September 20, 2021
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Thou still[2] unravish’d bride of quietness,[3] |
Notes & Commentary
- ↑ For the Romantics, the ode became a poetic vehicle for exploring the imagination and expressing sublime and expansive thoughts; it also attempted to reassert the power and voice of the poet (Bloom 2001, p. 18). Like a hymn, it is the expression of a private voice reaching for and yearning to “participate in the divine” (quoted in Bloom 2001, p. 18) and exemplifies a mature and complex voice (Garrett 1987, p. 47). Keats used the ode in an attempt to transcend time and establish the permanence of poetic expression. Keats’ “Urn” uses a rhetorical technique called ekphrasis, a poetic description of a work of art, and Keats’ poem is the exemplar of this device (Bloom 2001, p. 19). It borrows from the classical pastoral, a poetic form that celebrates an idealized life of shepherds.
Keats’ ode contemplates the ironies of human life while the poet looks at the carvings on a funeral urn, either real or imagined. The urn depicts a celebratory scene of perfection that the ravishes of time cannot touch, unlike the real world of humanity. Even though these figures are immobile, they have achieved a perfection that we cannot living in time. Yet, a sacrifice is implied by the images: that while time has stopped, they live in a “state of candid hope and expectation that time and experience will never disappoint” (Garrett 1987, p. 47). Ultimately this is a cold, deceptive vision wrought by the poet’s imagination and our own willingness to be deceived by an idyllic dream. Keats’ ode is about the power of art in general and poetry specifically in capturing a moment of truth and beauty for anyone wishing experience it. In a way, Keats gives a glimpse of paradise or the promise of an ideal beyond the temporal world of decay. - ↑ Still is ambiguous: is it an adverb meaning “yet” or an adjective meaning “motionless”? It seems to be both, and the ambiguity and tension established here is maintained and developed throughout the poem (Garrett 1987, p. 48).
- ↑ The unravish’d bride is not subject to the passing of time, but lives forever in an ideal marble domain. There is a sexual connotation here as well, as she will never be subject to sexual love.
- ↑ Not a real human, as the bride is a carving on the urn in the narrative, and a product of Keats’ imagination.
- ↑ Along with the unravish’d bride, these figures exist in a state of “frozen animation” that emphasize Keats’ longing for “permanence in a world of change” (Bloom 2002, p. 20).
- ↑ Imagined music may be more sweet than that the sensual ear can hear.
- ↑ These melodies of the imagination are more valuable because they are more appropriate to this tableau of frozen time (Bloom 2002, p. 20).
- ↑ Even though sexual love is always deferred, so is aging and death. These figures transcend the scope of time and human desire, keeping their hope for consummation perpetual at the same time as keeping actual touch impossible.
- ↑ Keats’ lovers are happy in a world where the pain of aging and grief that comes from human passion cannot touch them.
- ↑ The poem seems to turn here, from paean to something darker: there's something too much about this world.
- ↑ The darkness is carried over into an image of religious sacrifice to be paid for the happiness and permanence.
- ↑ The animated world of the first three stanzas has turned into an eerie landscape of quiet and desolation for evermore (Bloom 2002, p. 21). The poet’s voice assumes an air of ambiguity between preferring an unchanging world of perpetual youth and promise of the first stanzas and the emptiness and hollow world he sees as he looks closer.
- ↑ Keats addresses the urn of his imagination admitting that what came before as fiction. Indeed, his descriptions have been so convincing, he is like the wizard behind the curtain who exposes himself as the illusionist who has led us all astray with our own desires for an idyllic world.
- ↑ A reference to the only reality of the urn: its marble.
- ↑ These last lines have been the subject of much debate, but they seem to be a playful, though melancholy admission of the power of art to deceive as we willingly participate in the seduction (Bloom 2002, p. 21). Yet, as part of the irony of the poem, art may also help us see and contemplate the reality of the world at the same time. Like Keats’ urn, art is both a dead and cold artifact, but it can be animated by the power of the poet’s imagination.
Bibliography
- Battenhouse, Henry M. (1958). English Romantic Writers. New York: Barron’s Educational Series, Inc.
- Bloom, Harold (2001). John Keats. Bloom’s Major Poets. Broomall, PA: Chelsea House.
- Frye, Paul H. (1987). "Voices in the Leaves: the 'Ode on a Grecian Urn'". In Bloom, Harold. The Odes of Keats. New York: Chelsea House. pp. 83–92.
- Garrett, John (1987). Selected Poems of John Keats. MacMillan Master Guides. London: MacMillan.
- Greenblatt, Stephen, ed. (2018). The Norton Anthology of English Literature. The Major Authors. 2 (Tenth ed.). New York: W. W. Norton.
- Inglis, Fred (1969). Keats. Arco Literary Critiques. New York: Arco.
- Nersessian, Anahid (2021). Keats’s Odes: A Lover’s Discourse. Chicago: The University of Chicago Press.
- Vendler, Helen (1983). The Odes of John Keats. Cambridge, MA: The Belknap Press.
- Wasserman, Earl (1964). "The Ode on a Grecian Urn". In Bate, Walter Jackson. Keats: A Collection of Critical Essays. Twentieth Century Views. Englewood Cliffs, NJ: Prentice-Hall. pp. 113–141.
