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"Ode on a Grecian Urn" is a lyric ode with five stanzas containing 10 lines each. The first stanza begins with the narrator addressing an ancient urn as "Thou still unravished bride of quietness!", initiating a conversation between the poet and the object, which the reader is allowed to observe from a third-person point of view. [8]
Like many of Keats's odes, "Ode on a Grecian Urn" discusses art and art's audience. He relied on depictions of natural music in earlier poems, and works such as "Ode to a Nightingale" appeal to auditory sensations while ignoring the visual. Keats reverses this when describing an urn within "Ode on a Grecian Urn" to focus on representational art ...
The nightingale's song within the poem is connected to the art of music in a way that the urn in "Ode on a Grecian Urn" is connected to the art of sculpture. As such, the nightingale would represent an enchanting presence and, unlike the urn, is directly connected to nature. As natural music, the song is for beauty and lacks a message of truth.
Today his poems and letters remain among the most popular and analysed in English literature – in particular "Ode to a Nightingale", "Ode on a Grecian Urn", "Sleep and Poetry" and the sonnet "On First Looking into Chapman's Homer". Jorge Luis Borges named his first time reading Keats an experience he felt all his life.
Ode to Apollo (1815) Robin Hood (To a Friend) (1818) Lines on the Mermaid Tavern (1818) Ode to Maia (1818) Bards of Passion and of Mirth (1818) Ode to Fanny (1819) 1819 odes: Ode on a Grecian Urn; Ode on Indolence; Ode on Melancholy; Ode to a Nightingale; Ode to Psyche; To Autumn
"Ode on Indolence" relies on ten line stanzas with a rhyme scheme that begins with a Shakespearian quatrain (ABAB) and ends with a Miltonic sestet (CDECDE). This pattern is used in "Ode on Melancholy", "Ode to a Nightingale" and "Ode on a Grecian Urn", which further unifies the poems in their structure in addition to their themes.
William Wordsworth's Ode on Intimations of Immortality from Recollections of Early Childhood (1807) and Thomas Gray's The Progress of Poesy: A Pindaric Ode (1757) are both written in the Pindaric style. Gray's The Bard: A Pindaric Ode (1757) is a Pindaric ode where the three-part structure is thrice repeated, yielding a longer poem of nine stanzas.
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