Ode on a Grecian Urn
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“Ode on a Grecian Urn” and Go Down, Moses
"ODE ON A GRECIA N URN" AND GO DOWN, MOSES: AN INTERTEXTUAL INQUIRY IN TO JOHN KEATS AND WILLIAM FAU LKNE Rl Jose Roberto O'Shea Universidade Federal de Santa Catarina The existence of an artistic legacy with which the artist is bound to come to terms has preoccupied a number of individ uals througho ut the history of art, and whe ther such legacy is mainly a burden or a blessin g-or both-rem ain s a controversial issue. In litera ture, this discussion has centered mainly around the notion of intertextuality and the study of sources and influences. Many critical theorists, disparate in time and point of view, have addressed the issue. Among othe rs, Waiter Jackson Bate, in The Burden of the Past and the English Poet (1970), Harold Bloom, in The Anxiety of Influence (1973) and in Poetry and Repression (1975), Jacqu es Derrida, in "Structure, Sign and Play in Th e Discourse of the Human Sciences" (1966) and in Of Grammatology (1967), and Julia Kristeva, in Semi6tica do Romance (trans . 1977), have attemp ted to construct or deconstruct a theoretical apparatus regarding the problem of in ter textuali ty. In the Int roduction to his interesting ly titled Books Speaking to Books, William T. Stafford remarks that he has been "listening to books speak to books for many years" (5), and he argues tha t, 1 All par enthetical documen tatio n, overall m echanics, as well as list of w ork s cited her ein com ply with the MLA Sty le Manual, by Walter S. -
236201457.Pdf
View metadata, citation and similar papers at core.ac.uk brought to you by CORE ź ±·±± ź ɷ˂ʎɁŽ í ù ± ¸ ± ¹ ô å í ð å ò žɥɔȣȶȹª Ode on Indolence ᝲ ᴥȰɁ̝ᴦ ࠞюඩˢ ᴥ੪Ұᴦ ᴥ˧ᴦ ˹Ode on Indolence ఊጶᣵɂǾႆȁȪȗͶȻԇȪȲ˧ᐐɥѓɆЫɁ۫Ɂ ȾߨȫȦɔɞǾমᰅᇒȗɁᠲɥ࢛ɆȹȗɞǿͽֿȾўȨɟȲɁᐥբᴥŽÔèåù ôïéì îïô¬ îåéôèåò äï ôèåù óðéᴦɂǾȦɁЕࣻɥӎɋ߳Ȣ឴ቺȻɕțɞǿ Óï¬ ùå ôèòåå çèïóôó¬ áäéåõ¡ Ùå ãáîîïô òáéóå Íù èåáä ãïïìâåääåä éî ôèå æìï÷åòù çòáóó» Æïò É ÷ïõìä îïô âå äéåôåä ÷éôè ðòáéóå¬ Á ðåôìáíâ éî á óåîôéíåîôáì æáòãå¡ Æáäå óïæôìù æòïí íù åùåó¬ áîä âå ïîãå íïòå Éî íáóñõåìéëå æéçõòåó ïî ôèå äòåáíù õòî» Æáòå÷åìì¡ É ùåô èáöå öéóéïîó æïò ôèå îéçèô¬ Áîä æïò ôèå äáù æáéîô öéóéïîó ôèåòå éó óôïòå» Öáîéóè¬ ùå ðèáîôïíó¬ æòïí íù éäìå óðòéçèô¬ Éîôï ôèå ãìïõäó¬ áîä îåöåò íïòå òåôõòî¡ ¨Ode on Indolence¬ì쮵±¶°© ᴥ±ᴦ ź ±·±² ź Ȉ˧̷Ɂ̪ȉɥ۫ȾᩐȫȦɔɞᚐའɂǾ˧ᐐɥȈɮʽʓʶʽʃɁȉᴥì® ±¶º ŽÔèå âìéóóæõì ãìïõä ïæ óõííåòéîäïìåîãåž» ì® ¶°ºŽôèå ãìïõäóžᴦȺӿɒᣅ ɒǾፅɔɞȦȻȺɕȕɞǿȦɁ Ode on Indolence Ɂɸʴʁɬ᭛Ɂ۫ᴥì® µº ᴻȻȪȹ۫ట఼ۃŽá íáòâìå õòîžᴦɂǾ˧ᐐɥᖃɞᴹᯏ۫ᴻȕɞȗɂᴹ ɁमҾɥȲȬȦȻȾȽɞǿ²± ȦȦȺǾɸʴʁɬ᭛Ɂ۫Ⱦ૫ȞɟȲ̷࿎ЅȻȗ șպሗɁɮʫ˂ʂɥႊȗɞ OdeonaGrecianUrnȻ Ode on Indolence ȻɁ ᩖɁ᪨ȳȶȲᄾᤏཟȾႡȪȲȗǿҰᐐȾȝȗȹɂǾᝂ̷ɂЅӌɥႊȗȹ۫ Ɂ̷࿎ɥႆᐐȨȽȟɜᅓҰȾ֣ɆҋȪǾयɜɁ˰ႜɋɁՎоɥ᭐șǿȳȟǾ˨ ऻᐐȺɂǾᝂ̷ᴥɁျॴᴦɂᅓҰȾးɟҋȲ̷࿎ȻɁպԇɥઑɒǾ˧ᐐɥѯȲ ȗᆀɁधЅȻȪȹᖃɝՍɠșȻȬɞǿOde on a Grecian Urn Ɂᝂ̷ɁᝁɒɂǾ ᄠᐼȽȦȻȾǾ̷࿎ȲȴȟЫɁᆀɁ˰ႜȾᣝԵȬɞȦȻȺ༆țȹȪɑșᴥìì® ´´´µºŽÔèïõ¬ óéìåîô æïòí¬ äïóô ôåáóå õó ïõô ïæ ôèïõçèô ¯ Áó äïôè åôåòîéôùº Ãïìä Ðáóôïòá졞ᴦǿȦɟȾߦȪȹǾ˧ᐐɥ۫˨ɋᣜȗᣌȰșȻȬɞ Ode on ઔȽমᰅᇒȗɁᕹȾɕȞȞɢɜȭᴥìì® µ¹ږIndolence Ɂᝂ̷Ɂ᭐ȗɂǾयɁ ¶°ºŽÖáîéóè¬ ùå ðèáîôïíó¬ æòïí íù éäìå óðòéçèô¬ ¯ Éîôï ôèå ãìïõäó¬ áîä îåöåò íïòå òåôõòᴦǾȰșዊԨȾկțɜɟȰșȾɂțȽȗǿ²² ȽȯȽɜǾ ᝂ̷ɂ˧ᐐɋɁȪȟȲȗঢ়ᅔȾસțɜɟȹɕȗɞȞɜȺȕɞᴥìì® ³³³´ -
Keats, Vendler, Adorno, and the Theory of the Avant-Garde Author(S): Robert Kaufman Source: Critical Inquiry, Vol
Negatively Capable Dialectics: Keats, Vendler, Adorno, and the Theory of the Avant-Garde Author(s): Robert Kaufman Source: Critical Inquiry, Vol. 27, No. 2 (Winter, 2001), pp. 354-384 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/1344254 . Accessed: 28/03/2011 22:17 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=ucpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Critical Inquiry. http://www.jstor.org Negatively Capable Dialectics: Keats, Vendler, Adorno, and the Theory of the Avant-Garde Robert Kaufman Frankfurt school aesthetics has never quite fallen off the literary-cultural map; yet as with other areas of what currently goes by the name theory, interest in this body of work has known its surges and dormancies. -
HFT XIII Round 13 [FINISHED].Pdf
Harvard Fall Tournament XIII Edited by Jon Suh with assistance from Raynor Kuang, Jakob Myers, and Michael Yue Questions by Jon Suh, Michael Yue, Ricky Li, Kelvin Li, Robert Chu, Alex Cohen, Kevin Huang, Justin Duffy, Raynor Kuang, Chloe Levine, Jakob Myers, Thomas Gioia, Erik Owen, Michael Horton, Luke Minton, Olivia Murton, Conrad Oberhaus, Jiho Park, Alice Sayphraraj, Patrick Magee, and Eric Mukherjee Special thanks to Will Alston, Jordan Brownstein, Robert Chu, Stephen Eltinge, and Olivia Murton Round 13 Tossups 1. In a poem, this author imagines “cloudy symbols of a high romance” that the speaker “may never live to trace” with the “magic hand of chance.” This author of “When I Have Fears That I May Cease to Be” stated “a thing of beauty is a joy forever” in a poem that imagines the love of Cynthia for the title Greek shepherd. This author of (*) “Endymion” wrote a ballad which asks “what can ail thee” to a knight-at-arms. In a different poem, this writer of “La Belle Dame Sans Merci” addresses a “still unravish’d bride of quietness” and declares “beauty is truth, truth beauty.” For 10 points, name this poet of “Ode on a Grecian Urn.” Answer: John Keats <Gioia> 2. Description acceptable. Shamash daily visits a tree in this place that gives precious gems as fruit. One character is described as losing a drum and ball in this place in an extra tablet, and rules of this place ban things like shouting and wearing clean garments. This place is variously named Kur and Ereshkigal, after its queen. -
Thought in the Poetry of Keats
KU ScholarWorks | The University of Kansas Pre-1923 Dissertations and Theses Collection http://kuscholarworks.ku.edu Thought in the Poetry of Keats by Ida E. McKnight 1904 Submitted to the Department of English of the University of Kansas in partial fulfillment of the requirements for the Degree of Master of Arts This work was digitized by the Scholarly Communications program staff in the KU Libraries’ Center for Digital Scholarship. Msster Thesis ¥eKni*ht, Tor 1904 * Thought in the poetry of Rests,•• THOUGHT IN THE POETRY OF KEATS BY Ida McKnight Thesis for the Degree of fyaster of Arts. ..-•-in The University of Kansas. 1904. INTRODUCTION. General character of Keats' poetry; scope and plan or treatment of poems in this thesis - POEMS CONSIDERED AS REGARDS THOUGHT. I Stood Tip-Toe. Poet's early attitude toward nature; origin of poetry ----- - 3 Sleep and ->oetry; stages in mental development of the poet; reason and imagination; theory of powtry; summary of thought ------ 5 Endymion, Its interest as a poem; the narrative; the allegory; importance of thought in the poem - 8 Lamia. Source; narrative; antagonism of philosophy and imagination; Keats* general attitude toward rea• son - - - - - - --15 Hyperion. Influence of Milton; teaching of peem; "beauty the motive force in all things 18 Hyperion, A Vision. Importance of the introduction; its interpretation; the poet's work and mission- 20 The Odes. Their place in Keats' poetry; their nature; theory of truth and beauty expressed in the Ode on a Grecian Urn 23 Minor Poems. Importance of thought found in them; Keats' ideas upon immortality and religion - 26 CONCLUSION. -
This Essay Takes As Its Basis Four Odes by John Keats and Treats Them As A
“BURSTING JOY’S GRAPE” IN KEATS’ ODES DANIEL BRASS This essay takes as its basis four odes by John Keats and treats them as a sequence of poems in which he develops, discusses and elaborates the themes of permanence and transience, both at the level of an individual human life and in a larger, transgenerational, cosmic view of time. Underlying the four poems – “Ode on a Grecian Urn”, “Ode on Melancholy”, “To Autumn” and “Ode to a Nightingale” – is the idea of fullness or satisfaction, an intense climax of experience preceding the melancholia that inevitably attends the decline from such a heightened moment of experience. The pattern, I suggest, is founded on the sexual experience: increasing excitement and stimulation leading to a climax followed by a post-coital decline which Keats describes in various guises in each of the poems. In addition to this appearance of the orgasm in their structure, sexual imagery is prevalent throughout the odes. While the deployment of devices and images in poetry may be a deliberate choice on the poet’s part, analysis of a collection of works by an author reveals underlying structural features that recur throughout the work. The orgasm is one such feature prominent in Keats’ imagination. Individual sexual images may be intentional, but the structure of the odes points to a less overt occurrence of these sexual structures. Keats wrote the four odes I will be considering during 1818, the year after he met Fanny Brawne, with whom he immediately fell in love. Moreover, some critics have suggested it was during this time that Keats became aware that he was suffering from tuberculosis and that he would not live very much longer.1 Biographical interpretation of these poems does not, in itself, offer much insight into them, but Keats’ emotional life and his experience of illness must have influenced his psyche and may have produced the fascination with questions of presence and absence, 1 Don Colburn, “A Feeling for Light and Shade: John Keats and His ‘Ode to a Nightingale’”, Gettysburg Review, 5 (1992), 217. -
A Poet Dwells in Beauty a Kantian Reading of Keats's Poetry
English Language and Literature Studies; Vol. 4, No. 3; 2014 ISSN 1925-4768 E-ISSN 1925-4776 Published by Canadian Center of Science and Education A Poet Dwells in Beauty A Kantian Reading of Keats’s Poetry Chang Zheng1 1 Center of Shakespearean Studies, College of International Studies, Southwest University, Chongqing, China Correspondence: Chang Zheng, College of International Studies, Southwest University, 2# Tiansheng Road, Beibei District, Chongqing 400715, China. E-mail: [email protected] Received: June 2, 2014 Accepted: August 1, 2014 Online Published: August 29, 2014 doi:10.5539/ells.v4n3p46 URL: http://dx.doi.org/10.5539/ells.v4n3p46 Abstract John Keats, the great literary figure of Romanticism in the 19th century, was the one whose name was written in water. This essay tries to approach Keats’s poetry from the perspective of Kant, the forefather of German Classical Philosophy by providing examples to show their great aesthetic features. The features can be summarized as follows:a poet should have negative capability, the ability enabling him to remain an aesthetic distance instead of using literature for utilitarian purpose; the revealing of experience of beauty that intimates the harmony within man’s dual nature as free and physical being; the superiority of man’s cognitive power, especially imagination and fancy, over the power of sensibility; transcendence from the sensory to the supersensible through taste or experience of beauty, and for himself, poetry. Keywords: aesthetic feature, Kant, Keats, philosophy, poetry 1. Introduction John Keats (1795-1821), a great figure in the period of Romanticism in the 19th century, a contemporary of Byron and Shelley, has his uniqueness and brilliance in the history of British literature. -
A Dialogical Nature of Structure in Keats's Odes As a Circular Escape from Pain to Pleasure: a Bakhtinian Perspective
International Journal of Linguistics and Literature (IJLL)) ISSN(P): 2319-3956; ISSN(E): 2319-3964 Vol. 3, Issue 2, Mar 2014, 63-74 © IASET A DIALOGICAL NATURE OF STRUCTURE IN KEATS’S ODES AS A CIRCULAR ESCAPE FROM PAIN TO PLEASURE: A BAKHTINIAN PERSPECTIVE SOMAYYEH HASHEMI & BAHRAM KAZEMIAN Department of English, Tabriz Branch, Islamic Azad University, Tabriz, Iran ABSTRACT Using Mikhail Bakhtin’s concept of dialogism as a theoretical starting point, this thesis investigates the manifestations of dialogic voice in Odes by John Keats. In fact, this study attempts to examine the dialogic reading of “Ode to a Nightingale”, “Ode on Grecian urn”, “Ode on Indolence”, “Ode to Psyche”, “To Autumn” and “Ode to Melancholy”, through structural viewpoints. A scrutiny upon Keats's odes through dialogical perspective may reveal that Keats is a social and an involved poet of his time. Moreover, Keats as an escapist poet chooses the world of fancy and imagination to free himself from conflicts of his society. His odes are associated with expression of joy-pain reality through which Keats in a close dialogue with readers tries to display his own social and political engagement. Examining allusions, ironies and paradoxes, all the elements of structure, may show Keats’s historical response toward a troubled society. KEYWORDS: Dialogism, Dialogue, Keats`s Odes, Pain, Pleasure, Structure INTRODUCTION John Keats wrote many poems but his five odes are his prominent works. In his odes, he tries to convey a multiple meaning of pleasure and pain to the reader. His continuous and circular swinging from joy and pleasure to grief and pain highlights an emphasis on a need for a negotiation and communication with the reader. -
Modes and Genres in the Poetry and Letters of John Keats: an Analysis from the Standpoint of Deconstructive Phenomenology and Feminist Discourse
MODES AND GENRES IN THE POETRY AND LETTERS OF JOHN KEATS: AN ANALYSIS FROM THE STANDPOINT OF DECONSTRUCTIVE PHENOMENOLOGY AND FEMINIST DISCOURSE ABSTRACT THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF ©octoi of ^ijilosopijp V, : -•• - 'fan IN ENGLISH ^i- ft' I ? *^ BY NAHIDAKHTAR \rt-^\.'^/ u.. WIS" !••'• UNDER THE SUPERVISION OF Dr. SEEMIN HASAN DEPARTMENT OF ENGLISH ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 2008 ABSTRACT In Keats'S- poetry there is an abundance of women. They are an mtegral part of his poetry and letters. They enter into all aspects of his writing and cannot be contained in a single definition. This thesis examines the changing determinations of women in Keats's creative processes. Keats presents them in individual as well as universal identities. Keats conceives the poetic muse as feminine. In the poems of 1817, the feminine entity is an inseparable part of nature. Nature and natural objects are visualized as feminine. The present work also conducts an intensive study of the feminine power and energy acknowledged by Keats throughout the odes. In each ode, the woman presents the central metaphor. In the 'Ode to Psyche', Psyche is represented as the goddess by the poet whose status has been marginal for a long time. The poet restores the lost status of Psyche. She is the ideal beauty that inspires the poet to create. The nightingale, in the 'Ode to a Nightingale', is a bird that fascinates the poet through its voice. In 'Ode on a Grecian Urn', the urn assimilates the qualities of serenity and maternity. She is a friend and companion to mankind. -
John Keats (1795 – 1821) Ode on a Grecian Urn - 1819 I
John Keats (1795 – 1821) Ode On A Grecian Urn - 1819 I 1 Thou still unravish'd bride of quietness, 1. Tu, sposa ancora inviolata del silenzio, 2 Thou foster-child of silence and slow time, 2. Tu, figlia adottiva della quiete e del lento tempo, 3 Sylvan historian, who canst thus express 3. Narratrice silvana che sai esprimere 4 A flowery tale more sweetly than our rhyme: 4. Una storia fiorita tanto più dolcemente di quanto non sappiano fare i miei versi: 5 What leaf-fring'd legend haunts about thy shape 5. Quale leggenda incorniciata di foglie insegue la tua forma 6 Of deities or mortals, or of both, 6. Di divinità o di mortali o di entrambi, 7 In Tempe or the dales of Arcady? 7. Nella valle di Tempe o in Arcadia? 8 What men or gods are these? What maidens loth? 8. Chi sono questi uomini o sono forse dei? Chi sono queste vergini ritrose? 9 What mad pursuit? What struggle to escape? 9. Che folle inseguimento sarà mai questo? Da quale lotta staranno mai fuggendo? 10 What pipes and timbrels? What wild ecstasy? 10. Che flauti e tamburelli? Che estasi selvaggia? II 11. Le melodie ascoltate sono dolci, ma quelle non ascoltate 11 Heard melodies are sweet, but those unheard 12. Sono più dolci; e allora voi, dolci flauti, suonate ancora 12 Are sweeter; therefore, ye soft pipes, play on; 13. Non all’orecchio, ma, più armoniosi, 13 Not to the sensual ear but, more endear'd 14. Suonate all’anima melodie senza suono. 14 Pipe to the spirit ditties of no tone: 15. -
"Do I Wake Or Sleep?": Keats's Ode to a Nightingale G
SYDNEY STUDIES "Do I Wake or Sleep?": Keats's Ode to a Nightingale G. L. LITTLE Already with thee! tender is the night, And haply the Queen-Moon is on her throne, Cluster'd around by all her starry Fays; But here there is no light, Save what from heaven is with the breezes blown Through verdurous glooms and winding mossy ways. 5 I cannot see what flowers are at my feet, Nor what soft incense hangs upon the boughs, But, in embalmed darkness, guess each sweet Wherewith the seasonable month endows The grass, the thicket, and the fruit-tree wild; White hawthorn, and the pastoral eglantine; Fast fading violets cover'd up in leaves; And mid-May's eldest child, The coming musk-rose, full of dewy wine, The murmurous haunt of flies on summer eves 6 Darkling I listen; .... (35-51 ) These central lines of the great Ode1 suggest ambiguously a drowsed and yet disturbing stillness. The nightingale, classically associated with poetry, is with the moon, goddess of the ideal world.2 On Keats's dreaming earth the only sound is of the luring song of the bird. The only light is from the reigning goddess, who in Endymion pursued and was pursued through dream and "a sleepy dusk, an odorous shade" by the shepherd prince, the "moonlight Emperor", although with the unexpected outcome that she was attained only after acceptance of a mortal.3 Her intermittent light can be wafted along winding paths but only emphasizes the green and lush darkness (so, apparently, relaxing at least two natural laws). -
The Identity and Difference Between Keats's Hyperion and the Fall of Hyperion
The Identity and Difference between Keats'sHy)erion and TheFall of Hy)erion -onTheme Yukie ANDO Forward John Keats (1795 -1821) wrote Hyperion and The Fall of Hyperion . Both of them lare fragments. Hyperion is the first version and The Fall is the second one. We know when he wrote them mainly through his letters. He began to write Hyperi- on about the middle of September 1818 and had been writing for two months from 2late September untill December l st when Tom, his youngest brother, died. He ` 3sometimes referred to the poem in his letters and continued to write it. But he 4could not go ahead in February or March 1819 and gave up by April 20, 1819 。 5The first edition was published in 1820. The Fall was begun to write as a revi- 6sion of フミ/yperion in July 1819 and abandoned on September 21, 1819. It was first 7printed by Richard Moncton Milnes or Lord Houghton in 1856. In this paper l would like to compare these two fragments, point out differences and things in common concretely, and clarify the characteristics of both poems and Keats's humanity as a poet. The Themes Keats intended One of the themes Keats intended is Hyperion, or, more clearly speaking, the fallof Hyperion. We understand this not only from the titlesof both poems but also from his following letter、 He wrote to his brother and sister-in-law, George and Georgiana Keats, who had immigrated into the United states, on December 18, 1818: l think you knew before you leftEngland that my next subject would be -105 - The Identity and Difference between Keats's Hyperion and The Fall of Hyperion 'the fall of Hyperion ”[吹](II, 12) Hyperion is the sun god of Greek mythology.