Here at the brink of the Autumnal Equinox, I went looking for a poem for autumn. I didn’t have to look far. According to The Guardian, John Keats’s “To Autumn” is “the most anthologized poem” by an English poet. I’ll let Mr. Keats himself tell you why:
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-eaves 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.
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 twinéd 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.
Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,—
While barréd 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.
As my former students would have said, “I know, right?”
This season, harvest season, reminds me of life’s cyclical nature more than Spring does. Both focus our attention on change. But I was a teacher for 20 years, and even six years past the classroom, fall still means school to me. And school means poetry. Sooner or later, no matter the class–Sophomore English, Junior English, American Studies, AP Literature–we “did poetry.” Or, as I liked to say, we exercised our Noticing Muscles.
My brand of poetry analysis? Read the poem. Notice what you notice. Notice what it makes you think about. Write about how the poet’s tools (words, images, sounds, etc.) make you think that.
My favorite question: “Did the poet really mean whatever I think he means?”
My favorite answer: “Intention is not the same as effect. You can’t know intention unless the poet tells you. Most don’t. So focus on effect.”
I won’t presume now to take Keats’s beautiful ode apart and tell you about its effect on this reader. Instead I’ll leave you with the thought of Noticing Muscles, the poem itself, and the hope that you’ll spend some time this slower season noticing what you notice. Happy Fall!