Ode on a Grayson Perry Urn by Tim Turnbull

Analysis of the Title

The title "Ode on a Grayson Perry Urn" alludes to John Keats' famous poem "Ode on a Grecian Urn," immediately placing this modern poem in conversation with classical art and literature. The juxtaposition of "Grayson Perry," a contemporary artist known for his provocative and kitsch ceramic works, with the traditional "Ode" form highlights the blending of high and low culture. The title suggests that the poem will explore contemporary life and art, much like Keats' original work examined the relationship between art, beauty, and truth.

Structure and Form

Form, Meter, and Rhyme

• The poem is written in a loose iambic pentameter, though it occasionally deviates from this pattern to create a more conversational tone.
• The poem does not adhere to a strict rhyme scheme, reflecting the chaotic and unstructured nature of modern life depicted in the poem.
• The structure mimics the classical ode form but subverts it by focusing on contemporary, less traditionally "beautiful" subjects.

Speaker

• The speaker adopts a tone that is both casual and critical, reflecting on the scenes depicted on the vase with a mix of admiration and disdain.
• The speaker's voice is conversational and informal, contrasting with the traditionally elevated tone of an ode. This reflects the poem's thematic focus on the intersection of high and low culture.

Setting

• The setting shifts between the imagined scenes depicted on the Grayson Perry urn and the broader context of modern British society.
• The scenes described evoke images of urban life, youth culture, and the sometimes chaotic and rebellious spirit of contemporary Britain.

Poetic Devices

Allusion

• The poem alludes to Keats' "Ode on a Grecian Urn," both in its title and in its thematic exploration of art and life.
• The poem also references modern British culture, such as the "Daily Express," a tabloid newspaper, highlighting the contrast between classical and contemporary forms of storytelling.

Irony

• The poem is rich in irony, particularly in how it treats the scenes depicted on the urn. The traditional form of the ode is used to praise what might be considered vulgar or lowbrow subject matter.
• The contrast between the high art form of the urn and the "crap estates" and "Burberry clad louts" depicted on it highlights the tension between different cultural values.

Imagery

• Vivid imagery is used throughout the poem to depict scenes of modern British life, such as "kids in cars on crap estates" and "the throaty turbo roar of hatchbacks."
• The imagery captures the energy and vibrancy of youth culture, while also hinting at its potential dangers.

Colloquial Language

• The use of colloquial language, such as "louts" and "crap estates," grounds the poem in contemporary, everyday British life.
• This language choice creates a stark contrast with the elevated language typically associated with an ode, reinforcing the poem's theme of blending high and low culture.

Key Themes

The Intersection of High and Low Culture

• The poem explores the tension between classical art forms and contemporary popular culture.
• By using the traditional ode form to describe modern scenes, the poem elevates everyday life to the level of high art.
• The urn, a traditionally revered object, is decorated with scenes of "kids in cars on crap estates," blending the sacred and the profane.

The Ephemeral Nature of Youth

• The poem captures the fleeting nature of youth and the reckless energy that often accompanies it.
• The description of the "Burberry clad louts" and "throaty turbo roar" of cars suggests a celebration of youthful exuberance.
• However, the poem also hints at the dangers and potential consequences of this lifestyle, as seen in the "crude games of chlamydia roulette."

Art and Immortality

• The poem draws on the classical theme of art's ability to immortalize moments in time.
• Like the Grecian urn in Keats' poem, the Grayson Perry urn captures and preserves scenes of contemporary life.
• The speaker imagines how future generations will view these scenes, pondering whether they will see them as "free and bountiful" or merely "kitschy."

Line by Line Analysis

Lines 1-2

Hello! What's all this here? A kitschy vase

some Shirley Temple manqué has knocked out

"Hello! What's all this here? A kitschy vase"

• The speaker begins with a casual greeting, and directly addresses the vase, establishing an informal tone.
• The phrase "kitschy vase" suggests the vase is gaudy or in bad taste, contrasting with the typical reverence of art.

_"_some Shirley Temple manqué has knocked out"

• "Shirley Temple manqué" refers to the artist Grayson Perry, known for his flamboyant style, likening him to the child star Shirley Temple.
• The phrase "knocked out" implies the vase was created quickly or carelessly, further undermining its artistic value.

Lines 3-10

delineating tales of kids in cars

on crap estates, the Burberry clad louts

who flail their motors through the smoky night

from Manchester to Motherwell or Slough,

creating bedlam on the Queen's highway.

Your gaudy evocation can, somehow,

conjure the scene without inducing fright,

as would a Daily Express exposé,

"delineating tales of kids in cars"

• The urn is described as depicting stories of modern youth culture, specifically focusing on young people in cars.
• The use of the word "delineating" suggests a detailed or precise depiction.

"on crap estates, the Burberry clad louts"

• The phrase "crap estates" refers to lower-income housing areas, while "Burberry clad louts" alludes to the stereotype of working-class youth wearing Burberry, a brand often associated with chav culture.
• The derogatory language highlights the speaker's critical view of the subjects depicted on the urn.

"who flail their motors through the smoky night"

• The youths are portrayed as recklessly driving their cars, "flailing" them, which connotes a lack of control.
• The "smoky night" adds a sense of danger and mystery to the scene.

"from Manchester to Motherwell or Slough,"

• The mention of various British towns and cities emphasizes the widespread nature of this youth culture across the country.
• These locations represent different parts of the UK, indicating that the scenes depicted on the urn are not confined to one area but are a national phenomenon.

"creating bedlam on the Queen's highway."

• "Creating bedlam" suggests that the youths are causing chaos on the roads, further emphasizing their reckless behaviour.
• The "Queen's highway" refers to the public roads' behaviour, suggesting that this behaviour is a disruption to the social order.

"Your gaudy evocation can, somehow,"

• The speaker refers to the urn's depiction as a "gaudy evocation," reinforcing the idea that the artwork is flashy and in poor taste.
• The word "somehow" implies a sense of disbelief or surprise that the urn can capture these scenes effectively.

"conjure the scene without inducing fright,"

• Despite the chaotic and potentially frightening scenes depicted, the urn does not evoke fear in the viewer.
• This line suggests a certain detachment or romanticization of the depicted behaviour.

"as would a Daily Express exposé,"

• The "Daily Express" is a British tabloid known for sensationalist stories, particularly about behaviour crime and anti-social behaviour.
• The comparison implies that, unlike the tabloid, the urn portrays these scenes in a less alarmist, more aestheticized manner.

Lines 11-20

can bring to mind the throaty turbo roar

of hatchbacks tuned almost to breaking point,

the joyful throb of UK garage or

of house imported from the continent

and yet educe a sense of peace, of calm -

the screech of tyres and the nervous squeals

of girls, too young to quite appreciate

the peril they are in, are heard, but these wheels

will not lose traction, skid and flip, no harm

befall these children. They will stay out late

"can bring to mind the throaty turbo roar"

• The urn is described as evoking the sound of powerful car engines, emphasizing the energy and intensity of youth culture.
• The phrase "throaty turbo roar" suggests a deep, resonant sound, characteristic of modified cars.

"of hatchbacks tuned almost to breaking point,"

• The cars are "tuned" or modified for maximum performance, often pushing the limits of safety.
• The phrase "breaking point" implies that these modifications are extreme and dangerous.

"the joyful throb of UK garage or"

• The music genre "UK garage" is associated with the youth culture depicted on the urn, representing the soundtrack to their lives.
• The "joyful throb" conveys the energy and excitement of the music, contrasting behaviour potentially dangerous behaviour it accompanies.

"of house imported from the continent"

• "House" music, originally from continental Europe, is also part of the cultural backdrop, highlighting the influence of global trends on British youth.
• The inclusion of this music genre further situates the scene within a specific cultural context.

"and yet educe a sense of peace, of calm -"

• Despite the chaos and noise, the urn somehow evokes a sense of tranquillity, suggesting a romanticized or idealized portrayal of the scene.
• The dash at the end of the line indicates a pause, emphasizing the surprising nature of this calm.

"the screech of tyres and the nervous squeals"

• The sounds of the scene are vividly depicted, with "screech of tyres" and "nervous squeals" highlighting the tension and excitement of the moment.
• The "nervous squeals" of the girls contrast with the confidence and recklessness of the boys driving.

"of girls, too young to quite appreciate"

• The girls are described as "too young" to fully understand the risks involved, emphasizing their vulnerability.
• This line hints at the potential dangers of the behaviour being depicted, even as it is romanticized.

"the peril they are in, are heard, but these wheels"

• The "peril" is acknowledged but downplayed, as the poem reassures that no harm will come to the children.

"will not lose traction, skid and flip, no harm"

• The poem insists that the cars will not crash, further romanticizing the scene and downplaying the potential consequences.
• The repetition of "no harm" reinforces this sense of safety, despite the evident risks.

"befall these children. They will stay out late"

• The children are depicted as invincible, able to stay out late without any negative consequences.
• This line encapsulates the idealized portrayal of youth culture, where danger is present but ultimately harmless.

Lines 21-30

forever, pumped on youth and ecstasy,

on alloy, bass and arrogance, and speed

the back lanes, the urban gyratory,

the wide motorways, never having need

to race back home, for work next day, to bed.

Each girl is buff, each geezer toned and strong,

charged with pulsing juice which, even yet,

fills every pair of Calvin's and each thong,

never to be deflated, given head

in crude games of chlamydia roulette.

"forever, pumped on youth and ecstasy,"

• The youths are described as being perpetually energized by "youth and ecstasy," both the emotion and the drug.
• The word "forever" suggests a timeless, eternal quality to their actions, as if they are trapped in this moment of youthful exuberance.

"on alloy, bass and arrogance, and speed"

• The line lists the elements that fuel this youth culture: the "alloy" of their cars, the "bass" of their music, their "arrogance," and their love of "speed."
• This accumulation of nouns emphasizes the intensity and energy of their lifestyle.

"the back lanes, the urban gyratory,"

• The youths navigate through "back lanes" and "urban gyratories," symbolizing the different spaces they inhabit, from secluded areas to busy city intersections.
• These locations represent the freedom and mobility of youth, unconfined by the usual constraints of society.

"the wide motorways, never having need"

• The "wide motorways" symbolize the vast possibilities open to them, as they drive without any immediate destination or responsibility.
• The phrase "never having need" suggests a carefree existence, unburdened by the pressures of adult life.

"to race back home, for work next day, to bed."

• The youths are not concerned with returning home or adhering to a routine, highlighting their freedom and detachment from adult responsibilities.
• This line contrasts with the typical adult life, which is structured around work and obligations.

"Each girl is buff, each geezer toned and strong,"

• The poem idealizes the physical appearance of the youths, describing the girls as "buff" and the boys as "toned and strong."
• This emphasis on physicality underscores the vitality and energy of youth.

"charged with pulsing juice which, even yet,"

• The youths are "charged with pulsing juice," a metaphor for their vibrant energy and sexual vitality.
• The phrase "even yet" suggests that this energy is enduring, not yet diminished by time or experience.

"fills every pair of Calvin's and each thong,"

• The mention of "Calvin's" (Calvin Klein underwear) and "thong" further emphasizes the sexualized, fashion-conscious nature of this youth culture.
• The line captures the confidence and pride they take in their appearance.

"never to be deflated, given head"

• The youths are depicted as never losing their confidence or energy, with "never to be deflated" suggesting an unending vitality.
• The phrase "given head" refers to sexual activity, indicating the casual, hedonistic lifestyle they lead.

"in crude games of chlamydia roulette."

• The poem acknowledges the behaviour consequences of their behaviour with the mention of "chlamydia roulette," a reference to the risks of casual sex.
• The phrase "crude games" underscores the reckless and sometimes dangerous nature of their actions.

Lines 31-40

Now see who comes to line the sparse grass verge,

to toast them in Buckfast and Diamond White:

rat-boys and corn-rowed cheerleaders who urge

them on to pull more burn-outs or to write

their donut Os, as signature, upon

the bleached tarmac of dead suburban streets.

There dogs set up a row and curtains twitch

as pensioners and parents telephone

the cops to plead for quiet, sue for peace -

tranquility, though, is for the rich.

"Now see who comes to line the sparse grass verge,"

• The poem shifts focus to the onlookers who gather to watch the youths, suggesting a sense of spectacle.
• The "sparse grass verge" indicates a neglected or rundown area, setting the scene in a typical urban or suburban environment.

"to toast them in Buckfast and Diamond White:"

• The onlookers are drinking "Buckfast" and "Diamond White," both associated with cheap, strong alcohol, reinforcing the working-class setting.
• The act of toasting the youths suggests a celebration or approval of their rebellious behaviour.

"rat-boys and corn-rowed cheerleaders who urge"

• The "rat-boys" and "corn-rowed cheerleaders" represent different subcultures within the youth community, adding diversity to the scene.
• These figures "urge" the drivers on, encouraging more reckless behaviour.

"them on to pull more burn-outs or to write"

• The onlookers encourage the drivers to perform "burn-outs," a stunt involving spinning the car's wheels to create smoke, or to "write their donut tyre referring to the circular tire marks left on the road.
• These activities symbolize defiance and a desire to leave a mark, both literally and figuratively.

"their donut Os, as signature, upon"

• The "donut Os" is likened to a "signature," suggesting that these marks are a form of self-expression or identity for the youths.
• The line highlights the transitory nature of their actions, as these marks are temporary yet significant to them.

"the bleached tarmac of dead suburban streets."

• The "bleached tarmac" suggests a faded, lifeless environment, contrasting with the vibrant energy of the youths.
• The phrase "dead suburban streets" emphasizes the desolation and lack of vitality in the setting, which the youths temporarily bring to life.

"There dogs set up a row and curtains twitch"

• The presence of barking dogs and "twitching" curtains indicates the disturbance the youths are causing in the neighbourhood.
• This imagery reflects the tension between the youths and the more conservative, older residents.

"as pensioners and parents telephone"

• The "pensioners and parents" represent the older generation, who are disturbed by the youths' behaviour and seek to restore order by calling the police.
• This line highlights the generational divide and differing attitudes towards the youths' activities.

"the cops to plead for quiet, sue for peace -"

• The older residents "plead for quiet" and "sue for peace," indicating their desperation to stop the noise and chaos caused by the youths.
• The dash at the end of the line creates a pause, emphasizing the contrast between the residents' desire for peace and the youths' disruptive behaviour.

"tranquility, though, is for the rich."

• The poem concludes that "tranquility" is a luxury reserved for the wealthy, implying that the working-class environment depicted is inherently chaotic and noisy.
• This line suggests a critique of social inequality, where peace is unattainable for those living in less affluent areas.

Lines 41-46

And so, millennia hence, you garish crock,

when all context is lost, galleries razed

to level dust and we're long in the box,

will future poets look on you amazed,

speculate how children might have lived when

you were fired, lives so free and bountiful

"And so, millennia hence, you garish crock,"

• The speaker addresses the urn as a "garish crock," reinforcing the idea that it is gaudy and not traditionally beautiful.
• The phrase "millennia hence" looks far into the future, suggesting that the urn will outlast its current context.

"when all context is lost, galleries razed"

• The poem imagines a future where the urn's original context is lost, and art galleries have been destroyed.
• This line emphasizes the transient nature of culture and the inevitable loss of meaning over time.

"to level dust and we're long in the box,"

• The phrase "to level dust" suggests that all physical remnants of the current culture, including the urn, will eventually be reduced to dust.
• "We're long in the box" refers to being dead and buried, indicating the passage of time and the mortality of the people depicted on the urn.

"will future poets look on you amazed,"

• The speaker speculates that future poets will view the urn with amazement, trying to understand the lives it depicts.
• This line mirrors Keats' speculation in "Ode on a Grecian Urn" about how future generations will interpret the scenes on the urn.

"speculate how children might have lived when"

• Future poets will wonder about the lives of the youths depicted on the urn, trying to reconstruct their experiences from the images.
• The word "speculate" suggests that much of the meaning will be lost, and future interpretations will be based on guesswork.

"you were fired, lives so free and bountiful"

• The urn is described as having been "fired" in a kiln, creating a lasting record of the youths' lives.
• The phrase "lives so free and bountiful" romanticizes the freedom and abundance of the youths' experiences, despite the earlier depiction of their recklessness.

Lines 47-50

and there, beneath a sun a little colder,

declare How happy were those creatures then,

who knew the truth was all negotiable

and beauty in the gift of the beholder.

"and there, beneath a sun a little colder,"

• The poem envisions a future where the sun is "a little colder," suggesting a distant, perhaps less hospitable world.
• This line evokes a sense of nostalgia for the warmth and vitality of the present.

"declare How happy were those creatures then,"

• Future generations may idealize the youths depicted on the urn, imagining them as happy and carefree.
• This line echoes the famous line from Keats' "Ode on a Grecian Urn": "Happy, happy, happy pair!"

"who knew the truth was all negotiable"

• The idea that "truth was all negotiable" reflects the postmodern view that truth is subjective and open to interpretation.
• This line suggests that the youths lived in a time of relative freedom, where they could define their truths.

"and beauty in the gift of the beholder."

• The poem concludes with the idea that beauty is subjective, existing in the eye of the beholder.
• This line reinforces the theme of the poem, which challenges traditional notions of beauty and art by elevating contemporary, working-class life to the status of high art.