should are
occasionally stop
and when they stop
are black as a raven
seem to look at you with evil eye are white Sometimes
and run
and take the form of the heron or the sheep
or some other animal
but this is best seen children playing running after him for so many yards
Sometimes warn you with sound
before arriving
e la terra si trema
e gli animali si stanno zitti
certe volte ti avvisano con rumore
Vanno
vengono
ritornano
e magari si fermano tanti giorni
che non vedi più il sole e le stelle
e ti sembra di non conoscere più il posto dove stai
Vanno
vengono
per una vera mille sono finte
e si mettono li tra noi e il cielo
per lasciarci soltanto una voglia di pioggia
Nel 1990 out the twelfth studio album by Fabrizio De André, entitled Clouds , whose first track of the same name and have reported the text. The hearing, before continuing to read, it is obligatory [needs the password for the columns phonic, I lost all]
[...]
dell'abum The title is purely political and is a direct reference to the note and still homonymous play by Aristophanes. In the work of playwright greek "Clouds" are the Sophists, protesters and bad advisers (among whom are numbered, despite himself, the poor Socrates, as the chief exponent of the class) which, according to De André
" pointed to the new generations a new kind of mental attitude and certainly innovative and provocative behavior against the conservative government dell'Atene of those times. [...] "On the other hand
" My Clouds are understood as those characters bulky and obligations in our social, political and economic, are all who fear the new because the new could subvert their positions of power. In the second part of the album, moving the people, and those clouds, however, suffers without giving any clear sign of protest . "
This explains the bifurcation of the disk into two parts, one in Italian (which represents the powerful - the first four tracks) and the other in dialect (ie the people, four seconds). Using such a reading is interpreted then also the initial chirp of cicadas, which opens the track (also will be taken up at the end), and represents "the gossip of the rich, the powerful, the clouds" in their metaphoric meaning.
" it belongs to force us to raise our eyes to observe, on the other prevent us from seeing something different or higher than them. Then the clouds become entities who decide over us and which we must obey, but, while conditioning everyone's life, are made of nothing, that are only apparent over it with indifference and disregard for our desire to rain ... "
( From Matteo Borsani - Luca Maciacchini, saved souls, p. 146)
" For start, looks like a camel indeed "
Here, clarified the meaning of the metaphorical ball of water in suspension given by De Andre, I would get rid of it immediately. The aim is to depoliticize the clouds, to be able to take into account another aspect, less oppressive and obscurantist. It is that 'look metamorphic, plastic and surprisingly makes a charming clouds imaginative exercise for children. From this, I think, derives its charm even the song De André. Therefore considers the fantastic side (in the sense of stimulating the imagination) of the clouds, the heron and the sheep, that infants can see better, but that the old Aristophanes, for its part, had already caught:
SOCRATES:
- "Do not ever you saw, looking at the sky clouds similar to a centaur, or a panther, or a bull?
LESINA:
- "Without a doubt!" So what? "
SOCRATES:
- "They change their shape to piacere.Se see from one of these great hair, covered with hair all of them, un selvatico sul fare di Gerònimo, per beffar quel fanatico,si cangiano in centauri. "
(Aristoph. Nub. 346ss.)
Cangianti le nuvole, caleidoscopiche e multiformi. Shakespeare sembra registrarne l'analogo effetto in una delle sue opere più conosciute, The Tragical History of Hamlet, Prince of Denmark, nelle parole del ciambellano Polonio:
AMLETO:
- La vedete quella nuvola, che ha quasi la forma di un cammello?
POLONIO:
- Per la messa, pare un cammello davvero!
AMLETO:
- A me sembra una donnola.
POLONIO:
- Ha la back of a weasel.
HAMLET
- Or a whale?
Polonius:
- It 's the same as a whale. "
(378-84)
HAMLET Do you see yonder cloud that's Almost in the shape of a camel?
Polonius
Bt th'mass and'tis, like a camel indeed.
HAMLET
methinks it is like a weasel.
The Polonius is backed like a weasel.
HAMLET Or like a whale?
Polonius Very like a whale
Given its position of idler \\ lackeys, Poland can also asserted accused of lying to please his master marvel at the expanse of forms claims to have before my eyes. Its creator, however, it seems they have for an authentic charm, at least judging from the beautiful description which depicts again the magic of cirrus clouds and, evoking the metamorphosis, in a step dell'Antoniano and Cleopatra:
ANTONIO
- Sometimes we see a cloud taking the form of a dragon, sometimes in the form of a cirrus cloud lion od'orso or turreted citadel od'un plane peak of forked mountain, dressed in blue capes trees, winking in the world for mocking our eyes in a game of air. You've seen signs like these, are the procession of the dark vespers. EROS
- Yes, my lord
ANTONIO
- What is now a horse, just a thought and remove the cloud, and makes it indistinct as water in the water.
Just a thought. (God is perhaps a painter who occupies his free time in the fun?)
Apollonius of Tyana was a Pythagorean philosopher, who lived at the time of Christ, who traveled the world preaching the wisdom and performing miracles (also ). Philostratus wrote his biography, a curious and moving document of paganism at sunset. " There he tells of how they came to India, where you can see some relief in metal used at the time of Alexander the Great, and so you entertained with his disciple Damis (conclusoni drawing on clouds similar to those mentioned by Antonio):
- "Tell me, Damis, there is a thing called art?"
- "Sure," said Damis.
- "And what is this art?"
- "Well, - replied Damis - when mixing colors."
- "Why do it?".
- "To imitate, to build a shape resembling a dog or a horse or a man or a ship, or anything else under the sun."
- "Then - insists Apollonius - the painting is an imitation, mimicry?".
- "Sure, what else should be if it were not so a ridiculous toy with the colors. "
- "Yes, - he continues his mentor - but what about the things we see in the sky when the clouds drift racing, those centaurs and antelopes, wolves and of those horses? They are also works of imitation? Does God have a painter who occupies his free time in this fun? "
No, answer the two agree, we see these shapes in the clouds have no meaning in itself, arise by chance, we who are by nature brought down ' imitation and give shape to these clouds.
- "But does not this mean - suggests Apollonius - the art of imitation has a dual aspect? One is what leads to use hands and minds to achieve imitation, the other is what creates the similarity only with the mind? The mind of the observer has a share in the imitation. To this I say that those who keep the works of painting and drawing must have the imitative faculty, and that no one can understand the horse or the bull does not know if painting these animals "
(cited by Gombrich 221.2)
A Apparently it seems that the shapes in the clouds we put them there, at least in part. So the spell would be a self-enchantment, and we would be victims of our own imagination.
But according to what mechanisms?
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