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John Keats "Ode To Autumn"

litpit.blogspot.in /2016/02/john-keats-ode-to-autumn.html

The Composition of "To Autumn"


Keats wrote "To Autumn" after enjoying a lovely autumn day; he described his experience in a letter to his friend
Reynolds:

"How beautiful the season is now--How fine the air. A temperate sharpness about it. Really, without joking,
chaste weather--Dian skies--I never lik'd stubble fields so much as now--Aye better than the chilly green of the
spring. Somehow a stubble plain looks warm--in the same way that some pictures look warm--this struck me so
much in my Sunday's walk that I composed upon it."

General Comments

This ode is a favorite with critics and poetry lovers alike. Harold Bloom calls it "one of the subtlest and most
beautiful of all Keats's odes, and as close to perfect as any shorter poem in the English Language." Allen Tate
agrees that it "is a very nearly perfect piece of style"; however, he goes on to comment, "it has little to say."
This ode deals with the some of the concerns presented in his other odes, but there are also significant
differences. (1) There is no visionary dreamer or attempted flight from reality in this poem; in fact, there is no
narrative voice or persona at all. The poem is grounded in the real world; the vivid, concrete imagery immerses
the reader in the sights, feel, and sounds of autumn and its progression. (2) With its depiction of the progression
of autumn, the poem is an unqualified celebration of process. (I am using the words process, flux, and change
interchangeably in my discussion of Keats's poems.) Keats totally accepts the natural world, with its mixture of
ripening, fulfillment, dying, and death. Each stanza integrates suggestions of its opposite or its predecessors, for
they are inherent in autumn also.

Because this ode describes the process of fruition and decay in autumn, keep in mind the passage of time as
you read it.

Analysis
Stanza I:
Keats describes autumn with a series of specific, concrete, vivid visual images. The stanza begins with autumn
at the peak of fulfillment and continues the ripening to an almost unbearable intensity. Initially autumn and the
sun "load and bless" by ripening the fruit. But the apples become so numerous that their weight bends the trees;
the gourds "swell," and the hazel nuts "plump." The danger of being overwhelmed by fertility that has no end is
suggested in the flower and bee images in the last four lines of the stanza. Keats refers to "more" later flowers
"budding" (the -ing form of the word suggests activity that is ongoing or continuing); the potentially overwhelming
number of flowers is suggested by the repetition "And still more" flowers. The bees cannot handle this
abundance, for their cells are "o'er-brimm'd." In other words, their cells are not just full, but are over-full or
brimming over with honey.

Process or change is also suggested by the reference to Summer in line 11; the bees have been gathering and
storing honey since summer. "Clammy" describes moisture; its unpleasant connotations are accepted as natural,
without judgment.

Certain sounds recur in the beginning lines--s, m, l. Find the words that contain these letters; read them aloud
and listen. What is the effect of these sounds--harsh, explosive, or soft? How do they contribute to the effect of
the stanza, if they do?

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The final point I wish to make about this stanza is subtle and sophisticated and will probably interest you only if
you like grammar and enjoy studying English:

The first stanza is punctuated as one sentence, and clearly it is one unit. It is not, however, a complete sentence;
it has no verb. By omitting the verb, Keats focuses on the details of ripening. In the first two and a half lines, the
sun and autumn conspire (suggesting a close working relationship and intention). From lines 3 to 9, Keats
constructs the details using parallelism; the details take the infinitive form (to plus a verb): "to load and bless," "To
bend...and fill," "To swell...and plump," and "to set." In the last two lines, he uses a subordinate clause, also
called a dependent clause (note the subordinating conjunction "until"); the subordinate or dependent clause is
appropriate because the oversupply of honey is the result of--or dependent upon--the seemingly unending
supply of flowers.

Stanza II
The ongoing ripening of stanza I, which if continued would become unbearable, has neared completion; this
stanza slows down and contains almost no movement. Autumn, personified as a reaper or a harvester, crosses
a brook and watches a cider press. Otherwise Autumn is listless and even falls asleep. Some work remains; the
furrow is "half-reap'd," the winnowed hair refers to ripe grain still standing, and apple cider is still being pressed.
However, the end of the cycle is near. The press is squeezing out "the last oozings." Find other words that
indicate slowing down. Notice that Keats describes a reaper who is not harvesting and who is not turning the
press.
Is the personification successful, that is, does nature become a person with a personality, or does nature remain
an abstraction? Is there a sense of depletion, of things coming to an end? Does the slowing down of the process
suggest a stopping, a dying or death? Does the personification of autumn as a reaper with a scythe suggest
another kind of reaper--the Grim Reaper?

Speak the last line of this stanza aloud, and listen to the pace (how quickly or slowly you say the words). Is
Keats using the sound of words to reinforce and/or to parallel the meaning of the line?

Stanza III
Spring in line 1 has the same function as Summer in stanza I; they represent process, the flux of time. In
addition, spring is a time of a rebirth of life, an association which contrasts with the explicitly dying autumn of this
stanza. Furthermore, autumn spells death for the now "full-grown" lambs which were born in spring; they are
slaughtered in autumn. And the answer to the question of line 1, where are Spring's songs, is that they are past
or dead. The auditory details that follow are autumn's songs.
The day, like the season, is dying. The dying of day is presented favorably, "soft-dying." Its dying also creates
beauty; the setting sun casts a "bloom" of "rosy hue" over the dried stubble or stalks left after the harvest. Keats
accepts all aspects of autumn; this includes the dying, and so he introduces sadness; the gnats "mourn" in a
"wailful choir" and the doomed lambs bleat (Why does Keats use "lambs," rather than "sheep" here? would the
words have a different effect on the reader?). It is a "light" or enjoyable wind that "lives or dies," and the treble of
the robin is pleasantly "soft." The swallows are gathering for their winter migration.

Keats blends living and dying, the pleasant and the unpleasant, because they are inextricably one; he accepts
the reality of the mixed nature of the world.

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