FINAL GRECIAN URN DRAFTS AP LIT & COMP. #1 Natalia D, Isabella, Coco, Ariel

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1 FINAL GRECIAN URN DRAFTS AP LIT & COMP #1 Natalia D, Isabella, Coco, Ariel In his Ode to a Grecian Urn, Keats compares different scenes depicted on a vase as true tales from the depths of the past. The urn is a still unravished bride of quietness and a foster-child of silence and slow time. Within the first section of quote still can be considered in multiple ways, either meaning the unmoving or nevertheless doubly expressing the permanent nature of the piece of pottery. The object is a symbol of the unchanged. Throughout the slow creep of time it retains the same image. Yet, despite its endurance, deeper meaning is never fully revealed, and can only be guessed. This ambivalence is conveyed through the author s questioning words of, what leaf-fringed legend haunts about thy shape/ Of deities or mortals, or of both,/ In Tempe or the dales of Arcady?. In this way the urn could be a metaphor for the long, lost and often forgotten history of our ancestors. The speaker s comment that heard melodies are sweet, but those unheard are sweeter draws the reader inward, urging them to uncover secrets long lost to the minds of men. It is the mystery of this urn, of history that makes the discovery and wonder of it so enchanting. The perspectives through which the readers peer intensifies the overall experience of the poem. The speaker s attention is swiftly caught by the urn, as he wonders about the paradox that it presents. He directs his contemplative speech on time, towards the urn, perhaps also wishing to impress his views upon a larger audience. Transcending, yet frozen within time, the urn has a very odd relationship with aging. Keats laments over the stillness of the images on the pottery saying, Bold lover, never, never canst thou kiss... The speaker s emotion is felt through the excitement of punctuation and emphasis of repetition. He tackles the paradoxical subject of the urn figure s limitations and liberation. The inability to touch their companions is contrasted with, She cannot fade and For ever warm and still to be enjoyed/ For ever painting and for ever young... which reflects the permanence of their beauty. From the way he articulates the subject s immunity to time it is clear that the speaker has an appreciation for the everlasting quality of the urn. The speaker s belief that these forms are thought provoking because of their clarity of appearance, instead of meaning is initially full of positivity with, Ah, happy, happy boughs! though later this seems to be contradicted. That 1

2 leaves a heart high-sorrowful and cloyed/ A burning forehead, and a parching tongue speaks to an overwhelmed, overwrought reaction to this forevermore. Later, in the final stanza the speaker sums up his argument as, When old age shall this generation waste, Thou shalt remain, in midst of other woe/ Than ours, a friend to man, before handing of the proverbial microphone to the urn itself, into which this vase speaks (to whom thou say st), Beauty is truth, truth beauty, -that is all. The tone shifts with the point of view, extending towards the idea that the eternal allure is in fact a measure of extreme sincerity. The urn appears to be teaching a sort of life lesson to the reader and the original speaker--instilling its own wisdom that it has gained over the years. The true beauty is that which stands the test of time, and the truth found within the mysteries of history is beautiful in and of itself. Much of the imagery in the poem has a connection to nature and emotion. At the beginning of the first stanza, the poet describes a legend as leaffringed and than uses the word flowery when speaking of a tale. Nature is also seen more subtly through, Sylvan historian, the dales of Arcady and constant intertwining of the word pipes. Sylvan denotes woods, and Arcady is the Greek idea of paradise, embellished by the the sound of pipes, the instrument of Pan, the Greek god of nature. Pastoral can refer to land used for grazing sheep, which exemplifies the growth the nurturing elements of nature. Alternatively, Cold Pastoral can refer to the desolate and barren origins that the urn appears to belong to, once again expressing the speaker s love for his roots. And while the face stands the test of time, it is not as though continence is completely avoided. In the fourth stanza, the speaker describes the images on the urn as people moving from one destination to the next, from the little town by river or sea shore to the green altar. The journey circles through places with deep natural connections. So the strength of nature s ongoing being is much like the figures of paint upon the all important vase. Beautiful, and somewhat ageless, the power of history and nature continues on throughout time. However, the urn captures the perception of people, their ability to entrap this wonder, a single moment to always be seen, All breathing human passion far above... However, the romantic nature of the second stanza is influenced by the sounds and scenes within it, all of which are more of a one short second of sweetness, as opposed to the lasting events depicted upon the vase. Heard melodies are sweet, but those unheard are sweeter; therefore, ye 2

3 soft pipes, play on. Softly playing music is lovely, but the speaker seems to imply he prefers the longevity of the history rather then the embrace the present attitude of nature. Further on, there is mention of nature once again with, Fair youth, beneath the trees; thou canst not leave. The glow of youth beneath the foliage is easily visualized. Also, trees can be seen as a symbol for growth, and therefore life. The third stanza s tone is happy and joyful. Repetition of phrases such as happy, happy, happy love give it that fast-paced upbeat tone. Pipe music is usually upbeat, lovely, and happy, and so it lends that feeling to the stanza. And happy melodist, unwearied for ever piping songs for ever new. Again and again the old is viewed, and yet it does not drag the reader down for all it s age, and instead continues to appear fresh. While people live and die, the urn will stand the test of time. #2 LILLIAN & MOCCIA From the title of John Keats poem alone, Ode on a Grecian Urn, readers anticipate a description of this eponymous urn. When delving into the poem, however, readers can see that the narrator addresses the urn, and describes the two different scenes depicted upon it. Keats writes with one line flowing into the next, so that the rhythm of the poem is not represented by the structure of the lines. As readers progress through the poem, they note a change of punctuation that parallels the speaker s change of tone as he converses. For example, in the first stanza, the change from commas to question marks shows a change in the speaker s tone from addressing to questioning. Likewise, with each successive question, Keats uses words with increasing intensity and emotion, such as pursuit, mad escape, and wild ecstasy. (9-10) This could mimic the way a person would look at a piece of artwork. At first, there is an initial reaction to the scene and the mood behind it and so the first few lines of the poem describe the effect of the scene on the person. Then, after more careful observation, questions spring up about what the artwork might suggest. After these questions, some left unanswered, the speaker gives a detailed interpretation of the work. And, like at the end of the 3

4 poem, a final attempt to explain what the picture is trying to evoke or explain. Perhaps the most striking shift occurs, however from the third stanza to the last. The use of exclamation points in the third stanza speaks to the narrator s passion as he gets caught up in a moment of invincibility that oftentimes comes with youth whereas, in the last stanza, the use of exclamation points no longer marks emotions of jubilation, but rather of despair and disappointment. Readers can almost hear the harshness and scorn in the speaker s tone as he deems eternity a Cold Pastoral! (45) The coupling of the word cold with a word that has a warm, Spring association to it such as pastoral creates an oxymoron that adds to the sharpness of the stanza. This change of tone and mood mirrors the speaker s disillusionment with the idea of eternity, as with eternity,...old age shall this generation waste, /Thou shalt remain, in midst of other woe... (46-47) This categorization of eternity as a woe is a big difference compared to the earlier, Ah, happy, happy boughs! that cannot shed/ Your leaves nor ever bid the spring adieu... (21-22) The tone change also serves to mark a change in the speaker from an adolescent or young boy to and adult. The repetition of happy, happy throughout the stanza casts a free, blithe mood over the stanza, which is somewhat sobered by the ending burning forehead...parching tongue, (30) which is where readers start to get a tortured, fevered sense from the writer. Whereas before, things had been light and easy, perhaps reminiscent, the tone starts to sour into a bittersweet, tortured fever. It is no longer a young boy looking back fondly at his memories, but an older man, looking back with regret and sorrow. Although the last stanza reads in tones of despondency towards eternity, readers can t help but feel an appreciation for the ability to age, which is perhaps what the title refers to. The urn, a vessel which contains the ashes of the deceased, represents a continuation and remembrance of life, further celebrated by the ode on it. The speaker has an admiration for the urn, and its imperishability. While humans will die, the art that they create will live on. The poet, Keats, was also an artist and perhaps expresses a desire to have his world live on, teaching humanity for generations. An ode is a type of poem that exalts something, in this case a Grecian urn. The speaker describes two different scenes that are displayed upon the urn. It is evident that the speaker greatly admires the 4

5 urn, even claiming that the urn is A flowery tale more sweetly than our rhyme (line 4). The poet believes that the urn, and what it depicts, is better than the poem he is writing. In the second stanza, first scene is described. It is of two lovers just about to kiss beneath a tree. Frozen in time, the two can never kiss, but as the speaker points out She cannot fade...forever wilt thou love, and she be fair (line 20). This scene, capturing a timeless moment, has a very romantic, yet bittersweet feel to it. The urn does not capture the sweet moment of the actual kiss, but the anticipatory and climactic moment before the kiss. The speaker s tone, both gentle and wistful, hints at his own memories of young love long gone. Looking at the urn, he consoles both the image and himself,...yet, do not grieve/she cannot fade...for ever wilt thou love... (18-19) The narrator is speaking, not only of the scene playing across the urn, but also of the impermanence of youth, which he had to leave behind. The poet also says, heard melodies are sweet, but those unheard/ Are sweeter (lines 11-12), though a viewer of the urn could not hear the pipes and timbrels (line 10) the music is more melodious than in life. Again, the poet emphasizes how the scene is eternal. But he also touches upon the eternity of memories; although the moment has long passed, the memories will continue to play on, and it is in that way that the poet can relive that moment of youth. In the third stanza, the poet repeats words such as for ever (line 27) and happy (line 25) to further the sense of eternity. The word still (line 26) has a plethora of denotations. Still could that the scene is unmoving (as it is upon an urn) or that it is always occurring. The clever spacing of the word forever emphasizes how this scene will stay that way for eternity, forever. However inanimate the scene is, it still leaves a heart high-sorrowful and cloyed (line 29). If this was a reaction of someone when viewing the urn, it would present a contrast between the visceral reactions of humanity and the human passion that is far above (line 28) in the scene. The fourth stanza switches to a different setting, one of a deserted town. The poet goes into detail about the town, while still keeping an enigmatic, wondering where all the people are. The poet says, Will silent be; and not a soul to tell/why thou art desolate (line 40). It is curious that throughout the poem the writer switches between describing how realistic the poem is, and emphasizing that it is just an image that is, of course, not real. This is quite paradoxical because almost at the same time the fact that it is just an image and that it is very realistic, are shown. The line mentioned above but those unheard are sweeter demonstrates how the image is almost more beautiful than life. However, by claiming that 5

6 the branches that cannot shed (line 21) and the lovers that cannot grow old, the speaker is showing how it is an image, and will never change. Thus, the reader balances the beauty and realism in the piece, and the fact that it is an unchangeable image. The poet goes even further to write that the viewer will never know certain things about the poem, such as why the town is deserted. Though the viewer never knows everything that could be implied in the image, it supposedly claims that it holds All ye need to know (line 50). It was intended for this to be in quotations, to show that this line is written on the urn itself. It is paradoxical that one cannot know everything about the image, but that the urn contains all we need to know about life. This could be compared to the poem itself. The poet could be implying that we can never know everything that he intends to tell us, yet we can glean all we need to know about existence from his poem. In the last stanza the line Thou shalt remain, in midst of other woe (line 47). The poem might be implying how art, such as this urn or the poem, will last forever while civilizations fall and rise around it. The last two lines of the poem could also suggest that art tells us all we need to know. #3 -Caitlin, Dardane, Eve, Mikhaela The poem, Ode on a Grecian Urn, by John Keats explores the multiple meanings of the Urn. The reader deciphers what Keats exactly means by the Grecian Urn, by creating poignant images that vividly describe his feelings brought about by distinguishing features of the urn. The first feature of the urn is the depiction of the bride. Thou still unravished bride of quietness, thou foster-child of silence and slow time. The bride may be metaphorically inclined as the Urn or is just a painting on the Urn, creating this hope for something greater than just silence or motionless figures. Still creates a sense of 6

7 timelessness, in which time has passed, but the bride or the urn, however it is to be interpreted, remains unchanged, only changing through slow time. This slow change creates anticipation throughout the poem, beginning with the bride. Because the bride does not move or change, the reader feels an eagerness to see something brought to life within the bride. This creates a sense of waiting and the reader can almost feel a yearning to experience life. Also, the flowery tale that is to be told by the historian evokes the idea that instead of being truthful and insightful the speaker tells tales and rhymes that are pretentious. Through further inspection, the speaker has an almost self deprecating tone when he says, Sylvan historian, who canst thus express a flowery tale more sweetly than our rhymes. Keats utilizes diction when he writes flowery tale, because that choice of words evokes the idea that instead of being truthful and insightful the speaker tells tales and rhymes that are pretentious. He is not open and passionate about life. The speaker thinks lowly of himself and our rhymes. The our the speaker is referring to is unclear, but he might be referring to the youth, which he is a part of. If in fact he is referring to the youth of society, the speaker thinks that they only care about elaborate literature rather than meaning, in this way they live in a sort of blissful ignorance. The speaker seems youthful especially when he begins to question the meaning of the urn. He asks, What mad pursuit? What struggle to 7

8 escape? The speaker goes beyond simple observation and begins to ask multi-faceted questions that can be applied to life. It seems as if the speaker is talking to humanity and through his questions he is requiring people to introspectively determine the truth. Although there is a request for answers to these questions, he dismisses the questions without a definite answer. And within the second stanza, Keats is clearly heading in a new direction from his previous thoughts, leading to a paradoxical meaning of the heard and unheard melodies. The sweeter melodies are the unheard melodies which have no tone, or no notes to the melody. Those that are heard are heard by the sensual ear, rather than the soul, are not as sweet. This striking line exemplifies the rhythmic and lyrical qualities of the poem, and emphasizes the true beauty of the poet s language. The anticipation that is shown through the bold lover, never, never canst thou kiss will forever be like so because she cannot fade, which deliberately creates the reader to anticipate more than what is shown or heard, just as the bride and the melodies. The poem transitions from love to mourning at line 15, which says, Fair youth, beneath the trees, thou canst leave. This line has an everlasting and youthful tone. Then, there is a break and the speaker says Thy song, nor even can those trees be bare; Although this is a continuation of the previous line, it has a more somber tone because it seems as if the speaker is pleading. The speaker then idolizes the fact that in this state of eternal time, no one ever dies, and to the urn, nothing ever changes or is lost. However, the urn never experiences life and bold 8

9 lover, never, never canst thou kiss, meaning that even though the urn never loses anything, it never lives or loves either. Anticipation is also a theme that can be found in the erotic nature of this poem. In the first line of the first stanza, Keats writes, Thou still unravished bride of quietness. To ravish someone is often a connotation of sex, and this gives the reader the first inkling of the sexual tendencies of this poem. In the second line, when the urn is referred to as a foster-child of silence and slow time, it seems to be reiterating that the urn is virginal in its lack of experience and, by being forever frozen in time as a mere memory, it is nothing more then an immature child, forever waiting for its one moment of virginal sacrifice. The second stanza of the poem indicates that the poem is to be delivered as a song that documents the speaker s loss of youth and naivety. Keats utilizes melodious diction in his description of the speaker s loss of virginity, such as, Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; not to the sensual ear, but, more endeared... Keats pens melodies, and, soft pipes to convey the speaker s song of achieving maturity and adulthood to the inexperienced, more endeared, youth. It seems as though the speaker communicated to the youth well, for the youth seem to be dancing to a song when the speaker exclaims, Fair youth beneath the trees, thou canst not leave Thy song... In addition, the speaker institutes the importance of patience in his youthful audience, because despite the excitement and fulfillment from a mature 9

10 experience such as sex, it s important for one to be fully prepared for an experience such as that. Though winning near the goal yet, do not grieve; She cannot fade... For ever wilt thou love, and she be fair! This line demonstrated how the youth can continue to live in a sweet melody of naivety, for one s love will not disappear. When the time is right for those two individuals, they will embark on the meaningful journey to adulthood together. John Keats, judging by the exuberance in, And, happy melodist, unwearied, For ever piping songs for ever new; More happy love! more happy, happy love! seems to be in the midst of the transition between virginity and adulthood, implying that sex is the bridge in between the two instances. Furthermore, this implies that he has just crossed the threshold and is no longer a virgin, in any sense of the term. The beat of the poem hastens in the third stanza when the speaker cries, Ah, happy, happy boughs! that cannot shed Your leaves, nor ever bid the spring adieu... It quickens to almost a fast-paced gallop, as though Keats is excited about writing about such an exciting and sensual moment. After describing this climactic moment, Keats once again reverts to the idea that the youth need to be mature enough in their naivety to engage in a defining act such as sex. Keats pens, Human passion That leaves a heart high-sorrowful and cloyed, A burning forehead, and a parching tongue, which shifts the tone of the poem from praising sexuality to ensuring that the youth be prepared for their own sexual lives. The diction, cloyed, leaves the 10

11 impression that human passion endured by the unprepared youth only will nauseate them. Further, Keats celebrates that heifer lowing at the skies, And all her silken flanks with garlands drest... This line is adorned in detailed imagery of the heifer with her, silken flanks, and beautiful garlands. A heifer is a young virgin cow, making manifest that Keats idolizes this decorated example of youthful virginity. #4 - Annalisa Ranaboldo Giovanni Quattrochi Ashley Panther Analysis of Ode on a Grecian Urn, by John Keats John Keats, in his poem "Ode to a Grecian Urn" poetic devices are used to install a sense of ambiguity as well as symbolism to enhance the effect of the poem's tone. The rampant questioning in the second half of the poem installs the feeling of uncertainty. The speaker's addressing of the Grecian urn depicts his enthrallment with it as a still unravish d bride of quietness, or the foster-child of silence and slow time. Also, the urn serves the purpose of being a "historian capable of portraying the story. This symbolism and ultimate alliteration of the urn set the tone of confusion and fascination in uncertainty, and the importance of individual interpretation. Later in the stanza, the narrator looks at a picture and struggles to find what the meaning of the photo is, as well as who the people are in it: What mad pursuit? What struggle to escape? / What 11

12 pipes and timbrels? What wild ecstasy? The ambiguous attitude allows for a shift in the urn as the observer to the participant in the chaotic and somewhat sexual image portrayed. There seems to be an observation of the unclear difference between the contrasts in the speakers questioning: "of deities or mortals?" This indecision serves as a reminder of the uncertainly of life and how is unclear what role man or object plays in it, whether participant or observer. The second stanza begins with a comparison between the value of what is there and what is not: Heard melodies are sweet, but those unheard are sweeter; therefore, ye soft pipes, play on; Not to the sensual ear, but, more endeared, Pipe to the spirit ditties of no tone. He s saying that what is tangible leaves us satisfied, but what we create for ourselves from nothing is what truly brings joy (this being our imagination.) He s also creating a contrast between silence and noise by saying: For ever piping songs for ever new; More happy love! more happy, happy love! The rejection of sound and loudness is a great disparity from his original sentence, which praised the silence of our own thoughts. These opposites give the poem a voice and sound. The speaker explores similar opposites while observing the different sides of the Urn. On one hand, the images painted on the vase are forever trapped in a still world, incapable of ever truly feeling something: Bold lover, never, never canst thou kiss and Fair youth, beneath the trees, thou canst not leave. In the second stanza, the speaker s thoughts shift and he evokes the immortality of the images captured on the vase: For ever warm and still to be enjoyed, for ever panting and for ever young... He seems to be seeking this eternal youth and happiness. Yet in the end of the third stanza, after a fight between these contrasting views, the speaker comes to terms with his mixed thoughts: All breathing human passion far above, That leaves a heart high sorrowful and cloyed, A burning forehead, and a parching tongue. This choice of words suggests a realization on his part, that eternity doesn t necessarily turn everything into gold, but rather leaves you wanting what you can t have. The people depicted on the urn are therefore left with a parching tongue. The vase, just like the sweet melody, is a tangible version of happiness but not a real one. The real one is what you create for yourself. He seems to come to understand that we are all tricked by this desire for more happy love! more happy, happy love! that we think can be achieved through immortality. In reality, this is simply what an outside view can provide. The descriptions of the beautiful images on the urn, images of love and 12

13 happiness, are there to deceive. If you look past the magical art, the people are trapped and miserable. He realizes that eternity is laced with an excess of everything (time being the most obvious thing) and this too brings him sorrow. Just like the heard melodies appeared sweeter, so does the beautiful urn. These various shifts in thinking allow the reader to truly walk through the speaker s thought process and visualize eternity in two different ways. The speaker begins, in the fourth stanza, to feel more desolate, questioning who are these coming to the sacrifice?, and what little town by river or sea shore, or mountain-built with peaceful citadel, is emptied of its folk, this pious morn?, as if he notices the presence of those around him, but cannot identify the mysterious priest, the pious folk, or where they ve come from. This feeling of desolation continues from the fourth stanza to the final stanza, specifically with the use of the word silent, which itself in context evokes a desolate feeling in the reader. The sound of the word silent between exclamations in the final stanza also makes a sharp sound, contrasting the same way in which dost tease us out of thought as doth eternity, and Cold Pastoral!, do. The speaker s point of view as he speculates on eternity and the silent form of the urn, depicts with imagery, more tangible descriptions of the urn, such as the attic shape, the marble men and maidens overwrought, all outlining the form and design of the urn. This then shifts back into the speaker s role as a narrator as the poem introduces the speaker s reflective thoughts. As he speculates that old age shall this generation waste, it seems as though he is dissatisfied with his own life, but understands that it has less meaning in the sense of the eternity that he considers in the moment. The speaker states beauty is truth, truth beauty, and ye know on earth, and all ye need to know, very simplistically, and gracefully, which encourages the reader to accept the speaker s words more easily. The symmetry in these lines also provides a more complete sense of conviction in the speaker s tone, concludes the sense of eternity, and the poem itself. #5 Catherine & Caroline John Keats poem Ode to a Grecian Urn is a depiction of a depiction of scenes captured on an ancient Greek artifact. Through Keats use of motif, assonance, vivid imagery and a melodic rhyme 13

14 scheme in his description of the image, he artfully conveys his reverence towards the Grecian artist s ability to beautifully and accurately capture a moment in time and allow it to remain perfectly frozen forever. The scenes depicted on the Sylvan historian have the speaker mesmerized and conscious of the powerful story telling ability of the urn, which he cannot begin to surpass. When the speaker says, A flowery tale more sweetly than our rhyme his appreciation for the artist s skill is made apparent, and it is clear that he understands that in his own poem he will not be able to capture the beauty of the moment so perfectly. He then asks, What me or gods are these? What maidens loth?/what mad pursuit? What struggle to escape?/what pipes and timbrel? What wild ecstasy? (lines 9-10) showing his urgent inquiry and interest of the paintings depicted on the urn. The series of questions leave the reader wanting to know more, feeling as excited and thirsty for the story as he. The speaker then goes on to describe a scene he beholds of a man playing a pipe at a wedding. He depicts the man s music as sweet, telling the soft pipes, play on (line 12). The bride in the scene was painted before she lost her purity, as she was still unravished, and thus the painting allows her to always remain pure. The line, "She cannot fade, though thou hast not they bliss/for ever wilt thou love, and she be fair!" also exemplifies the notion that what is depicted in art, stands steadfast throughout time. Also in the third stanza, Keats repetition of For ever communicates the eternal nature of the figures on the urn. Keats, though extremely appreciative of the eternal beauty illustrated on the urn, also regards it as Cold Pastoral, as the scene is frozen in time; continuing on the motif on continuity. The final lines of the poem, unlike the majority of lines, have a very definite message that the speaker is conveying. The message is that this Grecian urn contains beauty that will never age or decay - unlike reality which is not quite as perfect - which is important, as Keats believes that truth lies in beauty, which is all ye know on earth, and all ye need to know. 14

15 In the fourth stanza the speaker continues to question the urn, treating it as his audience and personifying it as he addresses it. However the questions asked are questions that the urn cannot answer, such as Who are these coming to the sacrifice? (line 31). His inquiries make him seem as a child wanting to know more, making him look naive yet thoughtful, and it seems though he has put the urn on a pedestal. The urn cannot speak, and therefore cannot answer these more complex questions, but he still manages to follow a story simply by observing it. This brings up the theme of paradoxes in the poem. In the beginning, the words escape and pursuit (line 9) are words that evoke action and movement, yet are associated with an inanimate object. The characters depicted in the urn are shown as alive and in action, except due to the fact that they are immortalized within the painting, they experience a living death. These paradoxes add to the complexity of the poem, and leave the reader questioning its meaning, just as Keats was left questioning the vase. The speaker questions the priest, in the fourth stanza, saying, To what green altar, O mysterious priest,/lead'st thou that heifer lowing at the skies,/and all her silken flanks with garlands drest? and then infers that the priest and cow must have come from some nearby town. It is evident that he cannot see the town depicted on the urn because he addresses the small city saying, What little town by river or sea shore,/or mountain-built with peaceful citadel, Is emptied of this folk, this pious morn? (lines 35-37) showing that he doesn t know whether its located by a river, sea shore, or mountain. These images of a green altar, mysterious priest and a mountain-built citadel are beautiful allow the reader to see through the thoughts of the speaker. The assonance found within the words town, or and shore as well as folk, pious and mourn add to the roundness of the poem and its eternal nature. The rhyme scheme is melodic, as Keats is attempting to have the same sensory effects on his audience as the vase had on him. He creates a complex rhyme scheme of ababcdecde, varying 15

16 the order of cde in each stanza. The double rhyme scheme of the poem adds to the theme of paradoxes and pairs. In each stanza, usually the first four lines outline and set up the subject in that particular stanza, and the following six lines then comment on that subject. For example, in stanza four, he questions the painting of the priest and heifer, but then in the next part, goes further and reads into the scene, pulling some sort of encompassing thought together when he says, thy streets for evermore/will silent be; and not a soul to tell/why thou art desolate (lines 38-40). Furthermore, the stanzas themselves vary in thematic structure. The second and third stanzas focus on the beauty depicted by the urn and the abstract emotions frozen within. The first and fourth stanzas focus on the urn itself by the speaker asking it questions and the fifth stanza is a tie between both. In the last stanza the urn s silent form shalt remain when old age shall this generation waste (lines 46-47) and the reader is also left with a controversial and philosophical stance on beauty. #6 Nick Stephanie and Amelie s interpretation of Ode on a Grecian Urn John Keats Ode on a Grecian Urn follows the speaker as he tries to make sense of the nature of eternity in consideration of an Urn, which is portrayed by the speaker as a historian that tells a legend. The fact that eternity is of concern to the speaker is immediately evident in the title s use of the word on rather than to. On makes it seem as though the ode about the urn is actually written on an urn, a rather paradoxical idea. By definition, a paradox continues logically forever. This endless continuity is intriguing, and stimulates the reader s thought from the start. This introduces a major idea at work throughout the poem: the idea that the silence inherent in eternal beauty is not one of desolation, but is appealing Not to 16

17 the sensual ear, but, more endeared, more intimate, to the spirit ditties of no tone. The speaker says in the second stanza that Heard melodies are sweet, but those unheard are sweeter. To him, the silent uniformity of eternity stimulates, with soft pipes, the human soul more effectively than any obviously exciting noise.this idea that silence possesses a greater ability to stimulate than tone is emphasized by the consistent rhyme scheme: ABABCDECDE. This pattern repeats throughout, and so it can be considered a brand of silence and uniformity. However, despite its repetitiveness, the scheme contributes to the poem anew each time it cycles through, imbuing it with a sense of continuity. In this way, the rhyme scheme demonstrates how, instead of denying it, eternity can enrich experience. This theme of eternity is further explored through the use of punctuation in the poem. The several questions posed by the speaker, such as: What men or gods are these? What Maidens loth? show the wonder and amazement the speaker has regarding the unknown, mysterious quality the urn has. There is a shift in tone as the speaker moves onto a lighter topic, discussing the happy, happy boughs!. The excitement and joy in his intonation resonates with the merriment on the urn that is shown through the speaker s repetition of the word happy ; he sees in the urn as an echo of continual happiness, as shown through the use of commas and semi-colons, which aid in keeping the speaker s thoughts continuous, connected, and fluid. The happy, happy boughs! that cannot shed [their] leaves, nor ever bid the spring adieu are trees that cannot shed tears not lose the reason behind their happiness. The happy melodist is to be for ever piping songs for ever new. happy, happy love! is to be for ever warm and enjoyed, for ever panting forever young. Again, there is a stop and suspension in time, where everything congenial and welcoming is preserved forever in eternity. There is a shift of tone in stanza three, where the speaker begins to speak about the all breathing human passion far above. The word breathing strikes the reader with potency because there is a break in the poem s flow, for nothing has been breathing until now; everything else has been frozen and 17

18 still. This breathing passion is said to leave a heart highsorrowful and cloyed, a burning forehead, and a parching tongue. Suddenly, the imagery of joy becomes an imagery of sorrow and burden. By using the word cloyed, the speaker states that the conclusion of breathing passionate love is unpleasant, for it becomes too excessive to enjoy. This supports the idea that beauty and happiness is best locked for ever in time so that it s positivity can ring out for eternity. Here, we can question whether it s better to be forever frozen in a perfect moment, or to experience the rest of life with breathing passion, even though all of its goodness will eventually become cloyed. In ending the poem, the speaker identifies the silent urn, with Cold Pastoral, which is an ironic phrase. Pastoral is connotative of shepherds/herders, serene, country, agriculture, tranquil, carefree and simple. But the word cold is connotative of desolate, dead, lack of warmth and lack of emotion. This tugo-war between the two contrasting ideas might be a good thing, for pastoral is frozen forever to be pastoral, meaning that it s better to have eternal beauty, regardless of the fact that it is frozen and silent. The the urn itself, the most immediate symbol of eternity in the poem, captivates the speaker and grants him a profound experience.the speaker first notices that the urn tells a flowery tale more sweetly than our rhyme ; the urn s ode is much more lighthearted than the ode spoken by the speaker; the ode that we as readers are given permission to claim as our own due to the word our. This creates a bond between the reader and the speaker, allowing the reader to feel the experiences of the speaker. This ode is comprised of the speakers thoughts, as he tries to decipher the legends inscribed on the urn. The word legend is connotative of history, the past, and the surreality of it all. The speaker tries to construe this legend, as a result, he is taken about and overwhelmed by the crush of questions that he has concerning the urn. What mad pursuit? What struggle to escape?... What wild ecstasy? There s a presence of both pursuit and escape ; a mad chase that keeps the speaker chasing for answers. The reader also pursues these answers; 18

19 the flow of questions marks the speaker s curiosity and the curiosity of the reader because we are just as confused as the speaker, for this rhyme is our rhyme. The relationship between the urn and speaker is further developed as the already confused speaker attempts to point out the constraints of the scenes depicted on the urn. The speaker says, Fair youth, beneath the trees, though canst not leave, showing the restrictions the urn imposes on the scenes. This idea of even eternity having it s limits are similarly shown in the lines, nor ever can those trees be bare, and she cannot fade, though thou hast not thy bliss. The repetition of negative words makes the impact of the restrictions more profound. The limitations of the urn are further shown by the imagery of marble men., in the sixth stanza. Through this, the characters of the urn are seen as frozed, solid, cold, souless, showing they are stuck on the urn and immovable. In stanza three the speaker beings to speak about the all breathing human passion far above. The word breathing strikes the reader with potency because there is a break in the poem s flow, for nothing has been breathing until now; everything else has been frozen and still. While the speaker admires the ability of the urn s depictions to live forever, he s acknowledging that even the mystical urn has it s drawbacks. Still, the silent, still form of the urn, dost tease us out of thought as doth eternity, it still intrigues us. The superiority of the urn is further shown when the urn says, Beauty is truth, truth beauty,-- that is all ye know on earth, and all ye need to know. The urn separates itself from humanity, and it pokes fun that all we know on earth is that beauty is truth, suggesting the urn knows much more. It also says that s all we need to know, seeming to imply that we shouldn t concern ourselves with things like eternity, even though it takes our fancy and stimulates us. It s almost as though the Urn is retaliating at the speaker. In response to the speakers attempts to define the extent of its potential, the urn demonstrates the limits of human knowledge. The speaker seems to give in to the subjugation of the urn, for the breathing passion mentioned is said to leave a heart high-sorrowful and cloyed, a burning forehead, and a 19

20 parching tongue. Still, as humans we can learn from history, however it is presented, as the urn is described as, a friend to man. The urn keeps its secrets and insight locked up, but it still assists humans in their quest for understanding. #7 Courtney, Giselle, Izabella, Monique In Ode on a Grecian Urn, John Keats addresses an urn through the eyes of the speaker in a lyrical and emotional way, conveying the idea that even though beauty is superficial it has deeper layers that display the reality of life. The poem begins with the line Thou still unravished bride of quietness, Thou foster child of silence and slow time, which represents the urn in earnest. It is still, and forever will be, the fostered lonely stone which can only illustrate the stories and lives that could have been. The word Still has different meanings in this context. One could be referring to time and how the urn will never change since it is motionless in that moment, while the other meaning alludes to how calm and serene the urn seems. The alliteration of the s adds a soft tone, easing the reader slowly into the poem before the use of powerful diction. This gentleness is followed through with the continual feeling of sensuality as well as sadness. The terms quietness and silence and slow time relate to how stillness is constantly repeated throughout the poem. The short songs of the spirits are said to be of no tone emphasizing the tranquility of the poem. This sense of silence creates a peaceful allusion, and a sense of hopelessness, because the two lovers can never touch. Therefore their song is silent for they cannot express their love. However this sensation is quickly covered and somewhat overshadowed by the passion and powerfulness expressed in the love the spirits have for each other. The words unravished, silence, bold, and sacrifice are all powerful words that all aid in the feelings of ominous foreboding. The words fade, bare, and highsorrowful fill the reader with a wave of sadness that can be a replica of the feelings between the two separated lovers, as well as the feeling of death from the desolate town. The poem creates a sense of 20

21 desire between the lovers in the story expressed on the urn, while also allowing the feelings of ominous apprehension through the diction. Along with the incredible diction, the poem concentrates on the story of the figures on the urn. The speaker is enchanted by the figures and their immortality of being young, taking interest in the fact that they can never fade. What leaf fringed legend haunts about thy shape Of deities or mortals, or of both...what men or gods are there? What maidens loth? This line is filled with questions that describe the images seen on the urn, allowing the reader to create an image in his or her mind. The speaker then abandons the questions and seems to focus on the solidarity of the painted figures and the fact that the portrayed lovers are forever together in their youth. Thy song, nor ever can those trees be bare; Bold lover, never, never canst thous kiss...she cannot fade, expresses how their life can be both a curse and a blessing, for they are stuck in time and can never touch. Through the repetition of never, never in contrast to the earlier usage of it with happy, happy the reader can feel the depth of sorrow as it is realized that the lovers will never be together again. Despite the fact that there initially is a joyous feeling while describing the scene on the urn, the poem then shifts at the end of the third stanza when the meaning of eternity changes from having a light connotation to a dark connotation. This is introduced due to the prior realization that eternal life can be eternal death. The breathing human passion far above felt by the humans living beyond leave the figures on the urn with a heart high sorrowful and cloyed, A burning forehead, and a parching tongue because they are separated for all of time and life. This quote not only displays how the lovers eternal life is captured by the essence of death, but it also displays sensational sensory imagery and sound effects. One can feel the sweltering forehead and dry mouth on their own which enhances the significance of the picture created. Thus, this leads into the fourth stanza where Keats proposes a new scene with new ideas to aid in the contemplation of the proposed connection between a living life and death. This switch within the structure of the poem creates an allusion to a time line, making the reader feel more personally connected to 21

22 the author as they can follow his thought process through the writing experience. The last stanza of the poem portrays the belief of truth and of the illusion of forever. Thou, silent form, dost tease us out of thought as doth eternity, expresses how eternity is an illusion that tease us out of thought. The concept of eternity is investigated throughout the poem. When thinking of perpetuity one thinks of living forever. Consequently, eternity is interpreted as encircling our minds, making all other thoughts disappear until we are left only thinking of an everlasting life. This in fact does not magnify our mind, but draws the life out of it instead. In connection to the last line, Beauty is truth, truth beauty, that is all Ye know on earth, and all ye need to know, shows that beauty allows us to understand this fact and discover the truth in life which may else be covered. In a way this seems to be the message of the poem and Keats motivation for writing it. Assuming that some of Keats audience would have been hopeless romantics and people who can understand the intense fervor expressed between these two lovers, and others being a collective group of intellectuals who pondered the worlds deepest mysteries, this high level of thinking does not come as a surprise. What was Keats real motivation? We may never know, but it seems safe to say that he was drawing attention to the fact that without beauty in the world we would not be able to understand the truth in our lives. 22