1. Poetry
Life, Art & Beauty

2. Outline Intro.: Life, Art & Beauty P.B. Shelley: " Ozymandias"
John Keats: " Ode on a Grecian Urn"
Conclusion

3. Life, Art & Beauty ─how do we realize art in our daily life
What may be the relationship among life, art and beauty?
Is it true that art beauties up one’s life?
How do YOU relate the literary works we have read to your life?
Does art create any meaning in your life?

4. The origin Greek Roman Establisher Pindar
Meaning encomiums (congratulatory address or message )
Purpose public praise
Types strophe, antistrophe and epode
Roman
Establisher Horace
Purpose the expressions of personal feelings.

5. The Development Greek: Roman:
1656, Abraham Cowley introduced the "irregular ode. "
From recurrent stanza to individually shaped stanzas.
Roman:
The same metrical pattern of stanzas
More personal, meditative, and more restraind.

6. Six odes of John Keats “Ode” “Ode On A Grecian Urn”
“Ode On Melancholy”
“Ode To A Nightingale”
“Ode To Autumn”
“Ode To Psyche”

7. What is Ode- Three features
Three elements of the new form
The description of the natural scene
Focus on a private problem or a universal situation
Express perception

8. Ode on a Grecian Urn ***Summary for the poem:
Question for us to think about:
Perhaps we can think about our attitude toward art and time! Do you think the spirit of art will remain forever?

9. John Keats(17955~1821)
John Keats, born in London, lived only twenty-five years and four months ( ), yet his poetic achievement is extraordinary.
His writing career lasted a little more than five years ( ), and three of his great odes
1."Ode to a Nightingale,“
2."Ode on a Grecian Urn,"
3."Ode on Melancholy"--
In this brief period, he produced poems that rank him as one of the great English poets. He also wrote letters which T.S. Eliot calls "the most notable and the most important ever written by any English poet." In the twentieth century, the perception of Keats's poetry expanded

10. Postmortem Influence
English Romantic poet lyric poems (a short poem could expressed speakers thoughts and feelings)
19thafter he died, critics and readers did notice his poems and thought that he was a sensual poet
20thhis perception of poetry has been expanded and also he believes “what determines truth is experience”
source:

11. Conflicts appear in Keats's poetry:
1. transient sensation or passion / enduring art
2. dream or vision / reality
3. joy / melancholy
4. the ideal / the real
5. mortal / immortal
6. life / death
7. separation / connection
8. being immersed in passion / desiring to escape passion

12. Stanza I Raises abstract concept: time and art
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?

13. Unravish’d bride:
Real world– mutable (changeable), or ..subject to time and change.
Urn & the life– unchanging
Foster-child:
Slow time vs. The time of the real world
Figures on the urn– not subject to time

14. Sylvan:
a border of leaves encircles the vase
the scene carved on the urn is set in woods
A flowery tale:
Paradoxical

15. Line 6~8: Line 8~10: Mortal and immortal Men and Gods
The poet movEes from observer to participant.
Paradoxical: nergetic passion vs. cold, motionless stone

16. Stanza II
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!

17. Technique & Analysis Stanza II Stanza III Ideal life/frozen time
Do not grieve
Stanza III
Irony
Repetition of “happy” and “for ever”
Paradox

18. Stanza III
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! 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.

19. Art (on the urn) vs. Real Life
Eternal/permanent/immortal
Quiet/motionless
Interior
Perfect life
Taking pictures
Observation
Real Life
Existence
Changeable
Participation
Source:

20. Stanza IV
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.

21. Stanza IV
The ability of art
Art can speak to the viewer, to stir the imagination so that the viewer sees more than is presented.
In this stanza, the author imagines the situation of village from the figures on the urn.
The withdraw
In this stanza, the author begins to withdraw from his emotional participation and identification with life on the urn. This stanza is the main process of his transformation of thinking.
This stanza focuses on communal life. (the previous stanzas described individuals). 

22. Stanza IV
In this stanza the author keeps talking to the urn and asking questions.
A priest leads a line lined by a group of people which is going to the altar, with a heifer which is lowing to the sky. After people’s leaving, the town will be silent and desolate. The quietness shall remain.
Art may remain
Time, human beings may disappear, but the art won’t disappear and won’t change. It may remain, like the town remains, keeping silent till the end. After the people pass, the street would be silent.
In the process to the altar, people, the priest, and the heifer are frozen on the urn. In this stanza, people may be gone, but the town, the silence and emptiness may be left behind. Despise the process, the actions and images are frozen at the moment and will remain forever. Art may not die for the time and the past. .

23. Stanza V Ye know on earth, and all ye need to know."
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."

24. Stanza V
This stanza is not only the end of the poem but also the author’s conclusion toward time and art. Keats admires the Attic shape and he appreciates the urn. In this stanza he talks again about the images he has indicated before, like the two lovers, and the branches.
“The marble men and maidens overwrought”
*marble: cold and remained, the frozen moment of the two lovers (metaphoric)
*overwrought: remained and have struggled with time and ages. Things on the urn won’t disappear and they won’t lose their spirit and life. Things may remain eternal on works of art. Though time and ages go by, the art still remain and be the “truth beauty” till the end.

25. Beauty vs. Truth I “Beauty is truth, truth beauty” ─What does it mean?
─How do you think about Keats’ attitude toward art and time?
Keats indicates
the beauty and art shall remain forever, and that ‘s all people shall know and need to know.
the spirit of the work of art may not disappear.
the beauty which is based on truth is the true beauty.
the beauty lies in beauty itself and beauty is inspired by itself. That is the truth beauty.

26. Beauty vs. Truth II Our Viewpoint
“Beauty is truth, truth beauty.”
─Keats thinks that the true beauty stays in the truth. Do you agree with this? What do you think about the true beauty?
Conclusion:
The true beauty stays in what we look and how we look at things. Keats uses a brief sentence to tell the readers that the true beauty lies in the work of art, and the truth that things have and create.
**There are many interpretations─ depends on how we look at it.

27. Summary back
In this poem, Keats describes his reaction to a Grecian urn painted with images of men, maidens, pipers and other Greeks, then he starts his journey of imagination and mediation. At first, he is fascinated by the first glance. Then, he begins to talks to the urn.
In the journey of mediation, Keats tries to get something from the pictures and understand the stories on the urn, from the past that he doesn’t know.

28. Summary I back
Then begins the journey. His thought slide freely in the mediation. Trying to get something from the pictures and tries to understand the stories on the urn, from the past that he doesn’t know. The journey of mediation is not merely the mediation but also the author’s transformation process of thinking toward the spirit of art.
Melodies, pipes, and the spirits of the pictures are lying in the urn invisibly. Though they cannot be seen, they also have spirit in themselves. These things are not mere sensual pleasure, but a higher sense of ideal beauty.

29. Summary II back
The things on the urn are beauty and are worthwhile to be admired. The author admires the work of art a lot and he also understands that things which are remained in the work of art may stay forever. Perhaps time and life may be passed, but the art remains. The images on the urn have a similar effect, as they are frozen forever at the moment of highest perfection. At the end of the poem, the author indicates that “Beauty is truth, truth beauty.”. It shows Keats’ attitude toward art and time.

30. Ozymandias
Percy Bysshe Shelley

31. Ozymandias I met a traveler from an antique land
Who said: 'Two vast and trunkless legs of stone
Stand in the desert. Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed.
And on the pedestal these words appear –
"My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!"
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.'

32. 3D Adaptation

33. Percy Bysshe Shelley
The spirit of revolution and the power of free thought were Percy Shelley's biggest passions in life.
A radical thinker and pronounced atheist, Shelley's poetry explored the political themes of the day.

34. Ozymandias
The name Ozymandias (or Osymandias) is generally believed to refer to Ramesses the Great, Pharaoh of the Nineteenth dynasty ( B.C.) of Ancient Egypt.
Ramesses II is the most famous of the Pharaohs, and there is no doubt that he intended this to be so.
Ozymandias (Ramesses)
The two legs (line 2)

35. Romanticism
Romantic Chronology
Victorian Era
Definition: Romanticism was an artistic and intellectual movement in Europe during the late 18th century characterized by an interest in nature and an emphasis on the individual's expression of emotion and imagination. Romanticism departed from the attitudes and forms of classicism, materialism and rationalism in order to focus on subjective experience rather than attempts to create an objective science.

36. Summary
The speaker tells us that he met a traveler who told him about:
a sculpture in Sahara desert.
the story of the pharaoh made into that sculpture; his arrogance and ambition.
in what does way the pharaoh’s ambitions eventually fall

37. Resource:en.wikipedia.org/wiki/Ozymandias
Setting & Theme
SettingEgypt and the Sahara desert
Theme
the arrogance and transience of power
the permanence of real art and emotional truth
the relationship between artist and subject
Resource:en.wikipedia.org/wiki/Ozymandias

38. Structure 2 Italian sonnet
rhyme:interlinks the octave with the sestet, by gradually replacing old rhymes with new ones in the form ABABACDCEDEFEF.
sound:metered in iambic pentameter
the poem can be divided into two parts
Octave(the first 8 lines)—describes the fragments of a sculpture the traveler sees on an ancient ruin
Sestet(the next 6 lines)--goes further to record the words on the pedestal and then describe the surrounding emptiness.
Resources:

39. Technique--Irony The use of irony in this poem
1.what Ozymadias said("My name is Ozymandias, king of kings:Look on my works, ye mighty, and despair!") and what is left behind him(Nothing beside remains.)"the mighty" should despair — not, as Ozymandias intended, because they can never hope to equal his achievements, but because they will share his fate of inevitable oblivion in the sands of time. Besides, there is no any “mighty” around his statue now.
Resources:

40. 2.The survival of the pharaohnot because of his own powers, but by the sculptor’s hand that made his sculpture.
3.The description of the desert—“boundless and bare”Although the sculpture is “vast and colossal,” after being put into such a large space as the sahara desert, it would be seen as a small thing by compare.
Resources:

41. The issue of Art
The attitude toward Art expressed in this poem:
The decay of the sculpture shows that Ozymandias obviously loses his power and is ignored.
Artist and subject:
Ozymandias’ passion survived by the sculptor’s hand.

42. Ozymandias vs. My Last Duchess
Attitude toward art
Art would fade but the spirit will survive
Art is everlasting
Speaker
The speaker
 the traveler
the duke = the speaker
form
sonnet
dramatic monologue

43. Ozymandias back *octave I met a traveler from an antique land
Who said: Two vast and trunkless legs of stone
Stand in the desert. Near them on the sand,
Half sunk, a shattered visage lies, whose frown
And wrinkled lip and sneer of cold command
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed.

44. *sestet And on the pedestal these words appear:
"My name is Ozymandias, king of kings:
Look on my works, ye mighty,
and despair!"
Nothing beside remains. Round the decay
Of that colossal wreck,
boundless and bare,
The lone and level sands stretch far away.
back

45. wrinkled lip and sneer of cold command
back
wrinkled lip and sneer of cold command
Tell that its sculptor well those passions read--
the frown and "sneer of cold command" on the statue's face indicate that the sculptor understood well the passions of the statue's subject, a man who sneered with contempt for those weaker than himself, yet fed his people because of something in his heart("The hand that mocked them and the heart that fed").
Resources:

46. mocked—with double meaning:
back
survive—a transitive verb—line 6-8 mean that those passions (arrogance and sneer) have survived (outlived) both the sculptor (whose hand mocked those passions by stamping them so well on the statue) and the pharaoh (whose heart fed those passions in the first place).
mocked—with double meaning:
＊to create/fashion an imitation of reality; to imitate
＊to ridicule
(In Shelley's day, the latter meaning was predominant; but in the specific context of "the hand that mock'd them", we can read both "the hand that crafted them" and "the hand that ridiculed them".)
Resources:

47. Conclusion
Art captures parts of life, we can feel both the beauty and flows of life through art works─ but art can not show the flows of life. (e.g. graphic art & sculpture frozen moment)
temporal art─ may have the ability to do so
Whose viewpoint of art do you agree more with? (Shelly vs. Keats)

48. Works Cited

49. Group1 Members
Elyse
Claire
Alice
Shannon
Rose
Diane

50. The End
Thanks for Your Listening
Bye Bye~