Ode on a Grecian Urn is an ode during which the speaker addresses an engraved urn and expresses his feelings and concepts about the experience of an imagined world of art, in contrast to the truth of life, change and suffering. As an ode, it also has the unique features that Keats himself established in his great odes.
The features of Keatsian Romanticism and Keats’ philosophy of art, beauty and truth also are important during this poem. Though it’s a romantic poem, we discover the weird classical interests of Keats within the style and sort of this poem. this is often a romantic poem mainly due to its dominant imaginative quality.
Like Wordsworth’s nature, Keats’ imagination may be a means to know life, a way of the search for truth and wonder, and therefore the most reliable mode of experience and insight. The speaker within the poem begins with reality- an ancient marble urn with engravings around it. He addresses the urn as a virgin bride of quietness. Time is slow for it. it’s unchanging, perfect and silent. The carving around the urn is expressing the story of the pilgrims, lovers and other mysterious people recorded in times of gods and men on its outside. within the poet’s imagination, this world and other people are made immortal and delightful by art.
The Ode on a Grecian Urn expresses Keats’s desire to belong to the realm of the eternal, the permanent, perfect and therefore the pleasurable, by establishing the means to approach that world of his wish with the assistance of imagination. This ode is predicated on the strain between the ‘ideal’ and therefore the ‘real’. Keats here idealizes a piece of art as symbolizing the planet of art which represents the perfect world of his wish at a good deeper level. Then he experiences that world thus created through imagination. during this poem, the 2 domains of the transient real and therefore the permanent ideal are the 2 facets of a deeper reality, the truth of imaginative experience. the right, permanent and pleasurable world of the Urn, or that of the perfect, stands against the destructive corrupting and painful effects of your time. Keats’ fascination with the immortality of art is duly counterbalanced together with his awareness that it’s lifeless. He neither supports gross realism against truly imaginative art, nor does he wander in imagination alone. Life compensates for the incompleteness of art and art compensates for the transience of life.
This ode which represents Keats’s mature vision consists of 1 of his central philosophical doctrines of art itself: “Truth is Beauty and wonders truth”. This famous maxim of Keats has an intellectual basis of truth and also an emotional basis in beauty. Art may appeal to the sensuousness or simply the emotion of folk, but Keats’ response extends from the sensuous to the spiritual and from the passionate to the intellectual. Keats establishes a balance between the important and therefore the ideal, and art and life, and he finds the deepest of reality in its balance. This ode gives away importance to passion on the thought of permanence. it’s not a lyric of the escape of a dying young man, unwilling to face bitter life into the realm of everlasting happiness, but maybe a poem that embodies his mature understanding.
Keats indicates a contrast between the unchanging ‘Urn’ and temporal life within the very beginning of the poem, but shifting to the opposite side from where he seems to prefer warm life against the ‘Cold Pastoral’ where he finally resolves the duality in his doctrine of beauty and truth. The Ode begins with an apostrophe to the urn: “Thou still unravished bride of quietness, / Thou foster-child of silence and slow time, / Sylvan historian”. Keats addresses the urn as a bride of quietness that’s still unravished by time. That reminds us of life that’s ever ravished by time. The urn narrates its history during a silent but musical form. The silent music which Keats, the addressee, feels he can hear is sweeter than the music of the human voice for it’s permanent. Unlike the temporal presentation of poetry which is susceptible to narrate the histories of person, the urn narrates a ‘leaf-fringed legend’ as if it were in space instead of in time. The narration of the urn is itself liberated from time.
The worlds of reality and imagination (or the important and therefore the ideal) are explicitly contrasted during this ode. But the permanence of art created out of imagination may be a complement to the temporary aspect of life. The creation of art and its realization within the contemplation of a better reality may be a complement to the tragic awareness of temporal and painful life. Even the realities are of two kinds: the truth of life or the target reality and therefore the reality of art or the planet of imagination. On the one hand, the lover within the world of the urn can never kiss his beloved together can in the real world. But on the opposite hand, the lover on the urn has the privilege that the sweetness of his beloved can never dissolve – because it happens in the real world. this is often why the poet is seeking for the truth of life to be like that of the perfect art. The urn’s immunity to the time couldn’t be an absolute ideal without the consummation of affection. But the temporary satisfaction in life only intensifies the notice of transience by consummation itself. The act of imaginative experience can compile the unheard-of an enduring melody. The poet who is emotionally involved in the image of passion also has the unifying vision that reconciles the important with the perfect by idealizing the important.
In short, the permanently ideal world of the urn is presented within the urn that’s the lifeless thing when seen from the real world. But the thought that comes under the domain of imaginative reality is reconciled within the act of imaginative creation of the urn’s legend. Therefore, the important life is complemented and enriched by this ideal. Thus, the 2 domains of the important and therefore the ideal coming into conflict as was common, ultimately reconcile to form a more permanent truth as asserted within the ‘truth and beauty’ maxim. To sum up, during this ode, Keats begins by idealizing, personifying, and immortalizing a true object. This ideal initially clashes with the important but is reconciled by imagination and insight at the top. The poem begins with an address to the Grecian urn and with almost envious amazement, but it ends with the belief that beauty or ideal may be additionally a dimension of the reality of the real; the sweetness of imaginative experience is a part of reality or truth and therefore the knowledge of all truth is gorgeous.
In the Ode on a Grecian Urn Keats tries to state that neither the sweetness of nature nor the sweetness of art can console us for the miseries of life. The lifetime of the figures on the urn possesses the beauty; the importance, and therefore the externality of art; and this, within the third stanza explicitly, and throughout the poem implicitly, is contrasted with the transitory-ness, the meaninglessness, and therefore the unpoetic nature of actual life.
The Ode is made pictorially in spatial blocks, for the eyes to require in serially. Keats had a genius for drawing vivid and concrete pictures mostly with a sensuous appeal. the entire of this poem is remarkable for its pictorial effects. the eagerness of men and gods, and therefore the reluctance of maidens to be caught or seized is beautifully depicted.
ode on a grecian urn ode on a grecian urn ode on a grecian urn ode on a grecian urn ode on a grecian urn ode on a grecian urn