During the second verse, the reader is introduced to another image on the Grecian urn. While it might be interesting and intriguing, it will never be mortal. Before we get to 'Ode on a Grecian Urn,' we're going to talk about Grecian urns in general. 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. To what green altar, O mysterious priest, Lead'st thou that heifer lowing at the skies, And all her silken flanks with garlands drest? What little town by river or sea shore, Or mountain-built with peaceful citadel, Is emptied of this folk, this pious morn? Exasperated readers have wondered forever. We also see the speaker in the poem attempt to think about the people on the urn as though they were functioning in regular time. John Keats died on February 23, 1821, at the tender age of 25, owing to tuberculosis.
He unfortunately never got a chance to celebrate the fruits of his hard work or witness the kind of impact he had. The imaginary city and its fortress might have been built amid strong and peaceful surroundings. There will be other people in the future who will look at the urn and maybe will talk to the urn if they're as nuts as Keats. Now that you have understood the meaning of the poem, let us look at the themes depicted and the literary devices used. To be human and mortal and not want to be—and to want to make art. Critics have found its statement to be frustratingly or delightfully enigmatic, dramatic, meaningless, or silly.
You might have heard this line before; it's a pretty famous one, and it basically is Keats outing himself as a Romantic poet. What men or gods are these? He delights in this imagery of antiquity, yet his ambivalence never leaves this Dionysian procession of either celebration or struggle or both. Keats then turns back to the imagery of the wild chase between the lovers and says that they will always have a passion, but will never be able to share a kiss. We're going to start by just talking about the dramatic situation of the poem, which is just a fancy way of saying what's happening in the poem. He uses paradox by saying that the pipes produced melodies that had no tune. The stone has remained silent in the passing years of history and no historian could narrate a better story than that of the poet. This line reflects Keats's tendency to be swept up in Platonic ideals; in fact, many of his poems reflect on ideal states versus lived reality.
What men or gods are these? The overall strategy is —the address of an absent figure, an abstraction, or an object. These are the kinds of poems that literary critics die for, and that send later writers into bouts of envy. They really believed more in imagination and emotion and nature as kind of being where to look for answers to stuff. . You could write an ode to Chipotle if you love burritos as much as I do.
Yet, why would someone, especially a young poet, long for love with no kissing, a bliss never to be had? Really he's just saying that, you know, as good as music is that you play and you hear - literal music - the music that the man is playing on the urn that's kind of frozen in time and you obviously can't hear because it's just a painting is better because it's kind of there and it never ends. The speaker wishes to uncover what the urn has learned during its extended time on earth. In poetry, the pastoral is a type of poetry that glorifies the natural world. What men or gods are these? There is no simple summary of Keats's formulation. There is some legendary figure, a human, a god and perhaps both that urn in the valley or regions of Arcady. What little town by river or sea shore, Or mountain-built with peaceful citadel, Is emptied of this folk, this pious morn? Then he starts to describe the first image. To what green altar, O mysterious priest, Lead'st thou that heifer lowing at the skies, And all her silken flanks with garlands drest? We need a modern equivalent to understand the phenomenon.
The stone and the engravings on it do tease the poet to think forever. The dramatic here force us to slow down and have these thoughts teased out. The urn is forever, and kind of by extension here, art is forever. It could mean that exquisite art—and beautiful people or landscapes or creatures or objects—tease out our thoughts so that we can contemplate the abstract, the transcendent, eternity itself. 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: Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare; Bold Lover, never, never canst thou kiss, Though winning near the goal yet, do not grieve; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair! That is to say, things occur to us as beautiful for a reason. It was only after his untimely death that he was truly regarded as one of the greatest English poets ever to have lived. He is preoccupied with its depiction of pictures frozen in time.
We get those two stanzas about the young lovers, and now he moves on to another picture on the urn. Nonetheless, his poems are some of the most anthologized of works, and his legend has been passed down for countless generations; we will go as far as to say that it has transformed and taken English Literature to a whole new level. Maybe you have sex and you're not quite as into each other, you find out he's got some weird fetish, you start fighting or whatever. As it progresses, it loses its perfection. But that took away from his free time and writing, and eventually he returned to his true calling.
The source of the speech matters. So some folks are taking a cow to a sacrifice, and it's not quite as fun as men chasing naked women around or lovers hanging out under a tree. He also seems insecure with himself as he suggests that the urn teases him and throws him into a chaotic thought process. You, me - we're all going to die, and we're all going to be forgotten. Ye know on earth, and all ye need to know. He's always playing this piping tune. Returning to our comparison, this was like the invention of rhythm and blues.
To what green altar, O mysterious priest, Lead'st thou that heifer lowing at the skies, And all her silken flanks with garlands drest? He wonders about the figures on the side of the urn and asks what legend they depict and from where they come. To a great extent, they have defined what modern lyric poetry is. In it, he discussed the problem of the final quotation, linking it with the work of Sir Joshua Reynolds. It has a two part rhyme scheme, where the last three lines are variable. In the fourth stanza, Keats moves away from the painful disappointment of having a body to more questions, an artful return to his first strategy.