Ode on a Greek Urn is a romantic verse form that addresses beauty as an kernel that attributes to the felicity of human existences. Keats negotiations about the urn and some of the image on it. The verse form has five stanzas each of which negotiations about varied figures and signifiers of beautiful nature of art. Time as a subject is the chief subject that seems rather obvious in the verse form. For case, the chief thought that draws the attending of the talker about the urn is the freeze of clip in which all the figures are demonstrated. They everlastingly remain unchanged in whatever they are making. There is no point when the “ bold lover ” will of all time snog the miss he wants. However the miss will besides ne’er age. Similarly, there is no clip when the boughs will lose their foliages merely like the ceremonial procedure will stay on its path to the forfeit. All these claims are merely but imagery since there neither the lovers, instrumentalists, trees nor the emanation are existent. They merely appear in image signifier so they will stay as portrayals.
The subjects of decease and desire are besides presented in the verse form in a mode that is self automatic. These two subjects could either be treated individually or as one entity. Desire could be describes as yearning for something with some component of unknown. Desire brings in an component of exhilaration particularly when one feels like he is about acquiring what he wants. This is precisely what happens in the first line of the 3rd stanza. The poet says “ Ah, happy happy boughs! ” . This is an indicant that the desires leads to some sort of emotional exhilaration. In the forth line of the first stanza, the storyteller relates himself with the thrower of the urn. He says “ more sweetly than our rime ” . He realizes that merely like the thrower of the urn, he will at one point besides die because decease is inevitable. In the Forth stanza, the storyteller implies that one time one dies there is no manner he will re-emerge since that will be his infinity.
The temper of the verse form is an unflurried contemplation where the storyteller reflects on how things will be after he dies. This is depicted from the first line where he says “ Thou still unravish ‘d bride of soundlessness. ‘ The 2nd line besides contains the word ‘Silence ” . Quietness and silence describe and environment where the storytellers seems to be reflecting on how things will be in future. There is an iambic rime in the first line in which the storyteller gives more emphasis on the words ‘still ‘ , ‘bride ‘ , the syllables ‘rav ‘ in the word ‘unravish ‘d and ‘qui ‘ and ‘ness ‘ in the word soundlessness. This creates an feeling of the sound of a pulse which is usually the instance when person is believing or reflecting on his life. Everything else is usually rather and all he could here is his pulse.
The rubric of the verse form “ Ode on a Greek Urn ” incorporates really important points that are really of import to the overall apprehension of the thoughts in the verse form. For case, the poet uses the preposition on instead than ‘to ‘ . This reflects a connexion the images depicted by the urn and the storyteller. The preposition ‘on ‘ indicates that the verse form is non merely based on the urn as a physical object but besides on the qualities it possess. These qualities are in footings of the images and how they relate to the storyteller. The rubric is hence really important to the significance of the verse form as it describes what is on the urn.
The major figures of address used in the verse form are personification which is a phone of metaphor and apostrophe. The personification is apparent from the mode in which the storyteller addresses the urn. He gives an feeling of the urn being human. For case in the 2nd line of the first stanza, the storyteller says “ thou foster child of silence and slow clip. ” By adverting the word kid, the storyteller treats the urn as if it is a human being. The same is besides seen in stanza four where the storyteller says “ When old age shall this coevals waste, Thou shalt remain in thick of other suffering. ” This is to state that the urn will stay everlastingly even when other things die. From this lines, the reader gets an feeling that the urn is a human being. Comparing an object with a human being hence indicates the usage of personification.
Apostrophe is besides apparent in the first line of the first stanza when the storyteller addresses the urn as bride, surrogate kid and a historian. In these words, the storyteller speaks to something that is absent. The relentless inquiring of the urn creates some tenseness between imaginativeness and world particularly when the reader begins inquiring why the storyteller addresses the urn like it could reply the inquiries its being asked. For case from the 7th to the 10th line of the first stanza, the storyteller ask inquiries like ‘what work forces or Gods are these? What maidens loth, what mad chase? ” All these are inquiries that the urn can non reply but still the storyteller asks them. The repeat of inquiry all helps to add some suspense to the verse form. This is because the reader will desire to read further through the verse form to happen out whether the inquiries are answered.
Single words like ‘what ‘ have been repeated in lines 5, 8, 9 and even 10 all of which represent caesura. This implies that the reader is supposed to hesitate and believe about the inquiry for consequence. the usage of the word ‘what ‘ in the beginning of six back-to-back inquiries at the terminal of the first stanza besides reflect the usage of anaphora as a figure of address. Repeat is besides apparent in the verse form from the usage of the word happy on several occasions. For case, the first line of the 3rd stanza provinces ‘Ah happy, happy boughs! ‘ . The 5th line of the same stanza besides states ‘More happy love! More happy, happy love! The repeat of the word happy helps in constructing the secret plan of the verse form every bit good as show the copiousness in which felicity exists. The repeat of the word love besides gives an feeling that there is more love about. The words ‘for of all time ” have besides been used on more than one juncture in stanza three in line 4, 6, and 7. This creates a feeling of infinity or the uninterrupted being for long clip.
Rhyme has been expeditiously used in the verse form in the sense that every last word of each line rhymes with at least another word at the terminal of another line in the same stanza. For case in stanza one, the word soundlessness at the terminal of the first line rimes with the word express at the terminal of the 3rd line. The word clip at the terminal of the 2nd line of the first stanza besides rhymes with the word rime at the terminal of the forth line. The same applies to all stanzas. This is really effectual because it creates some instead in the verse form and hence makes it more interesting. It besides helps in the development of the secret plan of the verse form and makes it to flux swimmingly in the heads of the readers.
The individuality of the storyteller is easy to state because he seems surprised about the happenings on the pictorial on the urn. For case, he says ‘Who are these coming to the forfeit, To what green alter, O cryptic priest. ‘ This gives an feeling that he is non used to such scenes intending that he is non from that coevals. Wars and forfeits largely existed in the older coevals. The fact that the storytellers seems surprised by the emanation heading to the forfeit means he is from the new or current coevals. The tone of the verse form besides indicates that the storyteller is a adult male. In most instances, it is the work forces that talk about beauty with such sort of desire and passion. Similarly, it is really clear on what his sentiment towards the verse form ‘s topic is. For case in line 9 of the 5th stanza, he says “ Beauty is truth, truth beauty, “ that is all Ye know on Earth and all ye need to cognize. This tells that he has already made up his head on what beauty is. Harmonizing to the storyteller, everything else is non necessary.
Keats, John. “ Ode on a Greek Urn ” New York: Oxford University Press, 1819.