In fact, in many of the letters he sounds upbeat and hopeful about the future then again he might have wanted to protect his friends and family but not drawing attention to such worries. The feeling of freedom in To Autumn goes on well into the second stanza, but here, Keats leans in closer. Think not of them, thou hast thy music too. He was born in a livery stable just north of London and he died in Piazza di Spanga in Rome. Woman as erotic object has been banished from this placid landscape.
Think about what physical attributes your season might have, and what personality traits. There are apple trees near the moss growth cottage. Keats personifies autumn throughout the poem an example of this is the line, 'Thy hair soft lifted by the winnowing wind. For example, you probably want to talk about the fact that To Autumn is an ode to Autumn, and you could also add some background information about when Keats wrote it. As much as the poet has absorbed his senses in an essence apart from himself, making no evaluations or claims for transcendence, he has taken pains to rescue and preserve the season whole—diminishment and all. Certain sounds recur in the beginning lines-- s, m, l.
After that, he changes the scheme. This female spirit overlooks various aspects of the harvest now that the reaping, threshing and gleaning has finished - she takes her time as the apple juice ferments. The source of such comfort may derive partly from Keats's reading of Wordsworth. Finally, Autumn, as if it has all the time in the world, watches the cider ooze through the press, drop by drop. This poem has a large amount of description in it, with a large proportion of description to Lamia.
Each of these verbal pictures connects back to the opening of the poem and the perhaps surprising use of 'conspiring' in line 3. Keats was being neither allegorical, nor Wordsworthian. Fresher than berries of a mountain tree? He possessed an unwavering desire to write poetry, which considering his working class status, was something thought impossible in the 19th century. Romanticism emphasizes on passion rather than reason, imagination rather than logic, and intuition rather than science. One comes from the narrator, the other from the knight, who is under torment. Note the characters are not described as people, but as Autumn itself. Thematically, the first part of each stanza serves to define the subject of the stanza, and the second part offers room for musing, development, and speculation on that subject.
There are no echoes in it, no literary images; all is clear, single, perfectly attuned. The slowing of time is sensual, though the pleasures are subtler when contrasted with the visual riot of the first stanza. What is also clear is that the speaker visualises Autumn as a god or goddess of sorts. In this essay, I explore how Keats uses onomatopoeia, metaphor, personification, and imagery to develop these contrasting and ambiguous views of autumn. The Romantics were drawn to the medieval past, myths and legends, supernatural being, and nature. The activities suggested are all connected with the harvest, a time when the earth's gifts can be collected and used to survive - the gathering of the wheat and corn, the pressing of the apples to produce a luxurious drink. In the third stanza, the speaker tells Autumn not to wonder where the songs of spring have gone, but instead listen to her own music.
As the sun ages, things die. The whistle of the red breast is heard from the garden. It is hard to determine how much of this comes from a consciousness of his own impending death, and how much derives from more general thoughts about mortality. However, the end of the cycle is near. The sounds of autumn are the wailing of gnats, the bleating of lambs, the singing of hedge crickets, the whistling of robins, and the twittering of swallows. In terms of both thematic organization and rhyme cheme, each stanza is divided roughly into two parts. He treats it almost with reverence, addressing it as if it were a living force and a presence - a view that displays the romanticism of Keats' poetry.
This simple act produced a work of art that has enthralled and intrigued ever since. Keats in this poem is almost content with the pure phenomenon. To prove your thesis, you need to find several ways in which the poem-? What is Keats ' 'To Autumn' about and what aspects of style have you noticed? These instances of your thesis will be the supporting points that you develop in the body of your paper. In the next stanza autumn is growing overripe and is lazy with the heaviness of its job. As you describe these examples in your paper you are developing your thesis. Gradually, as we move through the stanzas, this tension becomes more apparent.
Line 8, croft: a small enclosed field. . The first stanza concerns itself with extolling the beauty and floridity of Autumn, appealing to the senses of sight and taste. Sometimes whoever seeks abroad may find Thee sitting careless on a granary floor, Free, relaxed, detached, aloof Thy hair soft-lifted by the winnowing wind; Autumn personified as a fertile, beautiful woman. How do the three stanzas work together to show different aspects of autumn? The bees are humming on these flowers.
The poem ode to autumn was written in 1819. It is always not yet winter. Line seven in particular uses long, slow verbs to create an atmosphere of calm and inertness: an atmosphere that continues through the second stanza, where Keats creates actual scenes to paint a specific picture in the mind of the reader. The story of the fall of the Titans seems to be of similar value to Keats as the playful but melancholic contemplation of seasonal cycles another aspect of 'Nature's law' in 'To Autumn'. The speaker suggests that her hair is soft-lifted by winnowing wind, an alliterative, onomatopeiac line that conjures up whistling or the whinny of horses. The thoughts of lambs bleating, and crickets chirping invade the mind and generate images of evening, because the crickets are chirping. Note the sensuous language, the soft consonants enhancing - m, h and f - the contrasting short and long vowels reflecting the tension at work as the whole plant world comes to fruition.
This melancholic mid-section of the final stanza has to be acknowledged, but the ending is one of inevitable renewal and positive change. Ode to Autumn is an unconventional appreciation of the autumn season. Or on a half-reap'd furrow sound asleep. Autumn is a short season, and, at only three stanzas long, this reflected in the short and concise structure of the actual poem. This divine spirit is a close bosom-friend of the sun, conspiring with him to load and bless; is sitting carelessly. There is no direct evidence that Keats was deliberately looking for a more detached style in 'To Autumn', but this appears to be the direction that his writing was moving towards in late 1819, as, for example, in his desire to make The Fall of Hyperion, 'more naked and Grecian' and in his attempts at drama, Otho the Great and King Stephen: A Tragedy.