made for any of the four most obvious possibilities,poet to reader,urn to reader,poet to urn,poet to figures on the urn.The issue is further confused by the change in quotation marks between the original manuscript copy of the ode and the 1820 published edition.(This issue is further discussed at the bottom ofthis page.) 2.selected stanzas Thou still unravish'd bride ofquietness, 5 Thou foster-child ofsilence and slow time, Sylvan historian,who canst thus express A flowery tale more sweetly than ourrhyme: What leaf-fring'd legend haunt about thy shape Of deities or mortals,or ofboth, In Tempeor thedales ofArcady? What men or gods are these?What maidens loth? What mad pursuit?What struggle to escape? What pipes andtimbrels?What wild ecstasy? Heard melodies are sweet,but those unheard Are sweeter:therefore,ye soft pipes,play on; Not to the sensual ear,but,more endear'd, Pipe to the spirit ditties ofno tone:made for any of the four most obvious possibilities, -poet to reader, urn to reader, poet to urn, poet to figures on the urn. The issue is further confused by the change in quotation marks between the original manuscript copy of the ode and the 1820 published edition. (This issue is further discussed at the bottom of this page.) 2. selected stanzas Thou still unravish'd bride of quietness, Thou foster-child of silence and slow time, Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme: What leaf-fring'd legend haunt about thy shape Of deities or mortals, or of both, In Tempe or the dales of Arcady? What men or gods are these? What maidens loth? What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy? Heard melodies are sweet, but those unheard Are sweeter: therefore, ye soft pipes, play on; Not to the sensual ear, but, more endear'd, Pipe to the spirit ditties of no tone: 5’