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"To Autumn" is a poem by English Romantic poet John Keats (31 October 1795 – 23 February 1821). The work was composed on 19 September 1819 and published in 1820 in a volume of Keats's poetry that included Lamia and The Eve of St. Agnes. "To Autumn" is the final work in a group of poems known as Keats's "1819 odes".
"Nothing Gold Can Stay" is a short poem written by Robert Frost in 1923 and published in The Yale Review in October of that year. It was later published in the collection New Hampshire (1923), [1] which earned Frost the 1924 Pulitzer Prize for Poetry. The poem lapsed into public domain in 2019. [2]
"To Autumn" is a 33-line poem broken into three stanzas of 11. It discusses how autumn is both a force of growth and maturation, and deals with the theme of approaching death. While the earlier 1819 odes perfected techniques and allowed for variations that appear within "To Autumn", Keats dispenses with some aspects of the previous poems (such ...
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The poem is written in iambic tetrameter in the Rubaiyat stanza created by Edward FitzGerald, who adopted the style from Hakim Omar Khayyam, the 12th-century Persian poet and mathematician. Each verse (save the last) follows an AABA rhyming scheme , with the following verse's A line rhyming with that verse's B line, which is a chain rhyme ...
The poem, originally called Absence: A Poem describes Coleridge's moving to Ottery in August 1793 but claimed later in life that it dated back to 1792. The poem was addressed to a girl he met during June, Fanny Nesbitt, and is connected to two other poems dedicated to her: "On Presenting a Moss Rose to Miss F. Nesbitt" and "Cupid Turn'd Chymist".
The poem is not explicitly anti-trinitarian, but it is consistent with Milton's convictions. The Son is the ultimate hero of the epic and is infinitely powerful—he single-handedly defeats Satan and his followers and drives them into Hell. After their fall, the Son of God tells Adam and Eve about God's judgment.
The German text for "Der Einsame im Herbst" ("The Solitary One in Autumn") was re-written from the 19th c. German translation of French translations of the poem. The Mahler choral text by necessity differs from the Hans Bethge German text (Bethge's "Die chinesische Flöte") since it must be set to music. The original Chinese poem was not ...