In Depth Analysis Of Keats’ “Ode On A Grecian Urn”

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may to be among the “best” of his poetry. Ex:
His best poetry is composed largely of representations of representations, meditations “on” objects or texts that are themselves reflections of other artists’ creative acts (Scott, xi).
The product of these artists are indeed timeless and eternal, something Keats was very aware, both in presence of other artists works and in the absence of his own. As Keats tries to create for himself a place among these eternal artists, he tries to perpetuate dialogue with both the past and the future by applying a style that allows him to create a "work of art" by describing “works of art, to translate the arrested visual image into the fluid movement of words” (Scott 1). Scott, in his book The Sculpted Word, goes on to say that “Keats must achieve what the heroes of antiquity were given-- namely their assured place in the cultural order” (Scot 1).
The ambiguities, uncertainties, and still remaining questions provoked by “Ode on a Grecian Urn” have ...

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accurately notes in The Hoodwinking of Madeline that the real question of the urn is “Who says what to whom at the end of ‘Ode on a Grecian Urn’?” (Stillinger 167-173).
The origin of truth must in some way relate to who we identify as the speaking subject in the poem. “Ode on a Grecian Urn” was published three times – with three different versions of the famous last lines, controversy surrounding the use of quotation marks and certain capitalizations (or their absence). Considering that something or someone is addressing the readers directly at the end of the poem, and that this someone is “a friend to man,” it is important to investigate the nature of the speaking subject in ...

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