To Autumn

Autumn

The sovereignity of your acid titian new tinge,

In recent auburn dye of verdant decay:

Deadly aroma of arable rejuvenation 

In my attempt to create some Katsian lines regarding Autumn, some similarities came up with his production. Both of us speak of the overflowing fertility of autumn, "To bend with apples the moss'd cottage-trees". Another similarity could be the reference to the new colours of autumn, he speaks of "hazel shells", whilst I talk about the titian new tinge, or recent auburn dye. 

To Autumn

SEASON of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss’d cottage-trees,	5
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,	10
For Summer has o’er-brimm’d their clammy cells.
2. Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;	15
Or on a half-reap’d furrow sound asleep,
Drows’d with the fume of poppies, while thy hook
Spares the next swath and all its twined flowers:
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;	20
Or by a cyder-press, with patient look,
Thou watchest the last oozings hours by hours.
3. Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,—
While barred clouds bloom the soft-dying day,	25
And touch the stubble plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;	30
Hedge-crickets sing; and now with treble soft
The red-breast whistles from a garden-croft;
And gathering swallows twitter in the skies.

1)

The main difference between "To Autumn" and the rest of the studied poems by Keats is that the transportation to a world away from reality, is missing. This poems, unlike the rest, stays in the reality of nature, it is more of an observation rather than an imagination. Keats accepts, embraces and admires Autumn for what she is, there is no suggestion of emptiness or hollowness in the real word, this is the difference from the rest of his poems.

2)

The first stanza is full of imagery suggesting warmth, and even heat: "maturing sun", "warm", "Summer has o’er-brimm’d their clammy cells". These are obvious suggestions of warmth, being the medium of all the fertility, ripeness, maturity of the begininng of autumn. Throughout the 2nd and 3rd stanzas there are subbtler references to the warmth of autumn, seen in the description of autumn and her way of being, personified as lazy, or maybe tired for all the work done in the previous stanza. She still has things half done, unfinished: "half-reap’d furrow". She is comfortable, warm. In the third stanza, there is imagery that also makes reference to warmth, " And touch the stubble plains with  rosy hue". It is as if a shadow of colours, roses, is casted upon the fields. 

3)

Time is the thread of the poem. Keats, throughout "To Autumn", insists on the idea of a progress, of a cycle. Beginnings and endings and beginnings, this is the essence of the poem. The language used is the medium that Keats uses to express this idea, the present continous (-ing's): "conspiting, budding, winnowing, etc". The structure of the poem is also representing the passing of time, of chronology. The poem starting with the end of summer and beginning of autumn, from the harvest to the end of the harvest. Also talking about Spring, where everything grows, and starts.