There are numerous poetic techniques employed in "Ode on a Grecian Urn" by the Romanticist poet John Keats. Among these are elements of the sonnet form and rhyme, imagery, symbolism, alliteration, and personification.
Within the theme of how Art has the power to convey the truth of human experience, Keats uses several poetic devices:
Addressing the urn as "bride of quietness" and "Sylvan historian," Keats gives human traits to the Grecian urn as he acknowledges that it contains a "flowery tale" that is sweeter than the poet's rhyme. Further, he comments, "Ah, happy, happy boughs!"
In stanza I the poet describes the painting on the urn with its deities and mortals, maidens, and men. There is a "leaf-fringed legend," "pipes and timbrels." The urn depicts religious celebration and sexual play among other aspects of life. However, these images are frozen in time and the lovers will never kiss as they are arrested in their movements because they are painted on the urn.
In stanzas IV and V there is visual imagery with such descriptions as the "green altar," the heifer's "silken flanks with garlands," "river or seashore," the "red-breast," "a garden croft" and "gathering swallows."
There is the repetition of the /th/ in line 18: "She cannot fade, though thou hast not thy bliss."
In another example, the /s/ is repeated in this line: "Will silent be; and not a soul to tell." And the /h/ is repeated throughout this line: "More happy love! more happy, happy love!"
Employing the symbols of "trees" for Nature, "song" for Art, and "Bold Lover" for procreation, Keats explains the tension between what is on the urn and what is real. For the urn, "truth is beauty, beauty truth" (a literary device called chiasmus). This beauty lasts because it is frozen in time. However, for the poet who knows that beauty does not last, the truth is not restricted to the images on the urn. He realizes that the lovers will never consummate their love but will remain only in their moment.
Keats uses iambic pentameter, and his poem resembles a sonnet as it is laid out on the page; however, there are only ten lines in each stanza. Still, the stanzas have a pattern to them as the rhyme scheme is nearly consistent throughout: The first four lines are ABAB, and the next six are CDE and then some variation of CDE (CED).