Ode on a Grayson Perry Urn
The title of the poem ‘Ode on a Grayson Perry Urn’ is an intertextual reference to Keats’ 1819 poem
‘Ode on a Grecian Urn,’ in which Keats explores the idea of the truth of beauty, an idea mirrored in
Turnbull’s poem, although his message is different. Keats conclusively states that ‘Beauty is truth,
truth beauty’ whereas Turnbull argues that beauty is ‘in the gift of the beholder,’ changing Keats’
idea of an objective truth instead to the idea of beauty being a subjective ideal. Turnbull’s poem is
about a piece of pottery by Grayson Perry- he attempts to represent aspects of working class culture
through his art.
Key aspects of form and structure:
The structure of ‘Ode on a Grayson Perry Urn’ conforms to the same layout as ‘Ode on a
Grecian Urn’ in that it has five stanzas each made up of ten lines. This would make it even
more recognisable as being inspired by Keats’ work, and also can be seen as creating a link
to the past through the structure, which in turn enables greater consideration of the present
through language techniques and choices.
The ‘traditional’ rigid stanza structure may be seen as indicating a traditional poem, when in
fact the content is very contemporary.
A mix of both enjambment and end-stopped lines adds an inconsistent element to the
otherwise predictable structure, helping to add a greater sense of diversity and freedom to
the sound of the poem. It can also be seen as helping to make the poem feel as if it is
progressing faster, perhaps reflecting the perceived faster pace of life in modern society and
the speed of communication and connection between individuals.
Enjambment creates a sense of continuity and freedom, reflecting the youth and freedom of
the children on the urn as they are frozen in time.
Key methods and arguments of the poem:
Hyperbole and conversational tone are used to mock the media and challenge traditional
stereotypes as Turnbull seems to oppose Keats’ ideal:
Opening the poem which speech, in particular something as friendly as ‘Hello!’ immediately
sets the tone of the poem as being less serious, more fun and definitely friendly and
approachable. This sets the tone of the poem to be quite informal, which is important for
some subjects raised and the overall semantic field.
When discussing the contrast between the ‘gaudy evocation’ of Perry (the vibrant vase) and
the depiction of youth in the tabloid press, Turnbull parenthetically separates the word
‘somehow’ which slows the rhythm of the poem and makes the tone more contemplative,
as if Turnbull is questioning why the urn can ‘conjure the scene’ without the ‘fright’ a Daily
Express article might provoke. This might relate to the tabloids tendency to criminalize the
working classes and make them a feared group within society.
Throughout the poem, Turnbull’s lack of personal condemnation for the ‘Burberry clad
louts’ is evident, a contrast to the ‘fright’ that a ‘Daily Express exposé’ would induce.
The language used throughout the poem, subverting the sensationalised language of the
tabloids, demonstrates Turnbull’s anger at the media’s portrayal of the youth and his
deviation from traditional ideas, which is again reflected in the poem’s conclusion.
The title of the poem ‘Ode on a Grayson Perry Urn’ is an intertextual reference to Keats’ 1819 poem
‘Ode on a Grecian Urn,’ in which Keats explores the idea of the truth of beauty, an idea mirrored in
Turnbull’s poem, although his message is different. Keats conclusively states that ‘Beauty is truth,
truth beauty’ whereas Turnbull argues that beauty is ‘in the gift of the beholder,’ changing Keats’
idea of an objective truth instead to the idea of beauty being a subjective ideal. Turnbull’s poem is
about a piece of pottery by Grayson Perry- he attempts to represent aspects of working class culture
through his art.
Key aspects of form and structure:
The structure of ‘Ode on a Grayson Perry Urn’ conforms to the same layout as ‘Ode on a
Grecian Urn’ in that it has five stanzas each made up of ten lines. This would make it even
more recognisable as being inspired by Keats’ work, and also can be seen as creating a link
to the past through the structure, which in turn enables greater consideration of the present
through language techniques and choices.
The ‘traditional’ rigid stanza structure may be seen as indicating a traditional poem, when in
fact the content is very contemporary.
A mix of both enjambment and end-stopped lines adds an inconsistent element to the
otherwise predictable structure, helping to add a greater sense of diversity and freedom to
the sound of the poem. It can also be seen as helping to make the poem feel as if it is
progressing faster, perhaps reflecting the perceived faster pace of life in modern society and
the speed of communication and connection between individuals.
Enjambment creates a sense of continuity and freedom, reflecting the youth and freedom of
the children on the urn as they are frozen in time.
Key methods and arguments of the poem:
Hyperbole and conversational tone are used to mock the media and challenge traditional
stereotypes as Turnbull seems to oppose Keats’ ideal:
Opening the poem which speech, in particular something as friendly as ‘Hello!’ immediately
sets the tone of the poem as being less serious, more fun and definitely friendly and
approachable. This sets the tone of the poem to be quite informal, which is important for
some subjects raised and the overall semantic field.
When discussing the contrast between the ‘gaudy evocation’ of Perry (the vibrant vase) and
the depiction of youth in the tabloid press, Turnbull parenthetically separates the word
‘somehow’ which slows the rhythm of the poem and makes the tone more contemplative,
as if Turnbull is questioning why the urn can ‘conjure the scene’ without the ‘fright’ a Daily
Express article might provoke. This might relate to the tabloids tendency to criminalize the
working classes and make them a feared group within society.
Throughout the poem, Turnbull’s lack of personal condemnation for the ‘Burberry clad
louts’ is evident, a contrast to the ‘fright’ that a ‘Daily Express exposé’ would induce.
The language used throughout the poem, subverting the sensationalised language of the
tabloids, demonstrates Turnbull’s anger at the media’s portrayal of the youth and his
deviation from traditional ideas, which is again reflected in the poem’s conclusion.
