ABSTRACT
In the “Ode to a Nightingale” the artistic vertex is dominant: through listening to the underlying musical Idea, the poet makes contact with the unknown or unseeable inside the object—the invisible spirit of the Sleeping Beauty through “view-less wing”. In the “Ode on a Grecian Urn”, the scientific observation of the outside of the object is what shapes the poem, but it is modified by the intuition that somewhere is a voice that is inaudible to the “sensuous ear”, yet still speaks by virtue of the shape of its silence. The idea of silence has taken shape and become a container for the gaps in everyday sensuous knowledge that Wilfred Bion refers to through his metaphors of the tennis net, or the sculpture that acts as a trap for light, etc. Moneta is Keats’s final Sleeping Beauty, seen by the haunting light of her own “planetary eyes”.
