济慈OdeonaGrecianUrn解析
济慈Ode on a Grecian Urn解析
Type of Work
"Ode on a Grecian Urn" is a romantic ode, a dignified but highly lyrical (emotional) poem in which the author speaks to a person or thing abnt or prent. In this famous ode, Keats address the urn and the images on it. The romantic ode was at the pinnacle of its popularity in the nineteenth century. It was the result of an author’s deep meditation on the person or object.
The romantic ode evolved from the ancient Greek ode, written in a rious tone to celebrate an event or to prai an individual. The Greek ode was intended to be sung by a chorus or by one person to the accompaniment of musical instruments. The odes of the Greek poet Pindar (circa 518-438 BC) frequently extolled athletes who participated in athletic games at Olympus, Delphi, the Isthmus of Corinth, and Nemea. Bacchylides, a contemporary of Pindar, also wrote odes praising athletes.
The Roman poets Horace (65-8 BC) and Catullus (84-54 BC) wrote odes bad on the Greek model, but their odes were not intended to be sung. In the nineteenth century, English romantic poets wrote odes that retained the rious tone of the Greek ode. However, like the Roman poets, they did not write odes to be sung. Unlike the Roman poets, though, the authors of 19th Century romantic odes generally were more emotional in their writing. The author of a typical romantic ode focud on a scene, pondered its meaning, and prented a highly personal reaction to it that included a special insight at the end of the poem (like the closing lines of ―Ode on a Grecian Urn‖).做个有出息的女孩
Writing and Publication Dates新生儿吐泡泡
"Ode on a Grecian Urn" was written in the spring of 1819 and published later that year in Annals of the Fine Arts, which focud on architecture, sculpture, and painting but sometimes published poems and essays with themes related to the arts.
Structure and Meter
"Ode on a Grecian Urn" consists of five stanzas that prent a scene, describe and comment on what it shows, and offer a general truth that the scene teaches a person analyzing the scene. Each stanza has ten lines written in iambic pentameter, a pattern of rhythm (meter) that assigns ten syllables to each line. The first syllable is unaccented, the cond accented, the third unaccented, the fourth accented, and so on. Note, for example, the accent pattern of the first two lines of the poem. The unaccented syllables are in lower-cad blue letters, and the accented syllables are in upper-cad red letters.
thou STILL|un RAV|ished BRIDE|of QUI|et NESS,
thou FOS|ter CHILD|of SI|lence AND|slow TIME
Notice that each line has ten syllables, five unaccented ones in blue and five accented ones in red. Thus, the lines—like the other lines in the poem—are in iambic pentameter. Iambic
refers to a pair of syllables, one unaccented and the other accented. Such a pair is called
an iamb. "Thou STILL" is an iamb; so are "et NESS" and "slow TIME." However, "BRIDE of" and "FOS ter" are not iambs becau they consist of an accented syllable followed by an unaccented syllable. Pentameter—the first syllable of which is derived from the Greek word for five—refers to lines that have five iambs (which, as demonstrated, each have two syllables). "Ode on a Grecian Urn," then, is in iambic pentameter becau every line has five iambs, each iamb consisting of an unaccented syllable followed by an accented one. The purpo of this stress pattern is to give the poem rhythm that pleas the ear.
Situation and Setting
In England, Keats examines a marble urn crafted in ancient Greece. (Whether such an urn was real or imagined is uncertain. However, many artifacts from ancient Greece, ones which could have inspired Keats, were on display in the British Muum at the time that Keats wrote the poem.) Pictured on the urn, a type of va, are pastoral scenes in Greece. In one scene, males are chasing females in some sort of revelry or celebration. There are musicians playing pipes (wind instruments such as flutes) and timbrels (ancient
tambourines). Keats wonders whether the images reprent both gods and humans. He also wonders what has occasioned their merrymaking. A cond scene depicts people leading a heifer to a sacrificial altar. Keats writes his ode about what he es, addressing or commenting on the urn and its images as if they were real beings with whom he can speak.
Ode on a Grecian Urn
By John Keats
End-Rhyming Words Are Highlighted
Stanza 1
上课要求Thou still unravish’d bride of quietness,
好球区Thou foster-child of silence and slow time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fring’d legend haunts about thy shape
Of deities or mortals, or of both,
三交三查In Tempe or the dales of Arcady?
What men or gods are the? What maidens loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?
Stanza 2
Heard melodies are sweet, but tho unheard
Are sweeter; therefore, ye soft pipes, play on; Not to the nsual ear, but, more endear’d,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can tho trees be bare;
Bold Lover, never, never canst thou kiss, Though winning near the goal—yet, do not grieve; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair!辽阔的近义词
女人的魅力>地桃花的功效与作用
