Relationship Between Humanity and Nature

Keats' poem is filled with well-fixed words that bulge and run all o'er, much as the generosity of Autumn's "mellow growthfulness" does. In the poem he makes the roughly of every aspect of Autumn, viewing her as something beautiful in herself and non as a mere prelude to winter. The interpretation of these riches builds steadily through the world-class eleven lines with images of soused vines, bending apple trees, swelling gourds, plumped nuts, and the honey bees' "oer-brimm'd" combs. The speaker has been commending this bountifulness and Autumn for assembling it. But then he pauses to ask, "Who hath non seen thee oft amid thy store" and proceeds to shift the images from the bounty of the ontogenesis things to the process of returning them.

The warmth and light described in the first lines may make Autumn drowsy moreover she is still seated in a "granary" and, firearm she may be inclined to go about them slowly, the chores of harvest time build up around her in the near few lines. Winnowing, reaping, scything with her "hook," gleaning, and pressing "cyder" are all listed and in each of these thither is a hint of the end of things. The bounty of the first part of the poem is being cut start and carried off. This builds to the last line of this section where Autumn, "by a cyder-press, with unhurried look" watches "the last oozings hours by hours" and in this line the oozings of the fruit become the dripping away of hours. Time is passing needs and this starts the speaker's question

In Melville's poem there is no question of dominion and, instead, a fear of nature--in timidity that comes from intimations of its life-threatening power--peeks through a veil of pretended fallback as The Maldive Shark and its accompanying pilot-fish are described. The relationship amongst the slow-moving shark and the "sleek little pilot-fish" is presented succinctly enough, still the adjectives the speaker employs indicate as much about the speaker's attitudes as they do about the activities of the sea creatures. The fish are ne'er eaten by the shark and in their symbiotic relationship they not only find "asylum" in its jaws, they return the prefer as "friendly they guide him to prey".

They, however, do not eat what the shark eats and he alone is the " demented ravener of horrible meat."

In each of these poems the speakers take a disparate approach to nature. In Keats' poem the speaker derives comfort from the pureness of life's progression toward death in strong contrast with the inconsistent speaker in Melville's piece. Keats' speaker, therefore, addresses Autumn herself in friendly tones while Melville's speaker can only describe the horror and sieve to keep his distance with his (failed) attempt at objectivity. Hollander's Adam's Task is a fantasy based on the Biblical myth of a single first human being whose control over nature is affirmed by God, but who loses this privilege and condemns kindliness to the labor that is the direct result of having no control over the rude(a) world. In contrast Stevens' speaker looks at the natural world, alien from himself as it was not from Hollander's Adam, and uses it as a jump point for a better understanding of what he is doing in the world.

The speaker's thirteen variations run through a number of possibilities for liberal verbal form to the responses generated by the sight (or thought) of a blackbird. The first stanza, for example, uses the blackbird to create a sense of scale. Among the stillness of the ea
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