Ode on a Grecian Urn: Motifs

References to Silence and Immobility

Woven throughout the poem are numerous references to silence and immobility, which relate to the still images painted on the surface of the urn’s “silent form” (line 44). The speaker begins the poem by referring to the urn as a “bride of quietness” (line 1), and subsequently as a “foster-child of silence” (line 2). In the second stanza, the speaker reflects on how the images of musicians imply “melodies” that nonetheless remain “unheard” (line 11). The speaker later refers to such unheard melodies as “spirit ditties of no tone” (line 14). In the third and fourth stanzas, the speaker’s references shift focus from silence to immobility. For example, the speaker emphasizes how the “fair youth” and his “bold lover” (lines 15 and 17) will forever be stuck in the same positions, moving in for a kiss that will never take place. Likewise, “happy boughs” (line 21) of trees will never move in the breeze or lose their leaves, and the people marching forth from their small town will forever remain in the midst of their ritual procession. These and other references to silence and immobility reflect the immortality of art, which brings serenity by standing in contrast to the constant noise and motion that define the human condition.

Contradiction

“Ode on a Grecian Urn” contains several contradictory phrases. These phrases are often paradoxical, meaning that, though contradictory, they may be interpreted in a way that makes logical sense. Another word for this kind of statement is oxymoron. An oxymoron appears in the opening line, where the speaker refers to the urn as an “unravish’d bride.” Marriages are traditionally consummated through sexual union, so the notion of a virgin bride is surprising. Yet the speaker’s phrase does make logical sense. The urn is specifically a “bride of quietness,” and since “her” silence has yet to be broken, this bride remains “unravish’d.” Another oxymoron appears in the phrase, “spirit ditties of no tone” (line 14). By definition, a song works through sound, so how could there be “ditties of no tone”? In this case, the speaker is referring to a tune played by a figure in a picture. Though this tune cannot be heard, it may be imagined. Another example of oxymoron in the poem is the hyphenated term “high-sorrowful” (line 29). Traditionally, sorrow occupies an abstract space that is low rather than high. These and other contradictory phrases in the poem highlight the urn’s enigmatic qualities.