaları, tokalar, el çantaları, takılar, metal düğmeler, iğneler, tıraş bıçağı, ayakkabı, yapay çiçekler, piller, deterjanlar, kapı kolu, mutfak kapları, metal süs eşyaları, cam pamuğu, gümüş eşya, çamaşır suyu, çimento, boyalar, polyester reçine, boyalı dövmeler.
Metal alerjisinin tedavisi NASIL YAPILIYOR?
Metal alerjisinin bilinen kesin bir tedavisi yoktur. Ancak belir tiler fark edildiğinde; ilk yapılması gereken, alerjenin vücuda temas ettiği yerden uzaklaştırılmasıdır. Alerjiye neden olabi lecek benzeri etkenlerden de uzak durulması sonraki reaksiyonların engellenebilmesinde faydalı olacaktır. Bazı vakalarda hekim gerek döküntü gerekse kaşıntıyı azalt maya yönelik kortizonlu krem reçete edebilir.
Şikâyetleri azaltmak için ne yapmalı?
Alınacak tüm ürünlerin içerikleri metal alerji potansiyelleri açısından kontrol edilmeli.
Nikel içermeyen, hipoalerjenik takı veya eşyaları tercih edin.
Paslanmaz çelik, küpe, broş ve düğmelerde kullanılmaktadır.
Alerjen temasının engellenmesinde hem evde hem de işyerinde koruyucu ekipman giyilmelidir.
Metal eşyalar yerine, tahta, plastik, kâğıt veya kumaşların kullanılabilir.
Erkeğin Sadece Sağ Kulağına Küpe Takması
"Sadece sağ kulağına küpe takan erkek, erkek değildir; ibnedir, yumuşaktır, toptur, boktur, püsürdür." şeklindeki homofobik, faşist ve hepsinden öte bir de abuk sabuk bir yaklaşım yüzünden ortalıkta bir dolu, sadece sol kulağına küpe takan erkeklerin türemesine ve zihni açık, aklıselim kimselerin bu duruma katıla katıla gülmelerine sebebiyet veren şey...''
mavimercan
mavimercan
8 Nisan 2010 Perşembe
Ode on a Grecian Urn - John Keats
Summary
In the first stanza, the speaker stands before an ancient Grecian urn and addresses it. He is preoccupied with its depiction of pictures frozen in time. It is the “still unravish’d bride of quietness,” the “foster-child of silence and slow time.” He also describes the urn as a “historian” that can tell a story. He wonders about the figures on the side of the urn and asks what legend they depict and from where they come. He looks at a picture that seems to depict a group of men pursuing a group of women and wonders what their story could be: “What mad pursuit? What struggle to escape? / What pipes and timbrels? What wild ecstasy?”
In the second stanza, the speaker looks at another picture on the urn, this time of a young man playing a pipe, lying with his lover beneath a glade of trees. The speaker says that the piper’s “unheard” melodies are sweeter than mortal melodies because they are unaffected by time. He tells the youth that, though he can never kiss his lover because he is frozen in time, he should not grieve, because her beauty will never fade. In the third stanza, he looks at the trees surrounding the lovers and feels happy that they will never shed their leaves. He is happy for the piper because his songs will be “for ever new,” and happy that the love of the boy and the girl will last forever, unlike mortal love, which lapses into “breathing human passion” and eventually vanishes, leaving behind only a “burning forehead, and a parching tongue.”
In the fourth stanza, the speaker examines another picture on the urn, this one of a group of villagers leading a heifer to be sacrificed. He wonders where they are going (“To what green altar, O mysterious priest...”) and from where they have come. He imagines their little town, empty of all its citizens, and tells it that its streets will “for evermore” be silent, for those who have left it, frozen on the urn, will never return. In the final stanza, the speaker again addresses the urn itself, saying that it, like Eternity, “doth tease us out of thought.” He thinks that when his generation is long dead, the urn will remain, telling future generations its enigmatic lesson: “Beauty is truth, truth beauty.” The speaker says that that is the only thing the urn knows and the only thing it needs to know.
Form
“Ode on a Grecian Urn” follows the same ode-stanza structure as the “Ode on Melancholy,” though it varies more the rhyme scheme of the last three lines of each stanza. Each of the five stanzas in “Grecian Urn” is ten lines long, metered in a relatively precise iambic pentameter, and divided into a two part rhyme scheme, the last three lines of which are variable. The first seven lines of each stanza follow an ABABCDE rhyme scheme, but the second occurrences of the CDE sounds do not follow the same order. In stanza one, lines seven through ten are rhymed DCE; in stanza two, CED; in stanzas three and four, CDE; and in stanza five, DCE, just as in stanza one. As in other odes (especially “Autumn” and “Melancholy”), the two-part rhyme scheme (the first part made of AB rhymes, the second of CDE rhymes) creates the sense of a two-part thematic structure as well. The first four lines of each stanza roughly define the subject of the stanza, and the last six roughly explicate or develop it. (As in other odes, this is only a general rule, true of some stanzas more than others; stanzas such as the fifth do not connect rhyme scheme and thematic structure closely at all.)
Themes
If the “Ode to a Nightingale” portrays Keats’s speaker’s engagement with the fluid expressiveness of music, the “Ode on a Grecian Urn” portrays his attempt to engage with the static immobility of sculpture. The Grecian urn, passed down through countless centuries to the time of the speaker’s viewing, exists outside of time in the human sense—it does not age, it does not die, and indeed it is alien to all such concepts. In the speaker’s meditation, this creates an intriguing paradox for the human figures carved into the side of the urn: They are free from time, but they are simultaneously frozen in time. They do not have to confront aging and death (their love is “for ever young”), but neither can they have experience (the youth can never kiss the maiden; the figures in the procession can never return to their homes).
The speaker attempts three times to engage with scenes carved into the urn; each time he asks different questions of it. In the first stanza, he examines the picture of the “mad pursuit” and wonders what actual story lies behind the picture: “What men or gods are these? What maidens loth?” Of course, the urn can never tell him the whos, whats, whens, and wheres of the stories it depicts, and the speaker is forced to abandon this line of questioning.
In the second and third stanzas, he examines the picture of the piper playing to his lover beneath the trees. Here, the speaker tries to imagine what the experience of the figures on the urn must be like; he tries to identify with them. He is tempted by their escape from temporality and attracted to the eternal newness of the piper’s unheard song and the eternally unchanging beauty of his lover. He thinks that their love is “far above” all transient human passion, which, in its sexual expression, inevitably leads to an abatement of intensity—when passion is satisfied, all that remains is a wearied physicality: a sorrowful heart, a “burning forehead,” and a “parching tongue.” His recollection of these conditions seems to remind the speaker that he is inescapably subject to them, and he abandons his attempt to identify with the figures on the urn.
In the fourth stanza, the speaker attempts to think about the figures on the urn as though they were experiencing human time, imagining that their procession has an origin (the “little town”) and a destination (the “green altar”). But all he can think is that the town will forever be deserted: If these people have left their origin, they will never return to it. In this sense he confronts head-on the limits of static art; if it is impossible to learn from the urn the whos and wheres of the “real story” in the first stanza, it is impossible ever to know the origin and the destination of the figures on the urn in the fourth.
It is true that the speaker shows a certain kind of progress in his successive attempts to engage with the urn. His idle curiosity in the first attempt gives way to a more deeply felt identification in the second, and in the third, the speaker leaves his own concerns behind and thinks of the processional purely on its own terms, thinking of the “little town” with a real and generous feeling. But each attempt ultimately ends in failure. The third attempt fails simply because there is nothing more to say—once the speaker confronts the silence and eternal emptiness of the little town, he has reached the limit of static art; on this subject, at least, there is nothing more the urn can tell him.
In the final stanza, the speaker presents the conclusions drawn from his three attempts to engage with the urn. He is overwhelmed by its existence outside of temporal change, with its ability to “tease” him “out of thought / As doth eternity.” If human life is a succession of “hungry generations,” as the speaker suggests in “Nightingale,” the urn is a separate and self-contained world. It can be a “friend to man,” as the speaker says, but it cannot be mortal; the kind of aesthetic connection the speaker experiences with the urn is ultimately insufficient to human life.
The final two lines, in which the speaker imagines the urn speaking its message to mankind—”Beauty is truth, truth beauty,” have proved among the most difficult to interpret in the Keats canon. After the urn utters the enigmatic phrase “Beauty is truth, truth beauty,” no one can say for sure who “speaks” the conclusion, “that is all / Ye know on earth, and all ye need to know.” It could be the speaker addressing the urn, and it could be the urn addressing mankind. If it is the speaker addressing the urn, then it would seem to indicate his awareness of its limitations: The urn may not need to know anything beyond the equation of beauty and truth, but the complications of human life make it impossible for such a simple and self-contained phrase to express sufficiently anything about necessary human knowledge. If it is the urn addressing mankind, then the phrase has rather the weight of an important lesson, as though beyond all the complications of human life, all human beings need to know on earth is that beauty and truth are one and the same. It is largely a matter of personal interpretation which reading to accept.
In the first stanza, the speaker stands before an ancient Grecian urn and addresses it. He is preoccupied with its depiction of pictures frozen in time. It is the “still unravish’d bride of quietness,” the “foster-child of silence and slow time.” He also describes the urn as a “historian” that can tell a story. He wonders about the figures on the side of the urn and asks what legend they depict and from where they come. He looks at a picture that seems to depict a group of men pursuing a group of women and wonders what their story could be: “What mad pursuit? What struggle to escape? / What pipes and timbrels? What wild ecstasy?”
In the second stanza, the speaker looks at another picture on the urn, this time of a young man playing a pipe, lying with his lover beneath a glade of trees. The speaker says that the piper’s “unheard” melodies are sweeter than mortal melodies because they are unaffected by time. He tells the youth that, though he can never kiss his lover because he is frozen in time, he should not grieve, because her beauty will never fade. In the third stanza, he looks at the trees surrounding the lovers and feels happy that they will never shed their leaves. He is happy for the piper because his songs will be “for ever new,” and happy that the love of the boy and the girl will last forever, unlike mortal love, which lapses into “breathing human passion” and eventually vanishes, leaving behind only a “burning forehead, and a parching tongue.”
In the fourth stanza, the speaker examines another picture on the urn, this one of a group of villagers leading a heifer to be sacrificed. He wonders where they are going (“To what green altar, O mysterious priest...”) and from where they have come. He imagines their little town, empty of all its citizens, and tells it that its streets will “for evermore” be silent, for those who have left it, frozen on the urn, will never return. In the final stanza, the speaker again addresses the urn itself, saying that it, like Eternity, “doth tease us out of thought.” He thinks that when his generation is long dead, the urn will remain, telling future generations its enigmatic lesson: “Beauty is truth, truth beauty.” The speaker says that that is the only thing the urn knows and the only thing it needs to know.
Form
“Ode on a Grecian Urn” follows the same ode-stanza structure as the “Ode on Melancholy,” though it varies more the rhyme scheme of the last three lines of each stanza. Each of the five stanzas in “Grecian Urn” is ten lines long, metered in a relatively precise iambic pentameter, and divided into a two part rhyme scheme, the last three lines of which are variable. The first seven lines of each stanza follow an ABABCDE rhyme scheme, but the second occurrences of the CDE sounds do not follow the same order. In stanza one, lines seven through ten are rhymed DCE; in stanza two, CED; in stanzas three and four, CDE; and in stanza five, DCE, just as in stanza one. As in other odes (especially “Autumn” and “Melancholy”), the two-part rhyme scheme (the first part made of AB rhymes, the second of CDE rhymes) creates the sense of a two-part thematic structure as well. The first four lines of each stanza roughly define the subject of the stanza, and the last six roughly explicate or develop it. (As in other odes, this is only a general rule, true of some stanzas more than others; stanzas such as the fifth do not connect rhyme scheme and thematic structure closely at all.)
Themes
If the “Ode to a Nightingale” portrays Keats’s speaker’s engagement with the fluid expressiveness of music, the “Ode on a Grecian Urn” portrays his attempt to engage with the static immobility of sculpture. The Grecian urn, passed down through countless centuries to the time of the speaker’s viewing, exists outside of time in the human sense—it does not age, it does not die, and indeed it is alien to all such concepts. In the speaker’s meditation, this creates an intriguing paradox for the human figures carved into the side of the urn: They are free from time, but they are simultaneously frozen in time. They do not have to confront aging and death (their love is “for ever young”), but neither can they have experience (the youth can never kiss the maiden; the figures in the procession can never return to their homes).
The speaker attempts three times to engage with scenes carved into the urn; each time he asks different questions of it. In the first stanza, he examines the picture of the “mad pursuit” and wonders what actual story lies behind the picture: “What men or gods are these? What maidens loth?” Of course, the urn can never tell him the whos, whats, whens, and wheres of the stories it depicts, and the speaker is forced to abandon this line of questioning.
In the second and third stanzas, he examines the picture of the piper playing to his lover beneath the trees. Here, the speaker tries to imagine what the experience of the figures on the urn must be like; he tries to identify with them. He is tempted by their escape from temporality and attracted to the eternal newness of the piper’s unheard song and the eternally unchanging beauty of his lover. He thinks that their love is “far above” all transient human passion, which, in its sexual expression, inevitably leads to an abatement of intensity—when passion is satisfied, all that remains is a wearied physicality: a sorrowful heart, a “burning forehead,” and a “parching tongue.” His recollection of these conditions seems to remind the speaker that he is inescapably subject to them, and he abandons his attempt to identify with the figures on the urn.
In the fourth stanza, the speaker attempts to think about the figures on the urn as though they were experiencing human time, imagining that their procession has an origin (the “little town”) and a destination (the “green altar”). But all he can think is that the town will forever be deserted: If these people have left their origin, they will never return to it. In this sense he confronts head-on the limits of static art; if it is impossible to learn from the urn the whos and wheres of the “real story” in the first stanza, it is impossible ever to know the origin and the destination of the figures on the urn in the fourth.
It is true that the speaker shows a certain kind of progress in his successive attempts to engage with the urn. His idle curiosity in the first attempt gives way to a more deeply felt identification in the second, and in the third, the speaker leaves his own concerns behind and thinks of the processional purely on its own terms, thinking of the “little town” with a real and generous feeling. But each attempt ultimately ends in failure. The third attempt fails simply because there is nothing more to say—once the speaker confronts the silence and eternal emptiness of the little town, he has reached the limit of static art; on this subject, at least, there is nothing more the urn can tell him.
In the final stanza, the speaker presents the conclusions drawn from his three attempts to engage with the urn. He is overwhelmed by its existence outside of temporal change, with its ability to “tease” him “out of thought / As doth eternity.” If human life is a succession of “hungry generations,” as the speaker suggests in “Nightingale,” the urn is a separate and self-contained world. It can be a “friend to man,” as the speaker says, but it cannot be mortal; the kind of aesthetic connection the speaker experiences with the urn is ultimately insufficient to human life.
The final two lines, in which the speaker imagines the urn speaking its message to mankind—”Beauty is truth, truth beauty,” have proved among the most difficult to interpret in the Keats canon. After the urn utters the enigmatic phrase “Beauty is truth, truth beauty,” no one can say for sure who “speaks” the conclusion, “that is all / Ye know on earth, and all ye need to know.” It could be the speaker addressing the urn, and it could be the urn addressing mankind. If it is the speaker addressing the urn, then it would seem to indicate his awareness of its limitations: The urn may not need to know anything beyond the equation of beauty and truth, but the complications of human life make it impossible for such a simple and self-contained phrase to express sufficiently anything about necessary human knowledge. If it is the urn addressing mankind, then the phrase has rather the weight of an important lesson, as though beyond all the complications of human life, all human beings need to know on earth is that beauty and truth are one and the same. It is largely a matter of personal interpretation which reading to accept.
5 Nisan 2010 Pazartesi
Six Feet Under Frontman's Canadian Connection
There are three Canadian songs on Six Feet Under's new covers album, 'Graveyard Classics III' -- Anvil's 'Metal On Metal,' Bachman-Turner Overdrive's 'Not Fragile' and Exciter's 'Pounding Metal' -- and it might have something to do with frontman Chris Barnes' affinity for America's neighbor to the north.
"People say, 'Where did you grow up?' And they're like, 'New York City, huh?' And I'm like, 'No. I'm more Canadian than New York. I grew up in Buffalo, right on the border of Canada,'" says Barnes.
"Growing up, man, when I started getting into underground and extreme metal, being so close to Toronto, Anvil and Exciter were really cool bands to me. I loved those bands and those particular songs. 'Metal On Metal' is a classic anthem, and Exciter 'Pounding Metal,' that was the second song I ever learned how to do when I joined a band. So that was a real important song to me too," Barnes said.
Barnes, who saw the 2008 documentary 'Anvil! The Story of Anvil' on SFU's tour bus in Europe, doesn't know the guys in the band, but thinks he might have met lead singer/guitarist Steve 'Lips' Kudlow in Toronto "many moons ago," back when Barnes was in Cannibal Corpse.
As for the BTO cover, most people are familiar with 'Taking Care of Business,' 'You Ain't Seen Nothing Yet' and 'Let It Ride,' but even this Canadian scribe had to hop on YouTube to search for 'Not Fragile' and found a fan-made, static video, declaring it "probably THE most underrated BTO song of all time."
"Yeah, that's how I learned the song," Barnes laughs. "Must be the same one. It just showed the album cover or a picture of them? That's pretty much how I learned it."
Metal Blade Records founder Brian Slagel suggested the song. "He's like, 'Do this.' I was like, 'Hmm, I've never heard that song.' I was familiar with their radio hits, so that was pretty interesting to me. 'I have to check this song out. OK, how do I find it? I'm thinking YouTube.' So I did have to learn that. It wasn't a real intricate song as far as the vocal goes, but it was really heavy and really cool."
One of Barnes "greatest memories ever," was coming up to Toronto for New Year's Eve 1985. It was the dead of winter, but Yonge Street -- the city's main artery and the longest street in the world -- was bumper-to-bumper downtown. "We were driving like half a mile an hour, like one big party, man. It was crazy. It was mayhem," he recalls.
He also recalls coming up to the Gasworks, a legendary rock club immortalized in 'Wayne's World,' "and seeing two of the best cover bands that I'd ever seen in my life," he says. "One was a Van Halen cover band and another band was an Aerosmith cover band, and both of them were just perfect, man. I'd never heard any band play better than those bands as far as cover bands.
"It was lots of fun going up there as an underage f---in' kid drinking. Yeah, we could do all sorts of things. It was just hard to get across the border. That was the hardest part," he laughs.
Karen Bliss
"People say, 'Where did you grow up?' And they're like, 'New York City, huh?' And I'm like, 'No. I'm more Canadian than New York. I grew up in Buffalo, right on the border of Canada,'" says Barnes.
"Growing up, man, when I started getting into underground and extreme metal, being so close to Toronto, Anvil and Exciter were really cool bands to me. I loved those bands and those particular songs. 'Metal On Metal' is a classic anthem, and Exciter 'Pounding Metal,' that was the second song I ever learned how to do when I joined a band. So that was a real important song to me too," Barnes said.
Barnes, who saw the 2008 documentary 'Anvil! The Story of Anvil' on SFU's tour bus in Europe, doesn't know the guys in the band, but thinks he might have met lead singer/guitarist Steve 'Lips' Kudlow in Toronto "many moons ago," back when Barnes was in Cannibal Corpse.
As for the BTO cover, most people are familiar with 'Taking Care of Business,' 'You Ain't Seen Nothing Yet' and 'Let It Ride,' but even this Canadian scribe had to hop on YouTube to search for 'Not Fragile' and found a fan-made, static video, declaring it "probably THE most underrated BTO song of all time."
"Yeah, that's how I learned the song," Barnes laughs. "Must be the same one. It just showed the album cover or a picture of them? That's pretty much how I learned it."
Metal Blade Records founder Brian Slagel suggested the song. "He's like, 'Do this.' I was like, 'Hmm, I've never heard that song.' I was familiar with their radio hits, so that was pretty interesting to me. 'I have to check this song out. OK, how do I find it? I'm thinking YouTube.' So I did have to learn that. It wasn't a real intricate song as far as the vocal goes, but it was really heavy and really cool."
One of Barnes "greatest memories ever," was coming up to Toronto for New Year's Eve 1985. It was the dead of winter, but Yonge Street -- the city's main artery and the longest street in the world -- was bumper-to-bumper downtown. "We were driving like half a mile an hour, like one big party, man. It was crazy. It was mayhem," he recalls.
He also recalls coming up to the Gasworks, a legendary rock club immortalized in 'Wayne's World,' "and seeing two of the best cover bands that I'd ever seen in my life," he says. "One was a Van Halen cover band and another band was an Aerosmith cover band, and both of them were just perfect, man. I'd never heard any band play better than those bands as far as cover bands.
"It was lots of fun going up there as an underage f---in' kid drinking. Yeah, we could do all sorts of things. It was just hard to get across the border. That was the hardest part," he laughs.
Karen Bliss
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Do not go where the path may lead, go instead where there is no path and leave a trail.