The poem begins as an ode should, with an apostrophe, the act of speaking to someone not there, or to an object, such as an urn, which means either the urn is speaking, unlikely even in a poem, or the poet is translating a picture on a Grecian urn into an ode. One of the first superficial qualities that the reader notices in this phrase is the economy of language that characterizes this part of the line. The lovers on the urn enjoy a love forever warm, forever panting, and forever young, far better than actual love, which eventually brings frustration and dissatisfaction. By referring to the mythological heroes of the past, Keats evokes a particular nostalgia for the supposed perfection of the preceding ages, a nostalgia which will be contested and then swept away in the declarative concluding lines. But on the other hand, the lover on the urn has the privilege that the beauty of his beloved can never fade away — as it happens in real life.
In the third stanza, he looks at the trees surrounding the lovers and feels happy that they will never shed their leaves. The youth, the maiden, and the musical instrument are, as it were, caught and held permanently by being pictured on the urn. We are amazed at the artistic intrigues and fascinating power of eloquence with which the purely romantic poet gives vent to his inner emotions. We see a youth in a grove playing a musical instrument and hoping, it seems, for a kiss from his beloved. Other figures, or possibly the male figures, are playing musical instruments.
First, its apparent simplicity belies its latent symbolic meaning. His song can never end nor the trees ever shed their leaves. He brings the pictures to life as he goes into a fantasy world thinking of lovers that are frozen in time. In these two seemingly simple lines, Keats conveys his entire philosophy about art, beauty, and life to the reader so that he or she can offer an interpretation. There were many noted Romantic poets during that time, including names like William Wordsworth, Lord Byron, Percy Bysshe Shelley, and Samuel Taylor Coleridge. The poet tries to think of the name.
This line reflects Keats's tendency to be swept up in Platonic ideals; in fact, many of his poems reflect on ideal states versus lived reality. Who is being addressed--the poet, the urn, or the reader? Literally speaking, the speaker is addressing the art on the urn. In the second stanza, the poet makes the difference between scenery arts and In the third stanza, the poet is jealous of the joy the images on the urn seem to have. With these questions, Keats establishes the dialectic between art and its audience as a means to discover truth, a main theme of this poem. That reminds us of life that is ever ravished by time. To what altar does the priest lead a garlanded heifer? If humans no longer need to strive to create the perfect beautiful form in whatever medium, then it frees them to be imperfect.
In these two stanzas Keats imagines a state of perfect existence which is represented by the lovers pictured on the urn. He idealizes the happy state of the civilization in the urn. The issue is further confused by the change in quotation marks between the original manuscript copy of the ode and the 1820 published edition. Aside from textual considerations, the final couplet is ambiguous and has resulted in an extensive critical controversy over its meaning. The maidens are probably the nymphs of classical mythology. It also represents the two paradoxical sides of the urn: in one way its immortality is a positive and joyful thing, but on the other, it is full of desolation, isolation and emptiness.
Add your own readings to these ideas; what does the paradox mean to you? Understanding some lines in this poem is 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. He thinks about the feelings that the characters might express if they were alive. Then he experiences that world thus created through imagination. The scene elicits some thoughts on the function of art from Keats. The urn is almost its own little world, living by its own rules. The group is moving with a heifer laden with garlands. The Title The first step in completing an analysis of is to read it, several times if necessary.
In it, he discussed the problem of the final quotation, linking it with the work of Sir Joshua Reynolds. The poet imagines that the women would certainly struggle to escape. Ode to Grecian Urn Critical Appreciation and Analysis, a poem by John Keats 'Ode to Grecian Urn' is, probably, a homage to the permanence of beauty; especially the beauty of art in general and Hellenistic in particular. It follows the iambic pentameter, with ten lines in each stanza. Happy are the trees on the urn, for they can never lose their leaves.
It has survived intact from antiquity. The ultimate irony, of course, is that Keats uses one art form, the poem, and specifically, the ode, to achieve the transmission of this artistic philosophy. John Keats died on February 23, 1821, at the tender age of 25, owing to tuberculosis. Happy is the musician forever playing songs forever new. It was only possible in a world populated by deities.
No critic's interpretation of the line satisfies any other critic, however, and no doubt they will continue to wrestle with the equation as long as the poem is read. The romantic poet has a powerful fancy to bring out fascinating stories out of the engravings of the Grecian Urn. Such an argument may raise a number of provocative and uncomfortable questions. What, if anything, has the poet learned from his imaginative vision of or daydream participation in the life of the urn? Like in the first stanza, the word 'still' is key, acting again polysemically. Music has a sensual appeal to all the lovers of music but Keats would wish to imagine unheard musical charm.