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Using ‘Ode on Despair’ and one additional, look at how Keats uses vocabulary to explore his muses Keats In ‘Ode on Despair’ Keats allows the truth he views: pleasure and discomfort are inseparable and also to encounter pleasure completely we must encounter despair or despair completely. The 1st stanza desires us not really to try and get away discomfort; stanza two tells us what to perform rather - accept the transient beauty and pleasure of the character and human being knowledge, which include discomfort and loss of life. Stanza three makes clear that in order to experience joy we must experience the sorrow that beauty dies and joy evaporates. The even more extremely we experience joy, the even more subject matter we are to despair. The poet's passionate outcry not really to deny despair is normally offered negatively - “no,” “not,” “neither,” “nor.” The level of discomfort that despair may trigger can be intended by the methods to prevent it, for example “go to Lethe” and “suffer thy light temple to end up being kissed by nightshade” The 1st two terms, “Simply no, simply no,” are both accented, emphasising them; their forcefulness communicates the loudspeaker’s passionate condition convincingly. In the first stanza, the language used presents “the wakeful anguish of the soul”. Keats talks of “yew-berries” which are generally linked with feelings of loss; the disposition of the stanza is certainly joyless which magnifying wall mount mirror the subject matter it talks of. Nevertheless, Keats identifies the “anguish” as “wakeful” since the victim still seems and therefore still offers the capability to experience pleasure. The vocabulary utilized in ‘Ode on Despair’ is usually extremely suitable - the clouds are “weeping”. Very much of the performance of this composition derives from the tangible symbolism. Throughout the composition, Keats yokes components, which are normally considered as incompatible or as opposites. These.