Ode on a Grayson Perry Urn (Tim Turnbull)
Title and context
• Evokes Keats’ famous poem “Ode on a Grecian Urn”, reworking this concept into a
modern-day version. Keats describes looking at the crystallised, permanent images
(in contrast to ephemeral mortal life) on a historical urn, who are both free from
time yet also trapped in time - philosophical ruminations, heralded and highbrow
ideas about art and humanity.
• “Ode” suggests a ruminative piece of writing. Exalted tone of this title contrasts to
its bathetic modernism and lively tone.
• Grayson Perry is a contemporary ceramic artist, known for applying contrasting
realist depictions of modern life to traditional forms of pottery (he says that he
uses ceramic urns as he believes this classical, familiar form is a medium through
which his more modern and shocking artwork can be accepted). Perhaps parallels
to the way the poem uses a traditional form which its content and tone are
deliberately at odds with.
Possible themes
• Passing of time, how future will reflect on the present
• Attitudes and reverence of the past
• The energy and oblivion of youth
• Modern art
• Cultural and national identity
• Social commentary, class
Voice
• Turnbull’s poetry is sharply witty and often very humorous. This poem comes from
a collection which presents a satirical survey of the cultural landscape of post-
modernism, lampooning human endeavours.
• Turnbull is as ruminative as Keats and contemplates much in the same way
(ceramics frozen in time, asks similar questions at the end), but tone is less
highfaluting and more of curiosity. Presents an undiluted image of urban reality
and youth culture, snapshot into society (in contrast to idyllic images in Keats)–
bathetic contrast of modern youth to the highbrow, majestic spectacle of the
Grecian Urn.
• Tone on opening is one of a bemused, even dismissive, onlooker (perhaps has
created the voice of a highbrow artistic/cultural connoisseur, tone of superiority,
looks down on the youths depicted). Perhaps satirises modern attitudes towards
modern art in contrast to the reverence of the works of classical masters of old
(react differently to a Grayson Perry urn to an ancient Greek one).
• Urn is described in a jaunty, upbeat and energised tone – despite the images being
frozen in time, the sense of motion, sound and visual energy is strikingly alive.
, Form
Structurally mirrors that of Keats: 10 line stanzas with 10 syllables a line, with a rhyme
scheme (ABABCDEDCE) and iambic beat. Uses a traditional, highfaluting form which its
content and tone are deliberately at odds with, subverting ideas about national identity
(c.f. Perry’s approach as a ceramic artist).
Yet strains against this structure in other ways, e.g. enjambment over stanzas and long,
fast-paced sentences – creates a sense of motion and escalating energy.
Narrator (see voices – satirises attitudes to modern art through its provocatively
highfaluting tone)
Attitudes to the urn
• “Hello! What’s all this here?” – colloquial, contrast to the formality of Keats and
pedestalling of ancient urn. Bemused, baffled, curious tone of onlooker.
• “A kitschy vase” – kitschy = cheesy, tacky, dismisses as lowbrow art
• “some Shirley Temple manqué” – refers to Grayson Perry’s famous Shirley Temple
outfit. ‘Manqué’ means a failed wannabe, derogatory.
• “knocked out” – suggests thoughtless, produced quickly and unreflectively
• “your gaudy evocation can, somehow, / conjure the scene” – ‘gaudy’ dismisses
overly bright and lurid colours, yet also a grudging understanding and awe that it
conveys meaning successfully. Commas around ‘somehow’ suggest contemplation,
surprise.
• “without inducing fright / as would a Daily Express exposé” - acceptance of these
unsavoury images on a vase and within the context of art, but would find them
distasteful in reality. Reference to a popular tabloid – explores way UK culture is
governed and society is herded into beliefs about class and culture, Perry plays on
the way that art is an acceptable vehicle for the middle class.
• “and yet educe” – formal and eloquent language seems preposterous in
juxtaposition with the content depicted on the vase. Sense of surprise and awe.
• “now, see who comes” – narrator’s presence, describing the vase, engagement
with it as if it is a scene in motion.
• “you garish crock” – addresses the vase directly, almost personified/animate, adds
sardonic humour (in contrast to reverent tone of Keats).
Attitudes to the youths
• “delineating tales of” – sophisticated phrasing, narrator begins with sense of
superiority and uses a deliberately dismissive tone to emphasize the bathos of the
vase’s scene.
• “creating bedlam on the Queen’s highway” – looking down, pompous and offended
by the youths. Highfaluting tone to describe a motorway creates humour.
• “too young to quite appreciate / the peril they are in” - sensible, highbrow voice
casts opinion, wry adult humour contrasts to the freedom and exhilaration of youth
The energy of youth, modern society
