Truth & Beauty: A Friendship

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ELEMIS believes in ‘truth in beauty’ and blends luxurious skincare with a scientist’s commitment to results. Welcome to skin innovation. Swanson, Roy Arthur. " Form and Content in Keats's 'Ode on a Grecian Urn'". College English, Vol. 23, No. 4 (January 1962), pp.302–305. planet. That’s the project we have taken on at the Institute of Science in Society (I-SIS). Recovering beauty in its organic formDuncan-Jones, Katherine (2010). Shakespeare's Sonnets (Reviseded.). London: Arden Shakespeare. pp.52–69. ISBN 978-1-4080-1797-5. As mentioned above, rather than asking for inspiration, the poet demands explanation, though now he presumes his Muse's excuse for the neglect, which the poet takes to be that truth of beauty is self-evident, and needs no further embellishment. It is in the second and third line of this quatrain, or the sixth and seventh lines in the sonnet, where the rhythmic structure of Sonnet 101 becomes noteworthy. Whereas the rest of Sonnet 101 follows conventional structural patterns, it is in line 6 and 7, "Truth needs no colour with his colour fixed; / Beauty no pencil, beauty's truth to lay," that the rhythm deviates from the established norm, which is discussed in depth earlier in this article. Though there is no definitive explanation for this alteration, its inconsistency warrants speculation. If we assume that the difference in pattern is not an oversight on the part of Shakespeare, then it is conceivable that this creative idiosyncrasy was made for aesthetic or symbolic reasons. It is then pertinent to question why these particular lines are given this unique structural treatment. Putting aside aesthetic interpretation, it could be conceived that Shakespeare intentionally chose these two lines with which to assert freedom from the regular metrics of iambic pentameter, to show that truth and beauty should be singled out. Given this interpretation of the second and third lines of the quatrain, the fourth line, "But best is best, if never intermixed?" can even be read as the poet-speaker's assessment that his Muse does not see fit to embellish truth and beauty through poetic inspiration. Sheats, Paul. "Keats and the Ode" in The Cambridge Companion to John Keats. Editor Susan Wolfston. Cambridge: Cambridge University Press, 2001. ISBN 0-521-65839-X Earl Wasserman, in 1953, continued the discussion over the final lines and claimed, "the more we tug at the final lines of the ode, the more the noose of their meaning strangles our comprehension of the poem... The aphorism is all the more beguiling because it appears near the end of the poem, for its apparently climactic position has generally led to the assumption that it is the abstract summation of the poem... But the ode is not an abstract statement or an excursion into philosophy. It is a poem about things". [56]

Bridges believed that the final lines redeemed an otherwise bad poem. Arthur Quiller-Couch responded with a contrary view and claimed that the lines were "a vague observation – to anyone whom life has taught to face facts and define his terms, actually an uneducated conclusion, albeit most pardonable in one so young and ardent." [50] The debate expanded when I.A. Richards, an English literary critic who analysed Keats's poems in 1929, relied on the final lines of the "Ode on a Grecian Urn" to discuss "pseudo-statements" in poetry: Carr, J. W. Comyns. "The Artistic Spirit in Modern Poetry". New Quarterly Magazine, Vol. 5 (1876), pp.146–165. OCLC 2264902. The British Beauty Council are pleased to announce that ELEMIS have become a Patron, and to introduce them to you.In researching vortex theory, I came across many statements by eminent physicists, including Lord Kelvin and James Clerk Maxwell, suggesting that vortex theory was far too beautiful not to be true. Papers on the topic proliferated, books about it were published. Scottish mathematician Peter Tait's work on vortex atoms led to advances in knot theory. Tait predicted it would take several generations to develop the theory's mathematical foundations. Beautiful though it seemed, the vortex theory proved to be a glorious road that led nowhere. Orgel, Stephen, ed. (2001). The Sonnets. The Pelican Shakespeare (Rev.ed.). New York: Penguin Books. ISBN 978-0140714531. OCLC 46683809. Ode on a Grecian Urn" is organized into ten-line stanzas, beginning with an ABAB rhyme scheme and ending with a Miltonic sestet (1st and 5th stanzas CDEDCE, 2nd stanza CDECED, and 3rd and 4th stanzas CDECDE). The same overall pattern is used in "Ode on Indolence", "Ode on Melancholy", and "Ode to a Nightingale" (though their sestet rhyme schemes vary), which makes the poems unified in structure as well as theme. [4] The word "ode" itself is of Greek origin, meaning "sung". While ode-writers from antiquity adhered to rigid patterns of strophe, antistrophe, and epode, the form by Keats's time had undergone enough transformation that it represented a manner rather than a set method for writing a certain type of lyric poetry. Keats's odes seek to find a "classical balance" between two extremes, and in the structure of "Ode on a Grecian Urn", these extremes are the symmetrical structure of classical literature and the asymmetry of Romantic poetry. The use of the ABAB structure in the beginning lines of each stanza represents a clear example of structure found in classical literature, and the remaining six lines appear to break free of the traditional poetic styles of Greek and Roman odes. [19]