Keats establishes a balance between the real and the ideal, and art and life, and he finds the deepest of reality in its balance. So Keats kind of naturally presumes that all these scenes might be kind of about sex, which sounds reasonable given that there's a bunch of naked people chasing each other around. It is unchanging, perfect and silent. No real passion is going on; the scenes on the urn are frozen. The speaker is imagining what the song would song like, and he thinks this imaginary song inside his head is better than anything he has heard with his ears. Any attempt to replicate it lessens its beauty. Here, his curiosity from the first stanza evolves into deeper kind of identification with the young lovers, before thinking of the town and community as a whole in the fourth.
. However this urn still captures the essence of this ancient yet golden age. That cannot shed Your leaves, nor ever bid the Spring adieu; And, happy melodist, unwearied, For ever piping songs for ever new; More happy love! The poem begins with an address to the Grecian urn and with almost envious amazement, but it ends with the realization that beauty or ideal is also a dimension of the truth of the real; the beauty of imaginative experience is a part of reality or truth and the knowledge of all truth is beautiful. Some critics feel that Keats is saying that Art is superior to Nature. And, little town, thy streets for evermore Will silent be; and not a soul, to tell Why thou art desolate, can e'er return.
The urn is forever, and kind of by extension here, art is forever. It is not the sensual ear that perfection appears to, but the soul 13. If we construe them from the metaxu i. His song can never end nor the trees ever shed their leaves. The speaker wants to imagine a world in which nothing changes and good things never come to an end.
Keats indicates a contrast between the unchanging 'Urn' and temporal life in the very beginning of the poem, but shifting to the other side from where he seems to prefer warm life against the 'Cold Pastoral' where he finally resolves the duality in his doctrine of beauty and truth. The worlds of reality and of imagination or the real and the ideal are explicitly contrasted in this ode. When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say'st, «Beauty is truth, truth beauty,»- that is all Ye know on earth, and all ye need to know. This ideal at first clashes with the real but is reconciled by imagination and insight at the end. The first four lines of each stanza roughly define the subject of the stanza, and the last six roughly explicate or develop it. Who are these coming to the sacrifice? He contrasts 'sweetly' with 'haunts', which highlights the two juxtaposing sides of the urn.
He wonders to which altar the priest is leading the sacrificial cow to, the one that was adorned with colorful garlands. The rhyme scheme is split into two parts, with the final three lines of each stanza varying slightly. Thus, the two domains of the real and the ideal coming into conflict as usual, ultimately reconcile to make a more permanent truth as asserted in the 'truth and beauty' maxim. There is a perfect music in existence somewhere; all other music seeks to replicate it, yet falls short. A dale is also a valley. For I consider poetry to be more musical in nature than literary text. About the equation of truth and beauty, this is an older idea that was proposed by Plato.
The lover on the urn can never win a kiss from his beloved, but his beloved can never lose her beauty. As it progresses, it loses its perfection. The picture on the urn is Edenic. The fourth stanza really begins to develop the ideas. Keats, who loved classical mythology, had probably read stories of such love games. He's a Romantic poet, and he wrote it in 1819 along with a bunch of other odes - he was kind of going through a little bit of an 'ode period. The speaker is still giving orders that only he can obey.
In the final stanza, the speaker presents the conclusions drawn from his three attempts to engage with the urn. Line 8: What men or gods are these? Maybe Keats has been staring at one too many urns! But the urn is forever. Line 44: Thou, silent form! He says: What men or gods are these? The Depictive Image: Metaphor and Literary Experience. The noticeable elements, such as the people, the towns, and the material possessions only last for a short time, so they are sweet while they last, but the unseen elements… 1381 Words 6 Pages Physical Value in Keats' Ode on a Grecian Urn The poetry of John Keats contains many references to physical things, from nightingales to gold and silver-garnished things, and a casual reader might be tempted to accept these at face value, as simple physical objects meant to evoke a response either sensual or emotional; however, this is not the case. In the final stanza, the speaker presents the conclusions drawn from his three attempts to engage with the urn. The poet who is emotionally involved with the picture of passion also has the unifying vision that reconciles the real with the ideal by idealizing the real. The urn is decorated with marble men and women Line 43: With forest branches and the trodden weed; Amongst green trees and plants under their feet.
You will see that In this ode, the poet also addresses the things he sees on the urn. Whatever he really means, he's kind of saying that it's better to be captured at that moment where you're just hanging out in the tree, playing your pipes. The urn is then compared to a woodlands historian, who is able to tell a tale much more clearly than even a poet. There's happy, happy boughs; there's more happy love! Arcady is a region in Greece that is associated with a peaceful and simple country life. These units are teacher ready and student ready. The speaker is a romantic, which is reflected with the way he describes and converses with the different images depicted on the urn. What little town by river or sea-shore, Or mountain-built with peaceful citadel, Is emptied of its folk, this pious morn? He's always playing this piping tune.
As an ode, it also has the unique features that Keats himself established in his great odes. The urn is almost its own little world, living by its own rules. Maybe we should leave you alone with this urn. Who are the people coming to perform a sacrifice? People have debated about what this line means, but what they're essentially saying is that when young love is consummated - or maybe even just when a couple spends more time together; it might not have to do with sex - bad things happen. Keats presents the idea that the urn is caught in an eternity of bliss and love.
This makes the urn a historian of people who live in forests. On line 7, he introduces the contrast of mortality and immortality, with 'deities or mortals'. So, Keats starts thinking about where these drawings on the urn might have come from - where they're coming from in the picture. In stanza I, Keats confined himself to suggesting a scene by questions. If from the univocal orientation we move to one keyed to the equivocal sense of being, we read the odes concluding stanza with an eye toward what is, in Desmonds words, indeterminate beyond univocal determinacy. Is empty of people, on this morning of worship.