讀Keat’s Ode on a Grecian Urn 時，不斷追問：
” What is the whole poem about?”
“ What exactly has Keats seen ( or chosen to show us) depicted on the urn he is describing?”.
人類學：“What is the general form of their life?” “ What exactly are the vehicles in which that form is embodied?”
我們可注意「form、vehicle」；另一方面，科學之一義為「描繪與敘述」。
希臘古甕是其文化形象
（一景是群眾狂歡； 二景是青年追逐一姑娘； 三景是群眾牽一牛在街上走，要去宰牛祭天。每一景都是monent of truth，對詩人而言，則是moment of beauty），『希臘古甕曲』是一種了解與解釋。
參考資料：
Clifford Geertz （1983）“From the Native’s Point of View: On the Nature of Anthropological Understanding ”in Local Knowledge : Further Essays in Interpretive Anthropology , pp. 55-70, Basic Books 這本有簡體字中譯本『地方性知識』，北京：中央編譯出版社（2000）。可能是「過度詮釋」一例，本文譯成「文化持有者的內部眼界：論人類學理解的本質」。我這篇雜誌或許能協助讀者進入我的「過度詮釋」。
G. Bateson's（1949） " Bali: The Value System of a Steady State" in Steps To An Ecology Of Mind（1972,1987）,Jason Aroson, Inc.
M. H. Abrams附錄
Keat’s Ode on a Grecian Urn（希臘古甕曲）：【Clifford Geertz特別提到的Leo Spitzer的解釋Keat's Platoism，用 色表示；我依Keat 傳記（）研究，認為spirit應也是要素。】
Thou still unravish’d bride of quietness. 你是「平靜的」還未曾失身的新娘，
Thou foster-child of silence and slow time, 你是「沉默」和「悠久」抱養的女孩，
Sylvan historian, who canst thus express 林野的史家，你賽過我們的詞章，
A flowery tale more sweetly than your rhyme: 講一篇花哨的故事這樣有風采；
What leaf-fring’d legend haunts about thy shape 枝葉邊緣的傳說纏繞你一身，
Of deities or mortals, or of both, 是講的Tempe或Arcady山坳
In Tempe or the dale of Arcady? 一些神，還是人，還是神同人在一起？
What men or gods are these? What maidens loath? 這些是什麼人，什麼神，什麼樣小女人
What mad pursuit? What struggle to escape?不願意？怎麼樣猛追？怎麼樣脫逃？
What pipes and timbres? What wild ecstasy? 什麼笛？什麼鐃鈸？什麼樣狂喜？
Heard melodies are sweet, but those unheard 聽見的樂調固然美，無從聽見的
Are sweeter; therefore, ye soft pipes, play on; 卻更美；柔和的笛管，繼續吹下去，
Not to the sensual ear, but, more endear’d, 不對官能而更動人愛憐的
Pipe to the spirit ditties of no tone: 對靈魂吹你們有調無聲的仙曲：
Fair youth, beneath the trees, thou canst not leave 美少年，你在樹底下，你不能拋開
Thy song, nor ever can those trees be bare; 你的唱歌，這些樹也永不光禿；
Bold Lover, never, never canst thou kiss, 勇敢的忠情漢，你永遠親不了嘴，
Though winning near the goal-yet, don’t grieve; 雖然離目標不遠了－也不用悲哀；
She cannot fade, though thou has not thy bliss, 她消失不了， 雖然你得不到豔福，
For ever wilt thou love, and she be fair! 你永遠會愛，她也會永遠嬌美。
Ah, happy, happy boughs! That cannot shed 阿，幸福的永遠枝條！永不會
Your leaves, nor ever bid the Spring adieu, 掉葉，也永遠都不會告別春天；
And happy melodist, unwearied, 幸福的樂師，永遠也不會覺得累，
For ever piping songs, for ever new; 永遠吹奏著曲調，又永遠新鮮；
More happy love! More happy, happy love! 更加幸福的，更加幸福的愛情！
Foe ever warm and still to be enjoy’d. 永遠的熱烈，永遠都可以享受
For ever panting, and for ever young; 永遠的喘氣，永遠的年富力強；
All blessing human passion far above, 遠遠的超出了人欲的糾纏不清，
That leaves a heart high-sorrowful and cloy’s, 並不叫一顆心充滿了饜足和憂愁，
A burning forehead, and a parching tongue. 並不叫額上發燒，舌頭上焦黃。
Who are these coming to the sacrifice? 這些前來祭祀的都是歇什麼人？
To what green altar, O mysterious priest, 神秘的祭師阿，上什麼青青的祭壇
Lead’st thou that heifer lowing at the skies, 牽去的這條牛，讓它對天空哀呻，
And all her silken flanks with garlands drest? 給她絲光的腰身都套了花環？
What little town by river or sea-shore, 那一座小城市，靠海的，或者靠的河，
Or mountain-built with peaceful citadel, 或者靠了山築起的太平的城堡，
Is emptied of its folk, this pious morn? 出空了這群人，虔誠趕清早去進香？
And, little town, thy streets for evermore小城市，你的街道會永遠沉默，
Will silent be; and not a soul to tell 也不再有一位生靈能回來講明了
Why thou are desolate, can e’er return.你可以從此轉成了這般荒涼。
O Attic shape, fair attitude! With brede 希臘的形狀；希臘的姿態！滿處
Of marble men and maiden overwrought, 飾滿了大理石的男男女女，
With forest branches and the trodden weed; 枝葉在搖曳青草在腳底下起伏；
Thou silent form! Dost tease us out of thought 靜默的形體，引我們越出了塵慮，
As doth eternity: Cold Pastoral! 像「永恆」引我們一樣：冰冷的牧歌！
When old age shall this generation waste 等老年斷送了我們一代的來路，
Thou shalt remain, in midst of other woe 你還會存在，看人家受到另一些
Than ours, a friend to man, to whom thou say’st, 苦惱的時候，作為朋友來申說
“Beauty is Truth, Truth Beauty,”-that is all 「美即是真，真即是美」，－這就是
Ye know on earth, and all ye need to know. 你們在地上所知和須知的一切。
John Keats was born #onthisday in 1795. This frieze inspired his poem Ode on a Grecian Urn http://ow.ly/DwToo
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