Romantic and hyperbolic imagery is used to illustrate the speaker's unenthusiastic opinion of the of the coming of
autumn, which conveys Cary's idea that change is difficult to accept but necessary for growth.
Romantic imagery is utilized to demonstrate the speaker's warm regard for the season of summer and emphasize
her regretfulness for autumn's coming, conveying the uncomfortable change away from idyllic familiarity. Summer,
is portrayed in the image of a woman who "from her golden collar slips/and strays through stubble fields/and moans
aloud". Associated with sensuality and wealth, the speaker implies the interconnection between a season and bounty,
comfort, and pleasure. Yet, this romantic view is dismantled by autumn, causing Summer to "slip" and "stray
through stubble fields". Thus, the coming of real change dethrones a constructed, romantic personification of
summer, conveying the speaker's reluctance for her ideal season to be dethroned by something much less decorated
and adored. Summer, "she lies on pillows of the yellow leaves,/ And tries the old tunes for over an hour", is
contrasted with bright imagery of fallen leaves. The juxtaposition between Summer's character and the setting
provides insight to the positivity of change--the yellow leaves--by its contrast with the failures of attempting to
sustain old habits or practices,"old tunes". "She lies on pillows" creates a sympathetic, passive image of summer in
reaction to the coming of Autumn, contrasting her failures to sustain "old tunes" According to this, it is understood
that the speaker recognizes the foolishness of attempting to prevent what is to come, but her wishfulness to counter
the natural progression of time.
Hyperbolic imagery displays the discrepancies between unrealistic, exaggerated perceptions of change and the
reality of progress, continuing the perpetuation of Cary's idea that change must be embraced rather than rejected.
"Shorter and shorter now the twilight clips/The days, as though the sunset gates they crowd", syntax and diction are
used to literally separate different aspects of the progression of time. In an ironic parallel to the literal language, the
action of twilight's "clip" and the subject, "the days", are cut off from each-other into two different lines,
emphasizing a sense of jarring and discomfort. Sunset, and Twilight are named, made into distinct entities from the
day, dramaticizing the shortening of night-time into fall. The dramatic, sudden implications of the change bring to
mind the switch between summer and winter, rather than a transitional season like fall--emphasizing the Speaker's
perspective rather than a factual narration of the experience. She says "the proud meadow-pink hangs down her
head/Against the earth's chilly bosom, witched with frost". Implying pride and defeat, and the word "witched", the
speaker brings a sense of conflict, morality, and even good versus evil into the transition between seasons. Rather
than a smooth, welcome change, the speaker is practically against the coming of fall. The hyperbole present in the
poem serves to illustrate the Speaker's perspective and ideas on the coming of fall, which are characterized by
reluctance and hostility to change from comfort.
The topic of this poem, Fall--a season characterized by change and the deconstruction of the spring and summer
landscape--is juxtaposed with the final line which evokes the season of Spring. From this, it is clear that the speaker
appreciates beautiful and blossoming change, but resents that which destroys familiar paradigms and norms. Fall,
seen as the death of summer, is characterized as a regression, though the turning of seasons is a product of the literal
passage of time. Utilizing romantic imagery and hyperbole to shape the Speaker's perspective, Cary emphasizes the
need to embrace change though it is difficult, because growth is not possible without hardship or discomfort.