To Autumn To Autumn 1.1.

SEASON of mists and mellow fruitfulness,  SEASON of mists and mellow fruitfulness,  

Close bosom-friend of the maturing sun;Close bosom-friend of the maturing sun;

Conspiring with him how to load and blessConspiring with him how to load and bless

    With fruit the vines that round the thatch-eves run;With fruit the vines that round the thatch-eves run;

To bend with apples the moss’d cottage-trees,To bend with apples the moss’d cottage-trees,   

And fill all fruit with ripeness to the core;  And fill all fruit with ripeness to the core;  

To swell the gourd, and plump the hazel shellsTo swell the gourd, and plump the hazel shells

With a sweet kernel; to set budding more, With a sweet kernel; to set budding more, 

  And still more, later flowers for the bees, And still more, later flowers for the bees, 

  Until they think warm days will never cease,Until they think warm days will never cease,     

  For Summer has o’er-brimm’d their clammy cells.For Summer has o’er-brimm’d their clammy cells.

2 .2 .

　 　　 　 Who hath not seen thee oft amid thy store?Who hath not seen thee oft amid thy store?　 　 Sometimes whoever seeks abroad may findSometimes whoever seeks abroad may find

　　 Thee sitting careless on a granary floor,Thee sitting careless on a granary floor,　 　 　 　 Thy hair soft-lifted by the winnowing wind;Thy hair soft-lifted by the winnowing wind;

　 　　 　 Or on a half-reaped furrow sound asleep,Or on a half-reaped furrow sound asleep,　 　 　 　 Drowsed with the fume of poppies, while thy hookDrowsed with the fume of poppies, while thy hook

　 　 Spares the next swath and all its twinéd flowers:Spares the next swath and all its twinéd flowers:　　 And sometimes like a gleaner thou dost keepAnd sometimes like a gleaner thou dost keep

　 　 　 　 Steady thy laden head across a brook;Steady thy laden head across a brook;　 　 Or by a cyder-press, with patient look,Or by a cyder-press, with patient look,

　 　 　 　 Thou watchest the last oozings hours by hours.Thou watchest the last oozings hours by hours.

3.3.

Where are the songs of Spring? Ay, where are they?  Where are the songs of Spring? Ay, where are they?  Think not of them, thou hast thy music too,—Think not of them, thou hast thy music too,—

While barred clouds bloom the soft-dying day,While barred clouds bloom the soft-dying day,      And touch the stubble plains with rosy hue;And touch the stubble plains with rosy hue;

Then in a wailful choir the small gnats mourn Then in a wailful choir the small gnats mourn   Among the river sallows, borne aloft Among the river sallows, borne aloft 

      Or sinking as the light wind lives or dies;Or sinking as the light wind lives or dies;And full-grown lambs loud bleat from hilly bourn;And full-grown lambs loud bleat from hilly bourn;                  Hedge-crickets sing; and now with treble soft Hedge-crickets sing; and now with treble soft 

  The red-breast whistles from a garden-croft; The red-breast whistles from a garden-croft;       And gathering swallows twitter in the skies.And gathering swallows twitter in the skies.

Stanza Stanza 11 Autumn: a season of harvest; fruiting stageAutumn: a season of harvest; fruiting stage Metaphors of the autumn: “close bosom-friend of the maturing sun,” “Season Metaphors of the autumn: “close bosom-friend of the maturing sun,” “Season

of mists and mellow fruitfulness”of mists and mellow fruitfulness” ““him” him” the sun the sun ““bless with fruit the vines that round the thatch-eves run ” bless with fruit the vines that round the thatch-eves run ” bless the vines th bless the vines th

at run round the thatch-eves with fruit at run round the thatch-eves with fruit ““load and bless”: Autumn and the sun not only load and bless”: Autumn and the sun not only loadload but also but also blessbless the vines wi the vines wi

th fruit. The effects of using the word th fruit. The effects of using the word bless bless may include autumn’s benediction may include autumn’s benediction over the ripening of the fruits and its power to enrich the fertility of nature.over the ripening of the fruits and its power to enrich the fertility of nature.

““To bend with apples the moss’d cottage-trees”To bend with apples the moss’d cottage-trees” To bend the moss’d cottage- To bend the moss’d cottage-trees with apples trees with apples The apples become so numerous that their weight bends th The apples become so numerous that their weight bends the trees.e trees.

““to set budding more ”: -ing form suggests activity that is continuingto set budding more ”: -ing form suggests activity that is continuing ““And still more ” suggests the mushrooming of flowersAnd still more ” suggests the mushrooming of flowers Use of flashback : line 9 - line 11(cause and effect are reversed)Use of flashback : line 9 - line 11(cause and effect are reversed)

Stanza Stanza 22

Autumn: lax or resting; the stage of slowing doAutumn: lax or resting; the stage of slowing down; personification of autumn as a reaper or a wn; personification of autumn as a reaper or a harvesterharvester

““sound asleep,” “Drows'd ” sound asleep,” “Drows'd ” Autumn is listl Autumn is listless and even falls asleepess and even falls asleep

““Thou watchest the last oozings hours by hourThou watchest the last oozings hours by hours ”: The end of the cycle is near. The squeezins ”: The end of the cycle is near. The squeezing of the apple cider is nearly finished (“the last g of the apple cider is nearly finished (“the last oozings”) oozings”)

Stanza 3Stanza 3 Autumn: Description of the beauty of autumn. Keats blends living and Autumn: Description of the beauty of autumn. Keats blends living and

dying, the pleasant and the unpleasant, because they are crucial elements of dying, the pleasant and the unpleasant, because they are crucial elements of the mixed nature.the mixed nature.

Mention of “spring”: 1. representing process; the proceeding flow of time Mention of “spring”: 1. representing process; the proceeding flow of time (like the “summer” in stanza 1) 2. Spring is a time of rebirth of life which (like the “summer” in stanza 1) 2. Spring is a time of rebirth of life which contrasts with the seemingly dying autumn of stanza 3.contrasts with the seemingly dying autumn of stanza 3.

““the soft-dying day”: Its dying also creates beauty (as the following lines the soft-dying day”: Its dying also creates beauty (as the following lines present)present)

““While barred clouds bloom the soft-dying day, And touch the stubble-While barred clouds bloom the soft-dying day, And touch the stubble-plains with rosy hue ”: the setting sun casts a “bloom” of “rosy hue” over plains with rosy hue ”: the setting sun casts a “bloom” of “rosy hue” over the stubble left after the harvestthe stubble left after the harvest

““And full-grown lambs loud bleat from hilly bourn”: sheep will be And full-grown lambs loud bleat from hilly bourn”: sheep will be slaughtered in autumn (Note: why is Keats using the term “lambs” rather slaughtered in autumn (Note: why is Keats using the term “lambs” rather than “sheep”?)than “sheep”?)

““And gathering swallows twitter in the skies”: The swallows are gathering And gathering swallows twitter in the skies”: The swallows are gathering for their winter migration for their winter migration suggesting that the autumn will cease suggesting that the autumn will cease

We could compare We could compare To Autumn To Autumn with with 歐陽修 歐陽修 ’’ ss ““ 秋聲賦秋聲賦 ,” which describes autumn as a ,” which describes autumn as a withering season rather than a season of harveswithering season rather than a season of harvest and beauty. But it also has some similarities t and beauty. But it also has some similarities with with To Autumn To Autumn as in “as in “ 商，傷也；物既老而商，傷也；物既老而悲傷。夷，戮也；物過盛而當殺。悲傷。夷，戮也；物過盛而當殺。 ” ” whicwhich correlate with stanza 3 (ex: “And full-grown h correlate with stanza 3 (ex: “And full-grown lambs loud bleat from hilly bourn ”)lambs loud bleat from hilly bourn ”)

ImagesImages

Keats wrote a letter to his friend Keats wrote a letter to his friend J. H. Reynolds after he wrote J. H. Reynolds after he wrote "To Autumn." "To Autumn."

Even the letter alludes to Even the letter alludes to ancient myths, where Diana (in ancient myths, where Diana (in Roman myth, or Artemis in Roman myth, or Artemis in Greek) is the moon and the Greek) is the moon and the goddess of chastity and hunting.goddess of chastity and hunting.

Letter to Letter to J. H. ReynoldsJ. H. Reynolds

““How beautiful the season is now -- How fine the air. A tHow beautiful the season is now -- How fine the air. A t

emperate sharpness about it. Really, without joking, chaemperate sharpness about it. Really, without joking, cha

ste weather -- Dian skies -- I never lik'd stubble-fields so ste weather -- Dian skies -- I never lik'd stubble-fields so

much as now -- Aye better than the chilly green of the Spmuch as now -- Aye better than the chilly green of the Sp

ring. Somehow a stubble plain looks warm -- in the samring. Somehow a stubble plain looks warm -- in the sam

e way that some pictures look warm -- This struck me so e way that some pictures look warm -- This struck me so

much in my Sunday's walk that I composed upon it. “much in my Sunday's walk that I composed upon it. “

ImagesImages

Keats did not believe in gods and goddesses. He did, however, take a Keats did not believe in gods and goddesses. He did, however, take a great interest in the poetry of great interest in the poetry of ancient Greeceancient Greece, and "To Autumn" is the , and "To Autumn" is the sixth in his famous sequence of sixth in his famous sequence of odes,odes, poems ancient Greeks wrote to poems ancient Greeks wrote to the various gods in their polytheistic world. To the Greeks, a god was the various gods in their polytheistic world. To the Greeks, a god was not a distant, disembodied entity. Thus a god could dwell at the site of not a distant, disembodied entity. Thus a god could dwell at the site of a river, for it was the spirit of the river. Even one of the mightiest a river, for it was the spirit of the river. Even one of the mightiest gods, Apollo, was at some level simply the sun.gods, Apollo, was at some level simply the sun.

In "To Autumn," Keats treats In "To Autumn," Keats treats autumnautumn as a kind of as a kind of god or goddessgod or goddess whose whose presencepresence can be felt in many occurrences of late summer and can be felt in many occurrences of late summer and early fall. early fall.

““The weather, crops, plants and animals, sounds, even the activities The weather, crops, plants and animals, sounds, even the activities typical of that season” are turned into typical of that season” are turned into images of the god's presenceimages of the god's presence..

Images:Images:Stanza 1Stanza 1

The whole stanza is a single phrase that does The whole stanza is a single phrase that does not form a complete sentence. not form a complete sentence.

It addresses Autumn by name, just as a prayer It addresses Autumn by name, just as a prayer would begin by invoking or naming the god it would begin by invoking or naming the god it addresses, but uses a description rather than addresses, but uses a description rather than Autumn's proper name.( e.g. “Season of mists Autumn's proper name.( e.g. “Season of mists and mellow fruitfulness,”&“Close bosom-friend and mellow fruitfulness,”&“Close bosom-friend of the maturing sun”)of the maturing sun”)

Personification Personification

Images:Images:Stanza 1Stanza 1

Besides Besides maturingmaturing sun, sun, other words and other words and phrases that suggest phrases that suggest maturitymaturity

And fill all fruit with And fill all fruit with ripenessripeness to the core; to the core;

To To swellswell the gourd, and the gourd, and plumpplump the hazel shells the hazel shells

Images:Images:Stanza 1Stanza 1

A repetitive listing of ripening indicates that Keats mighA repetitive listing of ripening indicates that Keats might designed it on purpose, in order to show the conspiracy t designed it on purpose, in order to show the conspiracy between autumn and sun. between autumn and sun.

Autumn and the sun not only Autumn and the sun not only loadload but also but also blessbless the vine the vines with fruit. s with fruit. the effects of using the word the effects of using the word blessbless

at the end of the stanza, Autumn and the sun make so mat the end of the stanza, Autumn and the sun make so many flowers bud late in the season that the bees have becany flowers bud late in the season that the bees have become confused ome confused (Until they think warm days will never cease, For (Until they think warm days will never cease, For

Summer has o'er-brimm'd their clammy cells.) Summer has o'er-brimm'd their clammy cells.) suggestssuggests unawunawarenessareness

Images:Images:Stanza 2Stanza 2

““Who hath not seen thee oft amid thy store?Who hath not seen thee oft amid thy store?””Keats is stressing that in fact everyone has Keats is stressing that in fact everyone has seen Autumn.seen Autumn.

““harvested grain, a partially harvested field, aharvested grain, a partially harvested field, apples being pressed to make cider” pples being pressed to make cider” All the All the stanza's images take sights common in the costanza's images take sights common in the countryside during autumn untryside during autumn

““sitting careless; sound asleep; Drows'd; keep sitting careless; sound asleep; Drows'd; keep / Steady; with patient look”/ Steady; with patient look” the images see the images seem to picture Autumn at rest m to picture Autumn at rest

Images:Images:Stanza 3Stanza 3

““the soft-dying day,”“mourn,” “sinking,” the soft-dying day,”“mourn,” “sinking,” “dies,”“dies,”

words and phrases that suggest death or dyingwords and phrases that suggest death or dying Indicates that “Autumn is leaving”Indicates that “Autumn is leaving”

Images:Images:Stanza 3Stanza 3

Autumn's music: Autumn's music: ““Then in a wailful chThen in a wailful choir the small gnats mourn” “Anoir the small gnats mourn” “And full-grown lambs loud bleat frod full-grown lambs loud bleat from hilly bourn;” “Hedge-crickets m hilly bourn;” “Hedge-crickets sing; and now with treble soft” sing; and now with treble soft” “The red-breast whistles from a “The red-breast whistles from a garden-croft” “And gathering sgarden-croft” “And gathering swallows twitter in the skies”wallows twitter in the skies”

Images:Images:Stanza 3Stanza 3

““And full-grown lambs bleat from hilly bourne;”And full-grown lambs bleat from hilly bourne;” “ “Hedge-crickets sing;”Hedge-crickets sing;” “ “And gathering swallows twitter in the skies.And gathering swallows twitter in the skies.”” connotations of deathconnotations of death

“Hedge-crickets sing; and now with treble soft

The red-breat whistles from a garden-croft;And gathering swallows twitter in the skies."

Implication of “Autumn” Implication of “Autumn” in John Keats’ Romantic in John Keats’ Romantic

poempoem Alfonso LiuAlfonso Liu

Autumn with Autumn with fruitfulness, abundance, fruitfulness, abundance, and joyfulnessand joyfulness

Autumn with Autumn with

hope (sun)hope (sun)

1st stanza—describing the 1st stanza—describing the autumn as a fruitful seasonautumn as a fruitful season

Season of mists and mellow Season of mists and mellow fruitfulnessfruitfulness,,Close bosom-friend of the maturing sun;Close bosom-friend of the maturing sun;Conspiring with him how to load and blessConspiring with him how to load and blessWith fruit the With fruit the vinesvines that round the thatch-eves run; that round the thatch-eves run;To bend with To bend with applesapples the mossed cottage trees, the mossed cottage trees,And fill all fruit with And fill all fruit with ripenessripeness to the core; to the core;To swell the gourd, and plump the hazel shellsTo swell the gourd, and plump the hazel shellsWith a sweet kernel; to set budding more,With a sweet kernel; to set budding more,And still more, later And still more, later flowersflowers for the bees, for the bees,Until they think warm days will never cease,Until they think warm days will never cease,For Summer has o’er-brimmed their clammy cells.For Summer has o’er-brimmed their clammy cells.

2nd stanza—Comparing autumn to 2nd stanza—Comparing autumn to “someone” (personification)“someone” (personification)

Who hath not seen thee oft amid thy store?Who hath not seen thee oft amid thy store?Sometimes whoever Sometimes whoever seeksseeks abroad may find abroad may findThee Thee sittingsitting careless on a granary floor, careless on a granary floor,Thy hair Thy hair soft-liftedsoft-lifted by the winnowing wind; by the winnowing wind;Or on a half-reaped furrow sound asleep,Or on a half-reaped furrow sound asleep,DrowsedDrowsed with the fume of poppies, while thy hook with the fume of poppies, while thy hookSpares the next swath and all its twinéd flowers:Spares the next swath and all its twinéd flowers:And sometimes like a gleaner thou dost keepAnd sometimes like a gleaner thou dost keepSteady thySteady thy laden laden head across a brook; head across a brook;Or by a cyder-press, with patient look,Or by a cyder-press, with patient look,Thou Thou watchestwatchest the last oozings hours by hours. the last oozings hours by hours.

3rd stanza—Autumn is a symbol 3rd stanza—Autumn is a symbol of maturity of beingsof maturity of beings

Where are the songs of Spring? Ay, where are they?Where are the songs of Spring? Ay, where are they?Think not of them, Think not of them, thou hast thy music toothou hast thy music too,—,—While barred clouds bloom the soft-dying day,While barred clouds bloom the soft-dying day,And touch the stubble plains with And touch the stubble plains with rosyrosy hue; hue;Then in a wailful Then in a wailful choir the small gnats mournchoir the small gnats mournAmong the river sallows, borne aloftAmong the river sallows, borne aloftOr sinking as the light Or sinking as the light wind lives or dieswind lives or dies;;And And full-grown lambs loud bleat from hilly bournfull-grown lambs loud bleat from hilly bourn;;Hedge-crickets sing; and now with treble softHedge-crickets sing; and now with treble softThe The red-breast whistles from a garden-croftred-breast whistles from a garden-croft;;And And gathering swallows twitter in the skiesgathering swallows twitter in the skies..

Winchester College Winchester College

Comparison & Comparison & ConclusionConclusion

ElaineElaine

Personal QuestionsPersonal Questions

1.1. Which poem do you find easier to read? WhiWhich poem do you find easier to read? Which one do you like more?ch one do you like more?

2.2. Which topic interests you more: Art or NaturWhich topic interests you more: Art or Nature? How are they different?e? How are they different?

3.3. Do you get emotionally involved in the thingDo you get emotionally involved in the things you like? Do you get emotionally involved s you like? Do you get emotionally involved in Art and/or Nature?in Art and/or Nature?

4.4. Do you agree that truth and beauty are all yoDo you agree that truth and beauty are all you need to know?u need to know?

Reflective QuestionsReflective Questions

1.1. How do the two different openings present thHow do the two different openings present the two speakers’ different attitudes and moods?e two speakers’ different attitudes and moods?

Thou still unravish'd bride of quietness,Thou still unravish'd bride of quietness, Season of mists and mellow fruitfulness, / Season of mists and mellow fruitfulness, / CCll

ose bosom-friend of the maturing sun;ose bosom-friend of the maturing sun;

Reflective QuestionsReflective Questions

1.1. How does each speaker talk to/about the subjHow does each speaker talk to/about the subject (Art/Nature)?ect (Art/Nature)?

2.2. What are their attitudes?What are their attitudes?

3.3. Is the speaker in “To Autumn” more respectfIs the speaker in “To Autumn” more respectful and in awe than “Grecian Urn”? How?ul and in awe than “Grecian Urn”? How?

1.1. Who drives the story and the action in each pWho drives the story and the action in each poem?oem?

2.2. Are reality and imagination given the same Are reality and imagination given the same weights/values in both poems?weights/values in both poems?

3.3. Are the speakers’ questions resolved in the pAre the speakers’ questions resolved in the poems? If not, what are the effects of these unoems? If not, what are the effects of these unanswered questions?answered questions?

Reflective QuestionsReflective Questions

OdesOdes

LengthyLengthy Serious in subject matterSerious in subject matter Elevated in its word choice and styleElevated in its word choice and style Elaborate structure in stanzasElaborate structure in stanzas The Horatian ode - “To Autumn” The Horatian ode - “To Autumn”

uniform stanzasuniform stanzas same metrical patternsame metrical pattern more personal, meditative, & restrainedmore personal, meditative, & restrained

StructureStructureGrecian UrnGrecian Urn

--> The timelessness of the urn --> The timelessness of the urn --> Ideal v.s. Real (canst not lea--> Ideal v.s. Real (canst not lea

ve… nor ever can… never, nve… nor ever can… never, never…)ever…)

--> Greater passions depicted o--> Greater passions depicted on the urnn the urn

--> Looks at the urn from witho--> Looks at the urn from without; imaginationsut; imaginations

--> Addresses the urn and speak--> Addresses the urn and speaks to it as an observers to it as an observer

--> Conclusion: beauty v.s. trut--> Conclusion: beauty v.s. truthh

To AutumnTo Autumn--> Ripeness of the harvest --> Ripeness of the harvest --> Laziness of the Autumn --> Laziness of the Autumn --> Imageries of death and passi--> Imageries of death and passi

ng.ng.

ToneToneGrecian UrnGrecian Urn

Apostrophe - direct adApostrophe - direct address (18)dress (18)

Many questionsMany questions Theoretical questions Theoretical questions

and statementsand statementsWhat mad pursuit? What What mad pursuit? What

struggle to escape?struggle to escape? ‘‘Beauty is truth, truth beBeauty is truth, truth be

auty’auty’

To AutumnTo Autumn Apostrophe - aids in thApostrophe - aids in th

e imagery (8)e imagery (8) More descriptions, lesMore descriptions, les

s questionss questions Retrospective, calm, reRetrospective, calm, re

flective, unhurriedflective, unhurriedThee sitting careless on Thee sitting careless on

a granary floor, / a granary floor, / TThy hy hair soft-lifted by the hair soft-lifted by the winnowing wind;winnowing wind;

PerspectivePerspectiveGrecian UrnGrecian Urn

Narrator is emotionally involveNarrator is emotionally involved in the narrationd in the narration

There is a constant question on There is a constant question on art and life, reality and imaginatart and life, reality and imaginationion

Speaks to the urn and asks for a Speaks to the urn and asks for a response response

Bold Lover, never, never Bold Lover, never, never canst thou kisscanst thou kiss

Though winning near the Though winning near the goal -- goal -- yyet, do not grieet, do not grieve;ve;

To AutumnTo Autumn Narrator is less emotionally involveNarrator is less emotionally involve

d, but is very observantd, but is very observant Does not flee from the realityDoes not flee from the reality Appreciates Nature as it isAppreciates Nature as it is Narrator contemplates a lot (speaks Narrator contemplates a lot (speaks

to himself)to himself)

Where are the songs of SprinWhere are the songs of Spring? Ay, where are they?g? Ay, where are they?

and now with treble softand now with treble softTThe red-breast whistles from he red-breast whistles from

a garden-croft;a garden-croft;AAnd gathering swallows twittnd gathering swallows twitt

er in the skies.er in the skies.

Concluding QuestionsConcluding Questions

1.1. Are the speakers’ questions resolved in the poems? Are the speakers’ questions resolved in the poems? If not, what are the effects of these unanswered queIf not, what are the effects of these unanswered questions?stions?

2.2. How do the speakers approach the complexities and How do the speakers approach the complexities and mysteries of life, art, and nature?mysteries of life, art, and nature?

3.3. Do art and nature really offer us more than our percDo art and nature really offer us more than our perception of reality? Or are we the ones defining the meption of reality? Or are we the ones defining the meaning of art and nature?eaning of art and nature?

SourcesSources

Newman LibraryNewman Library http://newman.baruch.cuny.edu/digital/2000/c_n_c/c_07_rhttp://newman.baruch.cuny.edu/digital/2000/c_n_c/c_07_romanticism/reading_keats.htmomanticism/reading_keats.htm

Brooklyn College Brooklyn College http://academic.brooklyn.cuny.edu/english/melani/cs6/autumn.http://academic.brooklyn.cuny.edu/english/melani/cs6/autumn.htmlhtml