Ode Urn Beauty
Ode on a Grecian Urn
At the core of Ode on a Grecian Urn is a question of beauty. The speaker in the poem, written by John Keats in 1819, happens upon an intriguing paradox during his encounter with the centuries old urn. Initially attracted by the vibrant interpretations of life, eloquently displayed on the side of the urn, the poet loses himself in a fantasy world that is flawless and unspoiled by time. Over the course of his journey, however, the poet slowly begins to recognize the limits of this ideal world. Thought perfect in every way, time has stopped for the inhabitants of the urn-bound world, never to commence. They are suspended in time, and the events depicted will never cease. Upon the realization of those limits, he asks of himself which is the truth: Does beauty lie in the idyllic qualities of art which, once created, remain unaffected, forever beautiful, and to be admired by all throughout the passage of time? Or, does the real beauty lie in the ever changing and dynamic qualities of life, where moments of beauty are fleeting and to be cherished while they remain available?
The first stanza begins slowly as the poet makes general observations, noting how the urn has withstood the passage of time, but progresses quickly as he is almost immediately drawn into the world of the urn. He marvels at the urn's beauty and comments; he calls the urn the still unravish'd bride of quietness, (1) referring to how the beauty of its portrayals remain unblemished by time. The speaker then calls the urn the foster child of silence and slow time, (2) implying that the urn is a product of the two, once again emphasizing how little the urn has changed. As he examines the first scene, the poet notes the leafed border around the urn and refers to the urn as a Sylvan historian (3), conveying the urn's ability to tell a story through its arboreous portrayals. The poet then becomes captivated by the scene itself, of men or gods (8) chasing women and musicians playing their instruments as revelry ensues. As the poet makes comparisons to the valleys of Tempe and Arcady, inferring a rustic pastoral ideal portrayed on the side of the urn, he lets his imagination wander. He enters the world of the urn as he speculates at the story's origin:
What leaf-fring'd legend haunt 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? (5 - 10)
The disparity between the portrayals of life depicted on the urn and real life begin to develop as the poet moves on to the next scene in the second stanza. As he studies the representation, one that depicts a young man playing a pipe for his lover underneath trees, he is once again drawn into the world of the urn. He compares the idyllic qualities of nature, love, and art, found in this scene, with the reality of those concepts found in real life. He states that the unheard melodies are sweeter than those heard, and as if standing beside him, the poet bids the musician to play on Not to the sensual ear, but more endear'd, (13) implying a tune heard only in the imagination of the viewer. As the poet continues his examination of the urn, he becomes aware of the negative aspects of life on the urn, and offers solace to the young man:
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! (11 - 20)Although he begins to realize that the perfect world of the urn is not without fault, the poet's joy continues into the third stanza as he is once again overwhelmed by the perpetual beauty of the scene. The poet expresses delight at the fact that the trees will never shed their leaves, that it will forever be spring, and that the piper's song will be for ever new (24) He then contrasts the emotion of the urn's lovers, which is For ever warm and still to be enjoy'd, / For ever panting and for ever young (26, 27), with the love in the real world, That leaves a heart high - sorrowful and cloy'd (29). The poet insinuates that although the scene realistically depicts human desire and emotion, it is Far above (28) true human longing because the inexorable decline of passion, once the goal has been achieved, will never come to pass. Here, the subtleties of the first two stanzas reveal themselves, and the discrepancy between the urn, with its frozen, idyllic images, and the dynamic life portrayed therein is developed further.
The poem adopts a somber tone in the fourth stanza as the poet moves on to the final portrayal; a group of villagers leading a heifer, laden with silks and garland, to sacrifice. The poet wonders where this town could be and from where the villagers have come. He imagines the townsfolk frozen between the town and their intended destination. He also envisions the streets forever empty of its citizens, and grieves for the frozen procession because there will be no one able to return to the town to tell the villagers' tale.
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. (35 - 40) The fifth stanza opens much like the first in that the poet begins by describing the physical characteristics of the urn. However, at this point in the poem, a hint of resentment laces the poet's words. His exasperation derives from the realization that the urn dost teased him out of thought (44) and lured him into a perfect world, far from the reality of his own existence in which all things, life in particular, are temporary. He admonishes the urn, referring to it as a Cold Pastoral, (45) highlighting, once more, its physical and aesthetic qualities. 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! (41 - 45)The poet believes that just as the urn has survived for generations before him, it will endure, in midst of other woe, (47) a friend to man (48) for future generations to draw the same conclusion that he has: Beauty is truth, truth beauty, -that is all / Ye know on earth, and all ye need to know. (49 - 50)
The final two lines of the poem are a summation of the experience the poet has had with the urn. Despite the passage of time, the poet can not help but be mesmerized by the urn's beauty. So dynamic is the life portrayed therein, that the speaker has often found himself transported to the time and place of these events, even participating in the never-ending festivities. He witnesses the wild ecstasy (10) of the first scene, and enjoys the piper's unheard melody which is for ever new (24) in the second, and even mourns the desertion of the tiny village in the third scene. However, throughout the course of the poem, the speaker has also been confronted with the truth behind the scenes he has examined. The questions he poses to the urn in the first stanza go unanswered; the lovers of the second scene sit beneath trees that will never shed their leaves or bid the spring adieu (22) and he mourns the desertion of the village simply because, frozen in time, the townsfolk may never return to their homes. These realizations, amongst others, lead to an epiphany of sorts for the poet. Though truly beautiful, the urn, along with its portrayals are works of art, and though they have the ability to tease us out of thought, (44) in the end, art is what they inescapably are. Furthermore, the true beauty lies in the encounter with the urn, which is different for everyone who comes in contact with it. Though the urn is an object, it has the ability to engage the viewer and involve him/ her in its world. The urn's capacity to lead the viewer on a fantastical journey through its portrayals is part of the beauty of the urn, and the experience had with the urn commands the viewer to hold on to that experience and store the memory to be cherished at a later time. Ultimately, the poet comes to the conclusion that truth and beauty, though completely separate concepts, are one in the same.
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