A Thing Of Beauty Is A Joy For

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first line introduces us to the personified autumn. The exclamatory phrase `mellow fruitfulness` heightens the syntax tone immediately and prepares the reader for a stanza rich in tactile and visual images which intensify this opening.
The beauty of autumn is emphasised through phrases like; `ripeness to the core`, `swell the gord`, ` o’verbrimmed their clammy cells’. Keat’s use of the adjective `plump` as a verb excels this `ripeness` and together intensifies the beauty, which is emphasised through the repetition of `more` and `still more`. Keats almost forces his subject at us.
The central stanza is almost a `breathing space` for the reader, to interact with the poem. Keats creates a hypnotic mood almost lethargic. Keats achieves this through his language. The use of `carless` and `soft-lifted`. The alliteration of `winnowing winds` and the assonance of `sound asleep`, almost attack our aural senses and draws us deep into an almost dream like state: ...

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projecting his thoughts, as if he was engulfed in Autumn’s beauty that he forgot ‘spring’. I believe Keats challenges us. We are so taken in with Autumn as he hypnotises our thoughts, that he deliberately breaks our concentration as he too has realised that seasons change and we should change with them. True, spring has its songs, but so does autumn! Keats realises that this beauty will not last forever, as seasons change, but this change brings new beauty.
The onomatopoeia in the third stanza instigates a more active tone , the increasing rhythm almost represents a celebration, for the `Wailful choir the small gnats mourn’ is contrasted with the `loud ...

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