Poetry for Autumn from Hopkins and Keats

Spring and Fall
to a young child

Margaret, are you grieving
Over Goldengrove unleaving?
Leaves, like the things of man, you
With your fresh thoughts care for, can you?
Ah! as the heart grows older
It will come to such sights colder
By & by, nor spare a sigh
Though worlds of wanwood leafmeal lie;
And yet you wíll weep and know why.
Now no matter, child, the name:
Sorrow’s springs are the same.
Nor mouth had, no nor mind, expressed
What héart héard of, ghóst guéssed:
It is the blight man was born for,
It is Margaret you mourn for.
--Gerard Manley Hopkins

Christopher J. Scalia offered a reflection on John Keats' poem to Autumn in The Wall Street Journal last week:

. . . Every September I read John Keats’s “To Autumn.” That tradition has special significance this season, the ode’s 200th anniversary.

I’ve loved “To Autumn” since I first read it in college. I was entranced then, as now, by the way in which the poem captures this season’s fleeting beauty. From its famous opening line (“Season of mists and mellow fruitfulness”) to the quiet music of its final image (“gathering swallows twitter in the skies”), it evokes the delicate abundance of these weeks. Keats’s writing affects me the way the season itself does: I wish the poem would last longer even as I know its power lies in its brevity.

He compares the poem's brevity to the brevity not only of Keats's life, but of his creative period in 1819 when he wrote "To Autumn" and other great odes:

But 1819 would be his last year of writing poetry. The following February, Keats coughed up some blood. He knew what that meant. He wrote to a friend, “That drop of blood is my death-warrant;—I must die.” Keats moved to Rome in the hope that the climate would mitigate his tuberculosis. He died there in February 1821.

Keats had asked to have his headstone inscribed, “Here lies one whose name was writ in water.” An epitaph full of beauty—but, as 200 years have shown, not truth. The seasons turn, yet Keats reminds me still that fleeting splendor has a captivating power of its own.

To Autumn

Season of mists and mellow fruitfulness

Close bosom-friend of the maturing sun

Conspiring with him how to load and bless

With fruit the vines that round the thatch-eves run;

To bend with apples the moss'd cottage-trees,

And fill all fruit with ripeness to the core;

To swell the gourd, and plump the hazel shells

With a sweet kernel; to set budding more,

And still more, later flowers for the bees,

Until they think warm days will never cease,

For Summer has o'er-brimm'd their clammy cells.

Who hath not seen thee oft amid thy store?

Sometimes whoever seeks abroad may find

Thee sitting careless on a granary floor,

Thy hair soft-lifted by the winnowing wind;

Or on a half-reap'd furrow sound asleep,

Drows'd with the fume of poppies, while thy hook

Spares the next swath and all its twined flowers:

And sometimes like a gleaner thou dost keep

Steady thy laden head across a brook;

Or by a cider-press, with patient look,

Thou watchest the last oozings hours by hours.

Where are the songs of Spring? Ay, where are they?

Think not of them, thou hast thy music too,–

While barred clouds bloom the soft-dying day,

And touch the stubble-plains with rosy hue;

Then in a wailful choir the small gnats mourn

Among the river sallows, borne aloft

Or sinking as the light wind lives or dies;

And full-grown lambs loud bleat from hilly bourn;

Hedge-crickets sing; and now with treble soft

The red-breast whistles from a garden-croft;

And gathering swallows twitter in the skies.

Mark and I took these pictures during our November 2015 trip to the Ozarks. He loved the beauty of fall colors. Today is the anniversary of his birth in 1956. Like John Keats, last year he knew that he must die; he said he would not live to see this birthday anniversary. He felt "the soft-dying day".