How Does Keats Express His Aesthetic Vision in ‘Ode on a Grecian Urn’?

The similarities between the poems lie in their abilities to utilize imagery as a means to enhance the concept of the fleeting nature that life ultimately has and to also help further elaborate the speaker’s opinion towards their own situation. In Keats’ poem, dark and imaginative images are used to help match with the speaker’s belief that both love and death arise from fate itself. Here, Keats describes the beauty and mystery of love with images of “shadows” and “huge cloudy symbols of a high romance” to illustrate his belief that love comes from fate, and that he is sad to miss out on such an opportunity when it comes time for his own death.

The study of any poem often begins with its imagery. Being the centralized idea behind the power of poetry, imagery isn’t always there to just give a mental picture when reading the poem, but has other purposes. Imagery can speak to the five senses using figurative language as well as help create a specific emotion that the author is trying to infuse within the poem. It helps convey a complete human experience a very minimal amount of words. In this group of poems the author uses imagery to show that humanity is characterized as lost, sorrowful and regretful, but nature is untainted by being free of mistakes and flaws and by taking time to take in its attributes it can help humans have a sense of peace, purity, and joy, as well as a sense of

Keats uses the image on the urn to express desire that can never be realized. The urn depicts a scene of a man and a woman about to kiss, but this image is frozen in time. This

Poetry is used to express several different mediums through: structure, tone, imagery and rhyme schemes. John Keats’s ode “To Autumn” and Samuel Taylor Coleridge’s poem “Kubla Khan” or, a Vision in a Dream” will be critically analyzed, compared and contrasted to each throughout this paper to further dissected the meaning of each poem.

The famous Greek historian Plutarch once said: “Painting is silent poetry, and poetry is painting that speaks”. He couldn’t have been more astute. By analysing poetry, we are not just appreciating the soul of the poet and what drove him/her, but we also come to comprehend the spirit of the period that the poet was writing.

Within Keats’ works of Literature, Sarah Schulman’s “Empathy,” and Jeffers’ works of literature, all of them together portray a sense of beauty in some way, symbolizing its true meaning. Beauty is along the lines of each of these authors and poets, but represented in various ways, showing that beauty has multiple meanings. Alongside the unique views shown through these authors’ lenses, they all come together to show what beauty can stand for. Also, what emerges the most within these written works is the notion of beauty and how it comes to realization in contrasting circumstances.

Readers of Keats’s story begin to realize that the fear of a young death is a demon that haunts us all. This was Keats’s goal as a romantic writer: to connect with the reader, to portray his ideas in the form of art, and to make the reader see from his point of view. With his use of colorful figurative language, such as repetition, imagery, and personification, Keats accomplishes his goal. The reason that Keats is so successful in painting a clear picture is because he “uses his imagination to write” (King). By writing his poem in the form of a “Shakespearean sonnet consisting of three quatrains” (King), Keats, like any great artist, clearly states the point he is trying to make. Apprehension of a young demise is a plague that haunts us all. In “When I Have Fears That I May Cease to be,” Keats takes our hands and reassures us that we are not

“Ode on a Grecian Urn” and “Ozymandias” both have the theme of nature discussed within their poems. In “Ode on a Grecian Urn”, John Keats portrays imagery of nature to illustrate the art on the urn. For example, “a flowery tale” or “leaf-fring’d legend”. In the poem “Ozymandias”, Percy Shelly explains how the sculpture is partially buried in sand in the desert. Both of the poems use nature, yet they differ in the outcome.

The moments in our lives that we consider peaks of happiness can never be eternal. That is why our desires for permanence and change alternate dependent on our given state of mind. John Keats, a man who, upon experiencing a great deal in his short 25 years, realized through these painfully human experiences that beauty is an idea that exists in a state of infinity, however our enjoyment of this beauty is ever changing. Thus, we begin to contradict ourselves, and wish simultaneously for both the permanent beauty of an event or feeling–as well as the unreachable joy for more. Keats’ two poems, Ode to a Grecian Urn and Ode to a Nightingale discuss these opposing ideals, and build off of each other in a way that is comparable to a student educating

In both openings, each poet recognizes the ephemeral element of life. Keats’ fears that he “may cease to be,” while Longfellow reflects, “half of life is gone” (Keats 1; Longfellow 1). Through diction, this trend becomes evident. For example, Keats uses the words, “Huge cloudy symbols,” and “shadows,” indicating almightiness and transcendence (Keats 6, 8). Longfellow too recognizes nature’s power, going even further, capitalizing the words “Past” and “Death” (Longfellow 9, 14). Such capitalization is done out of respect for the power of these words, and further, as a reiteration that the present is determined by the past and the future. In effect, Longfellow realizes that the present is the morphed version of the past and the future, and thus gives no capitalization, or significance, to it. Keats experiences the opposite. He very much endorses the attitude of carpe diem, trying to move on from the past only to be greeted by the grim face of death. By the end of the poem, each poet describes similar circumstances. Keats approaches a shore, while Longfellow ascends a hill to contemplate life. They differ, however, as Keats views a “wide world” replete with literary repute and love, but realizes it is “nothingness” in the bigger picture (Keats 13-14). Thus, he pursues what remains of his opportunities, despite knowing his human insignificance. Conversely, Longfellow sees the “gleaming lights” of an idyllic past with a waterfall of death that will haunt him now and what remains of his future (Longfellow

The first four lines are metaphors the speaker uses to draw you into the poem wondering who is in the urn. Making the urn as a mystery box. He goes into great detail about the urn, but leaves the final judgment of who was actually cremated in the urn to the listener. The speaker starts the poem off by acting as if the urn is a bride on her wedding day at the alter and the silence you hear as the groom approaches her. Maybe that’s not it, the ashes in the urn is a foster child, silence and slow time is the parents who are symbolized as the urn to protect the ashes. Then finally the speaker calls the urn a “historian” statin to the listener just imagine the stories these ashes could tell not just of those who have visited the urn, but of life

becoming any worse in the future since “a thing of beauty is a joy for

The twenty-four old romantic poet John Keats, “Ode on a Grecian Urn” written in the spring of 1819 was one of his last of six odes. That he ever wrote for he died of tuberculosis a year later. Although, his time as a poet was short he was an essential part of The Romantic period (1789-1832). His groundbreaking poetry created a paradigm shift in the way poetry was composed and comprehended. Indeed, the Romantic period provided a shift from reason to belief in the senses and intuition. “Keats’s poem is able to address some of the most common assumptions and valorizations in the study of Romantic poetry, such as the opposition between “organic culture” and the alienation of modernity”. (O’Rourke, 53) The irony of Keats’s Urn is he likens

John Keats’s “Ode on a Grecian Urn” is written through the power of eternity, beauty and truth regardless of existence, as Wordsworth showed likewise. Keats illustrated his poem through love in its sublime. For example, in the first stanza he says, “What wild ecstasy?” (Keats 930). If ecstasy is a huge feeling of

Keats, on the other hand, uses the “Ode on a Grecian Urn” to express his perspective on art by examining the characters on the urn from either an ideal or realistic perspective. In the beginning, Keats asks questions regarding the “mad pursuit” (9, p.1847) of the people on the Grecian urn. As the Grecian urn exists outside of time, Keats creates a paradox for the human figures on the urn because they do not confront aging but neither experience time; Keats then further discusses the paradox in the preceding stanzas of the poem. In the second and third stanza, Keats examines the picture of the piper playing to his lover “beneath the trees” (15, p.1847) and expresses that their love is “far above” (28, p.1848) all human passion. Even though