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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.
The poem does not have a perfect rhyme; however, it still has some rhythms making the poem connected. For instance, “Immortality” (line 4) with “Civility” (line 8), “finally” and “Eternity”; they all make the poem has beautiful rhythms and poetic musicality. Dickinson also uses many art techniques; for instance, personification and metaphors, to make the poem more appealing. Dickinson personified “Death” as a gentleman in the poem, which it the most important personification in the poem. Dashes are another literary trope commonly used by Dickinson, in this poem she also uses many dashes. Dashes can make readers’ reader speed slow down. Hence, readers can have more time to consider the meaning of the poem. Besides that, the tempo of the poem also influenced by the use of capital letters for common nouns. The speaker of the poem is a woman who has an unusual trip with death and immortality, at the end of the trip, the woman realizes that death is not the end of the
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.
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).
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
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 the first stanza, she discusses how her life "closed" twice before its actual "close". Her, she is referring to great loss suffered through the two wars that America was involved in after it became a country, the first being the War of 1812, and the second the Civil War. Granted, Dickinson was not alive during the War of 1812, but the event nonetheless effected her. A war devastates more than a single person for a small period of time: a war has a lasting effect. By explaining that her life "closed" twice before its actual close (her own death) she is explaining that the loss that she suffered on account of those two wars was almost as horrendous as if she herself had died.
death were all part of a cycle that was necessary for new life to be
Imagery is a primary literary technique a poet uses to capture the readers or listeners senses. We gain comprehension of the world through the use of our sense. Therefore, how the reader perceives a poem is always the most important aspect every poet considers whilst writhing. The images of a poem have the ability to appeal of each of our senses, taste, smell, touch, hearing and sight can all be heightened by certain aspects of poetry. The imagery of a poem has the ability to transport us into a different place or time, allowing the reader to experience new observations. When used correctly, imagery has the ability to form an understanding of different emotions the poet tries to address through their poetry. The sounds and diction incorporated into a piece also plays a role of major importance. The use of similes, metaphors, alliteration, personification and countless other forms of literary techniques, all add a sensual feeling and experience to poetry in an assortment of ways. In the Odes of John Keats we are witness to an extensive use of literary techniques. Keats uses a variety of approaches in order to evoke the world of senses throughout his poetry. His Odes ‘on Indolence’ and ‘to Psyche’, ’a Nightingale’, ‘To Autumn’ and ‘Ode on Melancholy’ all demonstrate Keats amazing ability to arouse the senses of his readers with his diverse and vast use of literary and poetic techniques.
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.
Dickinson’s poem lives on complex ideas that are evoked through symbols, which carry her readers through her poem. Besides the literal significance of –the “School,” “Gazing Grain,” “Setting Sun,” and the “Ring” –much is gathered to complete the poem’s central idea. Dickinson brought to light the mysteriousness of the life cycle. The cycle of one’s life, as symbolized by Dickinson, has three stages and then a final stage of eternity. “Schools, where children strove” (9) may represent childhood; “Fields of Gazing Grain” (11), maturity; and “Setting Sun” (12) old age. In addition to these three stages, the final stage of eternity was symbolized in the last two lines of the poem, the “Horses Heads” (23), leading “towards Eternity” (24). Dickinson thought about the life cycle in terms of figurative symbols.
ABSTRACT: With its focus on the pathos of permanence versus temporality as human aporia and on the function — the Werksein — of the work of art genuinely encountered, John Keats’s Ode on a Grecian Urn is a particularly compelling subject for philosophical analysis. The major explications of this most contentiously debated ode in the language have largely focused, however, on various combinations of the poem’s stylistic, structural, linguistic, psychological, aesthetic, historical, symbolic, and intellectual-biographical elements. My paper articulates a bona fide philosophical approach to the ode’s famously controversial fifth stanza (the one containing the Urn’s declaration: "Beauty is truth, truth beauty"). I demonstrate how William Desmond’s metaphysics of Being-specifically his analysis of the univocal, equivocal, dialectical, and metaxological senses of being-affords the groundwork for a "hermeneutics of the between" that elucidates the ode’s culminating stanza with all of the cogency and nuance that one would expect to derive from a systematic ontology.
...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.
...storal” (45, p.1848). The urn’s eternity only exists artistically and does not reflect human life because only the urn “shou remain” forever (47, p.1848). Keats contrasts the ephemeral nature of human life with the longevity of the urn. In last two lines, Keats declares, “beauty is truth, truth beauty” (29, p.1848) embodying both sides of his perspective. By establishing a relationship between beauty and truth, Keats acknowledges that like truth, the beauty of the Grecian urn is unchangeable and that the ability accept reality is beautiful.