 When it came to vowel forms , Keats incorporated a pattern of alternating historically " short " and " long " vowel sounds in his ode . In particular , line 18 ( " And purple @-@ stained mouth " ) has the historical pattern of " short " followed by " long " followed by " short " and followed by " long " . This alteration is continued in longer lines , including line 31 ( " Away ! away ! for I will fly to thee " ) which contains five pairs of alternations . However , other lines , such as line 3 ( " Or emptied some dull opiate to the drains " ) rely on a pattern of five " short " vowels followed by " long " and " short " vowel pairings until they end with a " long " vowel . These are not the only combination patterns present , and there are patterns of two " short " vowels followed by a " long " vowel in other lines , including 12 , 22 , and 59 , which are repeated twice and then followed up with two sets of " short " and then " long " vowel pairs . This reliance on vowel sounds is not unique to this ode , but is common to Keats 's other 1819 odes and his Eve of St. Agnes . 
 When it came to vowel forms , Keats incorporated a pattern of alternating historically " short " and " long " vowel <a href='uninflect' title='1'><mark>sounds</mark></a> in his ode . In particular , line 18 ( " And purple @-@ stained mouth " ) <a href='got' title='2'><mark>has</mark></a> the historical pattern of " short " followed by " long " followed by " short " and followed by " long " . This alteration is continued in longer lines , including line 31 ( " Away ! away ! for I will fly to thee " ) which <a href='uninflect' title='3'><mark>contains</mark></a> five pairs of alternations . However , other lines , such as line 3 ( " Or emptied some dull opiate to the drains " ) rely on a pattern of five " short " vowels followed by " long " and " short " vowel pairings until they end with a " long " vowel . These <a href='negative_concord' title='4'><mark>are</mark></a> <a href='negative_concord' title='5'><mark>not</mark></a>the only combination patterns present , and <a href='dey_it' title='6'><mark>there</mark></a> are patterns of two " short " vowels followed by a " long " vowel in other lines , including 12 , 22 , and 59 , which are repeated twice and then followed up with two sets of " short " and then " long " vowel pairs . This reliance on vowel <a href='uninflect' title='7'><mark>sounds</mark></a> <a href='negative_concord' title='8'><mark>is</mark></a> <a href='negative_concord' title='9'><mark>not</mark></a>unique to this ode , but <a href='drop_aux' title='10'><mark>is</mark></a>common to Keats <a href='null_genetive' title='11'><mark>'s</mark></a>other 1819 odes and his Eve of St. Agnes . 
When it came to vowel forms , Keats incorporated a pattern of alternating historically " short " and " long " vowel sound in his ode . In particular , line 18 ( " And purple @-@ stained mouth " ) got the historical pattern of " short " followed by " long " followed by " short " and followed by " long " . This alteration is continued in longer lines , including line 31 ( " Away ! away ! fa I'ma fly to thee " ) which contain five pairs of alternations . However , other lines , such as line 3 ( " Or emptied some dull opiate to da drains " ) rely on a pattern of five " short " vowels followed by " long " and " short " vowel pairings untill they end with a " long " vowel . These ain't the only combination patterns present , and it is patterns of two " short " vowels followed by a " long " vowel in other lines , including 12 , 22 , and 59 , which are repeated twice and then followed up with 2 sets of " short " and then " long " vowel pairs . dis reliance on vowel sound ain't unique to this ode , but common to Keats  other 1819 odes and his Eve of St. Agnes .