If "To Autumn" were merely a pretty description of the season, it wouldn't be considered a great poem. In fact, to read it as a straightforward celebration is to fall into the same trap as the bees in the first stanza:
they think warm days will never cease,
For summer has o'er-brimm'd their clammy cells.
Underneath the surface ...
Keats may have chosen the first two of these specific poisons because he could associate them with grapes and wine, and he may have chosen yew-berries because they look like beads. The first poison is:
Wolf's-bane, tight-rooted, for its poisonous wine,
and in mythology, Medea gave Theseus a cup of wine poisoned by wolfsbane.
The second poison is
He was probably familiar with Alexander Pope's version, which was the prestigious version at the time.1 It's likely that Keats wasn't enamored with this version. He was famously critical of 18th century poets, thinking their poetry too rule-bound and stifled. He expresses some of these criticisms in the poem Sleep and Poetry:1
Could all this be forgotten? ...
I'm fairly confident that the parallels are present, intentional, and real. Some portions, however, are about as clear as mud. You'll have to decide for yourself what exactly these parallels are and what they mean. I imagine writing that out would take a Hyperion-length book, and the only true answer would be one by the author.
Thinking about this at all ...
No. In fact, each poem has a closer relative within the corpus of Keats's work. There's also a stronger connection between "Endymion" and one of Shelley's poems that there is between the former and "Hyperion".
Keats first used the Endymion myth in an 1816 poem, "I stood tip-toe upon a little hill". This poem uses the union of Cynthia and Endymion to ...
While it's true that "still" is polysemous, I have a hard time justifying a reading of "dead" or "motionless" in this context. I could just as easily justify that the bird is making bootleg whiskey. "Still" is clearly describing the manner of the bird's singing, and the bird is not dead. Indeed, the next line is "Thou wast not born for death, immortal Bird!"
It could mean
Would you sing if you were dead (still, motionless)?
This allusion to stillness is reinforced by the above:
While thou art pouring forth thy soul abroad
In such an ecstasy!
Ode to a Nightingale, verses 57 and 58 (just above the one the OP mentioned)
This is meant as a supplement to @akr's concise answer.
"Ode" derives from two Ancient Greek word for song: ἀοιδή and ᾠδή
You will note from the links that one of the entries for the first word is:
1.song, a singing, whether the art of song, Hom.; or the act of singing, song
2.the thing sung, a song, Hom., etc.
3.the subject of song, Od.
TL;DR: (i) Keats’ biographer Sidney Colvin consulted Hardy, not as an expert on Keats, but rather as an expert on Lulworth Cove. (ii) Hardy (wrongly) believed that Keats had written ‘Bright Star’ at Lulworth Cove.
Keats and Severn
Keats suffered from tuberculosis, and in 1820 his doctors advised him to move abroad to a warmer climate. On 17 September 1820 ...
Merriam-Webster's definition of "ode" is not very useful for determining whether a specific poem is an ode: the definition is too vague and it ignores the genre's history.
The Oxford Companion to English Literature, edited by Margaret Drabble (revised edition, Oxford University Press, 1995) gives the following definition of "ode":
in ancient literature, ...
I have never thought of this line in reference to the Parthenon, and to me that makes no sense. Here's my interpretation:
The way I've always viewed this line is as saying "every high point in hardships that I must face." The poem goes on to say:
Like a sick eagle looking at the sky.
The speaker is ready to die, obviously, because of these godlike ...
The earliest version of this story appears in A New Spirit of the Age by Richard H. Horne (1844), page 196:
When somebody expressed his surprise to Shelley, that Keats, who was not very conversant with the Greek language, could write so finely and classically of their gods and goddesses, Shelley replied ‘He was a Greek.’
Horne gives no source for this ...
You need to read through the enjambed line. It might help to remove the carriage return:
And each imagined pinnacle and steep of godlike hardship tells me I must die
Further... it helps to realize that "steep" is being used here in a non-standard way, largely as a synonym for "pinnacle" (or at least, the steep sides of a mountain leading up to the ...
Still here is also an allusion to death, to being still, to no longer being alive, or moving.
"Allusion" means to refer to something without mentioning it directly, which is what poets do.
So, still here has a double meaning (a noted Keats device) of being a synonym for nonetheless, and also a reference to death.
So it seems to me, anyway.
Keats is saying that if you try to immerse yourself in objects of sadness, then you won't be as aware of your own sadness as much. Shade (sadness) will come to (existing) shade too drowsily: i.e., it will not be as noticeable. But if it comes out of the blue, it will be that much more powerful.
But when the melancholy fit shall fall
Sudden from ...
It's possible that Keats is using the adjective "tight-rooted" here to keep the tone of the first half of the poem consistent, in that tight-rooted has a connotation of being trapped and imprisoned, not free to roam the world. This is in keeping with the previous mention of the river Lethe, which was associated with lethargy in Greek mythology.