Bill evans autumn leaves analysis essay
Yet the demise is made to seem almost welcoming: the transience to winter - to death - is pleasant and 'soft', a gentle passing that is beautiful to experience and not to be feared. There is no morbidity here, only a quiet acceptance that life on earth must end for each one of us. However, not all life dies. The poem ends with the sounds of various creatures, a stubborn message that the cycle of the seasons will continue and life will return, as the poet reminds us in his final line:
Bill evans autumn leaves analysis essay - DB Tactical …
On first reading, 'Spares the next swath', in the following line, implies clemency. In factm the image points to a delayed execution for the flowers. There is a similar effect here to that created by the final image of stanza 1, where the bees are offered unexpected and abundant pollen, but are soon to be disappointed in their belief that 'warm days will never cease'. The final image of stanza 2, Autumn watching the cider-press, also contains a hint of cruelty. Her patience is an aspect of her own immortal existence and contrasts with the slow crushing of the apples. The fact that she watches their 'last oozings hours by hours', emphasises the drawn-out nature of their destruction.
Each of these verbal pictures connects back to the opening of the poem and the perhaps surprising use of 'conspiring' in line 3. The sinister, calculating sense of the word fits the presentation of Autumn as a force which blesses with energy and beauty ('And fill all fruit with ripeness to the core') only for that life to be harvested in its prime. This is a knowledge of which Autumn's children are pathetically innocent: the 'full-grown lambs loud bleat from hilly bourn' but they do not know what is around the corner. Autumn sits 'careless' on her granary floor: the word means both free and relaxed, and also detached and aloof. The doubleness of 'careless' is similar to Keats's use of 'viewless' in 'Ode to a Nightingale' ('the viewless wings of poetry') where the sense of both incomparably sublime and without clear vision is relevant.
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.
Reasons Why Autumn Is the Best Season | Holidappy
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"
I agree- autumn is the best season!
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.