The Relationship between Humanity and Nature

Keats' meter is filled with complete words that bulge and run over, much as the bounteousness of Autumn's "mellow returnfulness" does. In the verse he makes the closely of every aspect of Autumn, viewing her as something beautiful in herself and non as a mere prelude to winter. The interpretation of these riches builds steadily through the first eleven lines with images of plastered vines, bending apple trees, swelling gourds, plumped nuts, and the honey bees' "oer-brimm'd" combs. The speaker has been commending this generosity and Autumn for assembling it. But then he pauses to ask, "Who hath not seen thee oft amid thy store" and proceeds to shift the images from the philanthropy of the emergence things to the process of reaping them.

The warmth and light described in the first lines may make Autumn drowsy barely she is still seated in a "granary" and, go she may be inclined to go about them slowly, the chores of harvest time build up around her in the near few lines. Winnowing, reaping, scything with her "hook," gleaning, and pressing "cyder" are all listed and in each of these there is a hint of the end of things. The bounty of the first part of the poem is being cut floor and carried off. This builds to the last line of this section where Autumn, "by a cyder-press, with affected role look" watches "the last oozings hours by hours" and in this line the oozings of the fruit become the dripping away of hours. Time is passing of necessity and this starts the speaker's question

The displacement of the speaker's induce fear and awe at the thought of death becomes clearer as the cho cover of words either evoke basic material terror, as with "his saw-pit of mouth," or make the shark an obvious fiction for death in general, as with the transition from loaded description to "jaws of the Fates!" The speaker acknowledges that death is inevitable and that its disinterestedness is apparent when one studies nature. and he takes no consolation from this and at the end of the poem is left with the words "horrible meat," which now stand not just for the shark's natural prey but for human beings soil up in the jaws of death itself.

The Norton Anthology of Poetry. 4th ed. Ed. Margaret Ferguson, Mary Jo Salter, and Jon Stallworthy.

new-sprung(prenominal) York: Norton, 1996.

The thirteen ways in which the speaker (or speakers) in Wallace's poem looks at a blackbird are not definitive. kinda they suggest an infinite number of possibilities. The oddity of the poem is that in the repeated use of the word blackbird the reader little by little comes to see that the natural object that excites all these responses is unchanging. There may be more or fewer blackbirds and they may perch, or fly, whistle or walk past the glassy ice over a window. They may even be imagined when a man mistakes "The shadow of his equipage / For blackbirds." But they are invariably and essentially the same and interchangeable. What changes in all these variants is how the speaker reacts to the sens of a blackbird and what he makes of it. At heart, therefore, this poem shows the farthest greater powers of human beings in comparison with the relatively noneffervescent quality of nature. Nature's variations are predictable--but the poetic response of the human commentator is not.

When the voice of the narrator begins at line 5, it continues to describe the password account as each animal makes its way to ten to receive its name. As the narrator says, this would be happy fake "ever to be prior"--but the last wor
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