In 1997, Andrew Motion summarised the critical view on "To Autumn": "it has often been called Keats's 'most ... untroubled poem' [...] To register the full force of its achievement, its tensions have to be felt as potent and demanding."[1] Following in 1998, M. H. Abrams explained, "'To Autumn' was the last work of artistic consequence that Keats completed [...] he achieved this celebratory poem, with its calm acquiescence to time, transience and mortality, at a time when he was possessed by a premonition [...] that he had himself less than two years to live".[71] James Chandler, also in 1998, pointed out that "If To Autumn is his greatest piece of writing, as has so often been said, it is because in it he arguably set himself the most ambitious challenge of his brief career and managed to meet it."[72] Timothy Corrigan, in 2000, claimed that "'To Autumn' may be, as other critics have pointed out, his greatest achievement in its ability [...] to redeem the English vernacular as the casual expression of everyday experience, becoming in this his most exterior poem even in all its bucolic charm."[73] In the same year, Thomas McFarland placed "To Autumn" with "Ode to a Nightingale", "Ode on a Grecian Urn", "The Eve of St. Agnes" and Hyperion as Keats's greatest achievement, together elevating Keats "high in the ranks of the supreme makers of world literature".[74] In 2008, Stanley Plumly wrote, "history, posterity, immortality are seeing 'Ode to a Nightingale,' 'Ode on a Grecian Urn,' and 'To Autumn' as three of the most anthologized lyric poems of tragic vision in English."[75]