Question

explain the poetic device he has entered his autumn years?
if correct answer you will get 30points+follow+brainliest​

Answer 1

Explanation:

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.

Answer 2

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ʀᴇǫᴜɪʀᴇᴅ ᴀɴsᴡᴇʀ-:

An incomplete sentence (the first stanza); onomatopoeia; assonance; rhyme; modification of the established structure (all the other Great Odes are ten tine stanzas -- "To Autumn" is eleven line stanzas); allusion (largely self-allusion -- there are major parallels between "To Autumn" and "When I have fears that I may cease to be"); extended metaphor (if you put it in context of the metaphor of "When I have fears that I may cease to be"); echo metaleptic (and other forms of echo -- the "essential antecedents of To Autumn include . . . Shakespeare's sonnets "That time fo year" and "How like a winter"; Spenser's Mutability Cantos; Milton's Il Penseroso and the Eve and Eden of Paradise Lost; Wordsworth's Intimations Ode; Coleridge's Frost at Midnight; and Keat's own La Belle Dame sans Merci, as well as his sonnets on the human seasons and the poetry of the earth") (cf. Helen Vendler, The Odes of John Keats, VII: Peaceful Sway Above Man's Harvesting: To Autumn).

Really this is a very difficult question to answer in full via Quora. The Helen Vendler chapter I just quoted from and referenced is the conclusion of a book which goes through each ode -- the final essay on To Autumn is a bit over thirty pages long, and there's a story Vendler has told about it, (I must paraphrase) "I looked at the length -- thirty pages -- and impulsively thought that that was too much. But even with thirty pages I barely felt I covered everything I needed to cover and that was with a whole book of explanations to precede the discussion in the final chapter."

To Autumn is one of the richest poems in English -- at the end of the class that converted me from a poetry skeptic to a lover, everyone had to recite their favorite poem. The class was fantastic, an Honors course taught by a esteemed professor who became my mentor, but I had really only come to like poetry in that single five month period -- so I paid close attention to the different favorites people picked so I might find guidance in where to go from there. Alas, none of my classmates choices particularly surprised me or excited me -- they were famous and common poems. I recited Seamus Heaney's From the Frontier of Writing, and explained how I liked it because it made me feel anxious and really captured exactly how I felt when I was straining to meet a deadline and so on; the class nods along, my explanation is more fleshed out than what we'd been hearing all day and it's enjoyed. At the end of the class, our professor goes to the front, and says "this is my favorite poem, Helen Vendler's favorite poem, and quite a few others" (he mentions Vendler since we used her primer Poems Poets Poetry for the class) and then he recites To Autumn. We knew he wasn't going to explain why it was so loved by so many people since we'd had a ninety minute discussion on a single semi-colon in his class before -- but obviously this was what captured my interest. Why was this poem -- which didn't seem that amazing (sure it sounds gorgeous but we'd also read Tintern Abbey, Prufrock, and numerous other famous poems that have more of an immediate takeaway value during the class) -- the favorite poem of so many people I respected and admired?

Nobody could give me a simple answer -- partly because they wanted me to seek it myself, since I was a student and all. Today, I've read every word we have that Keats wrote -- every letter, every poem -- and for the immediate two years after that class where I began my journey I read a lot of Keats criticism. By the time I was a junior I could have discussions with Keats scholars without being left behind whatsoever -- but if you had added all my cumulative knowledge about other poets together it would probably have just barely evened out to my knowledge of Keats alone. So I did my senior projects on Shelley's Adonais -- which is a Shelley poem, albeit about Keats -- and then Coleridge's Christabel. Now that I've graduated and continued to study and written for various things -- I still know a staggering amount about Keats and am only just starting to close the gap.

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