1. Jimmy Hoffa's Disappearance
In this sense, the object portrayed: the actress, supposedly serving to convey the beauty of the means of depiction: the play-poem, eclipses it with her pioneering efficiency instead. .
As the metanarrator drives the audience to the internal setting, the sense of the " Sylvan historian" is clarified: the urn does not only tell stories of the forest, but it does also have it s body embellished " with forest branches and the trodden weed.".
The scene-stanza goes on, and the audience are destined to more of the paradoxical situations portrayed on the urn. Actionless as the urn is, the " words "mad" and "ecstasy" occur, but it is the quiet, rigid urn which gives the dynamic pictures". The director has intentionally chosen the urn with all its paired opposites, and, to receive the audience's interaction, he assigns to the urn a yet greater role through the subordinate characters brought into light in a number of enigmatic questions with more paradoxes:.
What men or gods are these? What maidens loth?.
What mad pursuit? What struggle to escape?.
The urn tells of the immortal and the mortal, hatred and desire, virtue and vice. All is said without one word, one name, or one specific date. It is as if the urn, with its mysterious tales, haunts the poet who struggles to escape all the questions possessing his mind. Fortunately enough, in scene-stanzas 2 and 3, he manages to prevent being overwhelmed with questions and manages to focus on aspects of the scenery in an elaborate manner, and as a metanarrator, he becomes quite poised; nevertheless, the paradox is ceaseless:.
Heard melodies are sweet, but those unheard.
Are sweeter .
Once the audience accept watching a silent urn relating to them more expressive stories than poetry does, they are, in a similar manner, prepared to appreciate " ditties of no tone", not with their ears, but with their "spirit". .
In scene-stanza 4, the narrating director stands once more confounded before the playful urn.
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