ohhhhh
thanks very much kaki. I read these links but I didn't find what I want. but thanks for you on searching for me
I found this explaining but I want you to read it and say for me if it suitable and good or not
this is the explaining
Ode on a Grecian Urn
Less glowing, but of finer conception and more rare poetic value, is the Ode on a Grecian Urn. Instead of the long and unequal stanza of the Psyche, it is written in a regular stanza of five rhymes, the first two arranged in a quatrain, and the second three in a septet. The sight, or the imagination, of a piece of ancient sculpture had set the poet's mind at work, on the one hand conjuring up the scenes of ancient life and worship which lay behind and suggested the sculptured images; on the other, speculating on the abstract relations of plastic art to life. The opening invocation is followed by a string of questions which flash their own answer upon us out of the darkness of antiquity - interrogatories which are at the same time picctures, - 'What men or gods are these, what maidens loth,' &c. The second and third stanzas express with perfect poetic felicity and insight the vital differences between life, which pays for its unique prerogative of reality by satiety and decay, and art, which in forfeiting reality gains in exchange permanence of beauty, and the power to charm by imagined experiences even richer than the real. Then the questioning begins again, and yields the incomparable choice of pictures, -
"What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of its folk, this pious morn?"
………
In the answering lines -
"And, little town, thy streets for evermore
Will silent be; and not a soul to tell
Why thou art desolate, can e'er return,-"
………
in these lines there seems a dissonance, inasmuch as they speak of the arrest of life as though it were an infliction in the sphere of reality, and not merely, like the instances of such arrest given farther back, a necessary condition in the sphere of art, having in that sphere its own compensations. But it is a dissonance which the attentive reader can easily reconcile for himself: and none but an attentive reader will notice it. Finally, dropping the airy play of the mind backward and forward between the two spheres, the poet consigns the work of ancient skill to the future, to remain, -
……..
"in midst of other woe
Than ours, a friend to man, to whom thou say'st,
Beauty is truth, truth beauty, -"
………
thus proclaiming, in the last words, what amidst the gropings of reason and the flux of things is to the poet and artist - at least to one of Keats's temper - an immutable law. It seems clear that no single extant work of antiquity can have supplied Keats with the suggestion for this poem. There exists, indeed, at Holland House an urn wrought with just such a scene of pastoral sacrifice as is described in his fourth stanza: and of course no subject is commoner in Greek relief-sculpture than a Bacchanalian procession. But the two subjects do not, so far as I know, occur together on any single work of ancient art: and Keats probably imagined his urn by a combination of sculptures actually seen in the British Museum with others known to him only from engravings, and particularly from Piranesi's etchings. Lord Holland's urn is duly figured in the Vasi e Candelabri of that admirable master. From the old Leigh Hunt days Keats had been fond of what he calls
"the pleasant flow
Of words at opening a portefolio:"
and in the scene of sacrifice in Endymion we may perhaps already find a proof of familiarity with this particular print, as well as an anticipation of the more masterly poetic rendering of the subject in the ode.