CHAPTER V I
The V i e w l e s s
Ode
Ode
Ode
Ode
Ode
Ode
Wings of
Poesy'
t o Psyche
to A N i g h t i n g a l e
on A G r e c i a n Urn
on M e l a n c h o l y
on I n d o l e n c e
t o Autumn.
1 ys
In t h e l a n d s c a p e of
mark t h e h i g h e s t
ning
point.
a v a r i e t y of
elements.^
his
poetry,
t h e o d e s of
The poeirs a r e r r e d i t a t i v e ,
moods and a l s o
the Pindaric
They a r e not r e s u l t s
of
a r e l i n k e d t o g e t h e r by a c e r t a i n
manifests
itself
discovers
i n each of
ultimately
of
in
manifestations
times,
setting
The d i v i s i o n s of
strophe,
anti-strophe
commentary t o
of
that
this
it
'beauty'
for
the r i t u a l
he
and
of
or
heroic
rituals
a
simultaneously
that
character
and t h u s
developing
other
provided
We may o b s e r v e
the inherent cantatory
the p r i m o r d i a l
pro-
a n s w e r e d each
and epode as t h e y
K e a t s w i t h the p e r f e c t means of
in
Within
some a c t i o n b e i n g c a r r i e d o u t
ode i n c o r p o r a t e s
intent
philosophy
Quest f o r
the chorus
a t t h e a l t a r o r on t h e s t a g e .
magical
prog-
t h e ode was a c h o r a l f o r m ,
a dramatic musical
theatre.
Horatian
'truth'.
In a n c i e n t
viding
the odes.
l e a d s t h e poet t o m y t h o l o g y .
the highest
and
combi-
any c o n c r e t e
ramme b u t
philosophy
Keats
his
the
and
provides
mythic
visicr
poetry.
The p o e t s of
belief
in
the
individuality,
Romantic R e v i v a l
subjectivity
exhibited
and t h e e g o .
a firm
Contrary
"ico
to this
prevailing
vision.
self-assertive
d o c t r i n e of
Negative
c a p a c i t y by S h a k e s p e a r e ,
p r e j u d i c e s of
a poet
be c a p a b l e of
entering
Man and t h e
is
Influenced in
is
Keats f i r s t
romance
translation
a t t r a c t e d Keats.
suffering
of
could
and c o n t i n u o u s
mythology.
vision
and a l s o
the major
encountered
Psyche.
of
the
3 r d May 1819
the
Golden
myth.^
She embodied
achievenent.
odes
He a l s o
Apuleius's
beauty,
Referring
K e a t s w r o t e t o George i n t h e j o u r n a l
14th F e b r u a r y -
Keats
sympathetic
which c o n t a i n e d t h e a n c i e n t f o r m of
t h e ode,
should
the thoughts
are recorded in
t h e o n l y one of
allegoric
r e a d .Villiam A d l i n g t o n ' s
struggle,
this
and t h e
and he
Armed w i t h t h i s v i s i o n
i n s p i r e d a profound,
b a s e d on a myth.
Psyche g r e a t l y
forward
he c l a i m e d t h a t t h e s e l f
that
and
Universe.
myth i n Mrs T i g h e ' s
Ass
' I'
He put
i n t o and e x p r e s s i n g
' Ode t o P s y c h e '
that
poetry.
Capability.
human b e h a v i o u r
This understanding
universal
the g o d - l i k e
u n d e r s t a n d and a p p r e c i a t e t h e c o n s t a n t
rhythms of
of
possessed a
s h o u l d be a n n i h i l a t e d
o t h e r men and b e i n g s .
fully
Keats
He r e j e c t e d t h e myth of
the resulting
his
mood,
letter
—
You must r e c o l l e c t t h a t Psyche v/as not
embodied as a g o d d e s s b e f o r e t h e t i m e of
Apulieus
(sic)
the P l a t o n i s t
who l i v e d
to
of
tul
a f t e i r ( s i c ) t h e Agustan ( s i c ) a g e , and c o n s e q u e n t l y t h e Goddess was n e v e r w o r s h i p p e d o r
s a c r i f i c e d t o w i t h any of t h e a n c i e n t f e r v o u r
— and p e r h a p s n e v e r t h o u g h t
of i n t h e o l d
r e l i g i o n — T am more o r t h o d o x t h a t ( s i c )
to
l e t a hethen ( s i c ) Goddess be so n e g l e c t e d . 3
The s t o r y
of
communication of
his
of
Psyche
ideas.
was t h e p e r f e c t
The s u f f e r i n g ,
Psyche c o u l d meet t h e demands of
much so,
that
in o r d e r
to reward her.
to
By now,
show h i s
his
ribution
of
instincts.
Negative
Capability
' I' .
total
Now,
included both.
anl
this
in
all
his
he had
egotistic
of
man
instinctive
He c o u l d b e a r t h e t r u t h s of
philosophy
t h e two domains —
life
painful experiences.
Also
By d i s c o v e r i n g
in t h e myth of
Psyche he a c h i e v e d a w h o l e n e s s b r o a a h t
f u s i o n of
the
a
Cupid
about by
the mytholoqical
in
cont-
of
Earlier
as a g a i n s t
he c o u l d l o c a t e b e a u t y w i t h i n them.
a r c h e t y p e of
decided
evil
The r a n g e
And he c o u l d s e e b e a u t y
even when c o n f r o n t e d by g r e T . t l y
similar
he
he r e a l i z e d t h a t t h e i n s t i n c t
phenomena and i m p u l s e s .
So
and was t h e
had t o be e x t e n d e d .
disinterestedness
however,
philosophy.
he had r e a l i z e d t h a t t h e
and n e c e s s a r y
opted f o r
and h e r o i s m
appreciation,
hurran n a t u r e was i n h e r e n t
the e g o t i s t i c
means of
the
and t h e
intelLactual.
The myth d e s c r i b e s
Psyche as t h e most b e a u t i f u l
of
it 2
the three
of
her,
d a u g h t e r s o£ a c e r t a i n
some u g l y m o n s t e r .
shingly beautiful
that
and w i t h t h e h e l p of
However,
Cupid himself
Apollo
came t o v i s i t
her
lover
her
promise t h a t
in
was a c a n n i b a l
d r o p of
anger.
all,
oil
fell
t o s o r t out
in
inaccessible
face.
love with
her
completed t h i s
Psyche's
that
Psyche
a lamp t o
see h i s
face.
on him and waking up,
he l e f t
her
too,
left
home i n
tasks.
a l a r g e h e a p of
Finally,
s e a r c h of
broke
him.
first
various grains
before
and c o m p l e t e d
she had t o go down t o Hades
It
got
3he h a d
t h e b e t t e r of
d i d not c o n t a i n
s l e e p which overcame h e r .
found her.
V^ith t h e p e r m i s s i o n of
and m a r r i e d
her.
This i s
Zeus,
the
f r o m an
A f r i e n d l y e a g l e completed
when c u r i o s i t y
Venus
She a s k e d h e r ,
beauty from Persephone.
3ha opened t h e c a s k e t .
secretly
Terrified
fountain.
a c a s k e t of
her
he took h e r
A n o t h e r t a s k was t o f e t c h w a t e r
task f o r her.
in
ravi-
and p e r s u a d e d h e r
The a n t s t o o k p i t y o r h e r
task f o r her.
deadly
her
n i g h t by l i g h t i n g
Psyche,
nightfall.
bring
she was so
fell
see h i s
monster.
s e t h e r t o many i m p o s s i b l e
of
her to f a l l
an e n c h a n t e d p a l a c e where he v i s i t e d
wicked s i s t e r s
jealous
and t h e West wind,
and made h e r p r o m i s e n e v e r t o
A hot
Venus,
s e n t C u p i d t o p u n i s h h e r by c a u s i n g
love with
away t o
king.
her
this
to
almost
and
b e a u t y but
where
Cupid
he r e v i v e d
ner
a
2L.
Cupid r e p r e s e n t s
instincts.
t h e f u s i o n of
He c a r r i e d o f f
O r a c l e had a d v i s e i
Psyche.
t h e good and t h e b a d
Apollo's
P s y c h e ' s f a t h e r t o d r e s s h e r as a b r i d e
ana l e a v e h e r on a l o n e l y h i l l - t o p .
marriage.
L a t e r on,
However,
Cupid d i d not f o r m a l l y
Venus and m a r r i e d h e r .
represents
greatly
is
patience
painful experiences.
marry
t h e human s o u l .
t o d e i f y h e r and t h u s r e w a r d
Keats c o n s u l t e d
where t h e meaning of
Lempiere's
Psyche i s
her.
of
egotist
Finally,
to
point,
Psyche
confront
She a l s o r e p r e s e n t s
At t h i s
was
clutches
the
and t h e a b i l i t y
t h e myth and t h r o u g h t h e agency of
strives
words
Venus r e p r e s e n t s
l i m i t e d by s u b j e c t i v i t y .
struggle,
e v o l u t i o n of
enters
The promise
he r e s c u e d her f r o m t h e r e v e n g e f u l
whose v i s i o n
Delphic
the
'Ode t o
the
poet
Psyche'
her.
Classical
Dictionary
explained in the
following
—
The word s i g n i f i e s
'the soul'
and t h i s
p e r s o n i f i c a t i o n of Psyche, f i r s t mentioned
by A p u l i e u s , i s c o n s e q u e n t l y p o s t e r i o r t o
t h e Augustan age, though i t i s c o n n e c t e d
w i t h anci^-nt mythology. 4
Keats,
however,
visualizes
g o d d e s s and wants t o c e l e b r a t e
Cupid.
her
as a b e a u t i f u l
h e r union v/ith t h e
lovelove-god
The ode b e g i n s
at
a moment r i c h
because i t
and a l s o
trials
the beauty
t h e peace of
future f u l l
opening
in e x p e r i e n c e .
captures
are over
of
The nx)inent i s
the
lovers
significant
and t h e depth of
fulfilment.
happiness
a mythological
of
true
love
The trauma and t h e
and t h e two l o v e r s have been u n i t e d .
salutation
trance-like
with the p o e t ' s v i s i o n
'0,
Goddess'
scene.
state
and p r o m i s e
l i e s b e f o r e them.
l a y s the
The p o e t
is
A
in h i s
foundation
The
of
characteristic
—
Surely
I dreamt t o d a y ,
o r d i d I see
The w i n g e d Psyche w i t h
awakened e y e s ?
(
This
in-between
feelings
It
to
all
his
and makes h i s
the v i s i o n
him t h e l i c e n c e
5-6 )
state excludes
and emotions,
also gives
11.
a dream-like
add t o e x i s t i n g
personal
presence
i n t o t h e l a n d of
forest,
which l i k e
the lushness of
the gods.
every other
foliage
unobtrusive.
quality
that
mythology.
It
a l l o w s t h e poet t o t r a n s c e n d t h e l i m i t s of
pass
prejudices,
Time and
He i s now w a l k i n g
Keatsian
and b l o s s o m s
rfjcess,
—
In d e e p e s t g r a s s , b e n e a t h
the whispering roof
Of l e a v e s and t r e m b l e d
b l o s s o m s , v h e r e t h e r e ran
is
gives
also
tresin
rich
a
In
A brooklet, scarce espied
Mid h u s h e i , c o o l - r o o t e d f l o w e r s ,
fragrant-eyed.
B l u e , s i l v e r w h i t e and ioudded
Tyrian,
They l a y c a l m - b r e a t h i n g on t h e
budded g r a s s ;
(
Nature,
love,
ture
freshness,
of
green
poetry
11.
10-15 )
and myth i n t e g r a t e
beauty,
ripeness
as P s y c h e ' s
fertility
poet-priest,
rituals.
He
a
pic-
and f e r t i l i t y .
r e c e s s r e p r e s e n t s the archetypal
Keats,
to create
will
t a k e s on t h e
seed-bed.
Here
administer
heroic
The
the
role
with
sincerity.
The v i s i o n
of
truth
itself
of
for
this true
Keats.
l o v e p r o v e s t o be
a vision
True l o v e r a t e d h i g h w i t h him-
I am c e r t a i n of n o t h i n g but of t h e h o l i n e s s
of t h e h e a r t ' s a f f e c t i o n s and t h e t r u t h of
t h e i m a g i n a t i o n - \"Jhat t h e i m a g i n a t i o n
s e i z e s a s Beauty must be t r u t h - whether i t
e x i s t e d b e f o r e or n o t . . . .
The i m a g i n a t i o n
may be compared t o Adam's dream he awoke
and f o u n d i t t r u t h .
5
Through t h i s
discovers
imaginative
a vision
The v i s i o n
'the
winged boy'
of
is
recreation
purity
and
of
he
truth.
analysed f u r t h e r
as Cupid.
mythology,
when he
recognizes
He i s now e n r a p t u r e d by
the
b e a u t y o€ C u p i d ' s
happy dove ? '
Aphrodite.
f a r / Of
god,
companion
The dove i s one of
Psyche
all
'But
hierarchy'.
d e f e a t e d the o l d e r g e n e r a t i o n
so Psyche
and V e s p e r w i t h h e r s .
f u s i o n of
struggle,
p a i n and t r o u b l e of
Now,
of
Psyche's
experience,
to
of
of
in accordance
illuirination,
goddess
men of
ancient
years
The
identity.
'Vale
of
identity
regarding
She h a s
human
about
Not o n l y
does
Armed w i t h
such an
. . . t e m p l e thou h a s t none.
No a l t a r heaped w i t h f l o w e r s ;
Nor v i r g i n - c h o i r t o make
d e l i c i o u s iroan...
tries
this
excepticnnl
t h e \/orship and a d o r a t i o n of
—
inte-
values
w i t h h e r but he a l s o
with t h i s e x p e r i e n c e .
or
K e a t s a k i n d of
consciousness
he laments t h e f a c t t h a t
i s b e r e f t of
Phoebe
divinities.
had w i t h time f a d e d and d i m i n i s h e d .
act
the
' schooled'
terms the p o t e n t i a l
t h i s consciousness
match-
coherent
a unique
Thus mythology h a s c r e a t e d w i t h i n
he e x p e r i e n c e
vision
wisdom and p u r i t y .
l i f e has given her
r e n a i s s a n c e o r a r e a w a k e n i n g of
that
i s the
of
t h e young
gods with h i s
beauty
l e d K e a t s onto expanded c o n s c i o u s n e s s
llect.
Apollo,
l e a v e s behind the b e a u t i f u l
and h a s a c h i e v e d a
in m y t h o l o g i c a l
'loveliest
Like
Psyche h a s p a s s e d t h e t e s t
Soul Making' ,
0 happy,
the b i r d s b e l o v e d
seems him t o bo t h e
Olyirpius's
l e s s beauty,
who was thou,
the
pious
No s h r i n e ,
Of
no g r o v e , no
o r a c l e , no h e a t
pale-mouthed prophet
dreaming.
(
He o n c e a g a i n y e a r n s f o r
the haunted f o r e s t
11.
28-35
the Golden
b o u g h s / Holy t h e
)
Age
when ' h o l y
were
air,
the water,
the
fire.'
It
i s too
w i t h h i s new,
to
late
now f o r
deepended
those
'antique
understanding
he i s
vows'
in
a
but
position
~
...
see,
and s i n g , by my
own e y e s i n s p i r e d .
So l e t me be t h y c h o i r
and make a moan
Upon t h e m i d n i g h t h o u r s —
(
So i n t e n s e
and so
maid,
he i s
that
sincere
ready
11.
45-45 )
is his
t o be
devotion to t h i s
—
Thy v o i c e ,
thy l u t e , t h e y
pipe, they incense
Frorr s w i n g e d c e n s e r t e e m i n g ;
Thy s h r i n e ,
Of
sweet
thy g r o v e ,
thy o r a c l e , thy heat
pale-mouthed prophet
dreaming.
(
11.
46-49
)
pagan
Tho p r o c e s s of
d e i f i c a t i o n h a s begun.
that
there
like
an a n c i e n t b a r d f r e e l y
adding
shall
to mythology.
context.
The poet
and c o r r u p t .
at
all.
sanctity
t o be
be no l a p s e s .
There
The e a r l y
was l i k e l y
i s no h o l y
clean
terrible
Everything
and p u r e .
Yes,
degenerate
laid great
o f f e r e d to
3arth
e m p h a s i s on
a gcd
the d i v i n i t y
upon t h o s e
was
impurity
and then he
who were
these f a c t o r s ,
place,
worthy of
of
modern
Any s u g g e s t i o n of
disasters
mind
in
and p i o u s p l a c e on
Extremely c o n s c i o u s of
within h i s
the p r i v i l e g e
the w o r l d i s
Greek r e l i g i o n
decides that the only holy
Psyche i s
that
determined
now b e h a v e s
now p l a c e d
t o r o u s e t h e wrath of
would b r i n g
sible.
Psyche i s
and p u r i t y .
strictly
The poet
exploiting
realizes
He i s
respon-
the
poet
a goddess
like
—
I will
be thy p r i e s t ,
and b u i l d a f a n e .
In some untrodden r e g i o n
of my m i n d , . . .
(
To compensato f o r t h e
this
11.
50-51 )
ancient
neglect,
i m a g i n a r y temple t o f e l i c i t a t e
thoughts are
standing
intensity
of
strives
t h e goddG'^s.
'new grown w i t h p l e a s a n t
and they b r a n c h o u t
he
build
His
of
new u n d e r -
around t h e t e m p l e .
T h i a new
thought c o n t r a s t s
pair'
to
with the e a r l i e r
'thcughtlsss'
2La
state.
Along
with
Psyche,
He v i s u a l i s e s
r a n g e s of
Zephyrs,
Golden
of
a thiclcet of
h i g h rrountains.
birds
this vegetative
b e n e f i c e n c e of
richness
G a i a and a l l
•rosy*.
will
The r o s e
brain'.
her
The
will
s y n c h r o n i z e s w i t h t h e mind and t h e
adoration
and d e v o t i o n
a p l a c e where
'all
can w i n '
be a v a i l a b l e .
by
will
sensuous,
His actual
the
soft
is
all
'bright
secrecy
torch'
i s over
midst
together
Aphrodite.
of
or the
the
he
plans
will
The
be
sanctuary
a working
imagination
seem e v e r - n e w .
of
the f i r s t
s t a n z a now
imagination to
produce
f o r the goddess.
It
is
d e l i g h t / That
shadowy
thought
The thought
must be
shadowed
appreciation
t o Psyche
the
In t h e
sanctuary
t o reach t'la
'warm l o v e '
sharpanel f a c u l t i e s to a p p r e c i a t e
The
that
the
physical
gift
and Pan.
be 'Fancy'
breed f l o w e r s that
with
recollects
'With the wreathed t e l l i s
will
E r i n g e d by
Earth-goddesses,
The sensuous n a t u r a l s e t t i n g
a p l a c e of
evolved.
is f i l l e d
which g a t h e r s
Psyche.
Her g a r d e n e r
which w i l l
Flora
i s t h e f l o w e r of
be d e c o r a t e d
has
dark t r e e s
The p i c t u r e
r e a l m of
t o b u i l d a temple f o r
too,
The v a l l e y
and b e e s .
Age w i t h i t s
Keats/
acconipanied
st^te.
by
it.
a t t h e open window
and no\J
ileal
Cupii car
be
allows
prup^rly
210
weLcornsd.
along
K e a t s ' s sensuous n a t u r e
with a l l
b e a u t y of
ration
s p i r i t u a l goodness,
the
preserve,
sheer
physical
t h e g o d d e s s and o f f e r h e r a s a s o u r c e of
and a s an example t o a l l
Another
it
her
wishes to
serves
s i g n i f i c a n c e of
a s an emblem of
nightingale
permanent,
true
the
hope.
refreshing
The whole w o r l d i s
ideal
lighted
this
light.
through perseverence
window
She i s
and p u r i t y ,
song
temple,
in a changing
d a r k and o n l y t h e
f l o o d e d with b r i g h t
lovers.
LiTce t h e
and t h e G r e c i a n urn,
inspi-
is
of
the
too,
is
transient
altar
of
passed the
a
world.
Psyche
t h e o n l y one
that
is
who h a s ,
test
of
sanctity.
'Ode t o a N i g h t i n g a l e '
recreate
any p a r t i c u l a r
G r e e k myth.
atmosphere
and v a l u e s of
Mythology,
by now,
imaginative,
his
p o e t r y cannot
together
life.
tor
so i n t e g r a l
and c r i t i c a l
problems t h a t
Vlhile d i s c u s s i n g
beauty.
he = e e l s ,
This
the
a part
f a c u l t i e s of
or
spirit,
these
invoked.
of
the
Keats
T h i s ode
problems,
Keats
is
f o r him,
the human
i s contained
his
searching
can come o n l y t h r o u g h a v i s i o n
ideal,
that
brings
tormented him a l l
f r o m t h e predom.inant m i s e r y of
The r e l e a s e ,
ideal
However,
be d i s s o c i a t e d f r o m i t .
the c e n t r a l
release
reinterpret
t h e pagan w o r l d a r e r i c h l y
had become
creative
does not
in
lot.
of
t'le
211
vsry
n u c l e u s of
lity
weighing
glimpse
to
mythology.
With the
down upon him,
the g o l d e n ,
glorious
limitations
whose
innocence
i s not e q u i p p e d
w o r l d of
the g o d s .
He
and p u r i t y
can
him i n t o r e a l m s of
The n i g h t i n g a l e
h e r a l d e d the a r r i v a l
brought
spring
diseases.
b i r t h of
Christ,
of
emblems of
better
birds
i s one of
of
star
so the
Apollo.
hope.
in t h e e a s t
song of
They b r i n g
a r e u s e d a s c a t a l y s t s of
The A n c i e n t
p r e c u r s o r of
the redemptive
song har. a l r e a d y
nightingale
forward.
enraptures
'Like H e m e s ,
dangers
he
and
the
proclaimed
considered
t o mankind the message
Also,
in
spiritual
Romantic
change.
a b i r d had
as
that
poetry,
In
been
the
action.
t h e charm o f
begun t o work on K e a t s .
preternatural
singing
came,
the n i g h t i n g a l e
Mariner
'.'Jhen t h e poem o p e n s ,
and
proclaim.ed
Both them can b e
the
nightingale.
When A p o l l o
days a r e about t o come.
a k i n d of
the
out-
break
t h e b i r d s whose
Apollo.
Coleridge's
to
—
and f r e e d o m f r o m autumnal
Like the
the a r r i v a l
beauty
to
tries
with a being
b a r r i e r s between t h e m o r t a l and immortal w o r l d s
transport
rea-
the poet
a c c o m p l i s h t h i s t a s k by i n t e g r a t i n g
side himself
of
change.
him and he i s
the
nightingale's
He i s
The v o i c e
subjected
of
irresistibly
t h e c o n d u c t o r of
thn
the
led
s o u l s o£
the
. '
dead t o t h e u n d e r w o r l d ,
ducts the
in c o n t r o l
netic
of
himself.
music of
t o be r e b o r n ,
'Lethe'
s t a t e of
which i s n o n r a t i o n a l
the basic, structure
preserved
a
Age.
like
preternatural
is
the
t h e poet
at
its
is
drifting
l a w s which have
been
song t h e
bird
Dryad o r a t r e e - n y m p h
to Keats are reminiscent
of
appears
into
places
'melodious'
w o r l d which i s f u l l
change e f f e c t s t h e
is
night-
He can now g l i m p s e
Leaving
of
—
behind
palsied
young p e o p l e ,
landscape
as w e l l .
old
the
a magic f o r e s t .
season o£ r i p e n e s s and f e r t i l i t y .
the f r u i t a g e
about
t o w a r d s one
potentialities.
ventures
souls
in
and s p e c t r e - t h i n '
Endymion,
him
it
The whole p l o t
'pale
mag-
river
The
The c o m p l e t e d p i c t u r e
t h e rraimed and d i s e a s e d
a
not
whom would
With i t s e x q u i s i t e
i n v e s t e d with magical
and
with
conscious awareness
those green b o ' ^ r s that
t h e Golden
poet,
Gradually,
'light-winged'
f r o m Greek m y t h o l o g y .
the
is
former l i v e s .
and t h e n a t u r a l
a p p e a r s t o him l i k e
people
of
but c r e a t i v e .
in mythology.
like
where t h o s e
a p p e a r s t o be an agency merging
away f r o m t h e
is
notes,
is
s a t u r a t e him and c a r r y
Elysian F i e l d s
drink oblivion
con-
The p o e t
i n G r e e k mythology,
p r o v i d e him w i t h r e l i e f .
it
the n i g h t i n g a l e
The m a g i c a l
an e n c h a n t r e s s ,
i n Hades beyond t h e
one of
song of
s o u l o£ t h e poet t o new r e a l m s .
"Lethe w a r d s ' .
ingale
the
2 . 2
The
'Summer'
The b l o s s o m and
peak and t h e n i g h t i n g a l e
sings
its
i
praise
'in
full-throated
ease'.
The poet now i n v o k e s t h a t
' h a t h been/ Cooled a long
and now combines a l l
happiness,
celebration,
Hippocrene
t h e muse) .
age i n
a druid's
the
potentialities.
d e p t h s of
Earth,
and b e n e f i c e n c e of
the poet.
It
it
It
the
it
the f e v e r ,
time.
and t r o u b l e ,
it
potentialities
of
By l e a v i n g
the n i g h t i n g a l e
man and h i s u n i v e r s e .
close-
acquired
limit-
ages
in
strength
him t o t h e
ideal
The n i g h t i n g a l e
the mortal
It has
These
represent
The n e g a t i o n
of
all
is
weari-
world.
Thu-s,
transcended
b e h i n d t h e v/orld of
has becorne i i r n - o r t a l .
of
With a g e s of
I t h a s n e v e r knovm 'The
and t h e f r e t '
fmrtality.
the
a g e n c i e s t h a t can remove him
can be e q u a t e d w i t h a d i v i r i t y .
l i r r i t s of
to
a l s o combines t h e dreams of
w o r l d r e p r e s e n t e d by t h e n i g h t i n g a l e .
ness,
to
cooled f o r
w o r l d and t r a n s p o r t
a b o v e t h e r a v a g e s of
drawn
sacred
h a s i m b i b e d t h e wisdom,
Gaia.
Flora
inspiration
wine h a s
Through b e i n g
i s one of
from a p a i n - f i l l e d
creativity,
can be compared
magic p o t i o n .
earth'
sweetr^ess of
plants,
n e s s t o G a i a o r Mother E a r t h t h i s
less
that
s p r i n g on Mount H e l i c o n ,
These components
i n g r e d i e n t s of
beauty,
sensuousness,
blossoming
(the
o l d wine
the d e e p - d e l v ' d
t h e e l e m e n t s of
who i s t h e g o d d e s s of
from
a i d of
the
pain
rrythological
a unity
these
b2t\«3en
problems
2 I ^t
is
the
brain
s o l u t i o n t o iran's f a l l e n
perplexes
and r e t a r d s ' .
had a p p e a r e d t o be p r o m i s i n g
Bacchus,
with
t h e g o d of
wine.
state,
So,
is
He i s
a g o d of
nize h i s
divinity
P r o t e u s under h i s
influence,
mind.
influence
t h e p o e t r y of
w i t h warmth,
as w e l l
own
as
wine.
recogof
children.
a creative
'viewless
state
w i n g s of
Poesy'
and
Keats.
'Fancy'
a r e two r e c u r r i n g
'Poesy',
it
appears,
s e n s u o u s n e s s and b e a u t y .
to preserve beauty,
is
Infact,
poetry.
Its
The
words
in
poetry
it
is
laden
a very
exculsive
G r e e k godvdess,
attributes
includes
and a l s o t h e a b i l i t y
to
u n d e r s t a n d and sympathise w i t h human n a t u r e .
'Fancy'
a n o t h e r name f o r t h e i r r a g i n a t i o n .
through
inherent c r e a t i v i t y .
with
of
task.
w i t h l o v e and b e n e f i c e n c e .
the a b i l i t y
of
daughters
b r i n g s t o mind a b e a u t i f u l e n i g m a t i c
radiant
which
identified
destroyed t h e i r
much g l o r i f i e d p e r s o n i f i c a t i o n of
title
wine
destructive
The
t h u s cannot g u a r a n t e e
to perform t h i s
dull
Those who d i d n o t
were d r i v e n mad.
The poet t u r n s t o t h e
'Poesy'
and
vegetation
He i s famous f o r h i s v e n g e a n c e .
'The
an e x t e n s i o n
sometimes
Dionysus who h a s b o t h c r e a t i v e
potentialities.
His
t h e c u p of
simply
He i s
where
aspirations,
It
dreams,
It
is responsible
longings
i s born
for
feeding
and d e s i r e s .
is
'Poesy'
InCact,
it
21 S
represancs the very
'?ancy'
with
p a r e n t a g e of
situations gives birth
too,
'Fancy'
once,
he b e h o l d s t h a t
throne/
and
'Poesy'
'haply
In t h e next
loveliness,
line,
w i t h the e a r t h l y
sitting
in
t h e f o r m of
is
total
light
which i s t h e r i c h
and r i p e
t h e image of
in
symbolic
The compromise
life,
' seid'
i s not
immobile
of
p r o d u c t of
May.
terms.
contrasted
pcet,
comes
is
in
with
the
vegetation
The
the
poet,
picture
refresh,
image b u t
trials
he r e t u r n s t o
the
the
and e n e r g y .
i s equated with the
the
It
poet h a s r e t u r n e d .
s y m b o l i z e s the
Within t h i s
and
re-equip
i s no c o n t r a r i n e s s ,
s u s p e n s i o n of
with l i f e
mythology.
E x h a u s t e d by
refurnish
There
and
experiences
i n K e a t s ' s mythic v i s i o n
life.
is
relief
he compromises w i t h
life.
hope f o r r e - e n f o r c e m a n t
new k i n d of
The iroon,
i n a g r a v e of
inappropriate.
s t a t e which w i l l
in t h i s
state
The o n l y
unable to evolve c r e a t i v e l y ,
confusion
at
i s on h e r
starry fays' .
majestic
Keats,
Thus,
him f o r the t r i a l s
All
Adonis b u r i e d deep under f l o w e r s
Sndymion,
death.
Queen-Moon
' . . . f r o m the heavens
He i s
recalls
Here,
presented in mythical
darkness.
which
'Poesy'.
of
man who is r e p r e s e n t e d by t h e
breezes blown'.
of
the
its glorious
s t a t e of
to
A union
come t o h i s r e s c u e .
C l u s t e r e d a r o u n d by h e r
a p i c t u r e of
leaves
'Poesy'.
archetypal
sense
no
and
The g r a v e
womb t o
v/hich
beginning
frams-work
of
a
the
2,tS
suspended s t a t e
It
is
a p p e a r s t o be t h e promise o f
a compensation
towards
a healthier
for
an u n s a t i s f y i n g
and f u l l e r
Death t h e demon a l s o
figure.
of
It
the s e l f
lems.
does not
of
wished
Severn
an
ascent
vision.
integrates
the poet but
for.
life,
with the
symbolise the complete
In moments of
always
deliverence.
an e x t i n c t i o n
intensity
this
Just b e f o r e
is
Mother-
annihilation
of
earthly
the death
he d i e d
probKeats
he s a i d
to
—
I s h a l l soon b e l a i d i n t h e q u i e t g r a v e —
0 1 I can f e e l t h e c o l d e a r t h upon me — The
daisies
g r o w i n g o v e r me — 0, f o r t h i s Q u i e t —
i t w i l l b e my f i r s t . 6
Death,
like
any o t h e r t h i n g
of
beauty,
gives
him
intense
pleasure.
The n i g h t i n g a l e ,
the musical
fertility
Adonis.
poet
talent
o5 Maia,
and
attributes
its
Apollo,
t h e wisdom
Conscious of
realizes
a mortal
of
in
its
he cannot
role
as a d i v i n i t y
the happiness of
of
Gaia
attributes
integrate
and t h e b e a u t y
it.
immortal cannot b e a c h i e v e d .
he r e c o g n i s e s
the a b i l i t y
Elysium,
and d i v i n e
with
combines
to heal
of
status
the
The union
As i t s
the
of
special
wounded
souls.
2i/
The p o e t v i s u a l i s e s
t e a r s of
t h e unhappy e x i l e
away and c r e a t i n g
well
as the
providing
soul,
the b e a u t i f u l
Now,
a f e w m i n u t e s of
the n i g h t i n g a l e
The
discovers
having
solace
reality
is
and i d e a l
along
with the r e a l i z a t i o n s
grief
is
It
to h i s
earlier
poet's
the
All
in the
as
task
of
wounded
the
Keats
whereas
the
side.
He i s
left
'actual'
world
of
with the
s c a l e of
from the other.
stupor-like
trouble
a t once
side
has to c o - e x i s t
now n e i t h e r can b e d i s t i l l e d
its
t h e window b e t w e e n
beauty.
that
the
leave.
on t h e o t h e r
Man h a s come t o o f a r
returns
to the
'forlorn'
i s disappearing
inescapable.
away
'emperor'
completed
prepares to
t h a t he i s on t h e
nightingale
world.
world f o r the
'magic casement'
two w o r l d s of
wiping
Ruth and a l . j a y s c h a r m i n g
a beautiful
'clown'.
notes
3tat3
ideal
evolution
The
and
poet
—
Was i t
Pled
a vision, or a
waking dream ?
i s that music...
Do I wake of s l e e p ?
(
This completes
cular
the c i r c u l a r
pattarn has
experience
channel f o r
IL.
79-80
nature
associations
)
of
t h e poem.
cir-
with the t i m e - c y c l e .
h a s e x p o s e d mythology b e f o r e
evolution.
The
The t e s t e d ,
the
poet
superior,
as
The
a
clasnical
norms and v a l u e s
are
s u f f u s e d with
e m o t i o n s and n e e d s .
soft,
palpable
This combination r e s u l t s
usual v i s i o n that g i v e s h i s
poems t h e i r
human
i n an u n -
special
appeal.
II
'Ode on a G r e c i a n U r n '
'Ode t o a N i g h t i n g a l e ' .
some of
In f a c t ,
the q u e s t i o n s r a i s e d
o b j e c t of
inspiration,
p i c t u r e s of
cination
'silvan'
the b e a u t i f u l ;
in t h e
provides
earlier
this
time,
life
e n g r a v e d on i t .
'...the
the
Greek
R e l i g i o n of
h a s r e c e d e d f r o m t h e f a c e of
f o u n d i n t h e midst of
the
it
is
crystallizes
i m a q i n a t ion of
spirit
-
Joy
'
those days.
thinking,
of
of
eternal
Severn
the R e l i g i o n
This
the n a t u r a l
the uncomplicated e a r l y
beauty
Though such
behaviour
fas-
quotes
of
'spirit'
be
however,
The i n s c r i b e d s c e n e s
endurance.
he r e c r e a t e s
with
Keats's
and v/hile r e c r e a t i n g
those
and
kindle
ancient
universal
mythological
and
respons^n
man and draws i n s p i r a t i o n
from
him.
The urn,
hence,
i s the point
of
to
The
The G r e c i a n urn,
d a y s he o b s e r v e s w i t h i n them v i s i o n s of
experience
ode.
t h e E a r t h and can o n l y
mythology.
Keats,
answers
a m a r b l e urn
w i t h G r e e k mythology was i n t e n s e .
K e a t s ' s comment
still
c o n t i n u e s t h e theme of
focus or
the
concrets centre.
True t o , h i s
uses a physical o b j e c t
t r u t h s of
life
to represent
ideas
t h e permanence of
are
physically
n a t i o n of
Bacchic
of
Keats's
Borghese vase,
course,
is
purely
recollection
p i c t u r e s of
Passion
manifested
through
of
the
imaginary
Sosibios vase,
to
Pettet,
a passage from C o l l i n s ' s
The
h i s ode e v o l v e d ' .
and
' t h e happy m e l o d i s t ,
Also,
he p o i n t s
larly
significant
the
Poussin
of
which a
considerable
He t r a c e s t h e u s e o f
unwearied'
at the concluding
'Tempe'
to G o l l i n s ' s
three
lines
as
poem.
particu-
—
R e v i v e t h e j u s t D e s i g n of G r e e c e ,
Return i n a l l thy s i m p l e s t a t e
C o n f i r m t h e T a l e s h e r Sons r e l a t e
.ifhen seen a g a i n s t
It
a combi-
the
' f o r m e d an embryo out of
of
—
the P o r t l a n d vase,
o
and t h e E l g i n M a r b l e s .
part
t h i s background,
the b a s i c
principle
depicts
the beauty,
the ancient Grecian
to
heart.
t h e Townley v a s e ,
According
life.
the
pictures.
The urn,
bolic
Keats
a s d e c i p h e r e d by t h e mind and t h e
These a b s t r a c t s
these
sensuous n a t u r e ,
life
later generations.
that governs
purity
I
t h e urn i s
all
It
is
f o r m s of
and enchantment
and s e r v e s a s an a l l
definitely
more
sym-
time
of
guide
than
an
220
inanimate
p i e c e of
a mythical
like
the
decoration.
divinity.
invocation
Thou
Its
The o p e n i n g
of
a deity
stature
l i n e s of
is
that
t h e ode
of
sound
—
still
unravished
b r i d e of q u i e t n e s s .
Thou f o s t e r - c h i l d of
s i l e n c e and s l o w t i m e .
S i l v a n h i s t o r i a n , who
canst thus express
A f l o w e r y t a l e more
s w e e t l y than o u r rhyme!
(
The urn,
hence,
enchanting
like
of
is
11.
as b e a u t i f u l ,
Psyche,
Apollo,
sweetly'
powerful,
a s any m y t h i c a l g o d d e s s .
It
enigmatic
is
a
who t e l l s
a
and l o y a l t y .
'leaf-fring'd
than any m o r t a l .
It
is
also
and
divinity,
who h a s w i t h s t o o d t h e c h a l l e n g e s
time and p r o v e d h e r p u r i t y
like
1-4 )
and
It
ravages
is
legend'...
immortal
a poet,
'more
and b e n e -
ficent.
The poet g o e s on t o f u r n i s h
goddess with a mythical
t h e urn i s
divine
newly-created
The a r t i s t
who c r e a t e d
now d e a d and gone and t h e a b s t r a c t i o n s
and s l o w - t i m e '
its
history.
this
a r e tha d i v i n i t y ' s
attributes
i m p l i e d by t h e use of
by t h e use of
a r e permanent
'child')
'historian') .
'Silence
foster-jrarents.
youthfulness
and a l s o wisdom
(as
Among
(as
is
is
sho\/n
121
In i t s
relate
of
a
' leaf-fring'd
the
everyday e x p e r i e n c e s but t e l l s
'struggle
to e.scape',
To t h e poet
elaborates
classical
their
legend'
it
( t h e g o d of
p a t r o n of
in e i t h e r
wealth,
merchants
'wild
the i n c i d e n t
Tempe o r
dreams,
and t h i e v e s )
f l o c k s and shepherds)
were o r i g i n a l l y
'spirit'.
'endeared'.
Like
not w i t h h i s
The
saturate his
a trance.
He s e e s a
and i n f u l l
fertile,
p o e t r y of
green bowers that occur
Keats.
The bower
Hermes
Arcadian gods.
Thus,
are
sailing
world.
are
leafy,
the
recollects
yet
unheard
a k i n d of
trees...'
green,
r e c r e a t e s one of
again
but
'unheard'
spheres,
away
He now
ear',
s e n s e s and he g o e s i n t o
The p i c t u r e
who
( t h e g o d of
'sensual
'ditties'
The t r e e s
for
fertility,
' F a i r youth beneath the
a pipe.
bloom.
Apollo.
smoothly
t h e music f r o m t h e
notes f u l l y
who i s p l a y i n g
In
ranks.
stanza f i n d s the poet
t o the music,
with h i s
legend
the people
from the time-bound world into the t i m e l e s s
listens
the
and
and Pan
t h e new K e a t s i a n g o d d e s s j o i n s t h e i r
The next
pursuit',
Arcadia.
a temple of
sleep,
not
ecstacy'.
and t h e h a p p i n e s s of
Arcadia contains
luck,
a 'mad
t h e s e two p l a c e s were renowned
n a t u r a l beauty
lived there.
a
seems t h a t
took p l a c e
antiquity,
of
of
urn does
and a g a i n
unspoilt
thick
those
in
the
vegetation
222
and p e r f e c t
physical
g r e e n r e c e s s of
t h e bower i s
b e a u t y of
'Ode t o Psyche'
frozen
over
and d e s t r o y t h e b o y .
ever
and w i l l
eternal
sing
ability
the
never
not
poetry
'for
a d r e a m - w o r l d above f r i g h t e n i n g
be
creep
sing
This picture
private
case
for-
may be
Elysium
above t h e r a v a g e s of
to c r e a t e
ever
and
—
time
new'.
depres-
reality.
shows a l o v e r
an attempt t o k i s s h e r .
' P a i r youth'
proximity,
himself
other,
lovers
and Panny,
will
t h i s myth,
grieve' .
senting
Just
early
i n s p i t e of
too,
there
lover
is
a s t h e bower i s r i c h
i s young,
and not t h e
fresh
and a l s o
fulfilment.
the
'—
yet
always
each
recol-
do not
hope
and g r e e n and
for
repre-
ripeness,
to ripen,
the
li^e
Perhaps
season of
and s t i l l
the
beloved.
intense f e e l i n g f o r
Keats t e l l s
spring
beloved
I n s p i t e of
l i k e C u p i d and Psyche,
He i n d i c a t e s t h a t
relief.
lover.
not be a b l e t o k i s s h i s
a r e not a b l e t o a t t a i n
lecting
pursuing h i s
As K e a t s i n t e g r a t e d w i t h
so he does w i t h t h i s
the l o v e r
The p a i r of
love,
will
continue to
Keats's
is
as
In t h i s
Age w i l l
He w i l l
sensuous b e a u t y t h a t
The next p i c t u r e
in
autumn.
as a p r o j e c t i o n of
represents
The t r e e s
always be b e a u t i f u l .
and t h e undying
It
had done.
in marble.
e x p o s e d t o t h e r a v a g e s of
considered
t h e Golden Age,
'still
the
to
22:.
be e n j o y e d ' .
s t a t e of
gical
The e n t i r e
being
' unravished'.
context,
ness'
of
scene,
like
More i m p o r t a n t
t h e sensuous b e a u t y of
that
t h a t knowledge of
sensitive,
basic
himself
Thus,
pictures,
n e r v e of
human
which i t s c i r c u l a r ,
unite
is
Keats
experience
recurrent
C u p i d and
i n the p i c t u r e of
the
myths
Through mythology,
t h e common e x p e r i e n c e s of
and Fanny,
h i s beloved
these
as
than
these background
meaning.
makes him f a m i l i a r
nature.
conscious-
insights'.
increasing
reaches that
'mythic
d e f i n e s t h e term
of
makes t o w a r d s t h e i r
the
a
mytholo-
Owen E a r f i e l d
' a renewal
contribution
lost
depicts
P l a c e d in proper
t h e urn r e p r e s e n t s
Keats.
the urn,
the l o v e r
Psyche,
and
—
Ah, happy,
happy b o u g h s ,
t h a t c a n n o t shed
Your l e a v e s , nor e v e r b i d
the spring adieu;
( 11. 21-22 )
The b o u g h s ,
c a p a b l e of
g o d s of
music.
experiencing
Slysium,
The
there
are t r e a t e d
happiness.
is eternal
'happy m e l o d i s t '
Orpheus p l a y e d the
binding
here,
lyre
so w e l l
as s e p a r a t e
entities
In t h e g a r d e n of
spring
and
uninterrupted
reminds us of
Orpheus.
t h a t h i s music had a
e f f e c t even on r o c k s and s t o n e s .
the
The
spell-
following
three
lines
are expressive
All
breathing
of
a similar
state
—
human
passion
f a r above.
That l e a v e s a h e a r t h i g h s o r r o w f u l and c l o y e d
A b u r n i n g f o r e h e a d , and a
parching tongue.
(
The n e x t
of
picture
the
procession
picture
fice
l e d by
lines
n o s t a l g i a of
is
Claude's
with
preserves
^«T!ong o t h e r
of
the b l o o d of
a particular
sacrifice.
a human b e i n g ,
or f o r
averting
terious
priest'
witness
an a r d e n t
sacriPerhaps
by C l a u d e ' s
t h e memory of
'Sacri-
tone
of
serene
animal,
evil,
or
in
for
the
the e s s e n t i a l
'pious
l e a d s the h e i f e r
to
devotion.
a
t o us
to the
stray cases
prayed f o r
or
beautiful
they b r i n g
By s u r r e n d e r i n g
on t h i s
show of
a heifer.
heart
processions'.^^
things,
was one o f
Hence,
a gorgeous
sympathy w i t h t h e
the worshippers
Purity
sacrifice.
in
the very
'The e l e g i a c
religious
pagan r i t u a l
some c r i m e .
says
profoundly
d a y s now l o s t .
of
him i n t o
depicts
a priest
Ian Jack
These m a r b l e s
happiness,
It
)
was m o t i v a t e d by a p a i n t i n g
to A p o l l o ' .
Keats's
28-30
transports
the o l d Greek r e l i g i o n .
ficial
of
11.
morn'
the
the
deity
even
community's
expiation
of
pre-reguisites
as the
'green
'mys-
altar',
The r e f e r e n c e
to
we
245
'greon
altar'
with a l l
of
revives
its vitality
t h e c o n c e p t of
and f r e s h n e s s .
nature worship
The u n i t y
a
'...little
' e m p t i e d of
bile
was,
town by r i v e r o r
this f o l k ' .
t h e town w i l l
He i s
in
'Ode to
however,
process,
sea-shore'
a l w a y s be empty,
experience
town.
The urn,
the g r e a t
' b r i d e of
t h e urn as i t s
quietness',
slow-time'
with
t h e Cave of
Quietude
dreariest/
its
—
a
certain
'historian'
has
mental f a c u l t i e s
Keats r e c o g n i z e s
individual
This
'silence
unheard m e l o d i e s may be compared
(Sndymion Book IV)
a t h i n g of
This
serenity
where
silence
and
into
the
strength.
t h i s f o s t e r - c h i l d of
I s most a r t i c u l a t e ' .
and c o m f o r t i n g
note.
stanza.
mythological
understanding.
unhappy
r e v e a l e d t o him by
in the f i n a l
r e a l m s of
of
a s he
ode,
t o edge the p o e t ' s
'silence'
forlorn.
U n l i k e the e a r l i e r
served as a l e v e r
greater
immo-
world
and v i s i o n s
t h a t he d e f i n e s
and
now
to the grim a c t u a l
newest d i v i n i t y have l e d him. t o d i s c o v e r
philosophy
is
scene and t r a n s p o r t e d ,
a Nightingale'
little
arrives
which i s
desolate
t h i s ode d o e s not c o n c l u d e on t h i s
The w e a l t h of
he
Since the c o n g r e g a t i o n
removed f r o m t h e happy
s y m b o l i s e d by t h e
his
and harmony
the community i m p r e s s e s him.
C a r r i e d f o r w a r d by the t h o u g h t
at
along
and
to
'Silence
is
solace.
healing
That
246
is
why
—
Thou,
silent
form, does
t e a s e us o u t of t h o u g h t
As d o t h E t e r n i t y . C o l d p a s t o r a l 1
(
The f o r m p r o j e c t s
will
never p e r i s h .
It
11.
eternal,
will
However,
to the unschooled
identity
it
will
44-45 )
seem a
timeless values
a l w a y s be
soul or
'Cold
t h e man
tesses
Sibyl
Erythraean,
i n s p i r e d by
some d e i t y ,
Erythraean
made p r o p h e c i e s
Apollo o f f e r e d her
many y e a r s
forgot
that
to
as
a gift
a fistful
ask f o r
of
were
an
prophe-
m o s t l y by A p o l l o .
regarding
the Trojan
and she a s k e d f o r
g r a i n s of
sand.
Sibyl
War.
a life
of
In Roman m y t h o l o g y ,
Dis
male g o d of
the
She became
Sibyls
the underworld)
so
are married
yet
as
However, she
old
an u r n which l a t e r c o n t a i n e d
ashes.
(the
without
man'.
t h e urn may be com-
The S i b y l s
prolonged youth.
she was hung up i n
f r i e n d to
Pastoral*.
Going back to Greek mythology,
pared to the
'a
that
they
her
to
remain
virgins.
Keats's
The c l o s i n g
phecy of
Grecian
couplet
message
of
urn h a s t h e s e
sibylline
t h e ode may b e r e g a r d e d
t o mankind.
The o r a c u l a r
qualities.
as i t s
properties
proof
/-I
the
ancient
paradox
sibyls
find
expression
truth,
beauty'
Ye know on e a r t h ,
a l l ye
is
(
'Beauty'
11.
49-50
now means t h e
had been attempting
is
truth
— that
and
need t o
'Ode to
to discover
Through t h e
with t h i s
agency of
'truth'
yet
was t h e
a n a l y s i s of
the
the Grecian
Urn,
been
that
same
and
'truth'
he
frightened
Urn'
philosophy.
K e a t s comes t o
this
is
the b a s i c
' O d e on M e l a n c h o l y '
another
woven j o y
' O d e on a G r e c i a n
permanent b e a u t y t h a t c o n s t i t u t e s
d e i f i c a t i o n of
)
and h a d
and r e a l i s e s
The n e x t ode
all
know.
This
a Nightingale'.
a much more s t a b l e
is
inextricably
w i t h i n human e x p e r i e n c e .
by i n
apparent
—
' Beauty
grief
in t h i s
'
the
superior,
l a w of
life.
witnesses
d e i t y c r e a t e d in the
terms
the
tradition
12
of
Apollo,
central
Psyche,
i d e a of
Maia and a l s o
the
poem i s
melancholy
that causes
melancholy
that
intense
is
intense happiness
the c o n t r a s t
stagnation
of
the
a necessary condition
experiences
and c r e a t i v i t y .
the Grecian
that
between
senses,
for
the
l e a d one on t o t h e g o a l
The k i n s h i p b e t w e e n
is
Urn.
recognised
intense
as n e c e s s a r y
The
false
and
true
most
of
sorrow
and i s
beauty
and
brought
toqether
in the benevolent
On a t
ness in h i s
George
least
forrr. o£ m e l a n c h o l y ,
two o c c a s i o n s ,
letters.
As e a r l y
and G e o r g i a n a K e a t s
the
goddess.
he e ^ d i i b i t s t h i s
a s March
1819,
aware-
he w r o t e
to
—
Circumstances are l i k e clouds c o n t i n u a l l y
g a t h e r i n g and b u r s t i n g — w h i l e we
are
l a u g h i n g t h e s e e d of some
t r o u b l e i s put
i n t o (he) t h e wide a r a b l e l a n d of e v e n t s
— w h i l e we a r e l a u g h i n g i t s p r o u t s i s
( s i c ) g r o w s and s u d d e n l y b e a r s a p o i s o n
f r u i t which we must p l u c k — 13
This
is
a very
positive
statement
K e a t s had been p r e o c c u p i e d w i t h t h i s
some time and t h a t
a solution
lines
is
to i t .
ultimately
That he i s
While d e f i n i n g
problem
shows
for
already
letter,
the
thinking
tears'
find
on
again to the
' V a l e of
that
quite
o n l y mythology c o u l d
obvious from another
Keatses.
that
these
George
he wrote
—
— F o r i n s t a n c e suppose a r o s e t o have
s e n s a t i o n , i t blooms on a b e a u t i f u l morning,
i t e n j o y s i t s e l f — b u t t h e r e comes a c o l d
wind, a h o t sun — i t cannot e s c a p e i t ,
it
cannot d e s t r o y i t s annoyances — t h e y a r e
as n a t i v e t o t h e w o r l d as i t s e l f : no more
c a n man be happy i n s p i t e , t h a t w o r l d (1) y
e l e m e n t s w i l l prey upon h i s n a t u r e . 14
Mythological
imagination.
the p o e t ' s
motifs
are
an i n t e g r a l
They e n r i c h h i s e x p r e s s i o n
instinct
with h i s
intellect
part
of
and s e r v e
and g i v e
Keats's
to
unit:
him h i s
unique v i s i o n .
To e x p l a i n
uses m o t i f s as the r o s e ,
The f i r s t
by H a z l i t t
a philosophy,
the
sun and t h e
l e c t u r e on t h e
g u i d e d t h e poet
The t o p i c
was
On P o e t r y
following
extract
is
Keats
English
naturally
wind.
poets
delivered
i n t h e e x p r e s s i o n of
in General
especially
(Jan
his
1818)
significant
ideals.
and t h e
—
The p o e t i c a l i m p r e s s i o n of any s u b j e c t i s
t h a t uneasy, e x q u i s i t e sense of b e a u t y o r
power t h a t . . . s t r i v e s . . . t o e n s h r i n e i t s e l f
. . . i n t h e h i g h e s t f o r m s of f a n c y ,
had to
r e l i e v e the a c h i n g s e n s e o f p l e a s u r e
by
e x p r e s s i n g i t i n t h e b o l d e s t manner. 15
With t h e w e i g h t of
such
a poem was i n e v i t a b l e .
e x p e r i e n c e of
beauty
beauty
e v o l u t i o n of
listing
images,
dramatic
a Nightingale') ,
and t h e
spirit
s t a n z a i s b u t one n e g a t i v e
t a k e n f r o m mythology,
various classical
a
upon him,
a thing
of
of
beauty
in
the
poet.
i s equated with o b l i v i o n ,
odes has taken
of
was a n e c e s s a r y m i l e s t o n e
Keats the
The f i r s t
The t r i n i t y
('Ode to
( ' O d e on G r e c i a n U r n ' )
('Ode on M e l a n c h o l y ' )
It
t h i s knowledge g r o w i n g
references.
a significant
night,
of
statement
false
melancholy.
s l e o p and d e a t h
The p o e t of
s t e p ahead
t h o s e two poems h a d begun i n an e f f o r t t o
in
the
through
earlier
maturity,
leave behind
for
the
230
w o r i i of
pain
ready to
and s o r r o w .
accept
consequences
poet.
melancholy
'No,
Lethe,
Now^
no,
is
by
about t o b e r e b o r n ,
previous
lives.
sorrowful,
'Wolf's
like
it
bane'
'wine'.
nous b e r r i e s
of
Hades.
spirit
of
a herb with
of
Water f r o m i t
as s o l a c e .
a poisonous
'Nightshade'
and i s
is
a Nightwas
drunk
their
extremely
Similarly,
juice,
tempts him
poiso-
is
venomous
p e r s o n i f i e d as a d e a d l y ,
a temptress that
and a p p e a r s
as e v i l
His very
The t o t a l
infernal
and r a t h e r g h o s t l y .
It
or
picture
projects
and
as
soul
is
a
haunts
chilling,
a man
Through c o n t i n u o u s
t h e f a c u l t i e s of
and u n s u b s t a n t i a l
these
and doomed
'Psyche'
'death-moth'.
inverted inclinations.
destroys
Queen
t h e s o r r o w f u l v i c t i m makes a r o s a r y
a
the
the
a tree that bears
him l i k e
vague
its
the
the o c c u l t .
w i t h Hades,
only
a s s o c i a t e d with Proserpine,
influences,
'yew b e r r i e s '
priest
'Ode t o
so t h a t they f o r g o t
o f f e r s oblivion
t h e g u i s e of
oppressive
begins
To t h e innmature man who i s
Here i t
in
i n Hades.
not
ready to f a c e
r e f e r r e d to in
ingale'
souls
also
is
go not t o L e t h e . . . '
earlier
the r i v e r
but
t h e poet
with
association
the melancholic
man
'drown the w a k e f u l
become
anguish
of
soul' .
The d e s t r o y i n g ,
incapacitate
any
d e f e a t i n g melancholy can
man and k e e p him f o r e v e r
in
totally
'Vale
of
23 L
tears'.
The poet condemns i t
be s t e a d f a s t l y
Soul
one —
Making'
energies.
—
i s not
a
defeatist
a constructive
g i f t of
a guide towards c r e a t i v e
The second s t a n z a i s
about t h e n a t u r e of
another
true melancholy.
draws h i s
images f r o m m y t h o l o g y .
images of
decay and s t a g n a t i o n of
t h i s one i s
laden
True m e l a n c h o l y
from,
described
experience
the
single
first
fertility
'fit'
to
Sarth,
t h e myth when he t a l k s of
greener.
Even b e f o r e r e m o v a l ,
with whiteness
t h e month of
and r e c r e a t e s
All
purity.
'fall'
and p u r i t y .
spring,
these
April
commences.
the very
the
seeds of
Melancholy.
(s)
It
and
brought
the
Keats
lifting
now becomes
shroud i s
associated
disintegrates
The f i r s t
of
May
as May
recalls
fertility.
attributes gather together
p r o f o u n d f i g u r e of
he
f o r mankind.
The g r e e n h i l l
the
cloud'.
seems t o r e c o l l e c t
Shroud'.
as a g i f t
Keats
to
and
spring
the
statement,
that
a 'weeping
descended
of
statement
f r o m t h e g o d s and hence n o u r i s h e s
When A p o l l o
' April
'Vale
but
e v o l u t i o n of
t h e b e n e f i c e n c e of
the
should
Once a g a i n
the
as a
i n t h e f o r m of
comes as a g i f t
of
is
In c o n t r a s t
w i t h Images of
is
'heaven'
revives.
that
avoided.
True melancholy
a creative
and f e e l s
to c r e a t e
Growing w i t h h i s
the
philosophy
232
as the f o u n d a t i o n ,
of
a palpable
personality
personality.
blooms i n t o
d o e s not f e a t u r e
ment of
the a b s t r a c t concept g a i n s the
e s t a b l i s h e d myth.
appear
Led by h e r ,
as a
love,
first
high,
pure
Pandemos,
ivtelancholy
of
independent,
peonies.
Cyprus,
sensitive
beauty
multi-
These
the i s l a n d
of
images
north-east
t h e Greek g o d d e s s
of
A p h r o d i t e U r a n i a was t h e g o d d e s s
she i s t h e g o d d e s s of
aspect
sensual
as
lust.
lines
of
Aphrodite
The g o d d e s s
devotees to Aphrodite Urania,
o b v i o u s by t h e f o l l o w i n g
Or i f
treat-
the g l i t t e r i n g ,
l o v e whereas i n h e r o t h e r
leads her
an
the
^felancholy
and e n r i c h i n g
where A p h r o d i t e ,
landed.
like
and a w e a l t h of
the d e s c r i p t i o n
Mediterranean,
goddess.
t h e p o e t becomes
'morning r o s e ' ,
sand-dunes
recollect
of
story
d r i n k in the poignant
such t h i n g s
coloured
an e n t i c i n g
'Fancy'
i n t h e Greek pantheon but K e a t s ' s
h e r makes h e r
enough t o
Invested with h i s
stature
as
is
—
thy m i s t r e s s
some r i c h
a n g e r shows.
I m p r i s o n h e r s o f t hand, and
l e t her rave.
And f e e d deep, d e e p upon h e r
peerless
eyes.
( 11. 18-20 )
In t h e t h i r d
and l a s t
stanza Keats a c t u a l l y
f a c e to f a c e with h i s goddess.
This confrontation
sents
and s u b - c o n s c i o u s
a t r e a t y of
h i s conscious
comes
reprethought-
2a a
procpsses.
Through m e l a n c h o l y ,
juncture.
On t h e e a r l i e r o c c a s i o n s
b e a u t y of
silvan
the
the
where
thoughts
but healthily
represents
flourish
Melancholy
confront
shrine'.
mental
the c o n s c i o u s
do n o t
destroy
s i d e by
the
The h i g h p i t c h
and h e a c k n o w l e d g e s
him a s h e r o r a c l e
h e r devotees
thoughts
or
side.
of
with
and t h e
each
other
it
the b l e s s i n g s
in
her
intensity
does
and he d e s c r i b e s
sub-
h e can n o t o n l y
figure'
t h e e x t e n t of
there
In o t h e r w o r d s ,
Now,
his
the
This
where
suppress
the
reached
Delight'.
progress
t o g u i d e him,
'veiled
this
when l e d by
he h a d o n l y
' t e m p l e of
in
reach
and when l e d by
Um)
complete knowledge.
the d i v i n i t y
also
as
a b l e to
(e.g.
song,
the Grecian
that cross-road
no c o n f l i c t ,
conscious
but
on
describes
represents
is
nightingale's
pictures
what he
he i s
the t e s t
She
she
enter
'sovran
not
h e r might.
of
break
elevates
takes
of
—
Though seen o f none s a v e him
whose s t r e n u o u s t o n g u e
Can b u r s t J o y ' s g r a p e a g a i n s t
his palate fine;
(
Now,
tee
he has p a s s e d
11.
this
27-28 )
test
a s he had e a r l i e r become o f
the G r e c i a n
Rome where
Urn.
In k e e p i n g
trophies
of
Apollo,
with
victory
and h a s become h e r
the
Psyche,
tradition
w e r e hung u p i n
devo-
Maia and even
of
Greece
temples,
and
his
soul
too i s
tive
' . . . a m o n g h e r clou-ly
'cloudy'
various
reminds us of
gods,
one o f
trophies hung.'
The
adjec-
the Heavenly p a l a c e s of
v/hich i s now
o c c u p i e d by
the
Melancholy.
Ill
' O d e on M e l a n c h o l y '
Unlike
the o t h e r o d e s ,
analyse
the l i v i n g
experience.
of
a dream.
Hermes,
His
was a l s o w r i t t e n
however,
moment.
it
not
The p o e t a n a l y s e s
thought-process
The a d o p t i o n
does
in
of
is
this
who among o t h e r t h i n g s
is
May
1819.^^
seem
his
p r o j - e c t e d in
to
entire
the form
t e c h n i q u e l i n k s him w i t h
the god o f
dreams
and
sleep.
In a l e t t e r
to the George K e a t s e s
the p o e t w r o t e
—
This morning I am in a s o r t o f a temper
i n d o l e n t and supremely c a r e l e s s : I l o n g
a f t e r a s t a n z a o r two o f Thomson's C a s t l e
of I n d o l e n c e . N e i t h e r P o e t r y , n o r Ambition,
n o r Love have any a l e r t n e s s o f countenance
as they p a s s by me : they seem r a t h e r l i k e
t h r e e f i g u r e s on a Greek Vase — A Man and
two Women....
This i s the o n l y h a p p i n e s s . 17
Now,
Love,
single
once a g a i n
Ambition
and
these three
Poetry —
figures
these three
confront
abstractions
themselves o u t as the most i m p o r t a n t and
f o r c e s oE
his
life.
Together
him.
they form a k i n d
dominating
of
non-
vi
C h r i s t i a n o r pagan
The poet
lost
in
trinity.
does
not r e c o g n i z e
'nothingness'
quietly
r:
them.
He h a d been
and t h e y b r o k e t h r o u g h t h e
and s e c r e t l y
shield,
—
. . . . Ripe was t h e drowsy h o u r ;
The b l i s s f u l c l o u d of summer
indolence
Benumbed my e y e s ; my p u l s e
g r e w l e s s and l e s s ;
P a i n had no
s t i n g , and
p l e a s u r e ' s w r e a t h no f l o w e r :
(
The e f f e c t of
dream.
Indolence
f i g u r e s move i n
•melt'
11.
indolence
is
to t h i s
a circle
like
a
trance
Hermes.
and t h e poet w i s h e s
Indolence.
abstraction
is
now an agency of
away and a l l o w him t o
b e n e f i c e n c e of
15-18 )
l o s e himself
or
These
they
is
shaping
as a
L i k e t h e G r e c i a n Urn and M e l a n c h o l y ,
she t o o
is
figure,
and p e a c e .
a g i v e r of
constant
comfort,
preoccupation
h i s thoughts-process
Indolence,
whose b e n e v o l e n c e
security
with the M o t h e r - f i g u r e
is essentially
too,
a
him under h e r p r o t e c t i o n ,
Keats.
the
added
deity.
Mother-
Keats' s
proves
that
mythological.
can be l i n k e d t o t h e G r e a t
attracts
in
now
who i s g r a d u a l l y
three
would
totally
A new dimension
a
Now t h a t
Goddess
she h a s
he can l o o k a t Love,
taken
Ambition
and
256
Poetry
and a n a l y s e
process.
In h i s
their
role
in framing h i s
r e f l e c t i o n s on l i f e
thought-
and i n h i s
p h i e s they had a l w a y s o c c u p i e d t h e t o p s t r a t a .
his
entire career
ness.
as an a r t i s t ,
These were t h e
ported the e s s e n t i a l
a w a r e of
his
lively
identity
into
these
agents.
supporting
letter
to Reynolds
In
demonstrates t h e i r
fact,
close-
active energies that
sup-
of
he was
Keats.
However,
dependence on them and knew a l l
he h a d t o e v o l v e
philoso-
an i n d e p e n d e n t
' soul'
This f e e l i n g
t h e time
and
that
discard
i s r e f l e c t e d in
a
—
. . . . W e h a t e p o e t r y t h a t has a p a l p a b l e d e s i g n
upon us — and i f we do not a g r e e , seems t o
put i t s hands i n i t s b r e e c h e s p o c k e t .
Poetry
s h o u l d be g r e a t and u n o b t r u s i v e ,
a
thing
which e n t e r s i n t o o n e ' s s o u l , and does not
s t a r t l e o r amaze i f w i t h i t s e l f b u t w i t h i t s
s u b j e c t — 19
Like the t h r e e goddesses
form to prove t h e i r
form d t r i n i t y
divinity,
and conduct
They a p p e a r
c i r c l e fo rc e s rather occult
unhealthy
finally
lence.
and d i s m a l
these
in
t h e y cannot
like
triple-
abstractions,
themselves
B e c a u s e t h e y a r e not d i v i n e ,
successfully.
who a p p e a r e d i n
too,
three-circles.
accomplish
'Ghosts'
and t h e i r
interpretations.
as t h e i n h a b i t a n t s of
this
They
Hades.
r e j e c t s them and t h e y f a d e and he r e t u r n s
triple
are
The
to
as
poet
Indo-
2J7
Indolence,
hence,
f e r t i l e visionary
The s e n s e s of
Happiness
signifies
s t a t e where t r u t h
the p o e t
i s complete
are
a fertile,
Melancholy.
ment.
state,
There i s
drowsiness,
ment.
it
s o u l s of
recreates
implies
Apollo.
mood,
thus,
The moment o f
associations
w i t h Love,
rich,
i n t h e p o e t r y of
though
the i n t e r p l a y
and
Love,
'stirred'
Ambition
by
dreaminess
discovery
Ambition
is
'shades'
him.
It
true
Elysium
lethargic
the colour
p a t r o n of
fulfil-
and
slow
gold
is
poets.
gathers t o g e t h e r the b l e s s i n g s
reveals
t o t h e poet
and P o e t r y
do not
t h a t b a n i s h the g o l d e n
soul to
green g r a s s ,
Keats,
Heart
and c o n t e n t -
atmosphere of
a 'lawn'.
s y m b o l i c of
freedom.
and
'beams'
that
euphoria.
T h i s open
space
This
was shadowed
that
of
bring
l i k e e v e r y o t h e r open
s p r i n k l e d v;ith f l o w e r s ,
of
the
Space.
provided
a golden,
The p o e t compares h i s
expanse,
the
'fever'.
union o f
the beneficent
j o y but f o r c e r e a l i z a t i o n s
e x p a n s e of
as i s
Among o t h e r t h i n g s ,
a s s o c i a t e d with A p o l l o ,
^The g o l d e n
no
is
a
visible.
t h o s e f a v o u r e d by t h e g o d s f i n d
'...honied'
moving r e v e r i e .
there
in Universal
creative
In f a c t ,
where t h e
at r e s t ,
about
but
is clearly
and a s u c c e s s f u l
and Mind h a s been b r o u g h t
is
not l e t h a r g y
by
'baffled'
T h i s was c a u s e d by t h e i n t r i g u e s
and P o e t r y .
Their
desertion
of
had com.e b e f o r e
him l i k e
fall,
a
'cloudy
realization
o v e r which
of
morn'.
came
b e f o r e the t e a r s
t o him l i k e
' a n open
'pressed a new-leaved v i n e ' .
himself/ i s o l d but
a r e new.
But,
the l e a v e s
b i d s f a r e w e l l to the three,
he s a y s
fallen
no t e a r s o f
mine'.
The
before
in the o t h e r odes.
In
the r e a l
had been a
and t h e i d e a l
p o e t h a d been
of
it
'Ode t o
world.
he i s
radiant
halo,
is
'cool-bedded'
stage
in the
unhampered by any
it
had
'Ode t o
the
observer
however,
Bathed
and t h e w o r l d ,
'flowery grass'.
side
in
her
happiness.
he i m a g i n e s he
Keats's
a symbolic
emerge r e s u r r e c t e d
a
connecting
a mere
complete
had
occured
P r e s e n t by h i s
s i g n i f i e s t h a t he i s u n d e r g o i n g
a f t e r which he w i l l
has
and i n
The t i m e ,
Indolence,
he
skirts
Psyche'
side,
he i s t h e r e c e p i e n t of
At p e a c e w i t h h i m s e l f
thoughts
On b o t h o c c a s i o n s ,
within.
i s t h e newly c r e a t e d g o d d e s s
symbolic
and when
'magic casement'
those within.
l e v e r e d by mythology,
soul
'open casement'
s t r a n d e d on t h e o t h e r
t h e h a p p i n e s s of
his
'Upon y o u r
opened from the temple w i t h i n the b r a i n
Nightingale'
casement'
The v i n e ,
s y m b o l i c of
The warmth and song e n t e r h i s
could
present
burial
as a c r e a t i v e
poet,
limitations.
'Ode t o Autumn'
t h r e e months a f t e r t h e
was w r i t t e n
'May'
odes.
in
September
1819,
It r e f l e c t s
the
nearly
peace
of
mind and mood of
now.
There
analysis
—
i s no
destruction,
h i s new v i s i o n
final
'fever',
only t r a n q u i l
The poem i s
of
calm a c c e p t a n c e
cycle
about
symbolically
d e a t h and d e c a y .
However,
does not mourn b u t
no
of
simply
birth
it
the
the poet
accepts
and d e a t h .
it
period
with
as
Infact,
h o l d s the promise
the
it
of
fertility.
In a l e t t e r
in the
no q u e s t ,
meditation.
a p p e a r s more p o i g n a n t b e c a u s e
future
no s t r u g g l e ,
'Autumn'
in the r i t u a l
Keatc h a d r e a c h e d by
same month,
landscape
to
Reynolds,
Keats
written
from
commented on t h e
Winchester
weather
and
—
How b e a u t i f u l t h e season i s now — How f i n e
the a i r .
A temperate sharpness
about i t .
R e a l l y without j o k i n g , ':haste weather —
Dian s k i e s — I n e v e r
liked stubble f i e l d s
So much as now — Aye b e t t e r than t h e c h i l l y
g r e e n of s p r i n g .
Somehow, a s t u b b l e p l a i n
l o o k s w a r m . . . t h i s s t r u c k me so much i n my
S u n d a y ' s w a l k t h a t I composed upon i t . 19
Keats a s s o c i a t e s
in
Roman Mythology
Ian Jack a s s o c i a t e s
deity
autumn w i t h
Skies'.
Diana,
i s the d e i t y connected with
fertility.
K e a t s ' s Autun>n w i t h C e r e s ,
t h e Rom.an
whose G r e c i a n c o u n t e r p a r t
stands f o r
'Dian
the g e n e r a t i v e
is
power of
Demeter. ^^
nature whereas
CereiJ
Demeter
.?4Q
was t h e g o d d e s s of
of
all
these
deity
corn
and a g r i c u l t u r e .
The
d e i t i e s combine t o c r e a t e t h e
'Autumn'.
D o u g l a s Bush w r i t e s
attributes
benevolent
—
...the delicate personifications...
K e a t s ' s myth-making i n s t i n c t a t i t s
and s u r e s t . 21
The K e a t s i a n g o d d e s s i s
radiance
is
represents
r e l a t e s the
beautiful
the c o n t i n u a l g r o w t h p r o c e s s .
b r i n g s t o g e t h e r the t h r e e
and human.
She i s
all
c e n c e and g e n e r o s i t y
and f r u i t i t i o n .
sun and t h e
kingdoms —
pervading
and a l s o
Ultimately,
is
maturing
sun.
t h e ode
with h e r
The sun i s
include
harvest
summer and a l s o
and w i n t e r .
larly
vegetative,
as the s p i r i t
all
other
Mother-figure
is
a direct
animal
of
benefi-
fertility
—
patient,
invocation
'close
bosom f r i e n d '
a s s o c i a t e d with
s u n s h i n e of
spring
warding o f f
Apollo
season.
the
v^ose
t h e d a n g e r s of
The v e r s e g a t h e r s
a
of
She
and t h e b l e s s i n g s
The two e n e r g i e s combine t o produce
productive
also
m i s t s and m e l l o w f r u i t f u l n e s s ' .
attributes
in
and
laborious.
l i n e of
in deep c o n s p i r a c y
Earth,
and
Keatsian
tender
' S e a s o n of
She l i n k s
She
like
dignified,
The f i r s t
ripeness.
of
she i s t h e m a g n i f i c e n t
and
Her
as t h e g u a r d i a n
goddesses,
the deity
and r a d i a n t .
l a d e n w i t h warmth and b u r s t i n g
seasons to the
ej<hibit
ripest
of
autumn
particu-
together
the
241
i m p r e s s i o n s o£ a m i s t y ,
f r o m t h e home —
vines
autumn morning.
the r e s o r t
around tha t h a t c h
flowers.
s h e e r w e i g h t of
f i l l e d with
shells
are
'ripeness
swollen
laden
the f r u i t ,
The
with f r u i t s
in the c o t t a g e
and
yard are
which,
to the c o r e ' .
and plump.
and t h e b e e s work on
begins
the M o t h e r - f i g u r e .
aves a r e
The a p p l e t r e e s
with the
of
The p o e t
bent
in turn,
The g o u r d s
is
and t h e
Flowers continuously
bloom
—
Until
For
t h e y t h i n k warm days
w i l l never cease,
summer h a s o ' e r - b r i m m e d
t h e i r clammy c e l l s ,
( 11. 10-11 )
The images a r e m a i n l y t a c t i l e
tended luxuriance
n e s s of
is
life.
present
like
postures
—
threuhing,
from the
full-
though
still
fruitition
second s t a n z a she d e s c e n d s
and t h e
scene of
beyond t h e c o t t a g e y a r d .
Earth-goddess
con-
invisible,
and f l o w e r i n g
pulse.
and i s v i s i b l e
the f i e l d s
a depth of
springing
The K e a t s i a n g o d d e s s ,
a throbbing
things
and h a p p i n e s s
amidst t h e e x t r a v a g a n t
In t h e
of
and s i g n i f y
Hecate,
she i s
in the granary,
in the f i e l d
the
action
Like the
presented
relaxing
into
in
on
extend-
to
multi-faced
a
number of
i n between
'sound asleep'
schema
a
bouts
furro'J,
of
242
balancing
carrying
herself
of
loads
watching the
afternoon.
grain
across
and f i n a l l y
by t h e
o o z i n g h o u r s by
are
visual
a brook
while
cider-press,
hours'.
and r e p r e s e n t
a
drowsy
Each of
them i s
connected with a
characte-
occupation of
autumn.
The t o t a l
reads
a c a t a l o g u e of
some t r a i t
of
seasonal r i t e s .
the goddess.
denoting hard-work,
t h e next
swath
proves herself
all
a bridge
'...last
The images
ristic
on
one who c o l l e c t s
qualities
of
She l a b o u r s
its
in the
spirit
left
By c o l l e c t i n g
strength,
like
light
on
granary,
She t e n d e r l y
'Spares
Thus
she
and p r o t e c t o r
and p r o d u c t i v e t h i n g s .
the grain
sheds
twined f l o w e r ' .
t o be t h e g u a r d i a n
the f l o w e r i n g
the workers.
Each r i t e
and p e r s e v e r e n c e .
and a l l
picture
A gleaner
of
is
in the harvest f i e l d s
a heavy l o a d ,
efficiency
she
and t h r i f t .
p i c t u r e where she s i t s by t h e c i d e r - p r e s s
exhibits
The
shows
by
last
patience
and f o r t i t u d e .
The l a s t
verse
the f a m i l i a r f i e l d s ,
skies.
preparing
consoler.
t h y music
depicts
an autumnal e v e n i n g .
we move on t o t h e d i s t a n t
We a r e now f a c e d w i t h Autumn,
f o r her departure.
He t e l l s
too'.
her
Now,
Prom
hills
t h e unhappy
goddess
t h e p o e t becomes
' T h i n k not of
them,
thou
and
the
hast
The
the
'barred clouds'
fields
with
establishes
a
'rosy hue'.
an a s s o c i a t i o n
kets,
lambs,
Their
music
robins
is
reflect
the
sun t h a t
Thus A p o l l o ,
w i t h Autumn.
and s w a l l o w s
colours
the
sun-god,
The g n a t s ,
pay t h e i r
tribute
cricto
her.
—
Among t h e r i v e r
swallows,
born a l o f t
Or s i n k i n g a s t h e l i g h t
with l i v e s or dies;
(
The r i v e r
music
all
weed of
weeds,
Marsyas,
28-29
swaying
over the world.
t h e King
11.
pronounced A p o l l o
to
Apollo
c a p but
the e f f o r t ,
of
it
the winner.
that
same h o l e
everytime
it
it
I^das
a secret,
a weed t h a t
was r u s t l e d by t h e
but
taking
in
the f i n a l
and
barber
unbearable.
secret
river
by
Tmolus
was
under
who f o u n d
He dug
in there.
repeated the
a
Prom
secret
winds.
informs the world that
part
the
deformity
The message r e l a y e d by t h e weeds i s n o t
b u t one t h a t
this
challenged
protested
He h i d h i s
and w h i s p e r e d t h e
sprang
carry
The R i v e r - g o d
was d i s c o v e r e d by h i s
keeping
h o l e by t h e r i v e r
was
a music c o n t e s t .
punished with donkey's e a r s .
a tall
i n t h e wind,
The p i c t u r e r e - c o l l e c t s
Midas myth.
a Satyr,
)
ritual
Autumn i s
of
sorrowful
not
seasonal
departing
death.
•2 - •
L i k e the
land.
'gathering
Autumn,
too,
swallows'
is
just
t h a t have h o p e s of
l a u n c h i n g on a new
a warmer
cycle
of
productivity.
Keats'3
suggest
use of
a deliberate
effect.
mythology
contrivance
the e a r l y
which had been p r e s e n t
Thus he i n s t i n c t i v e l y
nicative
r e l e v a n c e of
artistic
purpose,
certain
does
sake
and
of
h i s own c r e a t i v e
awareness
a p a r t of
dissociate
recreates
in the
mind of
perceives
documented
t h e commu-
divinities
from the o p p r e s s i v e
potential.
Mythology
and s e l f - d i s c o v e r y .
his c r i t i c a l
himself
away f r o m t h e
ancient
to
from i t .
ancient
reformed,
recast
cessfully
accomplishes
by adding
new myths.
added t o .
that
l e a d s him on
that
the p r i n c i p l e s
and a t t i m e s even
and even c r e a t i n g
forces
integral
he cannot
Since man h a s come many
innocence,
it
faculties
his
experi-
I t h a s become so
and c r e a t i v e
not
poetic
and t h r o u g h t h e i r f i c t i o n a l i s e d
e n c e s he s e e k s d e l i v e r e n c e
logy
odes
man and which have been u n h i s t o r i c a l l y
i n mythology.
to
f o r the
On t h e o t h e r hand he r e c o g n i z e s
mental p r i n c i p l e s
limit
in the
stages
have t o
The poet
t o the e x s i t i n g
be
suc-
mytho-
N o t e s and R e f e r e n c e s
1.
Pindar, a Greek poet, e s t a b l i s h e d the form.
Its
s a l i e n t f e a t u r e s Include e l e v a t e d thought, b o l d
metaphor and f r e e use o f m y t h o l o g y .
Horace, a
L a t i n p o e t , u s e d P i n d a r as a model.
However, h i s
o d e s a r e more m e d i t a t i v e and p e r s o n a l .
Keats' s
o d e s a r e H o r a t i a n i n f o r m and f e e l i n g b u t c o n t a i n
some m o d i f i e d P i n d a r i c e l e m e n t s .
2.
Kenneth A l l o t t ,
( S u f f o l k , 1971)
p. 206.
3.
The L e t t e r s of John K e a t s
Hyder E. R o l l i n s (London,
4.
K,
5.
Rollins,
op.cit.,
Vol.1,
pp.
6.
Rollins,
op.cit..
Vol.11,
p.
7.
C i t e d by
p. 139.
8.
Ian Jack,
9.
2.C. P e t t e t ,
pp. 318-319.
10.
C i t e d by R i c h a r d E. Hughes, The L i v e l y
i n J i i t e x a t u r e ( U . S . A . , 197 5 ) , p . 5.
11.
Ian Jack,
12.
Based on t h e c h r o n o l o g i c a l o r l e r
Allott,
op.cit.,
p . 538.
13.
Rollins,
14.
Jbid.,
Allott,
"The Ode t o P s y c h e " John K e a t s : Odes
e d . G. S. P r a s e r , C a s e b o o k s e r i e s ,
op.cit. ,
p.
D o u g l a s Bush,
op.cit.,
p.
(1814-21) V o l . 1 1 ,
19 58) , p . 106.
208.
184-185.
378.
John K e a t s
op.cit.,
Vol.11,
p.
p.
1966) ,
Keats
(Cambridge,
Image;
1957) ,
4 Myths
219.
Vol.11,
101.
(London,
218.
On t h e P o e t r y of
op.cit..
ed.
p.
f o l l o w e d by
79.
Miriam
15.
C i t e d by M. A l l o t t ,
16.
M. A l l o t t ,
17.
Rollins,
op.cit.,
Vol.1,
p.
78.
18.
Rollins,
op.cjt.,
Vol.1,
p.
224.
19.
Rollins,
op.cit.,
Vol. II,
20.
Jack,
21.
D o u g l a s Bush,
op.clt.,
oP.cit.,
p.
op.clt.>
p.
p.
541.
P.
167.
291.
op.clt.,
540.
p.
10 5.