There are no ears to hear, or eyes to see,—
Drown'd all in Rhenish and the sleepy mead:
Awake! arise! my love, and fearless be,
For o'er the southern moors I have a home for thee.'
XL
She hurried at his words, beset with fears,
For there were sleeping dragons all around,
At glaring watch, perhaps, with ready spears—
Down the wide stairs a darkling way they found.—
In all the house was heard no human sound.
A chain-droop'd lamp was flickering by each door;
The arras, rich with horseman, hawk, and hound,
Flutter'd in the besieging wind's uproar;
And the long carpets rose along the gusty floor.
XLI
They glide, like phantoms, into the wide hall;
Like phantoms to the iron porch they glide,
Where lay the Porter, in uneasy sprawl,
With a huge empty flagon by his side:
The wakeful bloodhound rose, and shook his hide,
But his sagacious eye an inmate owns:
By one, and one, the bolts full easy slide:—
The chains lie silent on the footworn stones;—
The key turns, and the door upon its hinges groans.
XLII
And they are gone: aye, ages long ago
These lovers fled away into the storm.
That night the Baron dreamt of many a woe,
And all his warrior-guests, with shade and form
Of witch, and demon, and large coffin-worm,
Were long be-nightmared. Angela the old
Died palsy-twitch'd, with meagre face deform;
The Beadsman, after thousand aves told,
For aye unsought-for slept among his ashes cold.
ODE ON A GRECIAN URN
Lemprière's classical dictionary made Keats acquainted with the names and attributes of the inhabitants of the heavens in the ancient world, and the Shakesperean Chapman introduced him to Homer, but his acquaintance with the subtlest spirit of Greece was by a more direct means. Keats did not read Greek, and he had no scholar's knowledge of Greek art, but he had the poetic divination which scholars sometimes fail to possess, and when he strolled into the British Museum and saw the Elgin marbles, the greatest remains in continuous series of perhaps the greatest of Greek sculptures, he saw them as an artist of kindred spirit with their makers. He saw them also with the complex emotion of a modern, and read into them his own thoughts. The result is most surely read in his longer poem of Hyperion, but the spirit evoked found its finest expression in this ode.
The ode appears to have been composed in the spring of 1819 and first published in January, 1820, in Annals of the Fine Arts. There are then about four years in time between the sonnet, 'On first looking into Chapman's Homer,' and this ode; if the former suggests a Balboa, this suggests a Magellan who has traversed the Pacific. It is not needful to find any single piece of ancient sculpture as a model for the poem, although there is at Holland House, where Keats might have seen it, an urn with just such a scene of pastoral sacrifice as is described in the fourth stanza. The ode was included by Keats in Lamia, Isabella, The Eve of St. Agnes and other Poems.
