According to Bewell, the landscape of "To Autumn" presents the temperate climate of rural England as a healthful alternative to disease-ridden foreign environments.  Though the "clammy" aspect of "fever", the excessive ripeness associated with tropical climates, intrude into the poem, these elements, less prominent than in Keats's earlier poetry, are counterbalanced by the dry, crisp autumnal air of rural England.  In presenting the particularly English elements of this environment, Keats was also influenced by contemporary poet and essayist Leigh Hunt, who had recently written of the arrival of autumn with its "migration of birds", "finished harvest", "cyder [...] making" and migration of "the swallows",  as well as by English landscape painting  and the "pure" English idiom of the poetry of Thomas Chatterton. 
The injustice which has been done to our author's works, in estimating their poetical merit, rendered us doubly anxious, on opening his last volume, to find it likely to seize fast hold of general sympathy, and thus turn an overwhelming power against the paltry traducers of talent, more eminently promising in many respects, than any the present age has been called upon to encourage. We have not found it to be quite all that we wished in this respect--and it would have been very extraordinary if we had, for our wishes went far beyond reasonable expectations. But we have found it of a nature to present to common understandings the poetical power with which the author's mind is gifted, in a more tangible and intelligible shape than that in which it has appeared in any of his former compositions. It is, therefore, calculated to throw shame on the lying, vulgar spirit, in which this young worshipper in the temple of the Muses has been cried-down; whatever questions may still leave to be settled as to the kind and degree of his poetical merits. Take for instance, as proof of the justice of our praise, the following passage from an Ode to the Nightingale:--it is distinct, noble, pathetic, and true: the thoughts have all chords of direct communication with naturally-constituted hearts: the echoes of the strain linger bout the depths of human bosoms. 
A thing of beauty is a joy for ever:
Its lovliness increases; it will never
Pass into nothingness; but still will keep
A bower quiet for us, and a sleep
Full of sweet dreams, and health, and quiet breathing.
Therefore, on every morrow, are we wreathing
A flowery band to bind us to the earth,
Spite of despondence, of the inhuman dearth
Of noble natures, of the gloomy days,
Of all the unhealthy and o'er-darkn'd ways
Made for our searching: yes, in spite of all,
Some shape of beauty moves away the pall
From our dark spirits. Such the sun, the moon, ...
This poem would effectively mark the end of Keats’s poetic career. He lived to see his new volume, which included the odes, published as Lamia, Isabella, The Eve of St. Agnes, and Other Poems in early July 1820. The praise from Hunt, Shelley, Lamb, and their circle was enthusiastic. In August, Frances Jeffrey, influential editor of the Edinburgh Review , wrote a serious and thoughtful review, praising not just the new poems but also Endymion . Other reviews, particularly John Scott’s in the September 1820 London Magazine , were suddenly respectful of the new power of his verse, particularly of the odes and Hyperion , this last considered, in Keats’s generation, his greatest achievement. The volume sold slowly but steadily and increasingly in the next months. His odes were republished in literary magazines. But by summer 1820, Keats was too ill to be much encouraged.
DEEP in the shady sadness of a vale
Far sunken from the healthy breath of morn,
Far from the fiery noon, and eve's one star,
Sat gray-hair'd Saturn, quiet as a stone,
Still as the silence round about his lair;
Forest on forest hung above his head
Like cloud on cloud. No stir of air was there,
Not so much life as on a summer's day
Born in 1809, Edgar Allan Poe had a profound impact on American and international literature as an editor, poet, and critic.