The summary to the poem human seasons written by john keats?

Answer 1

The four stages of human life are like the four seasons of a year. Each stage has a compilation of lengthy stories of experiences from the cradle to the grave. It applies for both the human body and the human mind. It is but a short journey we all undertake till our purpose is done. We all are formed from the dust and we shall all return to the dust one day.

The first stage of human life is the birth and the childhood days, which is compared to the season of spring. This Season is believed to be the rebirth of Nature's life here on earth. It is characterized by warmth, spots of flora emerging everywhere on the bare ground, sounds of all types of birds in the air, movement of wild animals in the forest and very bright sunshine. This is the Season of optimism and hope. From birth till late childhood, life for every child is almost the beginning of a bright and a shiny future. Childhood is featured by innocence, physical stamina and vitality, tremendous urge for the outdoors and a tremendous appetite for fun and play. Activities have no limits. Each and every one of us misses our childhood days.

The second stage of human life is Youth which is compared to the season of summer. Summer is the season of fertility and immense harvest. It is marked by pleasantness, warm summer rain and a blooming of vegetation. The Earth itself is manifested with esteemed life. Similarly, Youth is marked by the end of Childhood innocence, beginning of self consciousness and high spirits of relationship. It is the peak and the glorious age of life. Each and every one of us decides which path in life to take and the plans to settle with the best of everything.

The Third stage of human life is Middle age which is compared to the season of autumn. Autumn is characterized by beginning of dryness and slow deterioration of leaves of trees and plants. Everything around begins to fade away and begins to look shabby. The incoming chilling breeze blowing in all directions add to the gloom of nature. Similarly, Middle age is featured by a very slowly degrading physical strength, slight change in outward appearance, relaxed mood, and burdened with matured activities. By this time, all are treading towards old age. We see life differently and quite often worry about the generation, quite often our own off springs. We also learn to look back at our own lives and become very nostalgic.

The last stage is the Old Age which is compared to the season of winter. This season is marked by extreme dryness and cold. The days are short and nights are long. Physical strength begins to fall to an all time low. Health is always a major issue. At this stage people tend to become very spiritual and become mentally prepared for death. Winter ultimately closes the year just like old age closes the life on earth of a person to eternal rest.

Answer 2

why the poem is telling that spring is lusty

Answer 3

"Human Seasons" by John Keats explores the different emotional stages of life as akin to the changing seasons. It reflects on the transitions from youth to old age, and how each stage brings its own challenges and joys. Through vivid imagery and metaphor, Keats contemplates the inevitability of change and the cyclical nature of human experience.

Answer 4

â??The Last Sonnetâ?? (or â??Bright Starâ??) by John Keats laments on the frailty of life as opposed to the immortality of a star. Further thought convinces him that to really know and experience love is worth the rather short human lifespan and prefers it to the loneliness of the star.

Answer 5

Bright star, would I were stedfast as thou art-

Not in lone splendour hung aloft the night

And watching, with eternal lids apart,

Like nature's patient, sleepless Eremite…

Other than that, the first quatrain is fairly straightforward. An eremite is a hermit. So, what Keats is saying works on two levels. He wants to be steadfast (and by implication her as well), like the North Star (Bright Star), but not in lone splendor - not in lonely contemplation. Keats isn't wishing for the hermit's patient search for enlightenment. Nor, importantly, is he wishing for the hermit's asceticism - his denial of passion and earthly attachment - in a word, sex.

The moving waters at their priestlike task

Of pure ablution round earth's human shores,

Or gazing on the new soft-fallen mask

Of snow upon the mountains and the moors;

In the second quatrain Keats describes the star's detachment, like the hermit's, as one of unmoving observation and detachment. The star's sleeplessness is beautiful and it's contemplation holy - observing the water's "priestlike task of pure ablution". But such contemplation is, for Keats, an inhuman one. It's no mistake that Keats refers to the shore's as earth's human shores - a place of impermanence, fault and failings in need of "pure ablution". This the world the Keats inhabits. Up to this point, all of Keats's imagery is observational. The only hint of something more is in the tactile "soft-fallen". There is little sensual contact or life in these images; but the first two quatrains present a kind of still life - unchanging, holy, and permanent. That said, there's the feeling that the "new soft-fallen mask/ Of snow upon the mountains" anticipates his lover's breasts.

The Volta

The sonnet now turns to toward life and, ironically, impermanence. Notice the nice metrical effect of spondaic first foot, it's emphasis on the word No. One can produce asimilareffect in free verse, but the abrupt reversal of the meter, also signaling the Sonnet's volta, is unmatchable.

No-yet still stedfast, still unchangeable,

Pillow'd upon my fair love's ripening breast,

To feel for ever its soft swell and fall,

Awake for ever in a sweet unrest,

Notice how the imagery changes. We are suddenly in a world of motion, touch, and feeling. No, says Keats, he wants the permanence of the star but also earth's human shores. He wants to be forever "pillow'd upon [his] fair love's ripening breast". Theanthimeriaof pillow, using a noun as verb, sensually implies the softness and warmth of Fanny Brawne's breasts. The next line gives life and breath to his imagery: He wants to feel her breasts "soft swell and fall" forever "in a sweet unrest". The sonnet's meter adds to the effect - the spondaic soft swell follows nicely on the phyrric foot that precedes it, reproducing, it its way, the rise and fall of her breasts. (Also, it's worth noting that metrically, it makes more sense to have soft swell be a spondaic foot, rather than (as with some versions of the poem) soft fall.The meter, in a sense, swells with the intake of Fanny's breath. ) Anyway, on earth's human shores, there is nothing that is unchangeable and immutable. And Keats knows it. The irony of Keats' desire for the immutable in a mutable world must find resolution - and there is only one:

Still, still to hear her tender-taken breath,

And so live ever-or else swoon to death.

If he could, he would live ever so, but Keats knows the other resolution, the only resolution, must be death.

Immutability, permanence and the unchangeable can only be found in death.

But what a way to die…

And this brings us to the erotic subtext of the poem. As I wrote earlier, the idea of orgasm, which the French nicely call the little death orla petite mort, is an ancient conceit (the photo at right, by the way, is called La petite mort, clicking on the image will take you to Kirilloff's gallery). If we read Keats' final words as a wry reference to the surrender of orgasm, then there's a mischievous and wry smile in Keats' final words. After all, how do readers interpret "swoon"? Webster's tells us that to swoon is "to enter a state of hysterical rapture or ecstasy…" Hmmm…. It's hard to know whether Keats had this in mind. He never wrote overtly sexual poetry, but there is frequently a strong erotic undercurrent to much of his poetry. He was, after all, a sensualist. (Many of the poets who came after him accused him of being an "unmanly" poet - of being too sensuous and effeminate. Keats' eroticism runs more along the lines of what isconsidereda feminine sensuality of touch and feeling.)

Such overt suggestiveness might be a little out of character for Keats but, if it was intended, I think it adds a nice denouement to the sonnet. After all, what is a lust and passion but a "sweet unrest"? And what is the only release from that "sweet unrest" but a swoon to death? But in this "death", life is renewed. Life is engendered, remade and made immutable through the lovers' swoon or surrender to "death". Keat's paradoxical desire for the immutable is resolved. The pleasure of the mutable but sweet unrest of his lovers rising and falling breasts, is only mitigated by the even more pleasurable, eternizing and transcendent pleasure of "death's swoon".

Which does Keats prefer? The immutable pleasure implied by the analogy of the changeless star, or the swoon of death? Keats, perhaps, is ready to find pleasure in both. The sonnet is profoundly romantic but, in keeping with Keats' character, wryly pragmatic.