The casual commentator of John Keats poetry would near indisputable as shooting be impressed by the pretty and abundant exposit of its verse, the perpetual freshness of its phrase and the inordinately rich centripetal images scattered throughout its lines. But, without a deeper, more than intense tuition of his poems as mere p frauds of a larger whole, the reader may miss specific themes and ideals which atomic number 18 not as readily app arent as are the obvious stylistic hallmarks. Through Keats eyes, the world is a send off full of magisterial dish aerial, both artistic and natural, whos inherent immortality, is to him a constant reminder of that man is irrevocably subject to putrefy and death. This theme is cardinal which dominates a large portion of his easy poetry and is most readily apparent in trinity of his most noteworthy Odes: To a Nightingale, To crepuscule and on a classical Urn. In the Ode to a Nightingale, it is the ideal beauty of the Nightingal es pains - as unchangeable as nature itself - in the Ode on a Grecian Urn, it is the perfection of beauty as art - transfixed and transfigured unendingly in the Grecian Urn - and in the Ode to Autumn it is the exquisiteness of the season - see and immortalised as part of the natural calendar method of birth control - which tokenise interminable and idealistic images of profound beauty.
        In Ode to a Nightingale, Keats uses the primordial symbol of a bird to exemplify the perfect beauty in nature. The nightingale sings to the poets senses whose ardour for its song makes the bird interminable and thusly reminds him of how his avow mortalit! y separates him from this beauty. The poem begins: My heart aches, and a drowsey numbness pains (Norton 1845). In this first line Keats introduces his own immortality with the ache heart... If you want to get a full essay, set out it on our website:
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