Autumn Descriptive Essay

Autumn Descriptive Essay-4
After the month of May, he began to pursue other forms of poetry, including the verse tragedy Otho the Great in collaboration with friend and roommate Charles Brown, the second half of Lamia, and a return to his unfinished epic Hyperion.His efforts from spring until autumn were dedicated completely to a career in poetry, alternating between writing long and short poems, and setting himself a goal to compose more than fifty lines of verse each day.I’ve been traveling solo for over 20 years, nurturing my attraction for nature and wilderness, and my love of art and culture.

After the month of May, he began to pursue other forms of poetry, including the verse tragedy Otho the Great in collaboration with friend and roommate Charles Brown, the second half of Lamia, and a return to his unfinished epic Hyperion.His efforts from spring until autumn were dedicated completely to a career in poetry, alternating between writing long and short poems, and setting himself a goal to compose more than fifty lines of verse each day.I’ve been traveling solo for over 20 years, nurturing my attraction for nature and wilderness, and my love of art and culture.

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One of the most anthologised English lyric poems, "To Autumn" has been regarded by critics as one of the most perfect short poems in the English language.

During the spring of 1819, Keats wrote many of his major odes: "Ode on a Grecian Urn", "Ode on Indolence", "Ode on Melancholy", "Ode to a Nightingale", and "Ode to Psyche".

"To Autumn" describes, in its three stanzas, three different aspects of the season: its fruitfulness, its labour and its ultimate decline.

Through the stanzas there is a progression from early autumn to mid autumn and then to the heralding of winter.

The imagery is richly achieved through the personification of Autumn, and the description of its bounty, its sights and sounds.

It has parallels in the work of English landscape artists, The work has been interpreted as a meditation on death; as an allegory of artistic creation; as Keats's response to the Peterloo Massacre, which took place in the same year; and as an expression of nationalist sentiment.In a letter to his friend John Hamilton Reynolds written on 21 September, Keats described the impression the scene had made upon him and its influence on the composition of "To Autumn": "How beautiful the season is now – How fine the air.A temperate sharpness about it [...] I never lik'd stubble fields so much as now [...] 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." Not everything on Keats's mind at the time was bright; the poet knew in September that he would have to finally abandon Hyperion.Thus, in the letter that he wrote to Reynolds, Keats also included a note saying that he abandoned his long poem.The poem was revised and included in Keats's 1820 collection of poetry titled Lamia, Isabella, the Eve of St. Although the publishers Taylor and Hessey feared the kind of bad reviews that had plagued Keats's 1818 edition of Endymion, they were willing to publish the collection after the removal of any potentially controversial poems to ensure that there would be no politically motivated reviews that could give the volume a bad reputation.The last stanza contrasts Autumn's sounds with those of Spring.The sounds that are presented are not only those of Autumn but essentially the gentle sounds of the evening. As night approaches within the final moments of the song, death is slowly approaching alongside the end of the year.In this stanza the fruits are still ripening and the buds still opening in the warm weather.Stuart Sperry says that Keats emphasises the tactile sense here, suggested by the imagery of growth and gentle motion: swelling, bending and plumping.Parallel to this, the poem depicts the day turning from morning to afternoon and into dusk.These progressions are joined with a shift from the tactile sense to that of sight and then of sound, creating a three-part symmetry which is not present in Keats's other odes.

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