Ode to a Grecian Urn (J. Keats)

Linda Arellano

Srygley, Cheryl

AP Literature

Ode to a Grecian Urn (John Keats)

THOU still unravish'd bride of quietness,
Thou foster-child of Silence and slow Time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fringed legend haunts about thy shape	5
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?	10
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave	15
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal—yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!	20
Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearièd,
For ever piping songs for ever new;
More happy love! more happy, happy love!	25
For ever warm and still to be enjoy'd,
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy'd,
A burning forehead, and a parching tongue.	30
Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea-shore,	35
Or mountain-built with peaceful citadel,
Is emptied of its folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul, to tell
Why thou art desolate, can e'er return.	40
O Attic shape! fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form! dost tease us out of thought
As doth eternity: Cold Pastoral!	45
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say'st,
'Beauty is truth, truth beauty,—that is all
Ye know on earth, and all ye need to know.'

1. First Impression: Judging the poem by its title, the reader knows that the theme of the poem will discuss the author’s feelings toward this ornate object. The poem is divided into 5 stanzas in which different facades of the urn are depicted and create this vivid image of a typical Greek scene. He questions whether the people are “deities or mortals, or both”. In order to better appreciate the poem one must be able to identify oneself with what Greek urns look like and what they show. The reader can easily tell that the author is truly fascinated by what he sees and admires this beautiful piece of art.

2. Paraphrase the poem:

a. you beautiful fixed and forever fair bride of silence

b. you adoptive child of silence and slow time

c. History who cannot be express

d. A flowery sweeter than rhyme

e. A legend hunted by its shape

f. Of Gods and Goddesses, mortals or both

g. In different locations in Greece

h. Who are these characters? What maidens loth?

i. What crazy quest? What struggle to escape?

j. What pipers and timbrels? What wild ecstasy?

k. Melodies that have been heard before are sweet, but those unheard

l. Are even sweeter: therefore, the instrument, continue to play

m. Not the sensual ear, but more to the hear

n. Play to the spirits

o. fair lady, beneath the tress, you can’t leave

p. your song, nor ever can those trees be bare;

q. bold lover will never, never can you kiss

r. though very close to your goal, yet do not grieve;

s. she can’t fade, though you have not her great joy

t. For ever will you love, and she be fair!

u. Ah happy, happy branch! That can’t shed

v. Your leaves, nor ever bid the spring good-bye

w. And happy musician, unwearied,

x. For ever playing songs for ever new;

y. More happy love! More happy, happy love!

z. For ever warm and still enjoyed

aa. Forever panting, and forever young,

bb. All breathing human passion far above

cc. That leaves the heart sad and excessively weary

dd. A burning forehead and a parching tongue

ee. Who are these coming to the sacrifice?

ff. To what green altar, o mysterious priest

gg. You lead that heifer lowing at the skies,

hh. And dressed in all her silken flanks and garlands?

ii. What little town by the river or sea shore,

jj. Or mountain built with peaceful citadel,

kk. Is emptied of this folk, this virtuous morning?

ll. And, little town, thy streets for evermore

mm. Will be silent and not a soul to tell

nn. Why your art desolate, can never return

oo. O attic shape! Fair attitude! With braid

pp. Of marble men and women overwrought

qq. With forest branches and the trodden weed;

rr. Your silent form, does tease us out of thought

ss. As does eternity: Cold Pastoral!

tt. When old age shall this generation waste,

uu. You shall remain, in middle of other anguish

vv. Than ours, a friend to man, to which you will say

ww. “Beaty is truth, truth is beauty,” that is all

xx. You know on earth, and all you need to know.

3. Syntax and word choice: The author employed an archaic version of English giving the poem a feel of antiquity. The word choice was very picturesque and complex. The poem was structure by five stanzas of 10 lines each. The poem followed an ababcdcd rhyme scheme. The author also uses lots of rhetorical questions and depicts to Greek scenery, there are also allusions and alliteration.

4. Imagery: This is a key element in the poem since the author is praising the art work on this Grecian Urn. The element of imagery is used continuously throughout ever stanza in the poem creating vivid images from the scenes depicted in the poem. Initially the author creates the image of these characters on the urn, a beautiful young maiden who will stay forever young and a musician who plays the pipes. There is also the image of a priest and the sacrifice of a heifer as well as that of a lonely city located by either a river or sea shore. The element of imagery is crucial, if not the most important in the poem.

5. Tone: The tone of this poem is very descriptive and informative, as if telling a story. This idea is better conveyed by telling the story behind the images depicted in this antique, the Grecian Urn. The author has a tone of respect and admiration for the work of art that is represented on the Urn.

6. Theme: The theme of the poem is to depict and in a sense pay his respects to the Grecian Urns, which are truly beautiful and remarkable works of art. Each urn contains and illustrates a never fading story, a story that was perhaps once part of the everyday life in a citadel or surrounding cities. Through the use of highly descriptive imagery and very specific diction along with a very respectful tone, they all tie in to create this ambiance of admiration towards the Grecian Urn.

7. Conclusion: The initial idea was not far away from what is concluded based on the analysis of the poem. The author makes effective use of the elements that portray his Ode to the Grecian Urn.

Telephone Poles (J. Updike)

Linda Arellano

Srygley, Cheryl

AP Literature

Telephone Poles
John Updike

They have been with us a long time.
They will outlast the elms.
Our eyes, like the eyes of a savage sieving the trees
In his search for game,
Run through them. They blend along small-town streets
Like a race of giants that have faded into mere mythology.
Our eyes, washed clean of belief,
Lift incredulous to their fearsome crowns of bolts, trusses, struts, nuts, insulators, and such
Barnacles as compose
These weathered encrustations of electrical debris¬
Each a Gorgon’s head, which, seized right,
Could stun us to stone.
Yet they are ours. We made them.
See here, where the cleats of linemen
Have roughened a second bark
Onto the bald trunk. And these spikes
Have been driven sideways at intervals handy for human legs.
The Nature of our construction is in every way
A better fit than the Nature it displaces
What other tree can you climb where the birds’ twitter,
Unscrambled, is English? True, their thin shade is negligible,
But then again there is not that tragic autumnal
Casting-off of leaves to outface annually.
These giants are more constant than evergreens
By being never green.

1. First Impression: John Updike presents his point of view in a rather clear and concise way. He makes it rather obvious that the developments of technology and urbanization have quickly depleted the evergreen trees with all these telephone poles; nevertheless he does not once acknowledge them directly. Instead he describes them with large amounts of detailed words which quickly help the reader understand that he is talking about the poles which run through the city’s streets. They are so many and so common that people rarely notice them anymore. They sort of blend as if they were trees themselves.

2. Paraphrase:

a. They have been with us for a long time

b. The will outlast the trees

c. Our eyes, like the eyes of a savage filtering the trees

d. In his search for game,

e. Run through them. They blend along in the city streets

f. Like the giants fade in mythology

g. Our eyes began to disbelief

h. The look up at all their details

i. Barnacles as compose

j. These weathered encrustations of electrical junk

k. They look like the head of Medusa, which

l. Could turn you into stone at the right moment

m. Yet they belong to us. We created them

n. See here, You can see where the electricians

o. have made a second bark,

p. Onto the bald trunk, and these spikes

q. They have been placed sideways for the handiness for human legs

r. The nature of our construction is in every way

s. A better fit than the nature it displaces

t. What other tree can you climb where the birds’ twitter

u. Is plain English? True, their skinny shade is negligible

v. But then again it’s not as tragic as when trees shed their leaves in autumn every year

w. These poles are more constant that evergreens

x. By never being green.

3. Syntax and Word Choice: The poem’s structure is a single 25 line stanza. The poem has no rhyme scheme. The line structure varies per line; nevertheless the author uses allusions to mythology as well as alliteration. There is some sort of rhyme scheme that is noticeable within certain lines of the poem. The word choice is very colloquial, so it is not too hard for the reader to follow what the author’s intentions of writing the poem.

4. Imagery: By looking at the poem the reader can get a hint that the poem will talk about telephone poles. The first image used by the author is that of an object that will outlive trees; “they will outlast the elms” These objects can blend into the environment for they have been with us for a long time. One image that is quickly drawn is that of line 8 in which is nearly the most descriptive line of the entire poem. Updike describes nearly every piece that constitutes the entire pole. There is also the image of the spikes that are located on the sides of the pole. Updike also references to the “second bark” the pole has developed due to the wear of so many electricians going up the pole.

5. Figurative Language: One of the most prominent forms of figurative language used in this poem is similes. The author constantly compares one thing with the other, for example “our eyes, like the eyes of a savage…” or “They blend along small-town streets / Like a race of giants…” Updike also employs the usage of alliteration as well as hyperboles and idioms. There is also the allusion to Greek mythology in between the 6^th and 12^th lines of the poem.

6. Tone: The reader can feel the author’s tone of concern and a bit of sarcasm as the poem goes on and on. Initially the poem begins with a brief allusion to Greek mythology which gives the poem an informative tone due to the nature of the comparison. As the poem goes on, the reader can easily identify the author’s bias on his opinion of the telephone poles and their presence in the city. The author acknowledges some of the benefits that have come with the telephone poles; nevertheless he is nearly nostalgic that the trees are no longer there.

7. Theme: There is a theme of the consequences that have been brought along with technological developments as well as urbanization in cities. Before those “never green” poles were placed, trees used to flourish and give shade, but now with the increasing needs communication, these poles have come to take over and blend in as if they were part of nature itself. The overall theme of the poem is the consequences of technology and how it has driven nature slowly but surely out of the picture.

8. Conclusion: The first impression of the poem was accurate.

The Oven Bird (Robert Frost)

Linda Arellano

Srygley, Cheryl

AP Literature

The Oven Bird (Robert Frost)

THERE is a singer everyone has heard,
Loud, a mid-summer and a mid-wood bird,
Who makes the solid tree trunks sound again.
He says that leaves are old and that for flowers
Mid-summer is to spring as one to ten.	5
He says the early petal-fall is past
When pear and cherry bloom went down in showers
On sunny days a moment overcast;
And comes that other fall we name the fall.
He says the highway dust is over all.	10
The bird would cease and be as other birds
But that he knows in singing not to sing.
The question that he frames in all but words
Is what to make of a diminished thing.

1. First Impression: Robert Frost’s The Oven Bird talks about the song that we’ve all become familiar with one way or another. In this poem he talks about the change of seasons and how this bird can become extinct due to the intrusions into their habitats. He expresses itself through his joyful chants yet never uses words, and he brings life back to the solid tree trunks. The author also states a sort of rhetorical question at the very end of the poem.

2. Paraphrase:

a. The is a song we’ve all heard

b. Loud, during the summer and in the middle of the woods bird,

c. He makes the solid tree trunks sound again

d. He says that leaves are old and that for flowers

e. The middle of summer is to spring as one is to ten

f. He says the early petal fall is the past

g. When pear and cherry bloom went down in the showers

h. On a sunny days a moment overcast

i. And comes that other fall we call fall.

j. He says the highway dust is all over.

k. The birds would all cease

l. But he knows in singing not to sing

m. The question he states in everything but words

n. Is what to make of this diminished thing?

3. Syntax and Word Choice: The Oven Bird is a single stanza of 14 lines with a rhyme scheme of aabcbdcdeefgfg. Certain words gave the poem gave emphasis on the bird and the song he sings as well as a particular emphasis on seasons of the year (i.e. mid-summer, spring and fall). The author also uses alliteration. There is also the use of figurative language; “mid-summer is to spring as one to ten”.

4. Imagery: Robert Frost’s use of imagery acts as an important element in the structure of the poem. The author places special emphasis on the image of a bird and the seasonal changes. Not only is this but there also an image of something expressed without it being really expressed. The image of ‘a singer that everyone has heard’ appeals to the auditory and visual senses. There are several elements throughout the text which enhance and appeal to the senses as a whole, but the visual being the most prominent.

5. Figurative Language: The Oven Bird is one of Frost’s shortest poems to ever be published. The amount of figurative language is limited. In line 5 of the poem we can find a clear example of Frost’s usage of this literary element: “He says that leaves are old and that for flowers / Mid-summer is to spring as one is to ten”. In this quote he is expressing what he believes the bird is expressing. He discusses the complementary action of one season with the other as that of one being part of the whole ten; one can’t be without the other.

6. Tone: The author’s tone is a bit melancholic but moreover it is informative and tailored to create some sort of environmental awareness. The poem talks about the seasonal changes as well as the impact of the highway dust as it covers it all. The poem ends with a rhetorical question which sparks some interest in the reader about the fate of these birds when everything becomes diminished.

7. Theme: The reader quickly becomes part of the bird’s adventures through Robert Frost’s The Oven Bird. In this poem Frost acts as an interpreter for the bird’s unspoken but surely expressed emotions. Frost conveys a theme of a journey. In this journey the bird expresses the changes of the season as well as those of the effects of the highway dust on the overall environment. There is also a theme of grief and anticipation of what might come next. The poem begins at mid-summer which is usually a time were most people are enjoying and having a good time.

8. Conclusion: In addition to the first impression, I believe that even though the poem was only a single stanza, Frost clearly expresses what the bird feels and sees. The takes on the character as if he was the bird himself; (He says that leaves…. He says the early petal-fall… etc.) The poem is also very reflective of Frost’s love for nature and his innate naturalistic style.