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TO AUTUMN

TO AUTUMN. JOHN KEATS. CONTENT. The Romantic Period Poet Description of the Poem Themes Symbols Values Language Use Metaphors Implementations in the class Conclusion. ROMANTICISM (1850 - 1920 ). ROMANTICISM an artistic , literary and intellectual movement

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TO AUTUMN

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  1. TO AUTUMN JOHN KEATS

  2. CONTENT • TheRomanticPeriod • Poet • Description of thePoem • Themes • Symbols • Values • LanguageUse • Metaphors • Implementations in theclass • Conclusion

  3. ROMANTICISM (1850 - 1920 )

  4. ROMANTICISM • an artistic, literaryandintellectualmovement • in thesecondhalf of the 18th century in Europe, • in reactiontotheIndustrialrevolution. • a revoltagainstaristocraticsocialand • politicalnorms of theAge of Enlightenment. • a reactionagainstthescientific • rationalization of nature. • moststrongly in thevisualarts, music, andliterature,

  5. HISTORICAL CONSIDERATIONS • age of revolutionstheAmerican (1776) andthe French (1789) revolutions • age of upheavals in political, economic, andsocialtraditions, • IMAGINATION • imagination as ourultimate "shaping" orcreativepower, • theapproximatehumanequivalent of thecreativepowers of natureorevendeity. • dynamic, an active, ratherthanpassivepower, withmanyfunctions.

  6. NATURE • a work of art, constructedby a divineimagination, • emblematiclanguageants ="heap'dstones," • grass = a natural "hieroglyphic," "thehandkerchief of theLord." • SYMBOLISM • greatprominence in theRomanticconception of art. • symbolswerethehumanaestheticcorrelatives of nature'semblematiclanguage.

  7. EMOTION,LYRIC,POETRY • greateremphasis on theimportance of intuition, instincts, andfeelings, • greaterattentiontotheemotions as a necessarysupplementtopurelylogicalreason. CONTRASTS WITH NEOCLASICISM • systematiccontrastwiththenorms of "Versaillesneoclassicism." • Neoclasicism=strictlaws of balanceandrestraint, rigid, severe, and unemotional. • Romanticism=consciouslyassertedtheirdifferencesfromthepreviousage • declaredtheirfreedomfromthemechanical "rules." • emotional, deeply-felt, individualistic.

  8. INDIVIDUALISM:THE ROMANTIC HERO • importance of theindividual, theunique, theeccentric. • theyopposedthecharactertypology of neoclassical drama. • createditsownliterarytypes. • THE ROMANTIC ARTIST IN SOCIETY • Romanticswereambivalenttowardthe "real" socialworldaroundthem. • politicallyandsociallyinvolved, • distancethemselvesfromthepublic.

  9. JOHN KEATS

  10. Born on 31 October 1795 in centralLondon • One of the key figures in the second generation of the Romantic movement •  Keats's first surviving poem, An Imitation of Spenser, • The poetry of Keats is characterized by sensual imagery, most notably in the series of odes, • Developed an interest in classics and history which would stay with him throughout his short life. 

  11. He sufferedfromtuberclosis. •  his mother died of tuberculosis leaving the children in the custody of their grandmother. • died on 23 February 1821

  12. DESCRIPTION OF THE POEM

  13. Thefirststanza Season of mistsandmellowfruitfulness,  Closebosom-friend of thematuring sun; AUTUMN autumnandthe sun areoldpals • "Mists" oftenaccompanychillyweatherbecausethemoisture in theaircondensesinto a vaporwhenit'scold. the sun, whois"maturing" as theyeargoes on • whenmanyfruitsandothercropsareharvested, makingautumnfruit-full.

  14. Conspiringwithhimhowtoloadandbless Withfruitthevinesthatroundthethatch-evesrun; Theyareplanninghowtomakefruitgrow on thevinesthatcurlaroundtheroofs ("eves") of thatchedcottages. • Theimagehighlightstheweight of thefruit as it "loads" downthevines. Thatchedcottagessuggest a pastoral setting, characterizedbyshepherds, sheep, maidens, andagriculture

  15. Tobendwithapplesthemoss'dcottage-trees,  Andfillallfruitwithripenesstothecore; Theripenesspenetratesdeeptotheverycenter of thefruit. Theapples "bend" downthebranches of mossytreeswiththeirweight • They're not likethoseapplesthatlookdeliciousuntilyoutake a bite andrealizethatthefruit is hard andsour. No, thesebabiesarereadyforchow-time rightnow.

  16. Toswellthegourd, andplumpthehazelshells With a sweetkernel; to set buddingmore, theripenessconverged on thecenter of thefruit. Now, theripenessexpandslike a balloonto "fillup" nutsandgourds likesquash, zucchini, and, especially, pumpkins • It'salmost as ifthespeaker is coordinatingthegrowth of allthesefruitsandnuts. He'slike, "more! More! MORE!"

  17. Andstillmore, laterflowersforthebees,  Untiltheythinkwarmdayswillnevercease,  Forsummer has o'er-brimm'dtheirclammycells • Thebeesarelikemonksorprisoners inside of "clammycells," thecellsbeingthemoistinsides of theflowers in whichtheyseeknectar. • Thebeesthinkthesummerwillneverend, andthattheflowerswillalways be in bloom. • Autumnisn't a time of thingsdyingoff, turningbrown, andfallingtotheground. It is thereturn of growth in thespring. Fromnature'sperspective, fruit is themechanismforplantingnewseeds.

  18. Thesecondstanza Whohath not seentheeoftamidthystore?  personification of spring Where is the AUTUMN ? • suggeststheabundance of crops, =>a barnor a grain silo filledwiththemostrecentharvest. • Whohasn'tseenautumnhangingoutby his or her (we're not sure yet) "store" of fruits, nuts, andotherripethings?

  19. Sometimeswhoeverseeksabroadmayfind Theesittingcareless on a granaryfloor,  he'sgoingtotell us howtofindautumnnow • "abroad" means "widely" or "throughthecountryside" or "acrosstheland," ratherthan "in a foreigncountry." theautumnmay be every "granary" – buildingswherelargeamounts of harvestedgrainarekeptcoolanddry – untilyoufindautumnsitting on thefloor of one of them Nowthatthegrain has beenharvested, autumndoesn'thave a care in theworld

  20. Thyhairsoft-liftedbythewinnowingwind; autumn is a woman Tells us wheretheautumn is • "towinnow" in farm-speakmeanstoseparatethegrain (theediblepart of theplant) fromthechaff (itsinediblecovering) Shesits on thegranary, and her hair is liftedby a gentlewind • Theplacewherethegrainandthechaffareseparated is "threshingfloor" – this is whereautumn is hangingout.

  21. Or on a half-reap'dfurrowsoundasleep,  Drowsedwiththefume of poppies, whilethyhook Sparesthenextswathandallitstwinedflowers: Whatifshe's not on thethreshingfloor? Where do wefindautumn? shemightalso be on thefurrow of a fieldShe'staking a napbecause, she'searnedone thatautumn is basicallydrunk on thesmell of thepoppyflowers Shelies on thefurrowwhilethe "hook," orsickle, thatsheusestocuttheflowersliesunused

  22. Andsometimeslike a gleanerthou dost keep Steadythy laden headacross a brook;  METAPHOR PEASANTS autumn => a "gleaner," someonewhopicksoutthelaststalks of grainthatweremissedduringthethreshingprocess • Autumnputs her headdowntocrossover a brook, just as a gleanerbows his or her headtolookforgrains. Her head is "laden" orheavy

  23. Orby a cider-press, withpatientlook, Thouwatchestthelastoozings, hoursbyhours. Autumn is startingtosoundlike a realslacker • watchingthefruitgetsqueezedinto a thick, sugaryjuice. • "Oozings" is definitelyourfavoriteword in thispoem. Itcapturestheconcentratedsweetness of theseason. She has nothingto do, nowhereto be

  24. Thethirdstanza • Springmight be greatandall, but it doesn'tstickaround, sowhoneeds it. Wherearethesongs of Spring? Ay, wherearethey? Think not of them, thouhastthymusictoo, The final stanza begins with anotherrhetoricalquestion • pastoral tradition in poetry, in whichshepherdstypically "sing" in springtime, oftenwhileplaying a lyre. • "Whereareyoursongs at, Spring? Huh? Bring it, ifyougot it. I can'thearyou... Yeah, that'swhat I thought."

  25. Description of the "song" of autumn=> • metaphoricalsong, in thatthescenebeginswithlightandimages. Whilebarredcloudsbloomthesoft-dyingday, Andtouchthestubble-plainswithrosyhue; Theuse of "bloom" is a directchallenge, again, tospringtime • Theday is "dying" at sunset, but it's not a tragicorviolentdeath. It's "soft" andgentle.

  26. Then in a wailfulchoirthesmallgnatsmourn Amongtheriversallows, bornealoft Orsinking as thelightwindlivesordies;  Thegnatsbytheriverside "mourn" thedyingdaylike a choir at a funeral sunset as a life-or-deathstruggleforthelight. Theirmovementappearsto be coordinatedwiththelight. Lightgetsbrighter, gnatsgoup; lightgetsdimmer, gnatsgodown Thesound of thegnats contributestothesong of autumn

  27. Andfull-grownlambsloudbleatfromhillybourn; Hedge-cricketssing; andnowwithtreblesoft Theredbreastwhistlesfrom a garden-croft,  Andgatheringswallowstwitter in theskies. • moreanimalsounds, • but those of a moreconventionalvarietythanthebuzzing of gnats. • likesaying, "full-grownchild." • He seemstowanttohighlightthe in-betweenstagebetweenthegloriousripeness of youthandplainoldadulthood. • Cricketsare "singing" known as "chirping." • theredbreastrobin is whistling in an enclosedgarden, or "garden-croft." • they "twitter" joyfully as the sun goesdown.

  28. THEMES

  29. Theme of ManandtheNaturalWorld • Interactionbetweenhumanandplants • Theproduction of agriculture, a naturalprocessthat is controlledbypeople. • Thehumanperspectivetoincludethingsthatare not usedorconsumedbyhumans • Some of the "wildness" andunpredictability of nature.

  30. Manandnaturalworld • reflection of thenature in his literaryworks • he is aware of thisbeauty

  31. Theme of Time • Autumnandspring, but not winter. • At thepeak of sunlightandripeness in thefirststanza, andbythethirdstanzathe sun is setting. • Toforgetabouthoweachpassingdayseems a littleshorterandchillier.

  32. Time • thegrowththefruitsbytheinfluence of sunlightcarries us intothespringandsummer as if TIME wereexpanding. • Winterrepresentstheend of life • Keatsenjoysandacceptsautumnormaturity as part of life thoughwinter is coming.

  33. Theme of Transformation • Transformationbetweenthegrowth of summerandthedormancy of winter • Oncetheharvest is complete, there is nothingleftto do but waituntilthenextseason.

  34. Fruitsandgourdsareswellingoutward • Theharvest is alreadycomplete • Only on onetransformativeevent, thesetting of the sun.

  35. Theme of Mortality • As a symbol in literatureforoldage, the time beforedeath, symbolizedbywinter. • Contributestothesong of mourning.

  36. SYMBOLS

  37. Thefigure of autumn • Keatsneveruses "she" or "her" in thispoem, • We think that autumn is a woman, because whenwelook at line 15; • “Thyhairsoft-liftedbythewinnowingwind” • Theword "winnowing" shows us because "towinnow" in farm-speakmeanstoseparatethegrainfromthechaff.

  38. NATURE • Keats not only uses nature as aspringboard from which to ponder, but he also discovers in nature symbols and metaphors for the spiritual and emotional states he seeks to describe Pastoral • Like the ode, pastoral artworks are a staple of Ancient Greece, so it's natural that Keats paired the two together. • -we can seepastoralism in lines 32-33; • “Theredbreastwhistlesfrom a garden-croft, Andgatheringswallowstwitter in theskies.”

  39. The season of fall, like spring, has songs to sing. Fall, the season of changing leaves and decay, is as worthy of poetry as spring, the season of flowers and rejuvenation. Whenwelook at line 23-24; “Wherearethesongs of Spring? Ay, wherearethey? Think not of them, thouhastthymusictoo” Keatsalludestothe pastoral tradition in poetry, in whichshepherdstypically "sing" in springtime, oftenwhileplaying a lyre. Evenifsummer has a song, so has autumn. MusicandMusicians

  40. Thecontrastsautumnwithitscompetitors, springandsummer. • Summer is great, but it has to end sometime, a fact that the bees don't seem to realize. • Whenwelook at lines 9-11; “Andstillmore, laterflowersforthebees, Untiltheythinkwarmdayswillnevercease, Forsummer has o'er-brimm'dtheirclammycells.” • Bees can't hide inside those flowers forever. "Clammy cells" implies a that compares the insides of the flowers to the small, damp cells of monks or even prisoners. The warmth of summer reaches all the way inside the flowers SpringandSummer

  41. WeightandRipeness • Autumn is season of harvestandabundance. • He contrasts images of lightness and heaviness, of things falling and things flying. • Whenwelook at line 7 and 29; “Toswellthegourd, andplumpthehazelshells” The gourd is "swollen" with ripeness and the hazel nuts are "plump" with meat. “ Orsinking as thelightwindlivesordies; ” The line contains a vivid image in which the gnats rise and fall in concert with the strength of the wind.

  42. VALUES

  43. NATURE • Feminization of Autumn as celebration of Naturedespitethreat of Winter • Thetransience of life • Abundant in beautyandrichness. IMAGINATION • personified as young, careless, sensuous • tiredfrom her labourandlastly a patientwatcher • thetensionsbytransformingAutumninto a mediatoreasingtransitionbetween life anddeath.

  44. SYMBOLISM • Idea of acceptinglife'schangesbyusingclear, directsymbolism • usingtheprogression of time andthemanyseasonalchangesthatoccurduringautumn • earlyautumnwhenKeatswrites ."..allfruitwithripenesstothecore"

  45. LANGUAGE USE

  46. ToAutumn; • Is a thirty-three -linepoem • Consists of threeparts • Dividedintothreestanzas • Eachstanzacontainselevenlineswiththerymeschema

  47. 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,  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,  For Summer has o’er-brimm’d their clammy cells. A B A B C D E D C C E

  48. A B A B C D E C D D E 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;  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;  Or by a cyder-press, with patient look,  Thou watchest the last oozings hours by hours.

  49. 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,   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;    Hedge-crickets sing; and now with treble soft    The red-breast whistles from a garden-croft;     And gathering swallows twitter in the skies A B A B C D E C D D E

  50. METAPHORS

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