1. John Keats -
Struggling Poet
or Literary Hero?
Annika Barnes

2. Ode on A Grecian Urn
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      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?
Based upon an Grecian Urn Keats saw in a museum. However, no urn with the description Keats gives has ever been found.

3. 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!
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,     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.
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!     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."
And, happy melodist, unwearied,     For ever piping songs for ever new; More happy love! more happy, happy love!     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.

4. To Critique or not to Critique?
    
To Critique or not to Critique?

5. General: "Ode on a Grecian Urn"
"The excellence of every art is its intensity, capable of making all disagreeables evaporate from their being in close relationship with Beauty and Truth." - Keats
  "Ode on a Grecian Ode" is based on a series of paradoxes and opposites:
the discrepancy between the urn with its frozen images and the dynamic life portrayed on the urn,
the human and changeable versus the immortal and permanent,
participation versus observation,
life versus art.

6. As in "Ode to a Nightingale," the poet wants to create a world of pure joy, but in this poem the world of fantasy is the life of the people on the urn. Keats sees them, simultaneously, as carved figures on the marble vase and live people in ancient Greece. Existing in a frozen or suspended time, they cannot move or change, nor can their feelings change, yet the unknown sculptor has succeeded in creating a sense of living passion and turbulent action. As in "Ode to a Nightingale," the real world of pain contrasts with the fantasy world of joy. Initially, this poem does not connect joy and pain.
      Understanding some lines in this poem are a challenge to any reader, particularly the last two lines:
'Beauty is truth, truth beauty,'--That is all      Ye know of earth, and all ye need to know. Some of the difficulty arises because there is no definitive text for this poem. No manuscript in Keats's handwriting survives. Although the poem was included in a volume of poems published in 1820, Keats may have been too ill to correct typesetting errors. Also, there exist two other versions of the poem which have some claim to authority. The differences among these versions are significant and affect meaning.
      Aside from textual considerations, the final couplet is ambiguous and has resulted in an extensive critical controversy over its meaning. Jack Stillinger comments, "As to critical interpretation of who says what to whom, no single explanation can satisfy the demands of text, grammar, consistency and common sense." Some readers write off this couplet; T.S. Eliot calls these lines a " serious blemish on a beautiful poem; and the reason must be either that I fail to understand it, or that it is a statement which is untrue."
      So if you have trouble understanding these last two lines, you are in good company.

7. Stanza I.       Stanza I begins slowly, asks questions arising from thought and raises abstract concepts such as time and art. The comparison of the urn to an "unravish'd bride" functions at a number of levels. It prepares for the impossibility of fulfillment of stanza II and for the violence of lines 8-10 of this stanza. "Still" embodies two concepts--time and motion--which appear in a number of ways in the rest of the poem. They appear immediately in line 2 with the urn as a "foster" child. The urn exists in the real world, which is mutable or subject to time and change, yet it and the life it presents are unchanging; hence, the bride is "unravish'd" and as a "foster" child, the urn is touched by "slow time," not the time of the real world. The figures carved on the urn are not subject to time, though the urn may be changed or affected over slow time.
      The urn as "sylvan historian" speaks to the viewer, even if it doesn't answer the poet's questions (stanzas I and IV). Whether the urn communicates a message depends on how you interpret the final stanza. The urn is "sylvan"--first, because a border of leaves encircles the vase and second because the scene carved on the urn is set in woods. The "flowery tale" told "sweetly" and "sylvan historian" do not prepare for the terror and wild sexuality unleashed in lines 8-10 (another opposition); the effect and the subject of the urn or art conflict. Is it paradoxical that the urn, which is silent, tells tales "more sweetly than our rime"? Twice (lines 6 and 8) the poet is unable to distinguish between mortal and immortal, men and gods, another opposition; is there a suggestion of coexistence and inseparableness in this blurring of differences between them?
      With lines 8-10, the poet is caught up in the excited, rapid activities depicted on the urn and moves from observer to participant in the life on the urn, in the sense that he is emotionally involved. Paradoxically, turbulent dynamic passion is convincingly portrayed on cold, motionless stone.
      Paradox and opposites run through the rest of the poem. As you read and reread the poem, you should become aware of them.

8. Stanza II.       The first four lines contrast the ideal (in art, love, and nature) and the real; which does Keats prefer at this point? What is the paradox of unheard pipes? Is this an oxymoron?
      The last six lines contrast the drawback of frozen time; note the negative phrasing: "canst not leave," "nor ever can," "never, never canst" in lines 5-8. Keats says not to grieve; whom he is addressing--the carved figures or the reader? or both? Then he lists the advantages of frozen time; however, Keats continues to use negative phrasing even in these lines: "do not grieve," "cannot fade," and ""hast not thy bliss." Has Keats made a mistake, or is there a reason for this negative undertone?

9. Stanza III.       This stanza recapitulates ideas from the preceding two stanzas and re-introduces some figures, the trees which can't shed leaves, the musician, and the lover. Keats portrays the ideal life on the urn as one without disappointment and suffering. The urn-depicted passion may be human, but it is also "all breathing passion far above" because it is unchanging. Is there irony in the fact that the superior passion depicted on the urn is also unfulfillable, that satisfaction is impossible?
      How does he portray real life, actual passion in the last three lines? Which is preferable, the urn life or real life? Note the repetition of the word "happy." Is there irony in this situation?
Stanza IV.       Stanza IV shows the ability of art to stir the imagination, so that the viewer sees more than is portrayed. The poet imagines the village from which the figures on the urn came. In this stanza, the poet begins to withdraw from his emotional participation in and identification with life on the urn.
      This stanza focuses on communal life (the previous stanzas described individuals). What paradox is implicit in the contrast between the event being a sacrifice and the altar being "green?” between leading the heifer to the sacrifice and her "silken flanks with garlands drest"?
      In imagining an empty town, why does he give three possible locations for the town, rather than fix on one location? Why does he use the word "folk," rather than "people"? Think about the different connotations of these words. The image of the silent, desolate town embodies both pain and joy. How is it ironic that not a soul can tell us why the town is empty and that the vase communicates so much to the poet and so to the reader? Is this also paradoxical?
      In terms of the theme of pain-joy, what is Keats saying in lines 1-4 (the procession)? in the rest of the stanza (the desolate town)? Is he describing a temporary or a permanent condition?
      Is the viewer, who is the poet as well as the reader, pulled into the world of the urn?

10. Stanza V.       The poet observes the urn as a whole and remembers his vision. Is he emotionally involved in the life of the urn, or is he again the observer? What aspect of the urn is stressed in the phrases "marble men and maidens," "silent form," and "Cold Pastoral"?
      Is there a paradox in the phrase "Cold Pastoral"?
      Yet the poet did experience the life experienced on the urn and comments, ambiguously perhaps, that the urn "dost tease us out of thought / As doth eternity." Is this another reference to the "dull brain" which "perplexes and retards" ("Nightingale")? Why does Keats use the word "tease"? By teasing him "out of thought," did the urn draw him from the real world into an ideal world, where, if there was neither imperfection nor change, there was also no real life or fulfillment? Or, possibly, was the poet so involved in the life of the urn he couldn't think? Was the urn an escape, however temporary, from the pains and problems of life? One thing that all these suggestions mean is that this is a puzzling line.
      In the final couplet, is Keats saying that pain is beautiful? You must decide whether it is the poet (a persona), Keats (the actual poet), or the urn speaking. Are both lines spoken by the same person, or does some of the quotation express the view of one speaker and the rest of the couplet express the comment upon that view by another speaker? Who is being addressed--the poet, the urn, or the reader? Are the concluding lines a philosophical statement about life or do they make sense only in the context of the poem?
     

11. Some critics feel that Keats is saying that Art is superior to Nature
Some critics feel that Keats is saying that Art is superior to Nature. Is Keats thinking or feeling or talking about the urn only as a work of art? Your reading on this issue will be affected by your decision about who is speaking.
      No matter how you read the last two lines, do they really mean anything? do they merely sound as if they mean something? or do they speak to some deep part of us that apprehends or feels the meaning but it is an experience/meaning that can't be put into words? Do they make a final statement on the relation of the ideal to the actual? Is the urn rejected at the end? Is art--can art ever be--a substitute for real life?
      What, if anything, has the poet learned from his imaginative vision of or daydream participation in the life of the urn?

12. Reflecting
hmm...
Keats poem was picked apart stanza by stanza in the critique by Lila Melani. At the beginning of the critique, Melani uses this quote: "The excellence of every art is its intensity, capable of making all disagreeables evaporate from their being in close relationship with Beauty and Truth." - Keats
Why does Keats have such a fascination with beauty and truth being related so closely? Is it plausible that, as Melani writes, Keats never spell checked his work and the last two lines of the poem are incorrect? If this was the case, it would definitely be shocking to the poetic world, as many long and winding debates have been started from the last two lines of the poem.

13. Melani writes that two other versions of this poem have been found
Melani writes that two other versions of this poem have been found. She says that in all three versions, the last two lines differ and affect the entire poem’s meaning.
It is mind boggling to think that Keats maybe intended for readers to get a completely different perspective of the poem than the one we actually have gotten. If he has two other poems very similar (yet different) to the Ode many people read, why have they not sparked debate over their last two lines?
Could Keats have made a horrible mistake by not correcting the final lines of his poem?

14. As Melani states in the critique, Keats’ poem is full of paradoxes and oxymorons. One interesting point, however, is that, in Stanza II, Melani believes that the ‘unheard pipes’ Keats writes about are an actual paradox or oxymoron themselves. For many people interpreting the poem, they would probably think the pipes were music dedicated or based around the ‘unravish’d bride.’
Melani also writes of Keats incredible dive into negative tones in Stanza II. He uses many “I can’t do it” type of words, and Melani wonders if Keats has a reason for doing this. Could it be that, when he saw this urn, he could picture only disaster for the figures upon it?
Indeed, Stanza III and IV definitely gives the reader the most obvious picture of what is happening. Leading a heifer to be sacrificed – a whole town emptied of its people. Keats has found a way to entice the reader into seeing a mental image, while still leaving them wondering for the previous two stanzas.
I wonder if he had reason for doing this?

15. Does Keats want us to feel compassion for the sacrifice and the empty town? Melani sounds just as intrigued and confused as I, so it is not debatable that many of her paragraphs end with questions.
Melani believes that Stanza V’s “cold pastoral” has a paradox hidden in it. For a brief moment, I feel that Melani is reading too much into Keats’ poem. When I read this stanza, I am filled with mental images, like Stanza IV. Keats may just be trying to intrigue a picture for the reader, rather than puzzle us with paradoxes and oxymorons.
The author of the critique asks if art can be a substitute for real life. I believe it can. Depending on which context you take it, art being real life could be as simple as drawings on an urn, or a painting on the wall. Art being real life, however, is still a comprehendible suggestion. What we see with our eyes is art. The world is like one large moving picture. In a way, what we see with our own eyes is art…and that is real life.

16. Reading poetry is all about your perception of the poem
Reading poetry is all about your perception of the poem. Melani probably pictured the poem in her own way, but my interpretation of the poem would be a woeful tale of lost love.
In the first stanza, we hear about a bride and a struggle. In my mind, I picture a sad young woman mourning some kind of loss, but I am not sure what it is. There seems to be mystery surrounding the young bride.
The second and third stanzas tell of happier times. I picture a wedding – the young bride is about to be married to her love, and the musicians are playing happy music to commemorate the occasion. All seems well in these two stanzas.
The fourth stanza turns the whole story around. An empty town, a cow being led to sacrifice? In my eyes, the bride’s husband has perished in a kind of battle and now a cow is being sacrificed for his sake.

17. The town is emptied of its people
The town is emptied of its people. Perhaps there was a battle, and many villagers were killed.
The fifth stanza speaks of large marble statues overwrought with leaves and vines. I picture the young maiden walking through a leaf-ridden path years past the death of her young husband. She walks up a small staircase and kneels before the urn holding her husband’s ashes. As she weeps, the words on the urn become visible:
“Beauty is truth, truth beauty,--that is all         Ye know on earth, and all ye need to know."

18. Song -
I had a Dove
I had a dove and the sweet dove died; And I have thought it died of grieving: O, what could it grieve for? Its feet were tied, With a silken thread of my own hand's weaving; Sweet little red feet! why should you die - Why should you leave me, sweet bird! why? You liv'd alone in the forest-tree, Why, pretty thing! would you not live with me? I kiss'd you oft and gave you white peas; Why not live sweetly, as in the green trees?

19. SECTION FROM ‘FACTS ABOUT FURS’ BY CHRISTINE EVANS
John Keats mourned, "I had a dove, and the sweet dove died, and I have thought it died of grieving." George Sand released her doves as a child when she found they were anxious to fly away. Leonardo da Vinci went to the markets where wild birds were sold, bought them and then released them.
The heartfelt individual protest of this great genius against the commercialization of wild birds for pets set an example that nations of the world have been slow to follow. But the very excesses of the modern pet trade, grown to huge proportions in industrialized countries, have led to the necessity for curbs on its overwhelming greed.

20. “Song - I had a Dove” is a short and sweet poem about a captive animal
“Song - I had a Dove” is a short and sweet poem about a captive animal. The critique for Keats’ poem is part of a large Introduction to a book on Animal Rights.
Did Keats own a dove that stayed tied to a tree for its life? Based upon other poems Keats has written (Ode to Autumn, etc.) what was his reasoning for writing a poem such as this? Many of Keats’ poems are long in length and his usual style is an ode, yet “I had a Dove” is not an ode, it is merely a short and sweet poem about a bird.
Perhaps Keats was an animal activist. He may have been strongly against the unethical treatment of animals, such as tying a bird to a tree for life. In this short poem, Keats may have been trying to protest the rights of animals.

21. Or, Keats may have been an animal activist and the only way he could express himself was through his poetry. Whatever the case, Keats poem has been used in a book about the rights of animals and their treatment. If Keats was only hoping his poem would be remembered as a neutral piece of work, he was wrong.
Personally, I find “I had a Dove” to be a thought provoking and image stimulating piece of work.

22. Sources Cited
Diekmann, W.(2000). Poems. Oldenburg, Germany. Retrieved December 2,
2003 from the World Wide Web:
Melani, L.(2003). Ode on a Grecian Urn. Brooklyn, NY: English
Department. Retrieved December 5, 2003 from the World
Wide Web:
/melani/cs6/urn.html
Stevens, C.(1997). Introduction. Washington, DC. Retrieved December
5, 2003 from the World Wide Web:
pubs/bk-conts.htm