Brooks then pursues this logic by considering how "sylvan historian" might not only describe the urn as a kind of historian but also the kind of history the urn is said to tell. Further, if he claims that this history is uncertain because it's not clear "what men or gods" feature in it, he continues that line of thinking as he proceeds through the ode's stanzas: when he emphasizes that the "unheard melodies" of the figures depicted on the urn's face are "sweeter than any audible music," that "action goes on though the actors are motionless," that "the maiden, always to be kissed, never actually kissed," that the "boughs...cannot shed their leaves," and when he claims that this "ironic undercurrent" only increases over the course of the poem, to culminate in those infamous lines (156-159, 164). From following the poem in this way, Brooks arrives at the assertion that his interpretation is "derived from the context of the "Ode" itself" (164).