Psyche was not a divinity of primordial Greek myth, but was a assembly of Apuleius in ordinal period A.D. The ode begins by exactly addressing Psyche. Keats is stirred by the beloved retentiveness of his sight of Cupid and Psyche, couched in embracing in a fertile bay. Their compliance to add up then kisses is counterpoised by their unflustered breathing. Here, frankly, is the physical appearance of their love, and yet nearby is no trace of vulgarity or pyrexia.
From this esthetical picture, Keats goes on to give an account of Psyche's insufficiency of a temple, alter, virgin-choir, incense, priesthood, all the laughing pieties of the mythologic.
"When hallowed were the concerned forest-boughs,
Holy the air, the dampen and the fire".
Keats' nostalgia is to write a place of worship sacred to Psyche, because she became a goddess too unpunctually to have a house of prayer. But this temple will be the manufacture of his poetical imagination.
Critical Appreciation of Keats' Ode to Psyche. He in consequence intends to make available her poetically the "vows" which she was too tardy to receive. He will be the lover of Psyche, clergyman and chorus and place of worship and woods. She shall have a house of prayer in any untrod area of the mind' and shall enjoy
"......all flabby delight
That shady reflection can win".
And the gleaming light guiding esteem (Cupid) on his way to Psyche done the unfastened window would correspondingly develop in the dominion of dim mental object. Keats' creative thinking here conserve concupiscence patch refinement it into divine consciousness. He present makes the entire sacrament a creation, not of religion, but of his poetic creativity.
In the closing stanza, the office of Keats the writer in property a place of worship of the be bothered is set away in a tissue of metaphors from Nature, somewhat transmuted from Nature's photogenic record of the first verse. After a comment to "dark-clustered trees" decking "the wild-ridged mountains", which suggests the wilder reaches of the genre imagination, Keats relapses into the sheltered planetary of Flora and old Pan, a secret protected world of soundlessness and "soft delight".
The ode ends beside a reappear to the story and the confederation of Love (Cupid) and Psyche (Love's essence) in "shadowy thought".
The ode is a ikon of true creativity, and reveals a reflective Hellinic deformation in Keats.