I want to know the summery of autumn from class 9 syllabus.
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Answer:
The movement of the poem from ripeness, to garnering, to the stubbly field is just one of the processes that unfold in “To Autumn.” Autumn represents the culmination of the year’s propagating forces, and the poem’s imagery also marks a trend from morning, with an image of the sun ready to shine upon and “bless” the fruit that is ripening, to afternoon details of heat and summer listlessness, and finally to the evening scene of crickets and gathering birds. Thus, the poem’s movement might also be reckoned as directional: from east to west, the course of the sun as it appears to the human eye. Also implied is movement from the sun’s “maturing” to its southward recession in autumn, when the swallows gather to fly in that direction.
Another process pertains to the working life of the poet. In a sonnet written early in the preceding year—“When I have fears that I may cease to be” (1818)—Keats uses much of the same imagery to refer to his own work. He portrays the poet as a gleaner and his poem as comparable to ripe grain. As a former medical student, Keats had considerable insight into his own physical condition, and he sensed that his poetic mission might be aborted. The tubercular disorder that would kill him showed its warning signs only a few months after he wrote “To Autumn.” Therefore, although the poem is not overtly metaphorical, any reader familiar with Keats’s health and prior poetry is likely to see the poem as pertaining to the autumn of his life. It does not, however, refer in any explicit fashion to his approaching infirmity or death, for he catches and holds in place the splendor of the season at hand. Like a fine painting, it makes an enduring spectacle.
The tone of this poem is quite different from that of “When I have fears.” There is nothing negative, nothing morbid in the later work. The stubble is not a ruined field but a beautiful evening sight. The poem is not about an interrupted harvest or the fear of its failure but about its fulfillment. The swallows depicted in the last line of the poem are “gathering.” An Englishman lives in a latitude that sees this gathering as an October preparation for a retreat to the south; the swallows will return the following spring. Keats, in an earlier version, used the past tense, saying the swallows “gather’d.” The result of the change is an emphasis not on a finished act but on a living, moving one. A phase of nature is retained as indelibly here as the dancers are held in place in “Ode on a Grecian Urn.”