Apuntes examen primera parte (Tomás), Apuntes de Idioma Inglés

¡Descarga Apuntes examen primera parte (Tomás) y más Apuntes en PDF de Idioma Inglés solo en Docsity! EXAM. TEXTOS POÉTICOS BRITÁNICOS E IRLANDESES. 1.An exercise to MATCH poets with periods, main events, literary movements (5 minutes). Elizabethan: William Shakespeare, Philip Sidney. (Event: Reformation) Metaphysical Poetry: John Donne. (Event: Trying to kill King James). Mid-17th Century: John Milton, Richard Lovelace, Robert Herrick, John Suckling, Edmund Waller, Ben Johnson. (Cavalier Poetry). (Event: Support Charles I, who was beheaded). Restoration: John Dryden. Augustan Poetry:, Alexander Pope. Pre-Romanticism: Robert Burns, Thomas Gray. Romanticism 1st generation: William Wordsworth, William Blake, Samuel Taylor Coleridge. Romanticism younger generation: Percy Bysshe Shelley, George Gordon, Lord Byron, John Keats. (Romanticism event: Illustration). Victorian/Post Romantic Poetry: Gerard Manley Hopkins, Alfred Tennyson, Matthew Arnold. (Event: Industrial Revolution). 2. Scan a couple of verse lines by marking a short line underneath each syllable. Indicate also the main stresses (acentos) in each line by marking with a stress-sign above the stressed vowel. (2 minutes). 3. ONE short questions (8 minutes): -The Italian Sonnet and the English Sonnet The Italian sonnet (also: Petrarchan sonnet) and the English sonnet (also: Spenserian sonnet and Shakespearean sonnet) differ not only in their respective formal structures, but also in the way their content is ordered by the introduction of the turn (volta). In terms of structure and rhyme, English poets gradually altered the formal conventions of the Italian sonnet. The Petrarchan sonnet (Italian sonnet) consists of an eight-line octave followed by a six-line sestet, Thomas Wyatt(1503-1542) divided his sonnets into an octave followed by a quartet (rhymed: cdcd) and a final couplet(rhymed: ee). Wyatt, however, retained the Italian sonnet's rhyme pattern in the first two quartets (abba,abba). Edward Spenser (1552-1599) took these changes a little further by introducing the rhyme pattern abab bcbc to the inital octave. This provided relief to the task of finding suitable English rhymes. Finally, the Shakespearean sonnet (English Sonnet) consists of three quartets, each using the cross-rhyme pattern (abab,cdcd,efef), and a final couplet (rhymed: gg). The most distinguishing feature of the English sonnet is its final couplet. This structural feature of the English sonnet also has an effect on how the poem's content is ordered. While in the Italian sonnet the main division, or break, in the sonnet's content (the volta) occurs between the initial eight-line octave and the following six-line sestet, the turn of the English sonnet usually comes with the final couplet. -The Cavalier Poetry. This term refers to some poets who belong to 17th century. They are identified with the supporters of Charles I during the Civil War. They represent loyalty to the king, love, beauty, war and sexual love which were their main topics, often interrelating them in their works. They follow Ben Jonson's poetry who used classical themes and meters combining with a correct style. It's also important to highlight the use of direct style and the theme of real life, ladies are accessible now, you can talk to them if you want, for example. They usually avoid the theme of religion in their writings, although there are some sacred subjects in some poets. -Three Major English Poems: The Faerie Queene It'a an Arthurian epic, initially conceived as twelve-book poem (with twelve cantos each), it portraits the virtues of a good Courtier in romantic tales. Based on a romance of a knight-erranty (Italian Chivalrous epics). Rich in visual details. Only six books were completed. The Faerie Queeneis notable for its form: it was the first work written in Spenserian stanza and is one of the longest poems in the English language. It is an allegorical work, written in praise of Queen Elizabeth I. In a completely allegorical context, the poem follows several knights in an examination of several virtues. Spense wanted to symbolize the unbroken bond of British history and the English Nation. The book creates people and monsters, represents various vices, evils and temptations. Paradise Lost Paradise Lost is an epic poem in blank verse , lines of iambic pentameter with no rhyme, by the 17th-century English poet John Milton. The poem concerns the Biblical story of the Fall of Man: the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Milton's purpose, stated in Book I, is to "justify the ways of God to men." William Shakespeare used and popularized the sonnet with the declamatory couplet. His popularity spring boarded the sonnet to a prominent place in English literature and become the 2nd dominant sonnet form along side the Petrarchan or Italian Sonnet (1**) The Shakespearean Sonnet, sometimes called the English Sonnet or Elizabethan Sonnet, does not use the octave/sestet structure of the Italian Sonnet. It is usually found in three quatrains ending with a rhyming couplet. Although the Italian form often pivots between the octave and the sestet, the Shakespearean Sonnet pivots deeper into the poem, sometime after line 9 or 10. Shakespeare even delayed the pivot until the 13th line in his Sonnet 30. Wherein the Italian sonnet discloses the epiphany of the subject slowly, the Shakespearean Sonnet makes a swift leap to the epiphany at the ending couplet. The defining features of the English or Shakespearean Sonnet are: 1. it is a quatorzain made up of 3 quatrains and ending in a rhymed couplet. 2. metric, written in iambic pentameter. Sometimes the opening line of the sonnet begins with the first foot, a trochee before the poem falls into a regular iambic pattern. 3. composed with the volta (a non physical gap) or pivot (a shifting or tilting of the main line of thought) deep into the poem, varied but always well after the 2nd quatrain. 4. developed so that each quatrain progresses toward a surprising turn of events in the ending couplet. The epiphany of the poem arrives in a swift leap at the end. 5. rhymed with up to 7 rhymes with a rhyme scheme is abab cdcd efef gg. 6. composed with an ending rhymed couplet which should be declamatory and the defining feature of the sonnet. This couplet is often the loudest, most powerful part of the sonnet. Themes: “The Sonnet” • Lady’s great beauty • Her power over the poet • Her cruelty to him • His sleeplessness • The fire of his love and the ice of her chastity • The pain of absence • The renunciation of love • And the eternity and originality of his poems. The Sonnet & Sonnet Sequence (IMPORTANT) • Italian form: octave (2 quatrains) and sexted, rhyming abba abba cdecde (introduced by Wyatt.SOME Sir Philip Sidney’s Astrophil and Stela 1591). The “volta” or “turning point” occurs in line 9. • English form: 3 quatrains and a couplet, rhiming abab, cdcd, efef, gg (introduced by Sydney’s Astrophil and Stela, Shakespeare…). The “volta” or “turn” often occurs in the 3rd quatrain or in the ending strophe (tercet or couplet). • Spencer’s Amoretti, 1595, preferref richer rhymes abab bebe cdcd ee. Shakespeare’s Sonnets (1609) • Finest love-poems. Cryptic sequence, neither narrative, nor autobiography. • The “L” of the Poet, the “Lovely Buy”, the Rival Poet, the Dark Lady. • Based on the Petrarchan tradition, but subverting it (Idealism vs. Realism; Chaste Lady vs. Dark, promiscuous Lady; “Lovely Boy” (not the lady) is the object of praise, love and devotion, etc.) The language of Sonnets • Simple language • Rich metaphorical style • Imagery from a wide variety of sources: law, history, gardening, astrology, navigation, domestic affairs… • Rhetorical strategy (IMPORTANT): to elaborate an initial statement to reach a conclusion in the final couplet, or to turn the situation into another direction in the final sextet. Differences between the Elizabethan and the Metaphysical Poetry. The term "metaphysical" refers to philosophical speculations beyond the sensory: notions such as time, God, human nature etc. The term was originally applied to Donne's poems because of his use of academic learning in the poems. Elizabethan poets, 16th century, were concerned with the expression of simple and conventional themes in a fairly elaborate and artificial way, the metaphysical were more intellectual in subject matters and style, and expressed their interest in their own experience and in the changing world around them. The different language used in this periods is also interesting, there is a contrast between the direct colloquial language used by Metaphysical poets and the irregular language of Elizabethan. It was very important to follow a logical order for Metaphysical, in contrast Elizabethan didn't have a special way of writing. -John Donne and the Metaphysical Wit. The last decade of the sixteenth century present in the poems of John Donne, a new style of verse. Donne, born in 1573, possessed one of the powerful intellects of the time, but his early manhood was largely wasted in dissipation, though he studied theology and law and seems to have seen military service. It was during this period that he wrote his love poems. Then, while living with his wife and children in uncertain dependence on noble patrons, he turned to religious poetry. He died in 1631 after having furnished a striking instance of the fantastic morbidness of the period (post-Elizabethan) by having his picture painted as he stood wrapped in his shroud on a funeral urn. The general characteristic of Donne's poetry is the remarkable combination of an aggressive intellectuality with the lyric form and spirit. Whether true poetry or mere intellectual cleverness is the predominant element may reasonably be questioned; but on many readers Donne's verse exercises a unique attraction. His poetry is called metaphysical poetry. Wit striking and subtle marks metaphysical poetry. Indeed, the conceits especially display a formidable wit. So do the various allusions and images relating to practically all areas of nature and art and learning. Allusions to medicine, Cosmology, ancient myth, contemporary discoveries, history, law and art abound in Donne’s poetry. Donne’s wit assumes different moods and attitudes reflecting his perception of the complexity of life. Wit makes itself evident in the paradoxes employed in the poem. Such paradoxical statements are to be found in several poems. They also expressed their interest in their own experience and in their changing world around them. Combination of passion and thought is a peculiar characteristic of metaphysicalpoetry, and is another form of wit. There is in Donne’s poems an intellectual analysis of emotion. Every lyric arises out of some emotional situation, but the emotion is not merely expressed; it is analysed. A Valediction: Forbidding Mourning proves that lovers need not mourn at parting; The Good Morrow asserts that lovers are the best possible hemispheres who make up a complete world. Intellect and wit blending with emotion and feeling marks metaphysical poetry, especially that of Donne. Indeed, Donne represents very well the school of poetry somewhat vaguely called “metaphysical”. He brought the whole of his experience into his poetry. He is erudite, “the monarch of wit”, colloquial, rhetorical or familiar. He chooses his language a direct colloquial language, not artificial Elizabethan language and irregular stanzas. It were also common the use of conceits or extended metaphors to illustrate a theme leading to a wide range of emotions and subtle analysis of life and love. - Wordsworth’s revolutionary ideas about poetry: “The Preface” to Lyrical Ballads One main point of this preface is to relate Wordsworth's intention to depict the common man, using the common language of man in his poetry. Another goal outlined in the preface is to show how feeling gives importance to the action and the situation. A third goal of Wordsworth's poetry is to illustrate the way in which poetry is a spontaneous overflow of powerful feelings. Wordsworth’s Conception of Poetry: Passion and Reflection Wordsworth propounded his views on poetry, its nature and functions and the qualification of a true poet in his Preface. So far as the nature of poetry is concerned, Wordsworth is of the opinion that “poetry is the spontaneous overflow of powerful feelings.” Poetry has its origin in the internal feelings of the poet. It is a matter of passion, mood and temperament. Poetry The Good Morrow. John Donne is one of the most celebrated poets of English language belonging to the metaphysical school of thought. “The Good Morrow” is one of his best poems which has been awarded with some magnificent traits of metaphysical poetry by the poet making it a jolting as well as well as an enthralling read. Metaphysical poetry is predominantly intellectual where the emotions of the poet are expressed through the working of the intellect. The metaphysical conceits present in ‘The Good Morrow’ in plenty which fuse binaries into singular essences, exemplify this particular trait. Donne’s pre- love days where he was deprived of true beauty has been compared to slumber in “The seven sleeper’s den”. In these conceits two very heterogeneous entities have been violently fused in a single matrix, the unlikeness of which strikes us more than its justness, which is exactly what metaphysical poetry stands for. These conceits which are far-fetched and hyperbolic are also responsible for providing Good Morrow with a certain level of obscurity and novelty of thought which is what the metaphysical poets strived to attain in their poetry. A major trait of metaphysical poetry is to break away from the Petrarchan traditions of poetry making. ‘The Good Morrow’ is very different from the 16th century Elizabethan love poems in the way it treats love and the mistress. Donne has described his beloved as one made of flesh and blood with whom he has enjoyed satisfying moments of love. Metaphysical poets were learned men whose knowledge of the world around them was discernible in their poetry. Good Morrow showcases this trait as well because of its extreme heterogeneity of references to many branches of learning such as geography, astronomy, mythology and so on. Metaphysical poetry is highly analytical which is why Donne comes across as an argumentative lawyer in Good Morrow. He tries to drive his point home that love can give a totality of experience that can encompass the world around without demanding any sacrifice of one’s identity by the blend of passion and reasoning professed through his dazzling conceits and intellectual statements – “Each hath one and is one”. ‘The Good Morrow’ because of its sharp anti-Petrarchan conceits, vibrant yet seemingly odd images and the heterogeneous assimilation of ideas and allusion, is a great piece of Metaphysical poetry where a perfect marriage takes place between the soul and the body, emotionality and intellectuality, the physical and the psychological and the sublime and the scholastic. This poem because of its imagery, conceits and subtle lyrical quality entails the “more intellectual less verbal character” of Donne’s wit. “Daffodils” (or “I Wandered Lonely as a Cloud” by William Wordsworth) Comment the poem in connection with his revolutionary ideas on poetry. In his poems Wordsworth showed that God and universe or nature are the same thing and he also expressed a relation between the man and common life with the cosmos. In “I wandered lonely as a cloud”, Wordsworth identifies the daffodils with the starts that shine and the Milky Way, everything as the same thing. Wordsworth wrote realistic poetry, themes and situations from common life, anything about fantastic characters. He preferred tell stories about real and common man or woman, children, animals or nature elements. “I wandered lonely as a cloud” tells the story of a man who is wandering and suddenly he saw a lot of daffodils which “dance in the breeze”. This is an example of how a natural fact as the flowering of daffodils can be used by the poet to make a story and shows it in a poem. It is not necessary to utilize unreal elements or fantastic characters. Furthermore, Wordsworth also changed the language in poetry. He was not only focused in trying to use an archaic language with a lot of metaphors, elevated style and difficult words that people don’t commonly know. He preferred to use the language of feelings, a spontaneous and emotional language which everybody can understand. The metaphors and personifications he used were about natural scenery. The “sublime”, the excellence in language, the expression of a great spirit, the power to provoke an ecstasy in readers. He expresses the sublime through the nature, as it is seen in “I wandered lonely as a cloud”, how a simple fact is telling as a great event, how the poet expresses what the character feels and how Wordsworth makes that the readers can feel. 5.5- “Ozymandias” (by Percy Bysshe Shelley). Comment this poem in connection with the Romantic ideals and preoccupations. Ozymandias is a poem which reflects some aspects of the English Romanticism One of the aspects reflected in the poem is the interest in exotic places. Ozymandias takes place in a foreign land that allows the reader to use their imagination to interpret things in their own way. We can also see the sense of individualism in this poem. It is focused on one individual literally to convey a message. The love and worship of nature is also present here, because the scene of the poem is located in a desert, far away of the urban life. Another characteristic is the interest in the past. The poem Ozymandias travels deep into the past and alludes to thirteenth century Egypt B.C and the supposed monarch in that time period. This allusion is supported by this quote: "I met a traveler from an antique land." It is being compared Shelley’s period with the thirteen century. The interest in inmortality is also seen in Ozymandias. Shelley presents a monarch that was overly proud, his pride was so towering that he built a statue of himself, that he believed would be relevant for some time. Ozymandias felt as though his greatness would endure, as though he would be immortal himself, "My name is Ozymandias, king of kings: Look on my works, ye Mighty and despair!" However, Shelley’s envision proves false as he is no longer relevant, and his statue is no longer erect nor intact, it is isolated and unnoticed, "Nothing beside remains. Round the decay." Shelley builds this piece of work around the theme of immortality. 5.6- “Dover Beach” (by Matthew Arnold). Comment this poem in connection with Victorian times. Dover Beach is a poem by Matthew Arnold, who wanted to say that the faith, that great mainstay of the Victorian world, had failed, like a light gone out. All that's left is love. Matthew Arnold was born in Victorian age in which people no longer appreciated the beauty of nature but believed in new discoveries of science. The faith of religious was being critical, too. However, in this poem, the narrator was kind of mourning the fade of faith in God. In the first stanza, the sea was calm, but under it there were many pebbles drew back and flung which made the "grating roar" and "bring the eternal note of sadness in". The narrator was with his lover standing by the window. He said, "Come to the window, sweet is the night!” He was watching Dover Beach and felt the beauty of it. In the second and third stanza, the narrator compared himself to Sophocles and both of them were listening to "the misery of human". "The misery of human" referred to people at that time pursued science blindly and forgot about the importance of nature inspiration. Matthew Arnold was quite right: love is the basic need for human, especially for lovers. If lovers couldn't be true to each other when other people quench their true feelings to fit the modern trends, then nothing is sincere. It seemed old fashioned for Matthew Arnold to adore romance, but actually he was more modern than other people at Victorian age. He knew the faith in nature and God cannot be changed even if science has its charms to influence people. -“The Windhover” and Gerard Manely Hopkins’ poetic innovations. "The Windhover" is a sonnet by Gerard Manley Hopkins (1844–1889). Hopkins dedicated the poem "to Christ our Lord". The name of “Windhover” refers to the bird's ability to hover in midair while hunting prey. In the poem, the narrator admires the bird as it hovers in the air, suggesting that it controls the wind as a man may control a horse. The bird then suddenly swoops downwards and "[rebuffs] the big wind". The bird can be viewed as a metaphor for Christ or of divine epiphany. Gerard Manley Hopkins is now regarded as one of poetry’s great innovators, using Welsh and Anglo-Saxon traditions to create poems, crammed full of repetition and alliteration. The result is poetry bursting with dynamic energy. The confusing grammatical structures and sentence order in this sonnet contribute to its difficulty, but they also represent a masterful use of language. Hopkins blends and confuses adjectives, verbs, and subjects in order to echo his theme of smooth merging: the bird’s perfect immersion in the air, and the fact that his self and his action are inseparable. Note, too, how important the “-ing” ending is to the poem’s rhyme scheme; it occurs in verbs, adjectives, and nouns, linking the different parts of the sentences together in an intense unity. A great number of verbs are packed into a short space of lines, as Hopkins tries to nail down with as much descriptive precision as possible the exact character of the bird’s motion. “The Windhover” is written in “sprung rhythm,” a meter in which the number of accents in a line is counted but the number of syllables does not matter. This technique allows Hopkins to vary the speed of his lines so as to capture the bird’s pausing and racing. Listen to the hovering rhythm of “the rolling level underneath him steady air,” and the arched brightness of “and striding high there.” The poem slows abruptly at the end, pausing in awe to reflect on Christ. As a result of this sprung rhythm, many of these short lyrics exhibit a tension between the energy and force of the rhythm and the restriction of the form. Many of the best of these lyrics express Hopkins's ecstatic joy in the beauty of nature. His works revealed his constant effort to discern and reproduce the particular characteristics of a beautiful object or experience that distinguish it from any other. Hopkins called this individuality or "inscape" and designated the experience of perceiving inscape and thereby being joined more intimately with the object or experience as "instress." Coleridge’s drug use also appears in the poem. These lines can loosely interpreted as Coleridge’s vision would have been so great and strange that people might have seen him as a wizard or a person of dark magic. They also might have thought he was crazy, not unlike many people think that Lewis Carroll, another opium addict, was crazy, too. This comes from the mention of weaving of a circle around him and the flashing eyes and floating hair. The implication of drug use might come from “For on honeydew he hath fed/ And drunk the milk of Paradise!” Paradise could mean the “high” from the opium. With this poem Coleridge shows the fact that If we can share all of what our imagination has to offer with society, society can benefit. It can expose the world to another alternate universe where chaos is order and order does not exist, nothing is what we expect. 6.4- “Ode to the West Wind” (By Percy Bysshe Shelley) and the Romantic Poet. Percy Bysshe Shelley’s “Ode to the West Wind,” is a poem very related with the ideals of Romanticism, of which one is the imaginative proportions to which he depicts the creative force of the “West Wind.” These are just a few of the Romantic elements in Shelley’s poetry, which depict him as an astounding Romantic poet. Shelley pays homage to the “West Wind” by starting the ode with an invocation, and he allows it to run through the poetic veins of the persona in the strophe and the antistrophe. The first stanza is an invocation: “O wild West Wind, thou breath of Autumn’s being,/ Thou, from whose unseen presence the leaves dead/ Are driven, like ghosts from an enchanter fleeing.” Here, the persona seems to be in harmony with the natural world as he appreciates the power of the “West Wind” as an agentive force of change. Metaphors such as “Autumn,” “Wild Spirit,” “Destroyer,” “Preserver,” “Angels,” “bright hair of Maenad,” and “Dirge” are used by the poet to give the poem varying degrees of imagery—kinetic, visual, and auditory—to delineate the external world as reveling in beauty, glory, and power in the strophe. Shelley, also, extols the power of the “West Wind” in the antistrophe, but in the epode, he drifts into a salubrious imagination in which the persona wishes he were a boy accompanying his idol —the “West Wind”--on its “wanderings over Heaven.” Indeed, Shelley becomes so enchanted with the West Wind that he equates himself with its evocative force. As he points out, “West Wind has chained and bowed/ One too like thee: tameless, Wind.” In a sense, Shelley espouses the diligence and talent of the persona in the poem: “A heavy weight of hours and swift, and proud” (55-56). -Ode on a Grecian Urn "Ode on a Grecian Urn" is a poem written by the English Romantic poet John Keats in May 1819 and published in January 1820. It is one of his "Great Odes of 1819", which include: • "Ode on Indolence" • "Ode on Melancholy" • "Ode to a Nightingale" • "Ode to Psyche" The collection represented a new development of the ode form. He was inspired of works on classical Greek art. The classical Greek art was idealistic and captured Greek virtues, which forms the basis of the poem. “Ode on a Grecian Urn” is divided into five stanzas of ten lines each, the ode contains a narrator's discourse on a series of designs on a Grecian urn. The poem focuses on two scenes: One in which a lover eternally pursues a beloved without fulfilment, and another of villagers about to perform a sacrifice. The final lines of the poem declare that "'beauty is truth, truth beauty,' – that is all / Ye know on earth, and all ye need to know", and literary critics have debated whether they increase or diminish the overall beauty of the poem. Critics have focused on other aspects of the poem, including the role of the narrator, the inspirational qualities of real-world objects, and the paradoxical relationship between the poem's world and reality. Analysis of “Ode on a Grecian Urn” The poem begins with the narrator's silencing the urn by describing it as the "bride of quietness", which allows him to speak for it using his own impressions. The narrator addresses the urn by saying: Thou still unravish'd bride of quietness! Thou foster-child of silence and slow time (lines 1–2) The urn is a "foster-child of silence and slow time" because it is created from stone and made by the hand of an artist who does not communicate through words. As stone, time has little effect on it and ageing is such a slow process that it can be seen as an eternal piece of artwork. The urn is an external object capable of producing a story outside the time of its creation, and because of this ability the poet labels it a "sylvan historian" that tells its story through its beauty: Sylvan historian, who canst thus express A flow'ry tale more sweetly than our rhyme: What leaf-fring'd legend haunts about thy shape Of deities or mortals, or of both, In Tempe or the dales of Arcady? What men or gods are these? What maidens loth? What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy? (lines 3–10) The questions presented in these lines are too ambiguous to allow the reader to understand what is taking place in the images on the urn, but elements of it are revealed: there is a pursuit with a strong sexual component. The melody accompanying the pursuit is intensified in the second stanza: Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; Not to the sensual ear, but, more endear'd, Pipe to the spirit ditties of no tone: (lines 11–14) There is a hint of a paradox in that indulgence causes someone to be filled with desire and that music without a sound is desired by the soul. There is a stasis that prohibits the characters on the urn from ever being fulfilled: Bold Lover, never, never canst thou kiss, Though winning near the goal – yet, do not grieve; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair! (lines 17–20) In the third stanza, the narrator begins by speaking to a tree, which will ever hold its leaves and will not "bid the Spring adieu". The paradox of life versus lifelessness extends beyond the lover and the fair lady and takes a more temporal shape as three of the ten lines begin with the words "for ever". The unheard song never ages and the pipes are able to play forever, which leads the lovers, nature, and all involved to be: For ever panting, and for ever young; All breathing human passion far above, That leaves a heart high-sorrowful and cloyed, A burning forehead, and a parching tongue. (lines 27–30) A new paradox arises in these lines because these immortal lovers are experiencing a living death.To overcome this paradox of merged life and death, the poem shifts to a new scene with a new perspective. The fourth stanza opens with the sacrifice of a virgin cow: Who are these coming to the sacrifice? To what green altar, O mysterious priest, Lead'st thou that heifer lowing at the skies, And all her silken flanks with garlands drest? What little town by river or sea shore, Or mountain-built with peaceful citadel, Is emptied of its folk, this pious morn? And, little town, thy streets for evermore Will silent be; and not a soul to tell Why thou art desolate, can e'er return. (lines 31–40) All that exists in the scene is a procession of individuals, and the narrator conjectures on the rest. The altar and town exist as part of a world outside art, and the poem challenges the limitations of art through describing their possible existence. The questions are unanswered because there is no one who can ever know the true answers, as the locations are not real. The final stanza begins with a reminder that the urn is a piece of eternal artwork: O Attic shape! Fair attitude! with brede Of marble men and maidens overwrought, With forest branches and the trodden weed;