September 20, 2021: Difference between revisions

From Gerald R. Lucas
(Created entry.)
 
(Added more.)
Line 2: Line 2:


<div style="padding-top: 30px;">
<div style="padding-top: 30px;">
{{Center|{{Large|Ode on a Grecian Urn}}<br />
{{Center|{{Large|Ode on a Grecian Urn}}{{refn|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 ({{harvnb|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 {{harvnb|Bloom|2001|p=18}}). Keats used the ode in an attempt to transcend time and establish the permanence of poetic expression. Keats’ “Urn” uses a rhetorical technique called ''[[w:Ekphrasis|ekphrasis]]'', a poetic description of a work of art, and Keats’ poem is the exemplar of this device ({{harvnb|Bloom|2001|p=19}}). It borrows from the classical [[w:Pastoral|pastoral]], a poetic form that celebrates an idealized life of shepherds.}}<br />
By: [[w:John Keats|John Keats]] ([[w:Ode on a Grecian Urn|1819]]) }}
By: [[w:John Keats|John Keats]] ([[w:Ode on a Grecian Urn|1819]]) }}
<div style="display: flex; justify-content: center; padding-top: 25px;">
<div style="display: flex; justify-content: center; padding-top: 25px;">

Revision as of 09:03, 25 September 2021

Ode on a Grecian Urn[1]
By: John Keats (1819)

Thou still unravish’d bride of quietness,
Thou foster-child of silence and slow time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fring’d legend haunts about thy shape 5
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
          What pipes and timbrels? What wild ecstasy? 10

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 15
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! 20

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;
More happy love! more happy, happy love! 25
For ever warm and still to be enjoy’d,
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy’d,
          A burning forehead, and a parching tongue. 30

Who are these coming to the sacrifice?
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, 35
Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul to tell
          Why thou art desolate, can e’er return. 40

O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral! 45
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. 50

Notes & Commentary

  1. 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). 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.

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.

Links and Web Resources