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    Forms Poetry Presentation

    Uploaded by

    AJZ
    The poem is an ode addressed to a Grecian urn. In three stanzas, the poet observes and questions the scenes depicted on the urn: frozen moments of figures eternally pursuing or playing music. He imagines the unheard melodies of the urn are sweeter than those actually heard. In the final stanza, the poet reflects that while this generation and its sorrows will pass, the urn will remain as a symbol of eternal beauty.

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    Forms Poetry Presentation

    Uploaded by

    AJZ
    157 views3 pages
    The poem is an ode addressed to a Grecian urn. In three stanzas, the poet observes and questions the scenes depicted on the urn: frozen moments of figures eternally pursuing or playing music. He imagines the unheard melodies of the urn are sweeter than those actually heard. In the final stanza, the poet reflects that while this generation and its sorrows will pass, the urn will remain as a symbol of eternal beauty.

    Original Description:

    Ode on a Grecian Urn

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    The poem is an ode addressed to a Grecian urn. In three stanzas, the poet observes and questions the scenes depicted on the urn: frozen moments of figures eternally pursuing or playing music. He imagines the unheard melodies of the urn are sweeter than those actually heard. In the final stanza, the poet reflects that while this generation and its sorrows will pass, the urn will remain as a symbol of eternal beauty.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    157 views3 pages

    Forms Poetry Presentation

    Uploaded by

    AJZ
    The poem is an ode addressed to a Grecian urn. In three stanzas, the poet observes and questions the scenes depicted on the urn: frozen moments of figures eternally pursuing or playing music. He imagines the unheard melodies of the urn are sweeter than those actually heard. In the final stanza, the poet reflects that while this generation and its sorrows will pass, the urn will remain as a symbol of eternal beauty.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    of 3

    Form (how it contributes to meaning, rhyme and meter of form):

    Ode:

    Comes from the Greek aeidein, meaning to sing or chant


    Typically accompanied by both music and dance
    The purpose of an ode is to address an event, a person, or a thing not present
    Pindaric Odes
    Named after ancient Greek poet Pindar, who created the ode form
    Recited with poets and accompanied by dancers
    Often used to celebrate athletic victories (Olympics)
    strophe
    Formal opening to the ode
    Complex metrical structure
    antistrophe
    Mirrors the opening in structure
    epode
    Ending to the ode
    Completely different metrical structure and length
    from strophe and antistrophe
    Example: Ode on Intimations of Immortality from Recollections of
    Early Childhood by William Wordsworth
    Horatian
    Generally more peaceful and ruminative than Pindaric odes
    Less formal
    More suited for a quiet reading than a performance
    Horatian uses the same, recurring stanza length and form
    Example: Ode to the Confederate Dead by Allen Tate
    Irregular
    Basically all the rest of the odes
    Retains tone and thematic elements of a classical ode
    Attempts to be formal
    Example: Ode on a Grecian Urn by John Keats
    Written by Keats as a result of
    experimenting with sonnet form

    Author (style):
    John Keats:
    English romantic poet (Romanticism), born October 31st,1795 in London
    early tragedy-both parents died at young age
    trained to be an apothecary, decided to pursue poetry
    heavily influenced by Leigh Hunt, a popular editor who introduced Keats to a
    prominent literary circle
    His Style:
    vivid imagery of the scenes created in his head on the urn
    antithesis :Imagined melodies are lovelier than those heard by human ears.
    Therefore the poet urges the musician pictured on the urn to play on.

    self-contemplation through rhetorical questions: Keats' imagined urn is


    addressed as if he were contemplating a real urn. It has survived intact from antiquity. It
    is a "sylvan historian" telling us a story, which the poet suggests by a series of questions.
    Who are these gods or men carved or painted on the urn? Who are these reluctant
    maidens? What is this mad pursuit? Why the struggle to escape? What is the
    explanation for the presence of musical instruments? Why this mad ecstasy?
    emotional impact through comparisons: After our generation is gone, you will still
    be here, a friend to man, telling him that beauty is truth and truth is beauty that is all
    he knows on earth and all he needs to know.
    extended metaphor?: the urn is a figment of his imagination
    RHYME SCHEME
    ABAB in all ten line stanzas followed by Miltonic Sestet:
    CDEDCE in 1st and 5th stanzas
    CDECED in 2nd stanza
    CDECDE in 3rd and 4th stanzas
    https://en.wikipedia.org/wiki/Ode_on_a_Grecian_Urn

    FORM AND METER


    Ode in Iambic Pentameter
    http://www.shmoop.com/ode-grecian-urn/rhyme-form-meter.html

    Close Read of Poem (how form/devices add to overall meaning):


    http://www.poetryfoundation.org/poem/173742

    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?
    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!
    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.
    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."

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