Paper
J.A. Cuddon,
writing in The Penguin Dictionary of Literary Theory and Literary Terms,
defines an ode as "a lyric poem, usually of some length . . . [which]
features an elaborate stanza structure, a marked formality and stateliness in
tone and style (which makes it ceremonious) and lofty sentiments and thoughts.
In short, an ode is rather a grand poem, a full-dress poem" (Cuddon, 650).
Because of this, one would expect odes to be very popular in the eighteenth
century when poetry was very formal, and so they were. But surprisingly, we
find that the ode was a favorite form of a number of Romantics of the
nineteenth century, John Keats and Percy Bysshe Shelley among them. Both Keats
and Shelley found in the formalism of the ode form a springing-off point for
their Romantic thoughts. Keats?
"Ode on a Grecian Urn" is a long poem extolling the perfection of art
as opposed to real life, showing that art is timeless as nature can never be
because living things are caught up in a cycle of change and death. To present
this argument he compares the urn to an ?unravished bride?, which belongs to
him but yet he can never possess. He establishes a second metaphor as well,
this time comparing the urn to a ?sylvan historian?, in that it can record in
its workmanship the details of a culture long extinct. In this way Keats shows
that art exists outside of time, unlike human beings who cannot escape it. Keats?
ode is written in iambic pentameter, like a sonnet. However, it is not a sonnet
because it does not have fourteen lines, and it does not have the
setup-argument-conclusion format that a sonnet does; it couldn?t have, because
it does not begin and end in one self-contained stanza, but continues its
argument from one stanza to the next.
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