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Ode on a grecian urn by john keats essay
Ode on a grecian urn by john keats essay
Ode on a grecian urn by john keats essay
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TITLE PJ McDonough Poetry as Power p6 Ms. Schauble The second stanza of John Keats’s “Ode on a Grecian Urn” begins with the line, “Heard melodies are sweet, but those unheard / Are sweeter.” With this line Keats is saying that while spoken word is important and beautiful, a picture is worth 1000 words. The first four lines of the stanza set the stage for the story of the Urn to be told, and there is a clear separation between the first four lines of the stanza and the last six. Keats makes this separation obvious with his rhyming scheme. The first four lines of the stanza go ABAB with B being an implied rhyme, and the last six lines go CDECED. Each line of the second stanza has ten syllables except the …show more content…
This is especially shown in her poems “Hope is the thing with feathers (254)” and “My Life closed twice before its close (96)”. Neither poem relies on Dickinson’s traditionally dominant dash, but are similar in both rhyming scheme and meter, loosely following an ABCB and 8 6 scheme. In “254” hope is implied to be an unwavering bird within the soul. The bird sings to the speaker in the darkest and strangest times of their life asking little in return despite giving its whole self to the speaker. Just like the bird, Jesus is hope, giving his whole self to forgive the sins of man, and asking little in return. The poem is short and simple, but powerful in its message of the unwavering hope of Christianity, showing that Dickinson still believes in Christ despite not conforming to religious norms. Just like “ Hope is the thing with feathers” “My life closed twice before its close” is a short, straight-forward poem about God. The first line talks about three lives, two that have already been lived and one that is on the horizon. The speaker is at the dawn of a new chapter in their life, but is unsure what that new chapter holds or if it will be lived at all. This is seen in lines 2 through 4, “It yet remains to see / If immortality unveil / A third life to me” In the second stanza the speaker is dumbfounded by the vastness of life and cannot fathom the life lived in their previous two lives because of the evil that they have committed. In the seventh and eighth lines the speaker knows that the only known of heaven is parting with that bad and the only constant of hell is those who cannot leave their evil behind. Thus, they hoping for a third life to part with their wrongdoing. Although veiled behind her writing, Dickinson is worried about her own struggles with
...Dickinson has for the most part conquered her fears. As the second poem gave us the unsettling idea that the author of the poem we were reading was afraid to compose poetry, this poem shows us her coming to terms with that. Her list of creatures blessed with wonders they had not dared to hope for extends quite naturally to include her. She has come to her “Heaven” through poetry—“unexpected”, but eventually with confidence brought about by the trials dealt with throughout the fascicle. The poems are very closely linked, each one showing us some new aspect of Dickinson’s personality that leads toward her confidence. Finally, Dickinson has found her voice and in this final poem proclaims that she has found a peace to which she had not dared aspire at the beginning. Now she has both nature and poetry within her grasp—this is “Heaven” and “Old Home” all at once.
She chooses this arrangement of verse in order to ordain a religious aspect into the poem, which does well to suite the theme and what she is fond of. As the recollection of the speaker’s death progresses, Dickinson uses the stanzas to mark the stages of the
Another way in which Dickinson uses the form of the poem to convey a message to the reader occurs on line four as she writes, "And Immortality." Eunice Glenn believes in the word "Immortality" is given a line by itself to show its importance (qtd). in Davis 107). Perhaps The most notable way in which Dickinson uses form is when she ends the poem with a dash of the. Judith Farr believes that the dash seems to indicate that the poem is never ending, just as eternity is never ending (331).
Although, Emily Dickinson physically isolated herself from the world she managed to maintain friendships by communicating through correspondence. Ironically, Dickinson’s poetry was collected and published after her death. Dickinson explores life and death in most of her poems by questioning the existence of God. Dickinson applies common human experiences as images to illustrate the connection from the personal level of the human being, to a universal level of faith and God. This can be seen in Dickinson’s Poem (I, 45).
Dickinson’s Christian education affected her profoundly, and her desire for a human intuitive faith motivates and enlivens her poetry. Yet what she has faith in tends to be left undefined because she assumes that it is unknowable. There are many unknown subjects in her poetry among them: Death and the afterlife, God, nature, artistic and poetic inspiration, one’s own mind, and other human beings.
The tone in the first stanza is of joyousness and excitement, as people make their way to heaven. Dickinson uses the words “gayer,” “hallelujah,” and “singing” to emphasize the uplifting feeling here. It could be argued that this is the point in the humans’ lives (or deaths, or afterlives, depending on how one looks at it) when they reach the pinnacle of happiness, for they have finally entered heaven. The humans, now dead, would then acquire wings, immortality, and an angelic status that rises far above that of humans. Much like Dickinson’s other poems, this one uses metaphors to represent similar things, such as “home,” which represents “heaven,” “snow,” which represents the “clouds” on which heaven resides, and “vassals,” which represents the “angels” who serve God.
In “Hope is the Thing with Feathers,” the message delivered is that hope is present to any person. Dickinson writes, “And sweetest in the gale is heard,” (5) which displays an image of a bird’s song being heard above the sounds of the storm. This shows how even in the worst situations one can look forward to the future where all this persons problems are resolved. Hope is the most beneficial when it is needed most. Therefore, it is available to anyone no matter who they are or how they live. In this poem, the speaker says, “yet, never, in extremity, / it asked a crumb of me” (11-12). If a person hopes for something, he or she doesn’t need to offer anything in return for what hope has given them. By using a crumb as an example of how hope comes without any pay, it is shown that “hope” does not need even the smallest possible reward for the good that it brings. It is a feeling and therefor, appeals to everyone.
The similar rhyme schemes of the two sonnets allow for clear organization of the speaker’s ideas and support these ideas through comparison and connection. Both poems use or essentially use a Shakespearean rhyme scheme to provide rhythm for their sonnets, while adding extra emphasis to the topics presented throughout them. Owen uses the rhyme scheme in a way to stress his description of the enraged scene of the battlefield, and to further the dehumanization of the soldiers at war. The simile used to compare the soldiers to “cattle”, is connected to the fast “rattle” of the rifles, furthering the image of the inhumane way the soldiers we killed (1,3). Owen alters the Shakespearean rhyme scheme in the eleventh line making a switch to create two lines in a row that rhyme, rather than alternating. This allows for a smooth transition in his description of the ritual that marks a soldier’s death. To draw attention to the tears “in their eyes”, which could be in the eyes of the dead soldier or of their brothers at war, they are connected to the “glimmer of good-byes”, to represent the quick mourning for the soldiers (10-11). The connection here is furthered with the use of enjambment at the end of the tenth line; with no grammatical separation, the thought smoothly transitions from one line to the other. On the other hand, Keats uses the exact Shakespearean rhyme
Emily Dickinson became legendary for her preoccupation with death. All her poems contain stanzas focusing on loss or loneliness, but the most striking ones talk particularly about death, specifically her own death and her own afterlife. Her fascination with the morose gives her poems a rare quality, and gives us insight into a mind we know very little about. What we do know is that Dickinson’s father left her a small amount of money when she was young. This allowed her to spend her time writing and lamenting, instead of seeking out a husband or a profession. Eventually, she limited her outside activities to going to church. In her early twenties, she began prayed and worshipped on her own. This final step to total seclusion clearly fueled her obsession with death, and with investigating the idea of an afterlife. In “Because I could not stop for Death”, Dickinson rides in a carriage with the personification of Death, showing the constant presence of death in her life. Because it has become so familiar, death is no longer a frightening presence, but a comforting companion. Despite this, Dickinson is still not above fear, showing that nothing is static and even the most resolute person is truly sure of anything. This point is further proven in “I heard a Fly buzz”, where a fly disrupts the last moment of Dickinson’s life. The fly is a symbol of death, and of uncertainty, because though it represents something certain—her impending death—it flies around unsure with a “stumbling buzz”. This again illustrates the changing nature of life, and even death. “This World is not Conclusion” is Dickinson’s swan song on the subject of afterlife. She confirms all her previous statements, but in a more r...
...ecian Urn”, “To Autumn” takes place in the real world and does not mention immortality. In “Ode on a Grecian Urn”, Keats attempts to grasp the apparent immortality of the urn he is observing. He envies the timelessness of the figures on the urn and the happiness those figures seem to enjoy. Keats also envies the nightingale in “Ode to a Nightingale” and its natural happiness that is only possible because it transcends time. Trapped in time, Keats believes that he can only ever be happy through intoxication, which provides an escape from the real world. Until he wrote “To Autumn”, Keats considers immortality and timelessness as the keys to experience happiness and the beauty of the world. However, in “To Autumn”, Keats remains in reality, far from the improbable ideas of eternal life, and seems to both accept death and find the intrinsic beauty death can bring to life.
urn, this time of a young man playing a pipe, lying with his lover beneath a
John Keats’ belief in the beauty of potentiality is a main theme of him great “Ode on a Grecian Urn.” This idea appears in many of his other poems that precede this ode, such as “The Eve of St. Agnes,” but perhaps none of Keats’ other works devote such great effort to showcase this idea. The beauty of the Grecian Urn (likely multiple urns), and its strength as a symbol, is a masterful mechanism. Just about all facets of this poem focus on an unfulfilled outcome: but one that seems inevitably completed. Thus, while the result seems a foregone conclusion, Keats’ static world creates a litany of possible outcomes more beautiful than if any final resolution.
Keats’s Ode to Melancholy is best described by one word, melancholy. The Oxford English Dictionary defines Melancholy as a feeling of pensive sadness, typically with no obvious cause. In this poem, melancholy is the art of embracing sorrow and a sort of madness in order to be able to cherish the joy to truly live. Keats accomplished the idea of melancholy by using his imagery to reinforce the idea of sustaining opposites such as sorrow and joy in a person’s life.
Although both “Kubla Khan,” by Samuel Coleridge and “Ode on Grecian Urn,” by John Keats are poems originating from the poets’ inspiration from historical figure, the two poems convey different messages through their respective metaphors. While Coleridge emphasizes on the process of creating a Romantic poem, Keats expresses his opinion about art by carefully examining the details of the Grecian urn.
The first stanza is full of vivid imagery; descriptions of the urn itself. Comparing the urn to a “still unravish’d bride of quietness” serves two purposes; the scenery inscribed on the urn is forever unchanging, unravished, like a bride before consummation of her wedding (Patterson 48). The word “still” also suggests the motionless, silent nature of the urn; it is pure, untouched, perfection, similar to a bride (Bai). Keats crafted his poem in an articulate manner, using point of view to further deepen the poem’s meaning; in the first stanza, the speaker is standing apart from the urn, they are physically only gazing at it, connected only by what they see; a “sylvan historian” speaks from the past, telling of the “leaf-fring’d legend” of gods and mortals. The urn itself is silent, an inanimate object, however, it conveys a detailed account of life and beauty to the speaker. As would anyone, the speaker questions the urn’s depictions and thus Keats introduces the second stanza, where the point of view changes. Now, the speaker is not gazing at the urn from afar, rather engulfed in its beauty, imaginatively encompassed into the scene itself.