Analysis of Keats Ode on a Grecian Urn - Essay Example

?Ode on a Grecian Urn Today John Keats is recognized as one of the foremost Romantic poets. His XIX century poetry has assumed a place of great prominence with the canon of poetic literature. While Keat’s poetic oeuvre spans a wide array of work, one of his most prominent poems is Ode on a Grecian Urn. This work specifically considers the nature of a courtship, as a man emphasizes the need to seize the moments of life, as they will soon pass; the narrative later shifts to a meditation on life ending with the seminal lines, “'Beauty is truth, truth beauty,—that is all/ Ye know on earth, and all ye need to know” (Keats 49-50). Keats divides the poem into five main stanzas. Each stanza demonstrates an increasing level of intensity. The first three stanzas demonstrate the same narrative concern; namely, the narrator attempting to court a young woman through emphasizing the fleeting nature of time. This is contrasted with the final two that are the aforementioned meditation on life. In all instances, the poet is inspired by scenes on a Grecian urn. Critics have considered the specific nature of the urn. In these regards it is argued that the urn functions to allow Keats to imagine unimaginable thoughts of eternity within the context of the poem (Pack). This essay examines how Keats implements a variety of poetic techniques, most notably figurative language, in establishing the poem’s thematic concerns. The first stanza advances the narrative in perhaps the most unassuming fashion. Within this stanza many of the formal elements that form the structure of the entire poem are implemented. Perhaps the most pervasive such formal element is the implementation of iambic pentameter with each line containing a ten syllabic pattern. In addition to contributing to the poem’s formal make-up, this element imbues the work with an increased musicality. This musicality has been a prominent area of consideration for critics, and is exemplified in the general flow of the work (Cheatham). One considers that Keats even implements terms such as ‘rhythm’ and ‘melodies’ in the fabric of the poem. There is the consideration that Keats work functions as a sort of proto-popular music song. In terms of specific figurative techniques implemented in this stanza, one considers Keats’ implementation of personification. He writes, “Thou still unravish'd bride of quietness,/ Thou foster-child of Silence and slow Time,” (Keats 1-2). In this instance Keats personifies Silence and Time as the foster-parents of the woman he is trying to court. This is a particularly powerful image as it further establishes the woman’s current demeanor as not properly considering the passage of time. In terms of further elements in this opening stanza, Keats implements the rhetorical tool of questioning in a series of lines. Keats writes, “What men or gods are these? What maidens loth?/ What mad pursuit? What struggle to escape?” (Keats 8-9). This rhetorical mode of questioning heightens the poem’s theme as imploring. The second stanza continues many of the same elements as the first stanza. One of the most pervasive elements in this stanza is Keats’ use of sensory imagery. Indeed, Keats’ poem has been frequently considered in terms of its sensory imagery, with theorists even implementing cognitive science in constructing a close reading (Starr). This specific stanza implements sensory imagery as a means of heightening the intensity of the courtship. Keats states, “Heard melodies are sweet, but those unheard/ Are sweeter; therefore, ye soft pipes, play on;/ Not to the sensual ear, but, more endear'd,/ Pipe to the spirit ditties of no tone” (Keats 11-14). In this instance, Keats is implementing the sensory image of music, except extending this imagery to silence. While Keats’ is vague about the specific nature of the silence, it seems that he is imploring the woman to demonstrate a physical sort of affection without the disruptive impact of conversation. Another prominent consideration in this stanza, and indeed throughout the poem, is the use of nature imagery. One witnesses Keats’ exaltation of nature in the second stanza as he states, “Fair youth, beneath the trees, thou canst not leave/ Thy song, nor ever can those trees be bare…She cannot fade, though thou hast not thy bliss,/ For ever wilt thou love, and she be fair!” (Keats 15-16, 19-20). In this instance, Keats is comparing the beauty of the woman to the composition of the tree. While the tree is able to retain its ‘fair’ composition, this is contrasted with the woman whose beauty fades. Keats then implements this imagery as a means of heightening the urgency of the situation to get his point across. Additionally, there is the recognition that Keats exalts the natural imagery as the woman’s beauty is compared to the beauty of the tree and nature. It has been noted that Keats greatly emphasized nature as an area of meaning, even positing it as an alternative to Christianity (Bohm). Indeed, throughout the poem, natural imagery is implemented as a means of heightening the poem’s rhetorical impact. In the first stanza Keats refers to the woman’s body as “leaf-fringed legend” (Keats 5). In the third stanza much of the natural imagery that is implemented in the second stanza is carried over. In this way Keats considers the ways that the woman’s beauty transcends that of the tree. He writes, “Ah, happy, happy boughs! that cannot shed/ Your leaves, nor ever bid the Spring adieu;/ And, happy melodist, unwearied,/ For ever piping songs for ever new;” (Keats, 21-24). Here Keats implements figurative language in comparing the woman’s arms to the boughs of a tree, indicating that the former’s will never fall. In addition to functioning as a rhetorical consideration, there is the further recognition that the implementation of this as a narrative focus operates as a meditation on the temporality of life, as the readers are led to consider their own finality in relation to that of nature. Finally, these lines further heighten Keats incorporation of musicality as a predominant theme through the use of rhyme in the words ‘adieu’ and ‘new’. There is the recognition that the third stanza heightens the speaker’s intensity beyond that of the first two stanzas. In addition to the natural imagery as a rhetorical technique, Keats implements increasingly intense language. For instance, Keats writes “All breathing human passion far above,/ That leaves a heart high-sorrowful and cloy'd,/ A burning forehead, and a parching tongue” (Keats 28-30). In terms of narrative content, it appears that Keats is exploring the unspoken love as a sort of metaphysical conceit. More notable in terms of rhetorical content is Keats implementation of intense language, with words such as ‘passion’ and ‘burning forehead’ being implemented as a means of further heightening the intensity. Ultimately, then this represents Keats’ penultimate courtship expression to the woman. Following the third stanza, the narrative shifts focus to a consideration of villagers about to perform a sacrifice. While the jump in narrative concern may sound slightly sporadic, in large part the sacrifice allows Keats to expand on many of the investigations into life that had had previously deliberated on in the courtship sections. While the previous stanzas had largely implemented figurative language in establishing the narrative concerns, the fourth stanza largely is successful in simply illustrating the narrative occurrences. Keats’ writes, “little town, thy streets for evermore/ Will silent be; and not a soul, to tell/ Why thou art desolate, can e'er return” (Keats 38-40). Here one considers the sheer rhetorical power inherent in Keats’ articulation of the solitude and desolation of the town. The final stanza continues the same narrative considerations as the fourth stanza. The fifth stanza, however, is considerable more abstract and meditative than the fourth stanza. Here the poet seems to be articulating broad ranging notions about life, thought, and eternity. The poem concludes with the seminal lines, “'Beauty is truth, truth beauty,—that is all/ Ye know on earth, and all ye need to know'” (Keats 49-50). These lines have resulted in considerable critical deliberation. Indeed, the similarity between truth and beauty has even been compared by physicists considering the their similarities in mathematical terms (Chen). It seems that Keats is partially being vague in his articulation of these notions as a poetic device. Still, one can readily view these elements within the perspective of romantic poetry as indicating that the ultimate truth is the truth of beauty. This is also in-line with the poem’s earlier emphasis on youthful beauty. In conclusion, this essay has examined Keats’ Ode on a Grecian Urn. Within this context of understanding, the essay has considered how Keats implements figurative language and poetic techniques in establishing the poem’s thematic concerns. In these regards, the poem considers Keats’ narrative as consisting of a courtship of a young woman, and then shifting to the examination of a sacrifice. Throughout these narrative concerns, Keats’ implementation of natural imagery, iambic pentameter, personification, and musicality are examined as prominent figurative techniques. Ultimately, the essay demonstrates Keats’ comprehensive implementation of poetic technique and form in the creation of a timeless classic. Works Cited Bohm, Arnd. "Just Beauty: Ovid And The Argument Of Keats's "Ode On A Grecian Urn."" Modern Language Quarterly 68.1 (2007): 1-26. Academic Search Complete. Web. 10 July 2012. Cheatham, George and Judy Cheatham. "Soft Pipes, Still Music, And Keats's 'Ode'." American Notes & Queries 21.7/8 (1983): 101. Academic Search Complete. Web. 10 July 2012. Chen, Jim. "Truth And Beauty: A Legal Translation." University Of Toledo Law Review 41.2 (2010): 261-267. Academic Search Complete. Web. 10 July 2012. Pack, Robert. "The Idea In The Mirror: Reflections On The Consciousness Of Consciousness." Kenyon Review 9.4 (1987): 51. Academic Search Complete. Web. 10 July 2012. Starr, Gabrielle. "Poetic Subjects And Grecian Urns: Close Reading And The Tools Of Cognitive Science." Modern Philology 105.1 (2007): 48-61. Academic Search Complete. 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