Through examining the evidence, I have concluded that, while the speaker wants to be indifferent towards the Urn, he will always have issues with being a mortal. To Wordsworth, the soul was created by the divine and was able to recognise the light in the world.
What of its posterity? The narration of the poem is in the style of an interior monologue,  and there are many aspects of the poem that connects it to Coleridge's style of poetry called "Conversation poems", especially the poem's reliance on a one sided discussion that expects a response that never comes.
In ancient cultures, Keats saw the possibility of permanent artistic achievement: The third movement is three stanzas long and contains a positive response to the problem.
It is, in some respects, one of his most important works, whether viewed from the stand point of mere art, or from that of poetic insight. In the latter respect, his poetry is Keats immortality vs mortality much above the common standard or capacity, as in the other it is below it Unlike mortal beings, beautiful things will never die but will keep demonstrating their beauty for all time.
In general, we may say of these high instincts of early childhood So how should we read it?
The meter in the third stanza Keats immortality vs mortality reflects the struggle the speaker is experiencing. Two of his friends added the following epitaph: In an letter to his brother George, Keats quietly prophesied: Far be it also from me to hinder the communication of such thoughts to mankind, when they are not sunk beyond their proper depth, so as to make one dizzy in looking down to them.
The ode, to Ruskin, becomes a means to deride Wordsworth's intellect and faith when he claims that Wordsworth was "content with intimations of immortality such as may be in skipping of lambs, and laughter of children-incurious to see in the hands the print of the nails.
As a person ages, they are no longer able to see the light, but they can still recognise the beauty in the world. Intimations of Immortality, Wordsworth concluded that he gives thanks that was able to gain even though he lost his vision of the joy in the world, but in the later work he tones down his emphasis on the gain and provides only a muted thanks for what remains of his ability to see the glory in the world.
Poets borrow from the dead poets and Keats knew that others would in turn borrow from him after his death. All the figures remain motionless, held fast and permanent by their depiction on the sides of the urn, and they cannot touch one another, even though we can touch them by holding the vessel.
Nature is beautiful, and existence depicted on the urn feels like it is full of budding life, due to the imagery and choice of language. He also rejects any kind of fantasy that would take him away from reality while accepting both death and the loss of his own abilities to time while mourning over the loss.
Fall, the season of changing leaves and decay, is as worthy of poetry as spring, the season of flowers and rejuvenation. Nature Like his fellow romantic poets, Keats found in nature endless sources of poetic inspiration, and he described the natural world with precision and care.
Wordsworth followed a Virgilian idea called lachrimae rerum, which means that "life is growth" but it implies that there is also loss within life. His longer poems, such as The Fall of Hyperion or Lamia, often take place in a mythical world not unlike that of classical antiquity.Truth versus Immortality in John Keats’ Ode on a Grecian Urn.
Truth versus Immortality in John Keats’ “Ode on a Grecian Urn” In John Keats’ “Ode on a Grecian Urn,” the speaker admires the immortality and excitement of life depicted on an urn, before realizing that the truth of life and mortality is preferable to static eternal existence - Truth versus Immortality in John Keats.
“Ode to a Nightingale” uses the bird’s music to contrast the mortality of humans with the immortality of art.
Caught up in beautiful birdsong, the speaker imagines himself capable of using poetry to join the bird in the forest. The speaker of "Ode to a Nightingale" fools himself into believing that the nightingale is immortal, or at least its song is. But this statement seems only to give him another excuse to complain about human mortality – a common complaint in Keats's poetry.
The following section will focus on the concept of mortality, death and decay in Shelley's "Ode to the West Wind" and Keats' "To Autumn." Shelley and Keats use nature to express their attitudes, particularly the autumnal concept, and to speak out their internal and personal feelings.
Gilgamesh deals with immortality on nearly every level, and at the same time points back to mortality, trying to extract a reason for living and dying.
Ostensively, The Epic of Gilgamesh entertains the idea of immortality on a physical plane. Examples of great beauty and art also caused Keats to ponder mortality, as in “On Seeing the Elgin Marbles” ().
For example, in “Ode to a Nightingale,” hearing the bird’s song causes the speaker to ruminate on the immortality of art and the mortality of humans.Download