Garson, 'Bodily Harm" Keats's Figures in the 'Ode on a Grecian Urn'''

"Ian Jack has concluded that Keats probably drew on a number of museum-pieces that he had seen, or seen drawings of, and constructed a composite ideal urn from their details" (454).

http://blogs.setonhill.edu/AngelaPalumbo/2009/04/what_is_the_story_behind_that.html

History is like a germ that infects everything

The Speaker’s Rhetorical Question Can Be Real for the Reader
“And that question—though a real one for the reader, at the end of the first stanza—is already a pseudo-question for the speaker, who could not formulate it the way he does unless he had in fact already answered it” (Garson 456).
http://blogs.setonhill.edu/GretaCarroll/2009/04/the_speakers_rhetorical_questi.html

"Indeed, it became a commonplace to describe the peculiar quality of Greek art under the metaphor of chasity"

http://blogs.setonhill.edu/SueMyers/2009/04/womanly-images.html

Are we sympathetic to a possible rapist??

Keats and his urn, again.

A little art history lesson.

From Marjorie Garson’s “Bodily Harm” Keats’s Figures in the ‘Ode on a Grecian Urn’” in Donald Keesey’s Contexts for Criticism:

“As the speaker interrogates the urn, we interrogate the poem: his questions serve as our answers.[ …]The only question that emerges for the reader at the end of the last stanza-‘What is going on here?’- direct attention toward the urn, not away from it into its historical context. […]It is clear by the end of the first stanza that the speaker knows, if not all he needs to know, at least all he is ever going to know about the urn, given the kinds of questions he is choosing to ask: they remain questions for us only because he has not yet unfolded their answers” (456).

Guetti vs. Garson = Double G Smack Down
http://blogs.setonhill.edu/JennaMiller/2009/04/guetti-vs-garson-double-g-smac.html

"To translate the three-dimensional urn into language is to destroy its circularity, since one of the scenes has to be described first. Stripping the 'legend' off the circular surface of teh urn and running it comic-strip-wise precipitates its 'still' images into time" (Garson 457).

Garson's essay in 4 parts
http://blogs.setonhill.edu/QuinnKerno/2009/04/marjorie_garson.html