The urn is portrayed, in elevated language as a take note and silent form, suitable for this horation ode comprised. It is written in iambic pentameter which lends the engineer a familiar, flowing rhythm. The tone is both musing and meditative. The song is an apostrophe as the speaker addresses the object directly, but the enounce urn is unaccompanied used in the title. The effect of this is to focus the readers attention on what is represented rather than the physical form. The rhyme scheme is a formal ABAB CDE for the first seven lines of each stanza, however the vex three lines seem to break from this formability as the scenes depicted on the urn break from the pure lines of the object. The first line introduces the allegory of the urn as a still unravishd bride. (1.1) in that respect is a dual sum to the countersign still which feces refer to both time and neglect of motion. There is the interesting paradox of married yet virginal. The metaphor changes in the seco nd line to a foster child. (1.2) The urn is both get married to and pick pop by time and silence. It is described as a sylvan historian, a rec ordinate of history, stressing its link with the past. It is through the unbelieving of the urn that the reader learns of the images that hasten captivated the speaker to the extent that he describes them as blue-ribbon(prenominal) to his poem. He appears unsure as to whether the figures on the vase be Gods or mortals, which again emphasizes the beauty of the figures. The use of alliteration in silent and slow up time and leaf-fringd legend add to the harmonious tone and contrasts with the disagreement of the next lines.

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