Changes

Harold Bloom, in 1961, described "To Autumn" as "the most perfect shorter poem in the English language."<ref>Bloom 1993 p. 432</ref> Following this, Walter Jackson Bate, in 1963, claimed that "[...] each generation has found it one of the most nearly perfect poems in English."<ref>Bate 1963 p. 581</ref> Later in 1973, Stuart Sperry wrote, "'To Autumn' succeeds through its acceptance of an order innate in our experience &ndash; 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."<ref>Sperry 1973 p. 336</ref> 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."<ref>Walsh 1981 p. 118</ref> 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."<ref>Vendler 1988 p. 124</ref>

Harold Bloom, in 1961, described "To Autumn" as "the most perfect shorter poem in the English language."<ref>Bloom 1993 p. 432</ref> Following this, Walter Jackson Bate, in 1963, claimed that "[...] each generation has found it one of the most nearly perfect poems in English."<ref>Bate 1963 p. 581</ref> Later in 1973, Stuart Sperry wrote, "'To Autumn' succeeds through its acceptance of an order innate in our experience &ndash; 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."<ref>Sperry 1973 p. 336</ref> 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."<ref>Walsh 1981 p. 118</ref> 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."<ref>Vendler 1988 p. 124</ref>

In 1997, Andrew Motion summarized 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."<ref name="Motion p. 461"/> 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".<ref>Abrams pp. 51–52</ref> 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."<ref>Chandler 1998 p. 430</ref> 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."<ref>Corrigan 2000 p. 156</ref> 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."<ref>Plumly 2008 p. 343</ref>

In 1997, Andrew Motion summarized 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."<ref name="Motion p. 461"/> 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".<ref>Abrams pp. 51–52</ref> 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."<ref>Chandler 1998 p. 430</ref> 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."<ref>Corrigan 2000 p. 156</ref> 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."<ref>Plumly 2008 p. 343</ref>

==Notes==

==Notes==