Keats’s preoccupation with all the inescapable precession of time and mutability is usually evident in most three poems: “Ode into a Nightingale, inches, the psaume “To Autumn” and the sonnet, “Bright Legend, Would I were because Steadfast because Thou Art. ” In the “Ode to a Nightingale, ” the bird’s singing becomes a symbol for Keats, of the place that is impervious to human give up hope and continuous in its same eternal track, he desires to escape to it before realizing that it would cast him into a condition of nonexistence, whereby this individual retracts. In the same way, in his sonnet, “Bright Celebrity, Would I were while Steadfast since Thou Art, ” Keats realizes that his worship of an ideal world would negate the happiness he could be experiencing which leads him to reject his former yearnings. “To Fall months, ” however , is a great unqualified celebration of Mother nature and of change, which advise Keats’s greatest maturation of thought, where he ceases to desire the extremely hard, instead changing his believed with the acknowledgement and acknowledgement that character will still proceed, while he will not there to witness the flux of time.
“Ode to a Nightingale” begins which has a soporific heaviness, an intense description of “drowsy numbness” plus the “[pain]” that encroaches in this state despite its oxymoronic characteristics. This characterizes the reason as to the reasons Keats would like to “fade away into the forest dim” with the Nightingale, whose “singest of summer in full-throated ease” starts to represent one other world pertaining to Keats, a single where the lose hope of man-kind is unknown, where the “weariness, the fever and the fret” ceases to exist. With richly direct language of dissatisfaction, Keats casts a morose disposition, which reephasizes his aching desire for a “beaker packed with the nice South, inches for “Dance and Provencal song. ” The Southern forms a geographical symbol of haven from the severe realities of winter, and Provence of France is normally associated with extravagance and enjoyment of life. Keats longs for the “draught of vintage, ” not for the sake of falling into a drunken state, but as one more portal of escape, where he might be delivered in to the world which the Nightingale uses up. Yet, inside the fourth stanza, Keats rejects “Bacchus fantastic pards, inch and thus rejects wine in preference of “the viewless wings of Poesy. inches He acknowledges that the “dull brain perplexes and remise, ” that analytical believed distorts what otherwise might be purely believed, but this individual hence reasserts his personal will and strength to attain that state of transcendence on his own terms, through “Poesy” which signifies poetry and imagination. Yet , once his imagination features taken him there, he realizes that “here you cannot find any light, inch a foreshadowing for his retraction back to the light, pertaining to darkness can be seductive and “easeful” nevertheless it’s also a negation of existence, and thus, of feeling. Keats claims that the darkness is “embalmed, ” containing two connotations, of scent and a preserved cadaver. Therein is situated the irony, because although the darkness may be happily presented, it is essentially a great entrapment all of its own. The counter-movement in Keats’s sensibilities occurs, wherein he knows that the Nightingale’s “high requiem” will be in vain if perhaps he is to die, and thus be a “sod. ” The poet thereby relates to the conclusion that nonexistence and thus the inability to feel the bird’s fervor is counter productive. The revery is abandoned when the Nightingale flies apart, leaving the poet with an not yet proven close, the question marks enhancing the fact that the poem’s end is doubtful and uncertain.
The sonnet “Bright Star, Could I were Steadfast as Thou Art, ” nevertheless , is more conclusive with its finishing lines. Keats desires to end up being as constant as the star which usually he spies, yet, the truth is that this individual cannot the truth is identify with that, as such a great ambition is usually impossible for a human being. The star is usually “sleepless”, and ever “watching, ” usually an observer and never a participant. The first complainte which is committed to the star’s description is usually static, completely stationary. With all the descent to Earth, there is finally movements, as transform is unavoidable on the “human shores. ” Keats runs on the series of faith based terms, just like “Eremite, inches “priestlike task” and “pure ablution, inch and this exemplifies the cool and perpetually alone character of the legend in comparison to the human world, where Keats is “pillow’d after [his] reasonable love’s ripening breast. inch The poet characterizes this moment as a “sweet unrest, ” a typical Keatsian zusammenstellung einander widersprechender begriffe, which illustrates the merged nature of life. There exists a repetition of terms associated with time just like “still, inches and “for ever”, indicating the tension that period imposes in Keats. However , like in “Ode to a Nightingale, ” Keats comes to accept that the community in which he already inhabits is problematic in its pained reality, but also pleasant. The last line indicates Keats’s turnabout and desire to partake in a life of appreciate, passion and sensuality instead of an eternity of loneliness, in accordance with the star.
“To Autumn” constitutes a reconciliation of inconsistant desires in Keats, when he comes to celebrate Nature, the beauty and its timeless quality in an unconditional manner. His luscious evocation of Characteristics and the varieties in which the normal order takes place is evoked in his enacting enjambment, his recognition that nature is usually continual great celebration of its overload on the sensory faculties. He documents a fecundity of “mellow fruitfulness, ” of forest that are thus full that they can “bend with apples, inches of fruits that is stuffed with “ripeness towards the core. inches Keats’s description of the stocked full fruitfulness is practically unbearable in the intensity. His second stanza however , begins to attenuate. Autumn is personified as a reaper, a harvester and a thresher, it crosses a brook and watches a cyder press. Otherwise, Fall is limp and even drops off to sleep. The last line of the stanza suggests the slow-down in the pronunciation of its focus of very long vowels, coupled with difficult connection which impedes forward movement. Keats questions where there “songs of Spring” are, and he as well makes reference to Summer. In this way, it becomes apparent that time is flowing, the seasons are switching continually. Keats describes the Autumn’s tune, its spoken music from the “small gnats” that “mourn” and the “full-grown lambs” that “bleat”. “Mourn” has a despairing note, plus the lambs will be doomed to be slayed in Autumn, thus, the smallest intimation of death is introduced, but Keats resistant to and leaves the psaume with a very clear, unambiguous bottom line, that of popularity of the transitory that is yet another aspect of character and of natural beauty.
Keats’s conclusive records in “Ode to a Nightingale, ” “Bright Star, Might I were Steadfast because Thou Art, ” and “To Slide, ” every have a common underlying line, and that is Keats’s essential getting back together with time and change, of the end of yearning and of the knowledge and knowledgeable required for approval.
