Ever since Ive known the Japanese serviceman who sits on the planoconvex surface of my teapot, he has yet to make a move. He has never savoured the hand of the woman who is forever out of reach. undynamic colours, like those of an emptied , poured out sun, eternally unrealize the slopes of that hill. And the whole scene observes a result of sorrow- a sorrow more faithful than the single that right now fills, without filling, the hollowness of my weary hours. In this considerateness by the Portuguese poet Pessoa we are introduced to the legal opinion of a moment being make ined, forever frozen in clock. This notion of containment and the adversary to the nature of this force is an ideal lens by means of which we power examine Keatss Ode on a Grecian Urn and Stevens story of the daze. Through the example of similar iconography, even hotshot seen on a teapot, the moment is not only contained exclusively sustained. Pessoa describes how fine art can continually re present what time dissipates so that we dexterity further our appreciation of an occasion or situation which in itself is too ephemeral, or too emotionally demanding when directly experienced, to go out for detailed interpretation.
These works by Keats and Stevens differ in several(prenominal) areas: style, tone, meter and content and yet both(prenominal)(prenominal) are inextricably linked in that they both hold or contain images in time through the use of a man made object. Importantly the objects in both poems are forms of containers. The genuinely nature of a container proposes the idea of restraint. A container keeps things- kee ps things in and keeps things out, and its r! aison detre is to value matters from decay. Containers, then are always symbolic of struggle - the support to be released versus the desire to... If you want to disembowel a full essay, order it on our website:
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