John Keats

JohnKeatsOdetoaNightingale《夜莺颂》OdeonaGrecianUrn《希腊古瓮颂》JohnKeats(1795～1821)Englishlyricpoet,thearchetypeoftheRomanticwriterconsideredoneofthegreatestofEnglishpoetsPortraitofKeatsPortraitofJohnKeatsinRome,shortlybeforehisdeathfromtuberculosis(肺结核)inFebruary1821,byhisfriendJosephSevern.JohnKeatswrote:“Ishouldnothaveconsentedto(赞成)thesefourmonthstrampinginthehighlands…butthatIthoughtitwouldgivememoreexperience,ruboffmoreprejudice,usemetomorehardship,identifyfinerscenes,loadmewithgrander(更雄伟的)mountains,andstrengthenmoremyreachinpoetrythanwouldstoppingathomeamongmybooks.”(August,1818)masteryofformanddepthoffeelingCockneySchool“伦敦派”，“伦敦腔”Keats’searlylifeborninLondonasthesonofasuccessfullivery-stablemanager.theoldestoffourchildren,whoremaineddeeplydevotedtoeachother.educatedattheprogressiveClarke'sSchoolinEnfield.Keats,whowasbarelyfivefeettall,wasnotknownatschoolforhisenthusiasmforbooks,buthisfighting.1811wasapprenticedtoasurgeon-apothecary.Whilestudyingforthelicense,hecompletedhistranslationofAeneid.(埃涅伊德，Virgil的叙事诗）Keats’LifeStoryhumblestablekeeperparents’deathguardianbound立约asurgeoncontracted缔结aloveofpoetryin1817,awalkingtourtotheLakeCountryandEngland,lyricpoemsinterestinpolitics;concernforthemiseriesofthepoorKeats’LifeStorytuberculosisgrievesandtroublesdeathofhislovedbrothermoneyproblemcruelcriticismcouldn'tmarrymaturitynewaspectJohnKeats’Lifesummitofcareer1818—1820Romein1820diedin1821andburiedintheProtestantcemetery墓地Hereliesonewhosenameiswritteninwater.用水写成,形容生命转眼即逝，一生充满困苦和泪水。叹人生短暂和艰辛。KeatsHouse,RomeKeatsandhisfriendJosephSevernarrivedinRomeinNovember1820.TheyfoundlodgingsinahouseneartheSpanishSteps.Keatsrallied(重整旗鼓)alittleatfirst,andwasabletotakegentlewalksandrides,butbyearlyDecemberhewasconfinedtobed,extremelyillwithahighfever.Keatsdiedpeacefully,claspinghisfriend'shand,on23February1821.HisliterarycareerEdmundSpenser‘sFaerieQueenimpressedhimdeeplyandhisfirstpoem,writtenin1814,was“LinesinImitationofSpenser.”InthatyearhemovedtoLondonandtherehemetLeighHunt,editoroftheleadingliberalmagazineoftheday,TheExaminer.HuntintroducedKeatstootheryoungRomantics,includingShelley,andpublishedinthemagazineKeats'ssonnet,“OSolitude”.Keats'sfirstbook,Poems,waspublishedin1817.Saleswerepoor.Endymion恩底弥翁(月神),Keats'sfirstlongpoemappeared,whenhewas21.Ittoldin4000linesoftheloveofthemoongoddessCynthiafortheyoungshepherdEndymion.Itwasattackedbycriticsatthattime.Keats‘sgreatestworkswerewritteninthelate1810s,amongthemLamia,TheEveofSt.Agnes,thegreatodesandtwoversionsofHyperionHespentsummerof1818touringtheLakes,ScotlandandNorthernIreland.Duringhisjourney,hevowed:"Ishalllearnpoetryhereandshallhenceforthwritemore”.Majorliteraryworks1)Poems，《诗集》，hisfirstbook.（1）“OSolitude”,“孤寂”,asonnetpublishedinHunt’sTheExaminer《检查官》.（2)“OnFirstLookingintoChapman’sHomer”,“初读查普曼译荷马史诗”，asonnet.（3）“SleepandPoetry”,“睡与诗”optimism;beautyofNature;praisesofLife;lovesofpoetryMajorliteraryworks2)FivelongpoemsEndymion,《恩底弥翁》hisfirstlongpoemIsabella《伊莎贝拉》ThePotofBasil芳香的草本植物TheEveofSt.Agnes《圣·爱格尼斯节前夕》Lamia《莱米亚》Hyperion《赫坡里昂》Majorliteraryworks3.ShortPoems(1)OnaGrecianUrn，“希腊古瓮颂”.(2)OntheGrasshopperandtheCricket，“蛐蛐与蟋蟀”.(3)BrightStar“闪亮的星星”(4)WhenIhaveFear”当我害怕的时候”(5)ToAutumn，“秋颂”.(6)OnMelancholy，“忧郁颂”.(7)ToaNightingale，“夜莺颂”,thebestknown.作者面对痛苦的人生时复杂的心理以及他渴望借助夜莺的美妙歌声和美酒之力步入一个理想的境界，从而逃避现实的消极思想。Criticalreceptionofhispoetry-notmuchreadduringhislifetime-harshlyjudgedbycritics-beliefarosethatnegativecriticismhastenedhisdeath(seeNortonp.767forrefutationofthistheory)KeatswrotetohisbrotherGeorge"IthinkIshallbeamongtheEnglishpoetsaftermydeath“-butwrotethisforhisownepitaph:"Hereliesonewhosenamewaswritinwater"-reputation(likeBlake's)establishedbylaterVictoriansCriticalreceptionofhispoetry-Tennysonconsideredhimthegreatestpoetofthe19thCtheVictoriancriticArthurHallam(editorandclosefriendofTennyson)contrastedKeatsandShelleyaspoetsof"sensation"withWordsworthasapoetof"reflection”-literarycriticismatfirstechoedthisjudgment,focusingonthephilosophicalimplicationsofWordsworth'swriting,butlimitingdiscussionofKeatstotheaestheticaspectsofhispoetry-Keatsbegantobetreatedasaseriousthinkerandliterarytheoristwiththepublicationofhislettersinthetwentiethcentury(seeNortonp.828)CommentsonJohnKeats’poetry1)Keatsproducedavarietyofkindsofworks,includingepic,lyricandnarrativepoems.2)Keats’poetry,characterizedbyexactandclosely-knitconstruction,emotionaldescriptions,andbyforceofimagination,givestranscendentalvaluestothephysicalbeautyoftheworld.CommentsonJohnKeats’poetry3)Hisartisticaimistocreateabeautifulworldofimaginationasopposedtothesordid(miserable)realityofhisday.Hesoughttoexpressbeautyinallhispoems.Hisleadingprincipleis“Beautyistruth,truthbeauty”.CommentsonJohnKeats’poetry4)CriticsagreethatKeatsis,withShakespeare,MiltonandWordsworth,oneoftheindisputably(undeniably)greatEnglishpoets.AndhismightypoemswillnodoubthavealastingplaceinthehistoryEnglishliterature.PoeticTheory(Letters)Keatsdidnot,likeWordsworth,articulateaformalpoetictheory,buthewroteinformallytohisfriendsabouttheideasthatmostexcitedhim:theimagination,therelationbetweenthoughtandsensation,thepoet'sidentity.AKeatsLetterKeats'slettershavebeendescribedas`themostnotableandmostimportanteverwrittenbyanyEnglishpoet'.This,dated10September1817,isthefirstofmanylivelyandaffectionateletterswrittentohissisterFannyatherboardingschooloutsideLondon.AswellasdescribingthebeautiesofOxford,whereheisstayingwithafriendatMagdalenHall,hetellsherthestoryofhisnewpoem,`Endymion',andpromisestoconfideinherfromnowonwardsashis`dearestfriend'.BooksaboutJohnKeats(1)ThepoetryofKeatsbyRalphRichardson:Theaudioincludes"OdeonaGrecianUrn,""OdetoaNightingale,""ToAutumn,""WhenIHaveFearsThatIMayCeasttoBe,""OnFirstLookingintoChapman'sHomer,"andmanyothers.BooksaboutJohnKeats(2)DarklingIlistenbyJohnEvangelistWalsh:afascinatingbookbringstolightthelastdaysofhislife,histragicallyunrealizedfutureambitions,andtheviewhesawfromhisroomoverlookingtheSpanishSteps.BooksaboutJohnKeats(3)KeatsbyAndrewMotion:abookaimstobroadenourunderstandingofJohnKeats(1795-1821)bypayingcloseattentiontothehistoricalcontextinwhichhewroteandthepoliticalopinionshevoiced.DefinitionsofOdea.OdeAnodeisapoemofcelebration.TheHoratianode(namedfortheclassicalRomanpoetHorace)isregular--eachstanzahasthesameform.ThePindaricode(namedfortheGreekpoetPindar)isirregular--aninconsistentnumberoffeetineachverse,forinstance,orvariationfromstanzatostanza.b.OdeApoeminpraiseofsomethingdivineorexpressingsomenobleidea.In'"OdeonaGrecianUrn,"EnglishpoetJohnKeatsexpresseshisappreciationofthebeautyandagelessnessofaworkbyaGrecianartisan.JohnKeats'"OdetoaNightingale"CharlesBrown,afriendwithwhomKeatswaslivingwhenhecomposedthispoem,wrote,"Inthespringof1819anightingalehadbuilthernestnearmyhouse.Keatsfeltatranquilandcontinualjoyinhersong;andonemorninghetookhischairfromthebreakfasttabletothegrass-plotunderaplum-tree,wherehesatfortwoorthreehours.Whenhecameintothehouse,Iperceivedhehadsomescrapsofpaperinhishand,andthesehewasquietlythrustingbehindthebooks.Oninquiry,Ifoundthosescraps,fourorfiveinnumber,containedhispoeticfeelingonthesongofournightingale."'Odetoanightingale'NightingaleisfromtheoldEnglishword"Nihtegale"whichmeans:singerofthenight.Writtenonaspringdayofexceptionalwarmthandbeautyin1819,the“Odetoanightingale”isameditationontheeternalpurityofthebird’ssong.Itsunrelenting((无情的)poignancy(辛辣)remindsKeats,stillhauntedbythepainfuldeathofhisbrother,oftheinevitablesadnessofman'smortality.TheopeninglinesofoneofthemostfamousandevocativepoemsintheEnglishlanguagearereproducedherefromaneditionpublishedin1888,withdecorationsbytheAmericanartistW.H.Low.MYheartaches,andadrowsynumbnesspainsMysense,asthoughofhemlockIhaddrunk,OremptiedsomedullopiatetothedrainsOneminutepast,andLethe-wardshadsunk:'Tisnotthroughenvyofthyhappylot,Butbeingtoohappyinthinehappiness,Thatthou,light-wingèdDryadofthetrees,InsomemelodiousplotOfbeechengreen,andshadowsnumberless,Singestofsummerinfull-throatedease.OdetoaNightingale(p.p.72-75)Oforadraughtofvintage!thathathbeenCool'dalongageinthedeep-delvèdearth,TastingofFloraandthecountry-green,Dance,andProvençalsong,andsunburntmirth!OforabeakerfullofthewarmSouth!Fullofthetrue,theblushfulHippocrene,Withbeadedbubbleswinkingatthebrim,Andpurple-stainèdmouth;ThatImightdrink,andleavetheworldunseen,Andwiththeefadeawayintotheforestdim:OdetoaNightingale(p.p.72-75)Fadefaraway,dissolve,andquiteforgetWhatthouamongtheleaveshastneverknown,Theweariness,thefever,andthefretHere,wheremensitandheareachothergroan;Wherepalsyshakesafew,sad,lastgreyhairs,Whereyouthgrowspale,andspectre-thin,anddies;WherebuttothinkistobefullofsorrowAndleaden-eyeddespairs;Wherebeautycannotkeepherlustrouseyes,OrnewLovepineatthembeyondto-morrow.OdetoaNightingale(p.p.72-75)Away!away!forIwillflytothee,NotchariotedbyBacchusandhispards,ButontheviewlesswingsofPoesy,Thoughthedullbrainperplexesandretards:Alreadywiththee!tenderisthenight,AndhaplytheQueen-Moonisonherthrone,Cluster'daroundbyallherstarryFaysButherethereisnolight,SavewhatfromheaveniswiththebreezesblownThroughverdurousgloomsandwindingmossyways.OdetoaNightingale(p.p.72-75)Icannotseewhatflowersareatmyfeet,Norwhatsoftincensehangsupontheboughs,But,inembalmèddarkness,guesseachsweetWherewiththeseasonablemonthendowsThegrass,thethicket,andthefruit-treewild;Whitehawthorn,andthepastoraleglantine;Fast-fadingvioletscover'dupinleaves;Andmid-May'seldestchild,Thecomingmusk-rose,fullofdewywine,Themurmuroushauntoffliesonsummereves.OdetoaNightingale(p.p.72-75)DarklingIlisten;and,formanyatimeIhavebeenhalfinlovewitheasefulDeath,Call'dhimsoftnamesinmanyamusèdrhyme,Totakeintotheairmyquietbreath;Nowmorethaneverseemsitrichtodie,Toceaseuponthemidnightwithnopain,WhilethouartpouringforththysoulabroadInsuchanecstasy!Stillwouldstthousing,andIhaveearsinvain—Tothyhighrequiembecomeasod.OdetoaNightingale(p.p.72-75)Thouwastnotbornfordeath,immortalBird!Nohungrygenerationstreadtheedown;ThevoiceIhearthispassingnightwasheardInancientdaysbyemperorandclown:Perhapstheself-samesongthatfoundapathThroughthesadheartofRuth,when,sickforhome,Shestoodintearsamidthealiencorn;Thesamethatoft-timeshathCharm'dmagiccasements,openingonthefoamOfperilousseas,infaerylandsforlorn.OdetoaNightingale(p.p.72-75)Forlorn’theverywordislikeabellTotollmebackfromtheetomysoleself!Adieu!thefancycannotcheatsowellAssheisfamedtodo,deceivingelf.Adieu!adieu!thyplaintiveanthemfadesPastthenearmeadows,overthestillstream,Upthehill-side;andnow'tisburieddeepInthenextvalley-glades:Wasitavision,orawakingdream?Fledisthatmusic:—doIwakeorsleep?OdetoaNightingale(p.p.72-75)夜莺颂我的心在痛，困顿和麻木刺进了感官，有如饮过毒鸠，又象是刚刚把鸦片吞服，于是向着列斯忘川下沉：并不是我嫉妒你的好运，而是你的快乐使我太欢欣——因为在林间嘹亮的天地里，你呵，轻翅的仙灵，你躲进山毛榉的葱绿和荫影，放开歌喉，歌唱着夏季。哎，要是有一口酒！那冷藏在地下多年的清醇饮料，一尝就令人想起绿色之邦，想起花神，恋歌，阳光和舞蹈！要是有一杯南国的温暖充满了鲜红的灵感之泉，杯沿明灭着珍珠的泡沫，给嘴唇染上紫斑；哦，我要一饮而离开尘寰，和你同去幽暗的林中隐没：远远地、远远隐没，让我忘掉你在树叶间从不知道的一切，忘记这疲劳、热病、和焦躁，这使人对坐而悲叹的世界；在这里，青春苍白、消瘦、死亡，而“瘫痪”有几根白发在摇摆；在这里，稍一思索就充满了忧伤和灰色的绝望，而“美”保持不住明眸的光彩，新生的爱情活不到明天就枯凋。去吧！去吧！我要朝你飞去，不用和酒神坐文豹的车驾，我要展开诗歌底无形羽翼，尽管这头脑已经困顿、疲乏；去了！呵，我已经和你同往！夜这般温柔，月后正登上宝座，周围是侍卫她的一群星星；但这儿却不甚明亮，除了有一线天光，被微风带过，葱绿的幽暗，和苔藓的曲径。我看不出是哪种花草在脚旁，什么清香的花挂在树枝上；在温馨的幽暗里，我只能猜想这个时令该把哪种芬芳赋予这果树，林莽，和草丛，这白枳花，和田野的玫瑰，这绿叶堆中易谢的紫罗兰，还有五月中旬的娇宠，这缀满了露酒的麝香蔷薇，它成了夏夜蚊蚋的嗡萦的港湾。我在黑暗里倾听：呵，多少次我几乎爱上了静谧的死亡，我在诗思里用尽了好的言辞，求他把我的一息散入空茫；而现在，哦，死更是多么富丽：在午夜里溘然魂离人间，当你正倾泻着你的心怀发出这般的狂喜！你仍将歌唱，但我却不再听见——你的葬歌只能唱给泥草一块。永生的鸟呵，你不会死去！饥饿的世代无法将你蹂躏；今夜，我偶然听到的歌曲曾使古代的帝王和村夫喜悦；或许这同样的歌也曾激荡露丝忧郁的心，使她不禁落泪，站在异邦的谷田里想着家；就是这声音常常在失掉了的仙域里引动窗扉：一个美女望着大海险恶的浪花。呵，失掉了！这句话好比一声钟使我猛醒到我站脚的地方！别了！幻想，这骗人的妖童，不能老耍弄它盛传的伎俩。别了！别了！你怨诉的歌声流过草坪，越过幽静的溪水，溜上山坡；而此时，它正深深埋在附近的溪谷中：噫，这是个幻觉，还是梦寐？那歌声去了：——我是睡？是醒？查良铮译ThemeThisodewasinspiredbythesingingofanightingalethathadbuiltitsnestclosetothehouseofafriendofthepoetinHampstead.HereKeatsnotonlyexpresseshisraptureuponhearingthebeautifulsongsofthenightingaleandhisdesiretogototheethereal(天上的)worldofbeautytogetherwiththebird,butalsoshowshisdeepsympathyforandhiskeenunderstandingofhumanmiseriesinthesocietyinwhichhelived.MetricalpatternThepoemcontainseightstanzaseachconsistingoftenlinesofiambicverseandarhymeschemeofababcdecde.Allthelinesineachstanzaareiniambicpentameter,withtheexceptionoftheeighthlinewhichhasonlythreefeet/isiniambictrimeter(三音步的诗).OdetoaNightingale《夜莺颂》赏析1818年，济慈23岁。那年，诗人患上了肺痨，同时诗人还处于和范妮·布恩小姐的热恋中。正如诗人自己说的，他常常想的两件事就是爱情的甜蜜和自己死去的时间。在这样的情况下，诗人情绪激昂，心中充满着悲愤和对生命的渴望。在一个深沉的夜晚，在浓密的树枝下，在鸟儿嘹亮的歌声中，诗人一口气写下了这首8节80多行的《夜莺颂》。相传，夜莺会死在月圆的晚上。在凄美而朦胧的月光中，夜莺会飞上最高的玫瑰枝，将玫瑰刺深深地刺进自己的胸膛，然后发出高亢的声音，大声歌唱，直到心中的血流尽，将花枝上的玫瑰染红。诗的题目虽然是“夜莺颂”，但是，诗中基本上没有直接描写夜莺的词，诗人主要是想借助夜莺这个美丽的形象来抒发自己的感情。诗人的心是困顿和麻木的，又在那样的浊世。这时候诗人听到了夜莺的嘹亮歌唱，如同令人振奋的神灵的呼声。诗人的心被这样的歌声感染着，诗人的心同样也为现实的污浊沉重打击着。诗人向往那森林繁茂，树阴斑驳、夜莺欢唱的世界。他渴望饮下美妙的醇香美酒，愿意在这样的世界里隐没，愿意舍弃自己困顿、疲乏和痛苦的身体，诗人更愿意离开这污浊的社会。这是一个麻木的现实，人们没有思想，因为任何的思索都会带来灰色的记忆和忧伤的眼神。诗人听着夜莺曼妙的歌声，不再感觉到自己身体的存在，早已魂离人间。夜色温柔地向四方扩散，月亮悄悄地爬上枝头，但林中仍然幽暗昏沉；微风轻吹，带领着诗人通过暗绿色的长廊和幽微的曲径。曲径通幽，诗人仿佛来到了更加美妙的世界，花朵错落有致地开放着，装点着香气弥漫的五月。诗人并不知道这些花的名称，但诗人受着心灵的启发。随着夜莺的指引，感受着深沉而宁静的世界。诗人沉醉在这样的世界里，渴望着生命的终结，盼着夜莺带着自己在这样的世界里常驻。这样的歌声将永生，这样的歌声已经在过去，在富丽堂皇的宫殿，在农民的茅屋上唱了很多年。这样的歌声仍将唱下去，流过草坪和田野，在污浊的人世唤醒沉睡的人们。诗人深深陶醉在这如梦如幻的境界中，全然不知道自己是在睡着还是在醒着。诗歌具有强烈的浪漫主义特色，用美丽的比喻和一泻千里的流利语言达了诗人心中强烈的思想感情和对自由世界的深深向往。从这首诗中，我们能很好体会到后人的评论:英国浪漫主义诗歌在济慈那里达到了完美.NegativeCapabilityKeatscoinedthephrase“NegativeCapability”inaletterwrittentohisbrothersGeorgeandThomasonDec.21,1817.Inthisletterhedefinedhisnewconceptofwriting:ImeanNegativeCapability,thatiswhenmaniscapableofbeinginuncertainties,Mysteries,doubts,withoutanyirritablereachingafterfactandreason.WhatKeatsisadvocatingisaremovaloftheintellectualselfwhilewriting(orreading)poetry.Keats'poemsarefullofcontradictionsinmeaning('adrowsynumbnesspains')andheacceptsadoublenatureasacreativeinsight.Keatswouldhaveusexperiencetheemotionofthelanguageandpassoverthehalf-truthsinsilence,tolivealife“ofsensationsratherthanofThoughts!”OdeonaGrecianUrnfirstpublishedinJanuary1820thoughtnottobebasedonanyspecificGreekvase.frequentlytreatedasKeats’scentralpoem,asakeytotheunderstandingandappreciationofallhiswork,andwithitsreiterationofallthemajorthemes,itsrichnessofimagery,itssuperbcraftsmanship,itisquitecapableoffillingsucharoleTheTitleTheurnofthetitleisadecoratedvasedatingfromtheclassicalageofGreece,andmanyscholarshaveattemptedtodiscovertheparticularurnKeatsmayhavehadinmindwhenhewrotehispoem.Hemaysimplyhavecreatedacomposite(合成的)urnoutofhisquiterespectableknowledgeofGreekart,forclassicalsculpturehadmuchimpressedthepoetonhisfirstencounterwithitsomeyearsbefore.OdeonaGrecianUrnKeatsdescribeshisreactiontoaGrecianurnpaintedwithimagesofmaidens,pipersandotherGreeks.Whilethemelodyofmoderndaypipesmaybesweet,Keatsfindsthepaintedpipessweeter.Theyarenotmeresensualpleasure,butguideonetoahighersenseofidealbeauty.Theotherimageshaveasimilareffect,astheyarefrozenforeveratthemomentofhighestperfection.OdeonaGrecianUrnOnepartoftheurnshowsayouthabouttokissamaid.Keatsenviesthelover,forthoughhewillneveractuallykisshislove,shewilleverremainfairandtheywillforeverbeinlove.Thepaintedtreeswillalsoforeverbeperfect,neverlosingtheirleaves.WhenKeats’sworldpassesaway,thisbeautifulobjectwillstillremainandtellmanthat"Beautyistruth,truthbeauty."THOUstillunravish'dbrideofquietness,Thoufoster-childofSilenceandslowTime,Sylvanhistorian,whocanstthusexpressAflowerytalemoresweetlythanourrhyme:Whatleaf-fringedlegendhauntsaboutthyshapeOfdeitiesormortals,orofboth,InTempeorthedalesofArcady?Whatmenorgodsarethese?Whatmaidensloth?Whatmadpursuit?Whatstruggletoescape?Whatpipesandtimbrels?Whatwildecstasy?1Stanza1:AnalysisStanzaIbeginsslowly,asksquestionsarisingfromthoughtandraisesabstractconceptssuchastimeandart.Thecomparisonoftheurntoan"unravish'dbride"functionsatanumberoflevels.ItpreparesfortheimpossibilityoffulfillmentofstanzaIIandfortheviolenceoflines8-10ofthisstanza."Still"embodiestwoconcepts--timeandmotion--whichappearinanumberofwaysintherestofthepoem.Theyappearimmediatelyinline2withtheurnasa"foster"child.Stanza1:AnalysisTheurnexistsintherealworld,whichismutableorsubjecttotimeandchange,yetitandthelifeitpresentsareunchanging;hence,thebrideis"unravish'd"andasa"foster"child,theurnistouchedby"slowtime,"notthetimeoftherealworld.Thefigurescarvedontheurnarenotsubjecttotime,thoughtheurnmaybechangedoraffectedoverslowtime.Theurnas"sylvanhistorian"speakstotheviewer,evenifitdoesn'tanswerthepoet'squestions(stanzasIandIV).Whethertheurncommunicatesamessagedependsonhowyouinterpetthefinalstanza.Stanza1:AnalysisTheurnis"sylvan"--first,becauseaborderofleavesencirclesthevaseandsecondbecausethescenecarvedontheurnissetinwoods.The"flowerytale"told"sweetly"and"sylvanhistorian"donotpreparefortheterrorandwildsexualityunleashedinlines8-10(anotheropposition);theeffectandthesubjectoftheurnorartconflict.Isitparadoxicalthattheurn,whichissilent,tellstales"moresweetlythanourrime"?Twice(lines6and8)thepoetisunabletodistinguishbetweenmortalandimmortal,menandgods,anotheropposition;isthereasuggestionofcoexistenceandinseparablenessinthisblurringofdifferencesbetweenthem?Stanza1:AnalysisWithlines8-10,thepoetiscaughtupintheexcited,rapidactivitiesdepictedontheurnandmovesfromobservertoparticipantinthelifeontheurn,inthesensethatheisemotionallyinvolved.Paradoxically,turbulantdynamicpassionisconvincinglyportrayedoncold,motionlessstone.Paradoxandoppositesrunthroughtherestofthepoem.Asyoureadandrereadthepoem,youshouldbecomeawareofthem.Heardmelodiesaresweet,butthoseunheardAresweeter;therefore,yesoftpipes,playon;Nottothesensualear,but,moreendear'd,Pipetothespiritdittiesofnotone:Fairyouth,beneaththetrees,thoucanstnotleaveThysong,norevercanthosetreesbebare;BoldLover,never,nevercanstthoukiss,Thoughwinningnearthegoal—yet,donotgrieve;Shecannotfade,thoughthouhastnotthybliss,Foreverwiltthoulove,andshebefair!2Stanza2:AnalysisThefirstfourlinescontrasttheideal(inart,love,andnature)andthereal;whichdoesKeatspreferatthispoint?Whatistheparadoxofunheardpipes?Isthisanoxymoron?Thelastsixlinescontrastthedrawbackoffrozentime;notethenegativephrasing:"canstnotleave,""norevercan,""never,nevercanst"inlines5-8.Keatssaysnottogrieve;whomheisaddressing--thecarvedfiguresorthereader?orboth?Thenheliststheadvantagesoffrozentime;however,Keatscontinuestousenegativephrasingevenintheselines:"donotgrieve,""cannotfade,"and""hastnotthybliss."HasKeatsmadeamistake,oristhereareasonforthisnegativeundertone?Ah,happy,happyboughs!thatcannotshedYourleaves,noreverbidtheSpringadieu;And,happymelodist,unwearied,Foreverpipingsongsforevernew;Morehappylove!morehappy,happylove!Foreverwarmandstilltobeenjoy'd,Foreverpanting,andforeveryoung;Allbreathinghumanpassionfarabove,Thatleavesahearthigh-sorrowfulandcloy'd,Aburningforehead,andaparchingtongue.3Stanza3:AnalysisThisstanzarecapitulatesideasfromtheprecedingtwostanzasandre-introducessomefigures,thetreeswhichcan'tshedleaves,themusician,andthelover.Keatsportraystheideallifeontheurnasonewithoutdisappointmentandsuffering.Theurn-depictedpassionmaybehuman,butitisalso"allbreathingpassionfarabove"becauseitisunchanging.Isthereironyinthefactthatthesuperiorpassiondepictedontheurnisalsounfulfillable,thatsatisfactionisimpossible?Howdoesheportrayreallife,actualpassioninthelas