He describes autumn as a woman who is enjoying his time, napping in the fields and not worrying about what comes next. Ode to Autumn has aesthetic aspect. In the first reading, one can find out Keats is not only a great poet, but also a creative painter. His painting is not about using colors and sheets but using fascinating words. He has artistically chosen the words.
“To Autumn” is a poem filled with praises for the autumn season for its loads of abundance and blessings. It's true, Autumn does have its music and charm! In the evenings, mournful gnats are heard in the willows of the river banks. The lamb's bleat and the red breast whistle, hedge-crickets sing is a sign of approaching winter. (Keats & Motion, 15).
Speaker begins this part by calling Yeats as “silly.” He says, Yeats is just like everyone else, he is just a human after all. When speaker says: “your gift survived it all: The parish of rich women, physical decay, Yourself.” This can mean that everything contributes to create our character everything about ourselves is the thing which makes us perfect. After these lines most important part of the poem comes. Speaker says: “Mad Ireland hurt you into poetry.” Speaker is saying these lines like it is a fact which is known by everybody that Ireland is the main reason for Yeats to write poems. He hints that he wrote poems to change Ireland or to change Ireland in his own mind.
In the poem “A Winter Rose”, by Elaine George, the author depicts an image of seasonal suffering through the implementation of imagery and personification in order to express longing and despair for the past. The poem provides insight regarding the feelings of attachment that exist between the author and a rose covered with snow. Through the use of figurative language, the author juxtaposes yearning to be reunited with a rose. Each of the desires described through the poem are then unified in the questioning of their own legitimacy. George relies upon the use of diction to create a sentimental mood in order to express feelings of awe toward the coming of the season, winter, in the first quatrain.
However, the concluding quartet of the poem is again a shift in perspective and surrounding, as it focuses on the western world. Keats follows Homer, Chapman, and now Cortez, a Spanish conquer to further draw out the discovery of the inner self by featuring the successes of the great. There is an evident sense of adventure and daunting nerve that is faced in Keats’ description, “Or like Stout Cortez when with eagle eyes / He stared at the Pacific—and all his men / Looked at each other with a wild surmise— / Silent, upon a peak in Darien.” (11-14). The ending couplet serves to illustrate Cortez as a witness to a great and unnerving spectacle, the Pacific ocean. This vast body of water had never been discovered, or seen by anyone before and suddenly is come across by Cortez and his men.
In this quote, Owen seems to be paying homage to all the romantic poets (like Keats and Shelly) whose poetry has been able to soothe him and has even often resounded deeply with his situation or with the problems he was going through. At the time, when Owen
The second poem is again by famous war poet Wilfred Owen. The poem also has strict basis in the theme of nature and the theme is key in understanding the poet. The poem describes the events that once took place in one of Owen’s battles within the context of nature. The poem begins with a reference to how important the hills are to the soldiers who take rest from the battles in the shade from the hills. There is strong natural imagery in the poem that suggests the setting of the poem as well as what the situation was when the scene was taking place.
3 Emily Dickinson, “The name – of it – is ‘Autumn’ (656)” 3.1 Death motif Emily Dickinson’s depiction of death in her poem “The name – of it – is ‘Autumn’” is a stark contrast to Keats’ in “To Autumn”, since here, Autumn is a force of nature – violent, bloody, and corporeal. Dickinson’s Autumn (death) is nothing like Keats’ soft, patient, sleepy reaper; it accumulates metaphor upon metaphor of blood, being of a red colour itself, and carrying blood through the city, through humans’ living spaces, staining and flooding them in the process. What Mark Bracher calls Keats’ “ideology” of Autumn (Bracher 1990, 634), Michelle Kohler identifies as “rhetorical constructed-ness (Kohler 2013, 32)”, and states that Dickinson’s poem is a “rhetorical battlefield” (Kohler 2013, 45), in which Dickinson, by re-writing Autumn, points directly to the (in Keats’ ode, ideological) construction of Autumn as a concept. Keats’ images of abundance and riches in nature are echoed in Dickinson’s poem, and exaggerated through the above-mentioned accumulation of blood metaphors. This way, the poem aggressively reintroduces death into its autumnal landscape (Kohler 2013, 46).
In “Autumn Fire” the people were referred as crows, whereas in “Before the Summer Dies” they are referred as children. This implies of innocence and hopelessness, and in comparison to “Autumn Fire” the change seems hastier and harsher as people “pray upon the fading light”. The narrator compares the fading summer to time that “Runs through your fingers”, highlighting the role of passing of time in evoking longing. The following lines “And night will harvest us down / Before the words of goodbye” implying of swiftness of time as well as of the uncomfortable change.