Departures and Reveries
In many of Keats’s poems, the speaker leaves the real
world to explore a transcendent, mythical, or aesthetic realm. At
the end of the poem, the speaker returns to his ordinary life transformed
in some way and armed with a new understanding. Often the appearance
or contemplation of a beautiful object makes the departure possible.
The ability to get lost in a reverie, to depart conscious life for
imaginative life without wondering about plausibility or rationality,
is part of Keats’s concept of negative capability. In “Bright star,
would I were stedfast as thou art,” the speaker imagines a state
of “sweet unrest” (
The Five Senses and Art
Keats imagined that the five senses loosely corresponded
to and connected with various types of art. The speaker in “Ode
on a Grecian Urn” describes the pictures depicted on the urn, including
lovers chasing one another, musicians playing instruments, and a
virginal maiden holding still. 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. Although the poem associates sight and sound,
because we see the musicians playing, we cannot hear the music.
Similarly, the speaker in “On First Looking into Chapman’s Homer”
compares hearing Homer’s words to “pure serene” (
The Disappearance of the Poet and the Speaker
In Keats’s theory of negative capability, the poet disappears
from the work—that is, the work itself chronicles an experience
in such a way that the reader recognizes and responds to the experience
without requiring the intervention or explanation of the poet. Keats’s
speakers become so enraptured with an object that they erase themselves
and their thoughts from their depiction of that object. In essence,
the speaker/poet becomes melded to and indistinguishable from the
object being described. For instance, the speaker of “Ode on a Grecian
Urn” describes the scenes on the urn for several stanzas until the
famous conclusion about beauty and truth, which is enclosed in quotation
marks. Since the poem’s publication in