To Autumn Summary

"To Autumn" is a 1819 poem by John Keats that celebrates the season of autumn.

  • The first stanza of the ode speaks to autumn, personifying the season as an addressee. Autumn has conspired with the sun to bring the natural world to a state of ripeness and fruition.
  • The second stanza describes the harvest, imagining autumn as a figure "sitting careless on a granary floor," gleaning in the fields, or watching the "cyder-press" at work.
  • The third stanza dismisses the "songs of spring," for autumn "has [its] music too." The poem ends with a vivid description of a harvested landscape at dusk.


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Last Updated on June 10, 2020, by eNotes Editorial. Word Count: 570


"To Autumn" is considered one of the five great odes John Keats composed in 1819. The ode, which personifies and dramatizes the season of autumn, features many of Keats's signature techniques: vivid imagery, sonorous rhymes and rhythms, and rich metaphors.

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John Keats's "To Autumn" is an ode to the fall season, comprising three stanzas and utilizing a regular rhyme scheme and meter. The speaker begins by describing autumn as the "Season of mists and mellow fruitfulness." In the first stanza, the speaker details autumn's association with its "Close bosom-friend," the sun, stating that the pair work together to ensure that vines are laden with fruit and apples are able to grow ripe. This stanza identifies a number of different types of fruits and vegetables which will be ready for harvest in autumn, including gourds and hazelnuts. According to the speaker, autumn and the sun motivate "later flowers" to bloom for the bees, so that by the end of summer and the cusp of autumn,

. . . they think warm days will never case,
For summer has o'er-brimm'd their clammy cells.

The second stanza begins:

Who hath not seen thee oft amid thy store?

Here, the speaker addresses autumn directly for the first time. Fittingly, then, the speaker proceeds to personify autumn repeatedly in this stanza, imagining autumn "sitting careless on a granary floor," "on a half-reap’d furrow sound asleep," and watching "the last oozings" of apple cider in the press "with patient look." As seen in the above quotes, whose actions are all relatively passive—sitting, sleeping, and watching—autumn's personifications in this stanza are characterized by stasis and slowness, as if to emphasize autumn's closeness to the end of harvest and the natural world's decay toward winter and cold. But Autumn and its surroundings are also shown to be tactile and sensuous—its "hair soft-lifted by the winnowing wind," its sleeping form "Drows'd with the fume of poppies," its body surrounded by "the next swath" of wheat "and all its twined flowers." These descriptions...

(The entire section contains 570 words.)

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