Meditating on the Urn
"Ode on a Grecian Urn" was written in May of 1819 when Keats was 23 years old and his life was in emotional turmoil. In the previous six months his brother Tom had died, and he had met and fallen in love with Fanny Brawne who, at the time the poem was written, lived next door to him in Hamstead. It was a period of intense creativity during which Keats wrote his great odes; in them, he explored his emotions by addressing, describing, and questioning some idea or symbol that he celebrated. Keats's odes are a form of meditative poetry. In meditation, a person thinks intensely upon and draws conclusions from a subject. The subject may be imagined in detail as if it were actually present. During a time when ancient Greece was being rediscovered through archeological excavations and travel, as well as in books and exhibitions of Greek cultural artifacts, Keats projected his concerns about living fully, love, art, religion, death, and eternity upon a Grecian urn.
Because the urn Keats describes has been shown by scholars, including Claude Lee Finney, to be a composite of details from various sources, the poem is a commentary upon an imagined work of art. By writing an ode, originally a Greek poetic form, Keats is making his own claim to permanence. The "Ode on a Grecian Urn" is Keats's own "silent form" meant to perform a similar function— "tease us out of thought"—as that of the original Greek urn, that, ironically, does not exist (unlike Keats's poem about it).
"Ode on a Grecian Urn" concludes with the urn saying "Beauty is truth, truth beauty," and the poet commenting "—that is all / Ye know on earth, and all ye need to know." In themselves, such statements are close to nonsense. Truth and beauty belong to radically different realms, and there is nothing especially true about, say, a beautiful automobile or dog. We can test a scientific truth, but there is little to make us agree about the beauty of a car or animal. We say beauty is in the eye of beholder. Keats is using paradoxical language to make a claim for an alternative kind of truth. This claim makes sense within the logic of the poem, but it is also meant to have a wider application to how we view reality. The poem makes claims about the value and uses of art (and poetry) as represented by the urn, in contrast to other kinds of truth. These other kinds of truth might be scientific, religious, or philosophical, but the poem says clearly that "on earth" we can not know anything more true than what we will learn from art and that such knowledge is sufficient. There might be other forms of knowledge after death or in some "other" realm, but they do not concern us and we are unlikely to know much about them while "on earth."
These are large claims for art, but what has been claimed? Stanza five says the urn "dost tease us out of thought / As doth eternity." "Tease," with its variety of meanings ranging from tempt to mock, suggests that, like thinking about eternity, the seductiveness of the topic and impossibility of coming to any conclusion mean we shouldn't worry about it. The urn itself, however, has its own kind of eternity. It remains after "old age shall this generation waste." A concern of the poem then is aging, the passing of time, and death. "Waste" is a powerful word made even more powerful by being in rhyme position at the end of a line and being the last word of an introductory clause. The basic meaning of waste is consume, finish, or use up, but the range extends from ruin to turn into refuse or trash. Our lives not only pass, but at the end we become waste. The urn, however, remains—a work of art that speaks to others "in midst of other woe." As each life and generation suffers from pain and fears, the urn is "a friend to man" by offering its religion of art, its own kind of truth, and its own permanent portrait of human desires and activities.
We might say that the poem shows how in the nineteenth century some people were losing faith in Christian...
(The entire section is 7,630 words.)