A Thing Of Beauty Is A Joy — страница 3

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canst thou kiss`. The season of spring is captured, the “urn“ will never `ever bid the spring adieu`. Keats asserts his envious tone through the repetition of `happy`, he relishes this life of the urn s world, of permanence. Beauty is trapped within the `urn`, `fair youth, beneath the trees, thou canst not leave thy song, nor ever can those trees be bare . The `urn` has everlasting love and nature. The two experiences which evoke joy. This joy is interrupted by the perilous questions, as we visualise the ritual sacrifice, of a `heifer lowing at the skies, and all her silken flanks with garlands drest?` It seems odd that beauty of the garlands is juxtaposed with death. The quote `though silent form, dost tease us out of thought as doth eternity is evidence of Keats humour

which contradicts the sentimental mood created in the previous stanza. It is almost mocking, through the realms of reality he has found joy which echo s `Ode to melancholy`. As we struggle to solve the `motto` of `Beauty is truth, truth Beauty`, the inverted phrase I believe is also an echo, by the `urn` itself which attempt to mock our efforts to try and capture the meaning of beauty. `Ode to Melancholy` is perhaps the most confusing in terms of subject, as this ode fluctuates between misery and joy, both of which are closely related. The first stanza bombards us with negatives to almost force hise his depression on us. The repetition of poisonous imagery: `wolf s bane`, `tight-rooted, for its poisonous wine`, `nightshade` emphasises his suicidal state of mind. This fear is

increased through the punctuation, as the pauses heighten the pace and emphasises his struggle. Keat s use of paradoxical language is also uninteresting, from energetic `twist` to the passive `kiss d`. The conflict of internal debate is obviously present in his ode. Towards the end of this first stanza he creates the lethargic intonation through the long assonance and vowel sounds, which suggest faint moans. `your mournful Pysche, nor the downy owl A partner in your sorrow s mysteries . The second stanza adopts a more self assured, stative tone. As the grammatically incorrect use of `But` emphasises the pivotal point in his train of thought. However it is through the centre of the second stanza where the line; `Then glut……. , introduces a more active mood. The `droop-headed`

and `shroud` are all forgotten, the intensity of an angry `mistress` takes over the melancholic mood. Keats is almost fascinated that beautiful emotions can be drawn from the anger of `peerless eyes`. There is beauty in all emotion, but as soon as Keats realises this, reality intrudes once more, as this is `Beauty that must die`, for he understands that beneath all the joy there is misery and in this melancholy there can be found joy. This reversible phrase is more economically suggested in the oxymoron `aching pleasure`. Keats highlights important words by capitalising them. In this ode the main words emphasised were `Beauty`, `Pleasure`, `Melancholy`, `Joy`, four emotions which draw from each other. Keats shows indulgence in this poem, his message isn t clear as his other odes,

for you either indulge in depression or in beauty, but the two are inseparable. Therefore is beauty a joy? Modesty again opens the first stanza as he presents his Goddess Psyche, with these `tuneless numbers`. He visualises a `Romantic` heaven, surrounded by `deepest grass` and `cool-rooted flowers`. He creates a peaceful environment through the visual colours of blue, silver-white`, Keats contemplates whether love can last forever. The repetition of negatives heighten Psyche s status when he neutralizes these negatives by repeating that now he will be `thy voice, thy lute……` This almost becomes a religious experience for Keats as he worships Psyche. Finally he has found joy and wishes to internalise this emotion in `some untrodden region` of his mind, so this joy cannot

escape, but even this emotion is branched with `pleasant pain` again referring to `Melancholy`. Hence he is again in search, as he waits and hopes to `let the warm love in! . This emphatic statement is increased by the drowsy state achieved by the language; `lull d to sleep , `quietness`. He realises towards the end that love too changes just as `breeding flowers, will never breed the same`. This mythological Pysche which symbolises the human soul, is accustomed to suffering and loss despite being married to love, identifies well with Keats. As Psyche is left holding the lantern in search for her love, Keats is left questioning, searching for something to replace God, a beauty which lasts forever, which is immortal. It wasn t until reading the five odes in progression that I