Introducing “vibrant star”

line 1

Vibrant star, would I were stedfast

as thou art–

Constant, constant

line 2

Not in lone splendour hung aloft the night time!

Above, high within the earth.

Keats is mentioning the star’s isolation, in addition to a positive

quality, its splendour. Its separateness contasts using the poet’s

relationship together with his beloved later.

line 3

And watching, with eternal

covers apart,

Eyelids. The star’s

isolation is implicit in the watching as well as in it is not participating. It

never sleeps. There’s also too little motion in

wrinkles.

line 4

Like nature’s patient, sleepless Eremite,

Hermit,usually having a

religious connotation. Emphasizing the

star’s sleeplessness belongs to the portrayal from the star’s

non-humanness, that makes it a hopeless goal for any

individual to desire to.

line 5

The moving waters in their priestlike task

An upswing and nov the tides two times each day

are seen as an religiously performed ritual. Using the poem’s shift to

earth, there’s movement and aliveness, in addition to spirituality

("priestlike").

line 6

Of pure

ablution round earth’s human shores,

A spiritual cleaning

ritual washing. This reference continues the religious imagery

of "Eremite" and "priestlike." "Human" is exactly what the poet is and also the star

isn’t.

line 7

Or looking around the new soft-fallen mask

The "mask" may be the covering of snow on the floor.

This snow has pleasing connotations, being "new" and "soft." All of the

moon can perform is "gaze."

line 8

Of snow upon the mountain tops and also the

moors-

Beauty (the snow) can be found in diverse places on

earth. The alliteration (repeating M sounds) stresses the

connection of those words.

line 9

No–but still stedfast, still unchangeable,

The poet turns again to themself "Still" has two

meanings here: (1) always or ever and (2) still.

line 10

Pillow’d upon my fair love’s

ripening breast,

Movement and alter in human existence

are introduced with "ripening," a contrast towards the star.

line 11

To sense of ever its soft fall and swell,

"Fall and swell" will also be change and

movement . "Soft" intensifies the sensuality introduced with "pillow’d."

line 12

Awake for good inside a sweet unrest

As opposed to the eternal sleeplessness and

motionlessness from the star, the poet’s not sleeping is active

("awake"). Now change or flux becomes desireable, "sweet unrest,"

a contradiction.

line 13

Still, still to listen to her tender-taken breath,

Repetition ("still" can be used 4 occasions in five lines)

emphasizes time/timelessness for people. "Breath"

is flux, and "tender" causes it to be positive.

line 14

And thus live ever–otherwise swoon to dying.

Three from the last four lines use "for goodInch or

"ever," emphasizing steadfastness over time or eternity, but it’s an

eternity of affection, passion and sensuality. Inside a quick reversal, the poet

accepts the possibilty of dying from pleasure. "Swoon" has sexual

overtones orgasm is frequently over a dying (in france they term for

orgasm is le petit morte, or

the little dying). Due to its position as the final word

within the poem and due to becoming an accented

syllable, "dying" carries a lot of weight within the final

effect and concept of the poem.

Resourse: http://academic.brooklyn.cuny.edu/british/melani/cs6/

Taichi Panda | Advanced Vibrant Star Stone Guide

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