To Autumn - Critical Reception

Critical Reception

Critical and scholarly praise has been unanimous in declaring "To Autumn" one of the most perfect poems in the English language. A.C. Swinburne placed it with "Ode on a Grecian Urn" as "the nearest to absolute perfection" of Keats's odes; Aileen Ward declared it "Keats's most perfect and untroubled poem"; and Douglas Bush has stated that the poem is "flawless in structure, texture, tone, and rhythm"; Walter Evert, in 1965, stated that "To Autumn" is "the only perfect poem that Keats ever wrote – and if this should seem to take from him some measure of credit for his extraordinary enrichment of the English poetic tradition, I would quickly add that I am thinking of absolute perfection in whole poems, in which every part is wholly relevant to and consistent in effect with every other part."

Early reviews of "To Autumn" focused on it as part of Keats's collection of poems Lamia, Isabella, the Eve of St. Agnes, and Other Poems. An anonymous critic in the July 1820 Monthly Review claimed, "this writer is very rich both in imagination and fancy; and even a superabundance of the latter faculty is displayed in his lines 'On Autumn,' which bring the reality of nature more before our eyes than almost any description that we remember. If we did not fear that, young as is Mr K., his peculiarities are fixed beyond all the power of criticism to remove, we would exhort him to become somewhat less strikingly original,—to be less fond of the folly of too new or too old phrases,—and to believe that poetry does not consist in either the one or the other." Josiah Conder in the September 1820 Eclectic Review mentioned, "One naturally turns first to the shorter pieces, in order to taste the flavour of the poetry. The following ode to Autumn is no unfavourable specimen." An anonymous reviewer in The Edinburgh Magazine for October 1820 added to a discussion of some of Keats's longer poems the afterthought that "The ode to 'Fancy,' and the ode to 'Autumn,' also have great merit."

Although, after Keats's death, recognition of the merits of his poetry came slowly, by mid century, despite widespread Victorian disapproval of the alleged "weakness" of his character and the view often advanced "that Keats's work represented mere sensuality without substance", some of his poems began to find an appreciative audience, including "To Autumn". In an 1844 essay on Keats's poetry in the Dumfries Herald, George Gilfillian placed "To Autumn" among "the finest of Keats' smaller pieces". In an 1851 lecture, David Macbeth Moir acclaimed "four exquisite odes,—'To a Nightingale,' 'To a Grecian Urn,' 'To Melancholy,' and 'To Autumn,'—all so pregnant with deep thought, so picturesque in their limning, and so suggestive." In 1865, Matthew Arnold singled out the "indefinable delicacy, charm, and perfection of Keats's in his Autumn". John Dennis, in an 1883 work about great poets, wrote that "the 'Ode to Autumn', ripe with the glory of the season it describes—must ever have a place among the most precious gems of lyrical poetry." The 1888 Britannica declared, "Of these perhaps the two nearest to absolute perfection, to the triumphant achievement and accomplishment of the very utmost beauty possible to human words, may be that to Autumn and that on a Grecian Urn".

At the turn of the 20th century, a 1904 analysis of great poetry by Stephen Gwynn claimed, "above and before all the three odes, To a Nightingale, On a Grecian Urn, and To Autumn. Among these odes criticism can hardly choose; in each of them the whole magic of poetry seems to be contained." Sidney Colvin, in his 1917 biography, pointed out that "the ode To Autumn opens up no such far-reaching avenues to the mind and soul of the reader as the odes To a Grecian Urn, To a Nightingale, or On Melancholy, but in execution is more complete and faultless than any of them." Following this in a 1934 analysis of Romantic poetry, Margaret Sherwood stated that the poem was "a perfect expression of the phase of primitive feeling and dim thought in regard to earth processes when these are passing into a thought of personality."

Harold Bloom, in 1961, described "To Autumn" as "the most perfect shorter poem in the English language." Following this, Walter Jackson Bate, in 1963, claimed that " each generation has found it one of the most nearly perfect poems in English." Later, in 1973, Stuart Sperry wrote, "'To Autumn' succeeds through its acceptance of an order innate in our experience – the natural rhythm of the seasons. It is a poem that, without ever stating it, inevitably suggests the truth of 'ripeness is all' by developing, with a richness of profundity of implication, the simple perception that ripeness is fall." In 1981, William Walsh argued that "Among the major Odes no one has questioned the place and supremacy of 'To Autumn', in which we see wholly realized, powerfully embodied in art, the complete maturity so earnestly laboured at in Keats's life, so persuasively argued about in his letters." Literary critic and academic Helen Vendler, in 1988, declared that "in the ode 'To Autumn,' Keats finds his most comprehensive and adequate symbol for the social value of art."

In 1997, Andrew Motion summarised the critical view on "To Autumn": "it has often been called Keats's 'most ... untroubled poem' To register the full force of its achievement, its tensions have to be felt as potent and demanding." Following in 1998, M. H. Abrams explained, "'To Autumn' was the last work of artistic consequence that Keats completed he achieved this celebratory poem, with its calm acquiescence to time, transience and mortality, at a time when he was possessed by a premonition that he had himself less than two years to live". James Chandler, also in 1998, pointed out that "If To Autumn is his greatest piece of writing, as has so often been said, it is because in it he arguably set himself the most ambitious challenge of his brief career and managed to meet it." Timothy Corrigan, in 2000, claimed that "'To Autumn' may be, as other critics have pointed out, his greatest achievement in its ability to redeem the English vernacular as the casual expression of everyday experience, becoming in this his most exterior poem even in all its bucolic charm." In the same year, Thomas McFarland placed "To Autumn" with "Ode to a Nightingale", "Ode on a Grecian Urn", "The Eve of St. Agnes" and Hyperion as Keats's greatest achievement, together elevating Keats "high in the ranks of the supreme makers of world literature". In 2008, Stanley Plumly wrote, "history, posterity, immortality are seeing 'Ode to a Nightingale,' 'Ode on a Grecian Urn,' and 'To Autumn' as three of the most anthologized lyric poems of tragic vision in English."