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The poem was revised and included in Keats's 1820 collection of poetry titled ''Lamia, Isabella, the Eve of St. Agnes, and Other Poems''. Although the publishers Taylor and Hessey feared the kind of bad reviews that had plagued Keats's 1818 edition of ''Endymion '', they were willing to publish the collection after the removal of any potentially controversial poems to ensure that there would be no politically motivated reviews that could give the volume a bad reputation.<ref>McGann 1979 pp. 988–989</ref>
The poem was revised and included in Keats's 1820 collection of poetry titled ''Lamia, Isabella, the Eve of St. Agnes, and Other Poems''. Although the publishers Taylor and Hessey feared the kind of bad reviews that had plagued Keats's 1818 edition of ''Endymion '', they were willing to publish the collection after the removal of any potentially controversial poems to ensure that there would be no politically motivated reviews that could give the volume a bad reputation.<ref>McGann 1979 pp. 988–989</ref>
==Structure==
Like many of Keats's 1819 odes, the structure of the poem is that of an odal hymn .<ref>Bate 1963 p. 499</ref> 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 as the narrator ) and ensures that the poem deals only with concrete concepts. There is no dramatic movement in "To Autumn" as there is in the earlier poems, and the poem attempts to discuss the poetic process without a progression of the temporal scene, an idea that Keats termed as "stationing".<ref>Bate 1963 pp. 581–582</ref> Some of the language of the poem resembles phrases found in earlier poems Keats had written and there are similarities between the lines of "To Autumn" and lines in poems such as ''Endymion '', '' Sleep and Poetry '', and ''Calidore''.<ref>Ridley 1933 pp. 283–285</ref>
Keats relies heavily on monosyllabic words and consonantal sounds – especially bilabial consonants – along with an emphasis on long vowels to control the flow of the poem. His syntax lacks hiatus and there is only a single instance medial inversion of an accent within the poem. However, he does incorporate the Augustan inversion (a reversal of an accent at the beginning of a line) approximately 4.2% of the time. Within his measure, Keats incorporates spondees in approximately 13.9% of his verses. The rhyme follows a pattern of starting with a Shakespearean ABAB pattern which is followed by CDEDCCE rhyme scheme however in his second and third stanza it changes to CDECDDE. The verse differentiates itself from his previous odes through use of 11 line stanza s, instead of 10, with a couplet placed before the concluding line of each stanza.<ref>Bate 1962 pp. 182–184</ref>
Between the manuscript version and the published version of "To Autumn" Keats tightened the language of the poem. One of Keats's changes emphasized by critics is the change in line 17 of "Drows'd with red poppies" to "Drows'd with the fume of poppies", which emphasizes the sense of smell instead of sight. The later edition relies more on passive, past participles, as apparent in the change of "While a gold cloud" in line 25 to "While barred clouds".<ref>Bate 1962 p. 183</ref> Other changes involve the strengthening of phrases, especially within the transformation of the phrase in line 13 "whoever seeks for thee may find" into "whoever seeks abroad may find". Many of the lines within the second stanza were completely rewritten, especially those which did not fit into a rhyme scheme. Some of the minor changes involved adding punctuation missing from the original manuscript copy and altering capitalization changes between the versions.<ref>Ridley 1933 pp. 285–287</ref>
==Notes==
==Notes==