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Forma silenciosa : Keats e a ode
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Na minha dissertação defendo que, em «Ode on a Grecian Urn», Keats reivindica a validade epistémica da poesia e apresenta a concepção de que um poema é uma «silent form».
No primeiro capítulo, através da leitura das quatro primeiras estrofes, demonstro que a tentativa por parte do poeta de conhecer a urna é dramatizada por um projecto ecfrástico, que fracassa no final da quarta estrofe. Isto marca o conflito e, em última análise, a distância entre as suas naturezas antitéticas: a urna como escultural, pastoril e objectiva, e o poeta, como poético, romântico e subjectivo. No segundo capítulo, mostro que a quinta e última estrofe se separa do movimento anterior da ode e, assim, surge como a renovação e redenção da écfrase, que tem a sua concretização total na fala da urna enquanto sustentada pela voz poética. Por fim, no último capítulo, considero o que a urna diz – a identificação da beleza e da verdade – e como isso resulta na validade epistémica da poesia, mas apenas quando um poema é, à semelhança de uma urna grega, uma forma silenciosa.
In my dissertation, I argue that, in «Ode on a Grecian Urn», Keats claims the epistemic validity of poetry and presents the notion that a poem is a «silent form». In the first chapter, through a reading of the first four stanzas, I demonstrate that the poet's attempt to know the urn is dramatised by an ekphrastic project, which fails at the end of the fourth stanza. This marks the conflict and, ultimately, the distance between their two antithetical natures: the urn as sculptural, pastoral, and objective, and the poet as poetic, romantic, and subjective. In the second chapter, I argue that the fifth and final stanza is separated from the previous movement of the ode and, thus, appears as the renewal and redemption of the ekphrasis, which has its complete actualisation in the urn’s speech as sustained by the poetic voice. Finally, in the last chapter, I consider what the urn says – the identification of beauty and truth – and how it results in the epistemic validity of poetry, but only when a poem is, like a Grecian urn, a «silent form».
In my dissertation, I argue that, in «Ode on a Grecian Urn», Keats claims the epistemic validity of poetry and presents the notion that a poem is a «silent form». In the first chapter, through a reading of the first four stanzas, I demonstrate that the poet's attempt to know the urn is dramatised by an ekphrastic project, which fails at the end of the fourth stanza. This marks the conflict and, ultimately, the distance between their two antithetical natures: the urn as sculptural, pastoral, and objective, and the poet as poetic, romantic, and subjective. In the second chapter, I argue that the fifth and final stanza is separated from the previous movement of the ode and, thus, appears as the renewal and redemption of the ekphrasis, which has its complete actualisation in the urn’s speech as sustained by the poetic voice. Finally, in the last chapter, I consider what the urn says – the identification of beauty and truth – and how it results in the epistemic validity of poetry, but only when a poem is, like a Grecian urn, a «silent form».