Keats wrote \"To Autumn\" after enjoying a lovely autumn day; he described his experience in a letter to his friend Reynolds:
The poems of the first with a series of fruit image, point out the autumn is the season of harvest. Second people fall in labor, rest, fruit juice wine of happiness. Section third write autumn sounds, poem music hair waved. So, from the autumn harvest, autumn sound, wrote, the poem itself is like autumn plump
The so-called chaste weather and Diana sky, between men and women is not love
realm. Keats the amorous temporarily forget to Fan Ni? Blanc as the representative of the many beauties, walking in the stubble scattered fields of gold, to be a warm and inspiration. This Carol in Keats's works is different in general, no beauty, no love, there was no sorrow there was talk, no myth, only the autumn scenery description -- all concrete, really, the poet to control all the details, and control yourself, don't let irrelevant gossip, feeling in poem. This is a kind of pure, a chaste. but in poetry, but a movement, a warmth of feeling.
Movement in poetry scene transfer. The first paragraph autumn -- but not high sky tree and the like, but farmer Feng Shou in autumn, with all kinds of fruit for the
description of the object. Second step, reveal the harvest had just finished scene, focus on people, people on the opening up, wheat, spike, grain, the ridge edge good nap on the field, in the fruit juice machine on the grapes into wine. The two section is almost entirely realistic, to the third and to the lyrical, beautiful lyric,\" but the morning mist filled with \" into the sunset glow here -- this is also a kind of exercise -- key into the autumn sound: small fly with the sound of sorrow, the crickets sing, Robin's whistle, sheep baa, the swallow twittering, is still really bug bird animal, but each has a song, together become a symphony of autumn.
Warm in the nature and human affectionate observation. Keats's realism is not purely objective, not the photographic style, but full of feelings, he used the adjective and the image is warm:\" mellow autumn fruit\nuclear\Keats was a humorous person, although in the poem doesn't often show, but here, especially in the second paragraph, after autumn harvest crops in various interesting attitude to write out. The words \" free sat on the floor / thy hair soft-lifted by the winnowing wind\as\" light\
This movement, this warm, makes this particularly interesting. Read it again and again, we find: the poem details of Keats, more than before. Specific things one by one, very compact, but not a unitary blank bill, because full of action, filled with anger, in phonology is the best song of change is clever.
The morning and noon of the harvest of joy and ecstasy, only showing stop late comfortable mood, at the same time also expanded, from the fruit of the vine to sunset carmine had blotted out fields, rivers, river trees, trees behind the high in the sky. The human spirit also experienced a lucid, a kind of liberation. The harvest is one of the most original action, and the income - particularly spiritual
abundance -- is the culture of some of the highest achievement. No wonder that\" autumn\" is everyone's favorite Psalm, even not easily be undeserved scholars is also called the\" perfection\" ( such as the W.J. of the Harvard University said:\" because of\" pet\" is the one and only this autumn the essence, and in many different levels are essence, so every a generation of people found it is the most perfect works of english.\" (\" Keats biography\诗评一
to autumn英文评论 2010-06-21 22:40 Summary
Keats’s speaker opens his first stanza by addressing Autumn, describing its abundance and its intimacy with the sun, with whom Autumn ripens fruits and causes the late flowers to bloom. In the second stanza, the speaker describes the figure of Autumn as a female goddess, often seen sitting on the granary floor, her hair “soft-lifted” by the wind, and often seen sleeping in the fields or watching a cider-press squeezing the juice from apples. In the third stanza, the speaker tells Autumn not to wonder where the songs of spring have gone, but instead to listen to her own music. At twilight, the “small gnats” hum above the shallows of the river, lifted and dropped by the wind, and “full-grown lambs” bleat from the hills, crickets sing, robins whistle from the garden, and swallows, gathering for their coming migration, sing from the skies. Form
Like the “Ode on Melancholy,” “To Autumn” is written in a three-stanza structure with a variable rhyme scheme. Each stanza is eleven lines long (as opposed to ten in “Melancholy”, and each is metered in a relatively precise iambic pentameter. In terms of both thematic organization and rhyme scheme, each stanza is divided roughly into two parts. In each stanza, the first part is made up of the first four lines of the stanza, and the second part is made up of the last seven lines. The first part of each stanza follows an ABAB rhyme scheme, the first line rhyming with the third, and the second line rhyming with the fourth. The second part of each stanza is longer and varies in rhyme scheme: The first stanza is arranged CDEDCCE, and the second and third stanzas are arranged CDECDDE. (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; however, this thematic division is only very general.) Themes
In both its form and descriptive surface, “To Autumn” is one of the simplest of Keats’s odes. There is nothing confusing or complex in Keats’s paean to the season of autumn, with its fruitfulness, its flowers, and the song of its swallows gathering for migration. The extraordinary achievement of this poem lies in its ability to suggest, explore, and develop a rich abundance of themes without ever ruffling its calm, gentle, and lovely description of autumn. Where “Ode on Melancholy” presents itself as a strenuous heroic quest, “To Autumn” is concerned with the much quieter activity of daily observation and appreciation. In
this quietude, the gathered themes of the preceding odes find their fullest and most beautiful expression.
“To Autumn” takes up where the other odes leave off. Like the others, it shows Keats’s speaker paying homage to a particular goddess—in this case, the deified season of Autumn. The selection of this season implicitly takes up the other odes’ themes of temporality, mortality, and change: Autumn in Keats’s ode is a time of warmth and plenty, but it is perched on the brink of winter’s desolation, as the bees enjoy “later flowers,” the harvest is gathered from the fields, the lambs of spring are now “full grown,” and, in the final line of the poem, the swallows gather for their winter migration. The understated sense of inevitable loss in that final line makes it one of the most moving moments in all of poetry; it can be read as a simple, uncomplaining summation of the entire human condition.
Despite the coming chill of winter, the late warmth of autumn provides Keats’s speaker with ample beauty to celebrate: the cottage and its surroundings in the first stanza, the agrarian haunts of the goddess in the second, and the locales of natural creatures in the third. Keats’s speaker is able to experience these beauties in a sincere and meaningful way because of the lessons he has learned in the previous odes: He is no longer indolent, no longer committed to the isolated imagination (as in “Psyche”), no longer attempting to escape the pain of the world through ecstatic rapture (as in “Nightingale”), no longer frustrated by the attempt to eternalize mortal beauty or subject eternal beauty to time (as in “Urn”), and no longer able to frame the connection of pleasure and the sorrow of loss only as an imaginary heroic quest (as in “Melancholy”).
In “To Autumn,” the speaker’s experience of beauty refers back to earlier odes (the swallows recall the nightingale; the fruit recalls joy’s grape; the goddess drowsing among the poppies recalls Psyche and Cupid lying in the grass), but it also recalls a wealth of earlier poems. Most importantly, the image of Autumn winnowing and harvesting (in a sequence of odes often explicitly about creativity) recalls an earlier Keats poem in which the activity of harvesting is an explicit metaphor for artistic creation. In his sonnet “When I have fears that I may cease to be,” Keats makes this connection directly: When I have fears that I may cease to be
Before my pen has glean’d my teeming brain, Before high-piled books, in charactry,
Hold like rich garners the full ripen’d grain...
In this poem, the act of creation is pictured as a kind of self-harvesting; the pen harvests the fields of the brain, and books are filled with the resulting “grain.” In “To Autumn,” the metaphor is developed further; the sense of coming loss that permeates the poem confronts the sorrow underlying the season’s creativity. When Autumn’s harvest is over, the fields will be bare, the swaths with their “twined flowers” cut down, the cider-press dry, the skies empty. But the connection of this harvesting to the seasonal cycle softens the edge of the tragedy. In time, spring will come again, the fields will grow again, and the birdsong will return. As the speaker knew in “Melancholy,” abundance and loss, joy and
sorrow, song and silence are as intimately connected as the twined flowers in the fields. What makes “To Autumn” beautiful is that it brings an engagement with that connection out of the realm of mythology and fantasy and into the everyday world. The development the speaker so strongly resisted in “Indolence” is at last complete: He has learned that an acceptance of mortality is not destructive to an appreciation of beauty and has gleaned wisdom by accepting the passage of time. 诗评二 道客巴巴
The autumn is great poem wrote by keats, a poet who can always give us a great feeling of warmth. His poem was always full of vitality and shining colors.
In this poem, keats showed us the charming sceneries of autumn, and sang for the beauty of this season. The whole poem has three stanzas, which appeal to the three different parts of autumn.
This poem exhibited two kinds of progression of time. First is the time of the day. The first stanza is the morning with the “mists”. The second is late afternoon. The third is at sunset with the “barred clouds” piercing the sky with its rosy hue.
The other kind is the season of autumn itself. The first stanza is early autumn because “summer has o’vr brimmed. It shows the maturing of summer’s bounty. The second is mid-autumn, because it is time for harvest. The third is late autumn because the birds are headed south for winter.”
In stanza 1, keats draw a concrete and nice picture of the early autumn. The stanza begins with autumn at the peak of fulfillment and continuous with an 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.
In stanza2 the poet wrote the beautiful harvest of middle autumn. Keats personified autumn as a harvester, crosses a brook and watches a cider press.but the poet didn’t describe how the harvest work but fell asleep. Why was he so relaxed? Because the harvest brought him so much pleasure. The furrow is half-reaped, 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 oozing. Find other words that indicates to slowing dwn. Notice that keat describes a reaper who is not harvesting and who is not turning the press. Personification here is very successful. It gives autumn a personality and th autumn is no longer abstract.
In stanza3 the poet described the voice of the late autumn. After harvesting, there was stubble grains in the field. When watching this, most people will feel sad, but keats wrote the jubilation and grand of late autumn: “ lambs loud bleat, hedge-crickets sing, red-breast whistles，swallows twitter in the skies.” All were so happy and these animals were just like holding a party tocelebrate the harvest. Throughout the ages, there were many poems wrote for antumn. But this one is different, because he had his special view toward it. He saw autumn in his own way and then described it, from this poem, we can see that creativeness contains in observation
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