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Ode To Autumn by Keats
Ode To Autumn by Keats
1. INTRODUCTION
3. CRITICAL APPRECIATION
Its Sensuousness
The bounty of Autumn has been described with all its sensuous appeal. The vines
suggesting grapes, the apples, the gourds, the hazels with their sweet kernel, the bees
suggesting honey—all these appeal to our senses of taste and smell. The whole landscape
is made to appear fresh and scented. There is great concentration in each line of the first
stanza. Each line is like the branch of a fruit-tree laden with fruit to the breaking-point.
Felicity of Diction
We have here the usual felicity of diction for which Keats is famous. Phrases like
“mellow fruitfulness”, “maturing sun”, “hair soft-lifted”, “barred clouds” which “bloom
the soft-dying day”, “hilly bourn” are examples of Keats’s happy coinages. Nor is poetic
artifice wanting to add beauty to the verse. The alliteration in the following lines is, for
instance, noteworthy:
Several words here contain the same “z” sound—hazel, shells, flowers, bees, days, cease,
cells. The abundance of “m” sound in these lines is also noteworthy: plump, more,
warm, summer, brimni’d clammy.
Its Form
The rhyme-scheme in this ode is the same (except for a little variation) in all the
stanzas each of which consists of 11 lines. Thus it is a “regular” ode.
A Critic’s Comment
“Most satisfying of all the Odes, in thought and expression, is the Ode To
Autumn. Most satisfying because, for all the splendour of diction in the others, there are
times when the poetic fire dwindles for a moment, whereas in thisode, from its
inception to its close, matter and manner are not only superbly blended, but every line
carries its noble freight of beauty. The first stanza is a symphony of colour, the second a
symphony of movement, the third a symphony of sound. The artist shapes the first and
last, and in the midst the man, the thinker, gives us its human significance. Thus is the
poem perfected, its sensuous imagery enveloping as it were its vital idea.” (A. Compton-
Rickett)
A Significant Ode
David Perkins, quoting another critic, says that this ode is regarded as “a very
nearly perfect piece of style” but that it has “little to say”. However, says David Perkins,
this ode is very “significant”. Even more than Keats’s other odes,To Autumn, is
“objective, oblique and impersonal, carried scarcely at all by direct statement that
involves the poet”. Its expression, like that of the Grecian Urn or theNightingale, is
concrete and symbolic, and as in these other odes, the symbol adopted has been
previously established in Keats’s poetry. Keats’s view of the seasons is on the whole
rather conventional: spring is the time of budding, summer of fulfilment, and winter of
death. Autumn coming between summer and winter, can be seen as the intensifying and
prolonging of summer. In other words, autumn suggests precisely that lengthening-out
of fulfilment as its crest or climax which Keats had desired to find in the concrete world.
So the poet, turning to the concrete, contemplate it with serenity.
The Imagery in the Last Stanza; the Mood and the Thought of the Poem
Things reveal their essential identity most intensely at the moment if dying or
readiness to die. So the last stanza begins with the one comment the poet offers in his
own person. “Where are the songs of Spring?” but there is no rebellion in the answer:
“Think not of them, thou hast thy music too”. There follows an image of the day, which,
like autumn, is about to end, and the death is accompanied by a fulfilment; for as it dies
the day blooms all flowers (“While barred clouds bloom the soft-dying day”). The stanza
proceeds with images of death or withdrawal, and of song, and the songs are a funeral
dirge for the dying year. At the same time, there is a tone of tenderness in the stanza;
and the objectivity of the last few lines suggests an acceptance which includes even the
fact of death. Death is here recognised as something inherent in the course of things, the
condition and price of all fulfilment, having like the spring and summer of life its own
distinctive character or “music” which is also to be prized and relished. In the last
analysis, perhaps, the serenity and acceptance here expressed are aesthetic. The ode is,
after all, a poem of contemplation. The symbol of autumn compels that attitude. The
poet’s own fears, ambitions and passions are not directly engaged, and hence he can be
relatively withdrawn. The poet seems to suggest that life in all its stages has a certain
identity and beauty which man can appreciate by disengaging his own ego. “Thus the
symbol permits, and the poem as a whole expresses, an emotional reconciliation to the
human experience of process.”
An Acceptance of Impermanence
Superficially altogether different from the Ode On Melancholy, To Autumn, is
deeply related to that poem. The Melancholy ode accepts the impermanence of beauty
and joy as inevitable. In the Ode To Autumn,impermanence is again accepted, and
accepted without the least trace of sadness because Keats is able to see it as part of a
larger and richer permanence.