Ode-on-a-Grecian-Urn原文加解析

1、Ode on a Grecian UrnSummaryIn the first stanza, the speaker stands before an ancient Grecian urn and addresses it. He is preoccupied with its depiction of pictures frozen in time. It is the “still unravishd bride of quietness,” the “foster-child of silence and slow time.” He also describes the urn a

2、s a “historian” that can tell a story. He wonders about the figures on the side of the urn and asks what legend they depict and from where they come. He looks at a picture that seems to depict a group of men pursuing a group of women and wonders what their story could be: “What mad pursuit? What str

3、uggle to escape? / What pipes and timbrels? What wild ecstasy?”In the second stanza, the speaker looks at another picture on the urn, this time of a young man playing a pipe, lying with his lover beneath a glade of trees. The speaker says that the pipers “unheard” melodies are sweeter than mortal me

4、lodies because they are unaffected by time. He tells the youth that, though he can never kiss his lover because he is frozen in time, he should not grieve, because her beauty will never fade. In the third stanza, he looks at the trees surrounding the lovers and feels happy that they will never shed

5、their leaves. He is happy for the piper because his songs will be “for ever new,” and happy that the love of the boy and the girl will last forever, unlike mortal love, which lapses into “breathing human passion” and eventually vanishes, leaving behind only a “burning forehead, and a parching tongue

6、.”In the fourth stanza, the speaker examines another picture on the urn, this one of a group of villagers leading a heifer to be sacrificed. He wonders where they are going (“To what green altar, O mysterious priest.”) and from where they have come. He imagines their little town, empty of all its ci

7、tizens, and tells it that its streets will “for evermore” be silent, for those who have left it, frozen on the urn, will never return. In the final stanza, the speaker again addresses the urn itself, saying that it, like Eternity, “doth tease us out of thought.” He thinks that when his generation is

8、 long dead, the urn will remain, telling future generations its enigmatic lesson: “Beauty is truth, truth beauty.” The speaker says that that is the only thing the urn knows and the only thing it needs to know.Form“Ode on a Grecian Urn” follows the same ode-stanza structure as the “Ode on Melancholy

9、,” though it varies more the rhyme scheme of the last three lines of each stanza. Each of the five stanzas in “Grecian Urn” is ten lines long, metered in a relatively precise iambic pentameter, and divided into a two part rhyme scheme, the last three lines of which are variable. The first seven line

10、s of each stanza follow an ABABCDE rhyme scheme, but the second occurrences of the CDE sounds do not follow the same order. In stanza one, lines seven through ten are rhymed DCE; in stanza two, CED; in stanzas three and four, CDE; and in stanza five, DCE, just as in stanza one. As in other odes (esp

11、ecially “Autumn” and “Melancholy”), the two-part rhyme scheme (the first part made of AB rhymes, the second of CDE rhymes) creates the sense of a two-part thematic structure as well. The first four lines of each stanza roughly define the subject of the stanza, and the last six roughly explicate or d

12、evelop it. (As in other odes, this is only a general rule, true of some stanzas more than others; stanzas such as the fifth do not connect rhyme scheme and thematic structure closely at all.)ThemesIf the “Ode to a Nightingale” portrays Keatss speakers engagement with the fluid expressiveness of musi

13、c, the “Ode on a Grecian Urn” portrays his attempt to engage with the static immobility of sculpture. The Grecian urn, passed down through countless centuries to the time of the speakers viewing, exists outside of time in the human senseit does not age, it does not die, and indeed it is alien to all

14、 such concepts. In the speakers meditation, this creates an intriguing paradox for the human figures carved into the side of the urn: They are free from time, but they are simultaneously frozen in time. They do not have to confront aging and death (their love is “for ever young”), but neither can th

15、ey have experience (the youth can never kiss the maiden; the figures in the procession can never return to their homes).The speaker attempts three times to engage with scenes carved into the urn; each time he asks different questions of it. In the first stanza, he examines the picture of the “mad pu

16、rsuit” and wonders what actual story lies behind the picture: “What men or gods are these? What maidens loth?” Of course, the urn can never tell him the whos, whats, whens, and wheres of the stories it depicts, and the speaker is forced to abandon this line of questioning.In the second and third sta

17、nzas, he examines the picture of the piper playing to his lover beneath the trees. Here, the speaker tries to imagine what the experience of the figures on the urn must be like; he tries to identify with them. He is tempted by their escape from temporality and attracted to the eternal newness of the

18、 pipers unheard song and the eternally unchanging beauty of his lover. He thinks that their love is “far above” all transient human passion, which, in its sexual expression, inevitably leads to an abatement of intensitywhen passion is satisfied, all that remains is a wearied physicality: a sorrowful

19、 heart, a “burning forehead,” and a “parching tongue.” His recollection of these conditions seems to remind the speaker that he is inescapably subject to them, and he abandons his attempt to identify with the figures on the urn.In the fourth stanza, the speaker attempts to think about the figures on

20、 the urn as though they were experiencing human time, imagining that their procession has an origin (the “l(fā)ittle town”) and a destination (the “green altar”). But all he can think is that the town will forever be deserted: If these people have left their origin, they will never return to it. In this

21、 sense he confronts head-on the limits of static art; if it is impossible to learn from the urn the whos and wheres of the “real story” in the first stanza, it is impossibleever to know the origin and the destination of the figures on the urn in the fourth.It is true that the speaker shows a certain

22、 kind of progress in his successive attempts to engage with the urn. His idle curiosity in the first attempt gives way to a more deeply felt identification in the second, and in the third, the speaker leaves his own concerns behind and thinks of the processional purely on its own terms, thinking of

23、the “l(fā)ittle town” with a real and generous feeling. But each attempt ultimately ends in failure. The third attempt fails simply because there is nothing more to sayonce the speaker confronts the silence and eternal emptiness of the little town, he has reached the limit of static art; on this subject

24、, at least, there is nothing more the urn can tell him.In the final stanza, the speaker presents the conclusions drawn from his three attempts to engage with the urn. He is overwhelmed by its existence outside of temporal change, with its ability to “tease” him “out of thought / As doth eternity.” I

25、f human life is a succession of “hungry generations,” as the speaker suggests in “Nightingale,” the urn is a separate and self-contained world. It can be a “friend to man,” as the speaker says, but it cannot be mortal; the kind of aesthetic connection the speaker experiences with the urn is ultimately insufficient to human life.The final two lines, in which the speaker imagines the urn speaking its message to mankind”Beauty is truth, truth beauty,” have proved among the most difficult to interpret in the Keats canon. After the urn utters the enigmatic phrase “Beauty is truth, truth beauty