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Autumn Leaves Descriptive Essay Free Essays
'Maturing' is the key word here that unlocks the deeper meaning of 'To Autumn'. It denotes experience, wisdom, knowledge and an ability to accept the inevitable. Autumn can be described as the 'twilight months' of the year; a time when the buds have bloomed and are in their full glory; a time when the young have grown and are ready to face the challenges of survival; a time when the old live out their last days before the onset of winter. If Autumn were a metaphor for life, then it would represent those of middle age, who have the benefit of hindsight and the wisdom of years of experience to draw from. The old are often overshadowed by the energy and vitality of the young; yet Keats, by richly describing the glory and blessings of Autumn, tells us that maturity an experience can offer just as much, if not more. The final stanza makes this point clear:
thou well-kept, latent germ!
O I sing, a simple separate person,
Yet utter the word Democratic, the word En-Masse.
Of physiology from top to toe I sing,
Not physiognomy alone nor brain alone is worthy for
Of Life immense in passion, pulse, and power,
Cheerful, for freest action form'd under the laws divine,
The Modern Man I sing.
A I ponder'd in silence,
Returning upon my poems, considering, lingering long,
A Phantom arose before me with distrustful aspect,
Terrible in beauty, age, and power,
The genius of poets of old lands,
As to me directing like flame its eyes,
With finger pointing to many immortal songs,
And menacing voice, it said,
then I answer'd,
I cabin'd ships at sea,
The boundless blue on every side expanding,
With whistling winds and music of the waves, the large
Where joyous full of faith, spreading white sails,
She cleaves the ether mid the sparkle and the foam of
Then falter not O book, fulfil your destiny,
You not a reminiscence of the land alone,
You too as a lone bark cleaving the ether, purpos'd I
The Autumn And The Fall Of Leaves Essays
In this sense, the indication that Autumn is a deity suggests that the poem is, in fact, an offering or a gift - adding a hint of worship to the title, as opposed to a simple message to a familiar acquaintance. The word 'bless' emphasises this as it has distinct religious overtones.
Autumn is a short season, and, at only three stanzas long, this reflected in the short and concise structure of the actual poem. However, Autumn is also a time of richness and abundance before the scarcity of winter and Keats has used extensive vocabulary and language to draw a detailed picture in the mind of the reader of this brief, colourful season.
The first stanza concerns itself with extolling the beauty and floridity of Autumn, appealing to the senses of sight and taste. The visual sense is the first to be addressed - 'Mists and mellow fruitfulness'. The use of 'mellow' conjures up an associated colour; one of warmth and age, the parchment yellow of ripened pears perhaps, or the sienna of fallen leaves - all of which fall under 'fruitfulness'. However, we are reminded to keep our other senses aware with the mention of 'mists' - sometimes our vision can be clouded and we have to rely on something other than sight. Taste is an obvious choice for the season of harvest: Keats refers to the 'sweet kernels' and fruit with 'ripeness to the core'. However, most description is used to fully conveying Autumn's bounty giving the impression that, for a short time span, the land is overwhelmed with nourishment:
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 wit 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 tradegy. 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" so 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 leaned that an acceptance of mortality is not destructive to an appreciation of beauty and has gleaned wisdom by accepting the passage of time.
Bill evans autumn leaves analysis essay - DB Tactical …
'To Autumn' is full of such 'about to' images, which create an anticipatory tension beneath a surface of calmness and gentleness. Gradually, as we move through the stanzas, this tension becomes more apparent. The first stanza describes plans of 'close bosom-friends', Autumn and the sun. It is curiously static grammatically: its chain of infinitives stems from 'Conspiring with him how to...' and constitutes one long sentence. Stanza 2 presents Autumn as midway through her work: lying on a 'half-reap'd' furrow; then as a gleaner half-way across a brook (F.R. Leavis saw the movement of the eyes from the end of one line to the next as evocation of the gleaner's transition across the brook); and finally watching the near completion of the crushing apples. Stanza 3 describes the passing of Autumn and the implicit expectation of winter. This is hinted at through daylight turning into evening ('soft dying day'), the presence of a robin, and the reference to swallows 'gathering' to migrate for warmer skies. It is also the reason for the elegiac 'music' of the final stanza, with its subtle but repeated allusions to death: 'the soft-dying day.. in a wailful choir the small gnats mourn.. as the light wind lives or dies'. The mention of 'sallows' (a Spenserism for 'willows'), a tree conventionally associated with sadness, adds to this mood, as does the poem's final image of the departing swallows. ('Swallows twitter' could, in fact, be an echo of the most well-known elegy of Keats's day, Gray's 'Elegy written in a Country Churchyard', with its 'swallow twitt' ring from the straw-built shed'.)
Essay Just say no to fall The Denver Post In Memory of Eva Gore Booth and Con Markievicz by William Butler Yeats harmony autumn sky leaves trees forest nature autumnalquotes poetr
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Essay evans autumn leaves Bill ..
In both its form and descriptive surface, "To Autumn" is one of the simplist of Keats' odes. There is nothing confusing or complex in Keats' 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 theme withour 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 left off. Like the others, it shoes Keats' 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' ode is a time of warmth and plenty, but it is perched on the brink of winters' 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 the 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' 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' 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 drowing among the poppies recalls Psyche and Cupis laying 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 havesting is an explicit metaphor for artistic creation. In his Sonnet "When I have Fears", 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 charact'ry,
Hold like rich garners the full-ripen'd grain"
Free Essays on The Leaves of Autumn
Keats' speaker opens his first stanza by addressing Autumn, describing its abundance and its intimacy with the sun, with whom Autumn ripens fruits and casues 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 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 fro their coming migration, sing from the skies.
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