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Poem past John Keats

Ode to a Nightingale
past John Keats
W. J. Neatby's 1899 analogy for "Ode to a Nightingale"
Written	1819
Country	England
Linguistic communication	English
Read online	Ode to a Nightingale at Wikisource

"Ode to a Nightingale" is a poem by John Keats written either in the garden of the Spaniards Inn, Hampstead, London or, according to Keats' friend Charles Armitage Brownish, under a plum tree in the garden of Keats' firm at Wentworth Place, also in Hampstead. According to Brown, a nightingale had built its nest near the house that he shared with Keats in the spring of 1819. Inspired past the bird'due south song, Keats composed the poem in one day. Information technology soon became one of his 1819 odes and was outset published in Annals of the Fine Arts the following July. The poem is one of the most ofttimes anthologized in the English language.^[1]

"Ode to a Nightingale" is a personal poem which describes Keats's journey into the state of negative capability. The tone of the poem rejects the optimistic pursuit of pleasure institute within Keats's earlier poems and, instead, explores the themes of nature, transience and mortality, the latter being peculiarly relevant to Keats.

The nightingale described experiences a blazon of death but does not actually die. Instead, the songbird is capable of living through its vocal, which is a fate that humans cannot expect. The poem ends with an acceptance that pleasance cannot last and that death is an inevitable part of life. In the poem, Keats imagines the loss of the physical earth and sees himself dead—as a "sod" over which the nightingale sings. The contrast betwixt the immortal nightingale and mortal homo sitting in his garden, is made all the more acute by an effort of the imagination. The presence of weather is noticeable in the poem, as spring came early in 1819, bringing nightingales all over the heath.^{[ citation needed ]}

Groundwork [edit]

Joseph Severn'south depiction of Keats listening to the nightingale (c. 1845)

Of Keats's six major odes of 1819, "Ode to Psyche", was probably written first and "To Autumn" written last. Sometime between these two, he wrote "Ode to a Nightingale".^[2] It is possible that "Ode to a Nightingale" was written between 26 April and 18 May 1819, based on weather atmospheric condition and similarities between images in the poem and those in a letter sent to Fanny Brawne on May Day. The verse form was composed at the Hampstead business firm Keats shared with Brown, perhaps while sitting below a plum tree in the garden.^[3] According to Keats' friend Brown, Keats finished the ode in but one morning: "In the bound of 1819 a nightingale had built her nest near my business firm. Keats felt a tranquil and continual joy in her song; and one morning he took his chair from the breakfast-tabular array to the grass-plot nether a plum-tree, where he sat for ii or 3 hours. When he came into the business firm, I perceived he had some scraps of paper in his hand, and these he was quietly thrusting backside the books. On inquiry, I found those scraps, four or five in number, contained his poetic feelings on the song of the nightingale."^[4] Chocolate-brown's account is personal, equally he claimed the poem was straight influenced by his house and preserved by his own doing. However, Keats relied on both his own imagination and other literature every bit sources for his depiction of the nightingale.^[5]

The verbal date of "Ode to a Nightingale", besides as those of "Ode on Indolence", "Ode on Melancholy", and "Ode on a Grecian Urn", is unknown, as Keats dated all equally 'May 1819'. However, he worked on the four poems together, and at that place is a unity in both their stanza forms and their themes. The exact club the poems in which the poems were written is besides unknown, merely they form a sequence within their structures. While Keats was writing "Ode on a Grecian Urn" and the other poems, Brownish transcribed copies of the poems and submitted them to Richard Woodhouse.^[6] During this time, Benjamin Haydon, Keats' friend, was given a copy of "Ode to a Nightingale", and he shared the poem with the editor of the Annals of the Fine Arts, James Elmes. Elmes paid Keats a small sum of money, and the poem was published in the July issue.^[vii] The poem was afterwards included in Keats' 1820 collection of poems Lamia, Isabella, The Eve of St Agnes, and Other Poems.^[8]

Structure [edit]

"Ode to a Nightingale" was probably the first of the heart set of four odes that Keats wrote post-obit "Ode to Psyche", according to Brownish. This is farther evidenced by the poems' structures. Keats experimentally combines 2 unlike types of lyrical poetry: the odal hymn and the lyric of questioning vox that responds to the odal hymn. This combination of structures is similar to that in "Ode on a Grecian Urn". In both poems, the dual course creates a dramatic element within the text. The stanza form of the poem is a combination of elements from Petrarchan sonnets and Shakespearean sonnets.^[9]

Keats incorporates a design of alternating historically "short" and "long" vowel sounds in his ode. In particular, line 18 ("And purple-stained oral fissure") has the historical pattern of "short" followed by "long" followed by "short" and followed by "long". This alternation is continued in longer lines, including line 31 ("Away! away! for I volition fly to thee") which contains five pairs of alternations. However, other lines, such equally line three ("Or emptied some deadening opiate to the drains") rely on a blueprint of 5 "short" vowels followed past "long" and "short" vowel pairings until they stop with a "long" vowel. These are non the only combination patterns present, and there are patterns of ii "short" vowels followed past a "long" vowel in other lines, including 12, 22, and 59, which are repeated twice and and so followed up with ii sets of "short" and so "long" vowel pairs. This reliance on vowel sounds is not unique to this ode, but is mutual to Keats's other 1819 odes and his Eve of St. Agnes.^[10]

The poem incorporates a circuitous reliance on assonance—the repetition of vowel sounds—in a conscious pattern, as found in many of his poems. Such a reliance on assonance is plant in very few English poems. Within "Ode to a Nightingale", an example of this pattern can be establish in line 35 ("Already with thee! tender is the nighttime"), where the "ea" of "Already" connects with the "due east" of "tender" and the "i" of "with" connects with the "i" of "is". This same pattern is plant again in line 41 ("I cannot run into what flowers are at my feet") with the "a" of "cannot" linking with the "a" of "at" and the "ee" of "meet" linking with the "ee" of "feet". This system of assonance can be establish in approximately a tenth of the lines of Keats's subsequently poetry.^[11]

When it comes to other sound patterns, Keats relies on double or triple caesuras in approximately 6% of lines throughout the 1819 odes. An example from "Ode to a Nightingale" can exist found within line 45 ("The grass, the thicket, and the fruit-tree wild") as the pauses afterwards the commas are a "masculine" pause. Furthermore, Keats began to reduce the amount of Latin-based words and syntax that he relied on in his verse, which in turn shortened the length of the words that dominate the poem. There is likewise an accent on words beginning with consonants, particularly those that brainstorm with "b", "p" or "5". The first stanza relies heavily on these three consonants, and they are used as a syzygy to add a musical tone within the poem.^[12]

Compared to his earlier poesy, spondees are relatively abundant in his 1819 odes and other late poems. In "Ode to a Nightingale" they are used in simply over eight% of his lines (compared to a mere ii.6% in Endymion). Examples include:^[13]

          /     ×  /   /   ×    ×  /    /  ×  / Absurd'd a          long age          in the          deep-delvèd globe (line 12)    ×    /  ×   /    ×  /     /   /      /   / Where palsy shakes a few,          sad, last, grayness hairs          (line 25)

To Walter Jackson Bate, the use of spondees in lines 31–34 creates a feeling of tiresome flight, and "in the final stanza . . . the distinctive use of scattered spondees, together with initial inversion, lend[due south] an approximate phonetic suggestion of the peculiar spring and bounce of the bird in its flight."^[14]

Poem [edit]

Holograph of Keats's Ode to a Nightingale written in May 1819

The starting time and 6th stanzas exemplify the juxtaposition of rapture and morbidity in the verse form:

My centre aches, and a drowsy numbness pains
My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
One minute by, and Lethe-wards had sunk:
'Tis not through envy of thy happy lot,
But beingness too happy in thine happiness,—
That thou, light-winged Damsel of the trees,
In some melodious plot
Of beechen green, and shadows numberless,
Singest of summertime in total-throated ease.
...
Darkling I listen; and, for many a time
I have been one-half in dearest with easeful Death,
Phone call'd him soft names in many a mused rhyme,
To take into the air my repose breath;
At present more than ever seems information technology rich to die,
To stop upon the midnight with no pain,
While thou fine art pouring forth thy soul abroad
In such an ecstasy!
Still wouldst k sing, and I accept ears in vain—
To thy high requiem go a sod.^[15]

—Stanzas 1 and 6 (lines i-10, 51-60)

Themes [edit]

"Ode to a Nightingale" describes a serial of conflicts between reality and the Romantic ideal of uniting with nature. In the words of Richard Fogle, "The principal stress of the verse form is a struggle between ideal and actual: inclusive terms which, all the same, comprise more particular antitheses of pleasance and hurting, of imagination and common sense reason, of fullness and privation, of permanence and alter, of nature and the human, of art and life, freedom and bondage, waking and dream."^[16] Of grade, the nightingale'southward song is the dominant prototype and dominant "voice" within the ode. The nightingale is also the object of empathy and praise within the poem. Still, the nightingale and the discussion of the nightingale is not simply almost the bird or the song, only nearly man experience in general. This is non to say that the song is a simple metaphor, but it is a complex image that is formed through the interaction of the conflicting voices of praise and questioning.^[17] On this theme, David Perkins summarizes the mode "Ode to a Nightingale" and "Ode on a Grecian Urn" perform this when he says, "we are dealing with a talent, indeed an entire approach to verse, in which symbol, even so necessary, may possibly not satisfy as the chief business of poetry, any more information technology could with Shakespeare, only is rather an element in the poetry and drama of human reactions".^[xviii] Notwithstanding, there is a difference between an urn and a nightingale in that the nightingale is not an eternal entity. Furthermore, in creating any attribute of the nightingale immortal during the verse form the narrator separates whatsoever spousal relationship that he tin have with the nightingale.^[19]

The nightingale'south song within the verse form is connected to the art of music in a fashion that the urn in "Ode on a Grecian Urn" is connected to the fine art of sculpture. Every bit such, the nightingale would correspond an enchanting presence and, dissimilar the urn, is directly connected to nature. Every bit natural music, the song is for beauty and lacks a message of truth. Keats follows Coleridge's belief, equally establish in "The Nightingale", in separating from the world by losing himself in the bird's song. Although Keats favours a female nightingale over Coleridge's masculine bird, both refuse the traditional depiction of the nightingale as related to the tragedy of Philomela.^[xx] Their songbird is a happy nightingale that lacks the melancholic feel of previous poetic depictions.^[21] The bird is simply a voice within the poem, but it is a voice that compels the narrator to join with in and forget the sorrows of the world. However, in that location is tension in that the narrator holds Keats'south guilt regarding the death of Tom Keats, his brother. The song's determination represents the upshot of trying to escape into the realm of fancy.^[22]

Like Percy Bysshe Shelley'southward "To a Skylark", Keats'due south narrator listens to a bird song, but listening to the vocal within "Ode to a Nightingale" is almost painful and similar to death. The narrator seeks to be with the nightingale and abandons his sense of vision in order to cover the audio in an try to share in the darkness with the bird. As the poem ends, the trance caused by the nightingale is broken and the narrator is left wondering if it was a real vision or just a dream.^[23] The verse form's reliance on the process of sleeping is common to Keats'southward poems, and "Ode to a Nightingale" shares many of the same themes as Keats' Sleep and Poetry and Eve of St. Agnes. This further separates the image of the nightingale'south song from its closest comparative image, the urn as represented in "Ode on a Grecian Urn". The nightingale is distant and mysterious, and even disappears at the stop of the poem. The dream image emphasizes the shadowiness and elusiveness of the verse form. These elements make it impossible for there to be a complete cocky-identification with the nightingale, but it also allows for cocky-awareness to permeate throughout the poem, admitting in an altered land.^[24]

Midway through the poem, there is a split betwixt the ii actions of the poem: the start attempts to place with the nightingale and its song, and the second discusses the convergence of the past with the futurity while experiencing the present. This 2d theme is reminiscent of Keats'due south view of human being progression through the Mansion of Many Apartments and how human being develops from experiencing and wanting only pleasure to understanding truth as a mixture of both pleasure and pain. The Elysian fields and the nightingale'south song in the starting time half of the verse form represent the pleasurable moments that overwhelm the private like a drug. Still, the experience does not final forever, and the torso is left desiring it until the narrator feels helpless without the pleasance. Instead of embracing the coming truth, the narrator clings to poetry to hide from the loss of pleasure. Poetry does not bring about the pleasure that the narrator original asks for, but it does liberate him from his desire for but pleasance.^[25]

Responding to this accent on pleasure, Albert Guerard, Jr. argues that the poem contains a "longing not for art only a complimentary reverie of any kind. The form of the poem is that of progression by association, and so that the movement of feeling is at the mercy of words evoked by adventure, such words as fade and forlorn, the very words that, like a bong, toll the dreamer back to his sole self."^[26] However, Fogle points out that the terms Guerard emphasizes are "associational translations" and that Guerard misunderstands Keats's aesthetic.^[27] Later on all, the acceptance of the loss of pleasure by the terminate of the verse form is an acceptance of life and, in turn, of death. Death was a constant theme that permeated aspects of Keats poesy because he was exposed to death of his family members throughout his life.^[28] Within the poem, there are many images of death. The nightingale experiences a sort of expiry and even the god Apollo experiences expiry, just his death reveals his own divine state. As Perkins explains, "But, of course, the nightingale is non thought to be literally dying. The point is that the deity or the nightingale can sing without dying. Only, as the ode makes clear, man cannot—or at least not in a visionary manner."^[29]

With this theme of a loss of pleasance and inevitable death, the poem, according to Claude Finney, describes "the inadequacy of the romantic escape from the world of reality to the world of ideal beauty".^[thirty] Earl Wasserman essentially agrees with Finney, but he extended his summation of the poem to comprise the themes of Keats'south Mansion of Many Apartments when he says, "the core of the poem is the search for the mystery, the unsuccessful quest for light within its darkness" and this "leads only to an increasing darkness, or a growing recognition of how impenetrable the mystery is to mortals."^[31] With these views in mind, the poem recalls Keats'southward earlier view of pleasance and an optimistic view of poetry found inside his earlier poems, particularly Slumber and Poetry, and rejects them.^[32] This loss of pleasure and incorporation of death imagery lends the poem a dark air, which connects "Ode to a Nightingale" with Keats' other poems that talk over the demonic nature of poetic imagination, including Lamia.^[33] In the verse form, Keats imagines the loss of the physical world and sees himself dead—he uses an abrupt, well-nigh brutal word for information technology—every bit a "sod" over which the nightingale sings. The contrast between the immortal nightingale and mortal man, sitting in his garden, is made all the more acute past an effort of the imagination.^[34]

Reception [edit]

Gimmicky critics of Keats enjoyed the poem, and it was heavily quoted in their reviews.^[35] An bearding review of Keats's verse that ran in the August and October 1820 Scots Magazine stated: "Amongst the minor poems we adopt the 'Ode to the Nightingale'. Indeed, we are inclined to adopt it beyond every other poem in the book; but let the reader judge. The third and seventh stanzas take a charm for us which we should detect it hard to explain. We accept read this ode over and over once more, and every time with increased please."^[36] At the same time, Leigh Hunt wrote a review of Keats's poem for the 2 August and 9 Baronial 1820 The Indicator: "Every bit a specimen of the Poems, which are all lyrical, we must indulge ourselves in quoting entire the 'Ode to a Nightingale'. There is that mixture in it of real melancholy and imaginative relief, which poetry alone presents us in her 'charmed cup,' and which some over-rational critics accept undertaken to find wrong because information technology is not true. It does non follow that what is non true to them, is not truthful to others. If the relief is real, the mixture is proficient and sufficing."^[37]

John Scott, in an anonymous review for the September 1820 edition of The London Magazine, argued for the greatness of Keats'due south poetry equally exemplified by poems including "Ode to a Nightingale":

The injustice which has been done to our author'southward works, in estimating their poetical merit, rendered us doubly broken-hearted, on opening his terminal volume, to find it likely to seize fast concord of full general sympathy, and thus plow an overwhelming power against the paltry traducers of talent, more than eminently promising in many respects, than any the nowadays age has been called upon to encourage. We have not institute it to be quite all that we wished in this respect—and information technology would take been very boggling if we had, for our wishes went far across reasonable expectations. But we accept found it of a nature to present to mutual understandings the poetical power with which the author'southward listen is gifted, in a more tangible and intelligible shape than that in which it has appeared in any of his onetime 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-downwards; any questions may still leave to be settled as to the kind and degree of his poetical claim. Have 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 advice with naturally-constituted hearts: the echoes of the strain linger tour the depths of man bosoms.^[38]

In a review for the 21 Jan 1835 London Journal, Hunt claimed that while Keats wrote the poem, "The poet had then his mortal illness upon him, and knew it. Never was the voice of death sweeter."^[39] David Moir, in 1851, used The Eve of St Agnes to claim, "We have hither a specimen of descriptive power luxuriously rich and original; but the following lines, from the 'Ode to a Nightingale,' menses from a far more profound fountain of inspiration."^[40]

At the terminate of the 19th century, Robert Bridges's analysis of the verse form became a dominant view and would influence later interpretations of the poem. Bridges, in 1895, declared that the poem was the all-time of Keats's odes merely he idea that the poem contained as well much artificial language. In particular, he emphasised the utilize of the word "forlorn" and the concluding stanza as being examples of Keats's constructed language.^[41] In "Two odes of Keats'south" (1897), William C Wilkinson suggested that "Ode to a Nightingale" is deeply flawed because it contains also many "incoherent musings" that failed to supply a standard of logic that would let the reader to empathise the relationship betwixt the poet and the bird.^[42] However, Herbert Grierson, arguing in 1928, believed Nightingale to be superior to "Ode on a Grecian Urn", "Ode on Melancholy", and "Ode to Psyche", arguing the verbal opposite of Wilkinson as he stated that "Nightingale", along with "To Autumn", showed a greater amount of logical thought and more aptly presented the cases they were intended to make.^[43]

20th-century criticism [edit]

At the beginning of the 20th century, Rudyard Kipling referred to lines 69 and 70, alongside iii lines from Samuel Taylor Coleridge's Kubla Khan, when he claimed of poetry: "In all the millions permitted there are no more than five—five petty lines—of which one tin can say, 'These are the magic. These are the vision. The rest is only Poetry.'"^[44] In 1906, Alexander Mackie argued: "The nightingale and the distraction for long monopolised poetic idolatry—a privilege they enjoyed solely on business relationship of their pre-eminence as song birds. Keats'south Ode to a Nightingale and Shelley's Ode to a Skylark are two of the glories of English literature; merely both were written past men who had no claim to special or exact noesis of ornithology as such."^[45] Sidney Colvin, in 1920, argued, "Throughout this ode Keats'due south genius is at its meridian. Imagination cannot exist more than rich and satisfying, felicity of phrase and cadence cannot be more absolute, than in the several contrasted stanzas calling for the draft of southern vintage […] To praise the art of a passage similar that in the fourth stanza […] to praise or comment on a stroke of art like this is to throw doubt on the reader's power to perceive it for himself."^[46]

Bridges' view of "Ode to a Nightingale" was taken up by H. W. Garrod in his 1926 analysis of Keats'south poems. As Albert Gerard would contend afterward in 1944, Garrod believed that the problem within Keats's poem was his emphasis on the rhythm and the linguistic communication instead of the main ideas of the poem.^[35] When describing the quaternary stanza of the verse form, Maurice Ridley, in 1933, claimed, "And then comes the stanza, with that remarkable piece of imagination at the end which feels the light as diddled by the breezes, 1 of those characteristic sudden flashes with which Keats fires the nearly ordinary cloth."^[47] He later declared of the seventh stanza: "And now for the dandy stanza in which the imagination is fanned to yet whiter heat, the stanza that would, I suppose, by common consent be taken, along with Kubla Khan, as offering usa the distilled sorceries of 'Romanticism'".^[48] He concluded on the stanza that "I practice not believe that whatever reader who has watched Keats at work on the more exquisitely finished of the stanzas in The Eve of St. Agnes, and seen this craftsman slowly elaborating and refining, will ever believe that this perfect stanza was accomplished with the like shooting fish in a barrel fluency with which, in the draft nosotros accept, it was obviously written down."^[49] In 1936, F. R. Leavis wrote, "Ane remembers the poem both as recording, and as being for the reader, an indulgence."^[50] Following Leavis, Cleanth Brooks and Robert Penn Warren, in a 1938 essay, saw the poem every bit "a very rich poem. It contains some complications which we must non gloss over if we are to appreciate the depth and significance of the issues engaged."^[51] Brooks would later debate in The Well-Wrought Urn (1947) that the poem was thematically unified while contradicting many of the negative criticisms lodged against the verse form.^[52]

Richard Fogle responded to the critical attack on Keats'southward accent on rhyme and language put forth by Garrod, Gerard, and others in 1953. His argument was similar to Brooks: that the poem was thematically coherent and that in that location is a poet within the verse form that is different from Keats the writer of the poem. As such, Keats consciously chose the shift in the themes of the poem and the contrasts within the poem represent the pain felt when comparing the real world to an ideal earth found within the imagination.^[52] Fogle as well responded directly to the claims fabricated by Leavis: "I observe Mr. Leavis too austere, but he points out a quality which Keats patently sought for. His profusion and prodigality is, however, modified past a principle of sobriety."^[53] It is possible that Fogle'due south statements were a defence of Romanticism every bit a group that was both respectable in terms of thought and poetic ability.^[54] Wasserman, following in 1953, claimed that "Of all Keats' poems, it is probably the 'Ode to a Nightingale' that has most tormented the critic [...] in whatever reading of the 'Ode to a Nightingale' the turmoil volition not down. Forces contend wildly within the poem, not only without resolution, only without possibility of resolution; and the reader comes away from his experience with the sense that he has been in 'a wild Abyss'".^[55] He and then explained, "It is this turbulence, I suspect, that has led Allen Tate to believe the ode 'at least tries to say everything that poetry can say.' But I propose information technology is the 'Ode on a Grecian Urn' that succeeds in saying what poesy can say, and that the other ode attempts to say all that the poet tin."^[55]

Later critical responses [edit]

Although the poem was dedicated by a few critics, Due east. C. Pettet returned to the argument that the poem lacked a structure and emphasized the word "forlorn" as testify of his view.^[56] In his 1957 work, Pettet did praise the poem every bit he alleged, "The Ode to a Nightingale has a special interest in that virtually of us would probably regard it equally the near richly representative of all Keats'due south poems. Two reasons for this quality are immediately credible: in that location is its matchless evocation of that late spring and early summer season […] and in that location is its exceptional caste of 'distillation', of concentrated recollection".^[57] David Perkins felt the need to defend the use of the discussion "forlorn" and claimed that it described the feeling from the impossibility of not beingness able to alive in the globe of the imagination.^[56] When praising the poem in 1959, Perkins claimed, "Although the "Ode to a Nightingale" ranges more widely than the "Ode on a Grecian Urn," the poem tin can likewise be regarded as the exploration or testing out of a symbol, and, compared with the urn as a symbol, the nightingale would seem to have both limitations and advantages."^[58] Walter Jackson Bate besides made a similar defence force of the word "forlorn" by challenge that the world described past describing the impossibility of reaching that land.^[56] When describing the poem compared to the remainder of English language poetry, Bate argued in 1963, "Ode to a Nightingale" is among "the greatest lyrics in English" and the simply one written with such speed: "We are free to doubt whether any poem in English of comparable length and quality has been composed so quickly."^[59] In 1968, Robert Gittins stated, "It may not be wrong to regard [Ode on Indolence and Ode on Melancholy] every bit Keats's earlier essays in this [ode] form, and the slap-up Nightingale and Grecian Urn as his more finished and afterwards works."^[threescore]

From the late 1960s onward, many of the Yale School of critics describe the verse form every bit a reworking of John Milton's poetic diction, merely, they argued, that poem revealed that Keats lacked the power of Milton as a poet. The critics, Harold Flower (1965), Leslie Brisman (1973), Paul Fry (1980), John Hollander (1981) and Cynthia Chase (1985), all focused on the verse form with Milton as a progenitor to "Ode to a Nightingale" while ignoring other possibilities, including Shakespeare who was emphasised every bit being the source of many of Keats'due south phrases. Responding to the claims virtually Milton and Keats's shortcomings, critics like R. S. White (1981) and Willard Spiegelman (1983) used the Shakespearean echoes to debate for a multiplicity of sources for the poem to merits that Keats was not trying to respond just to Milton or escape from his shadow. Instead, "Ode to a Nightingale" was an original poem,^[61] as White claimed, "The poem is richly saturated in Shakespeare, however the assimilations are and then profound that the Ode is finally original, and wholly Keatsian".^[62] Similarly, Spiegelman claimed that Shakespeare's A Midsummer Night's Dream had "flavored and ripened the later poem".^[63] This was followed in 1986 by Jonathan Bate challenge that Keats was "left enriched by the voice of Shakespeare, the 'immortal bird'".^[64]

Focusing on the quality of the poem, Stuart Sperry, argued in 1973, "'Ode to a Nightingale' is the supreme expression in all Keats'due south poetry of the impulse to imaginative escape that flies in the confront of the knowledge of human limitation, the impulse fully expressed in 'Away! abroad! for I volition fly to thee.'"^[65] Wolf Hirst, in 1981, described the poem as "justly celebrated" and claimed that "Since this motion into an eternal realm of song is one of the most magnificent in literature, the poet'southward return to authenticity is all the more shattering."^[66] Helen Vendler continued the before view that the verse form was artificial but added that the poem was an effort to exist aesthetic and spontaneous that was later dropped.^[67] In 1983, she argued, "In its absence of conclusiveness and its abandonment to reverie, the poem appeals to readers who prize it as the most personal, the most apparently spontaneous, the near immediately beautiful, and the most confessional of Keats's odes. I believe that the 'events' of the ode, equally it unfolds in time, have more logic, notwithstanding, than is normally granted them, and that they are best seen in relation to Keats's pursuit of the idea of music as a nonrepresentational fine art."^[68]

In a review of gimmicky criticism of "Ode to a Nightingale" in 1998, James O'Rouke claimed that "To estimate from the volume, the variety, and the polemical force of the modern critical responses engendered, there have been few moments in English language poetic history as baffling as Keats's repetition of the give-and-take 'forlorn'".^[41] When referring to the reliance of the ideas of John Dryden and William Hazlitt within the poem, Poet Laureate Andrew Motion, in 1999, argued "whose notion of poetry as a 'movement' from personal consciousness to an awareness of suffering humanity it perfectly illustrates."^[5]

In fiction [edit]

F. Scott Fitzgerald took the title of his novel Tender is the Night from the 35th line of the ode.^[69]

Co-ordinate to Ildikó de Papp Carrington, Keats' diction, "when, sick for home, / She stood in tears amidst the conflicting corn", seems to be echoed in by Alice Munro's Save the Reaper (1998),^[70] the end of which reads: "Eve would lie downwards [...] with nil in her head but the rustle of the deep alpine corn which might have stopped growing now but all the same fabricated its live dissonance later dark" (book version).

The Dutch folk band The Black Atlantic took the name of their 2012 EP "Darkling I listen" from the start line 51.^[71]

The poem is quoted in Chapter 1 of P. G. Wodehouse'due south novel Full Moon (1947): "'Coming here? Freddie?'.A numbness seemed to be paining his sense, as though of hemlock he had drunk."^[72]

Part of the verse form is quoted in an episode of Penny Dreadful, when Match appears to Vanessa Ives to tempt her, and quotes the poem in his chat.

The poem inspired Tennessee Williams to name his commencement play Not Virtually Nightingales.

In music [edit]

"Ode to a Nightingale" is the subject matter for Ben Moore'south piece of the same name, a vocal-bicycle written for baritone in 2010, commissioned past Bruce and Suzie Kovner. This vocal-bike uses the entirety of the work with the cycle's eight songs based on the eight stanzas of the poem. Almost all the songs in the cycle have preludes, interludes and postludes, possibly hinting at a Schumann-like effect, where the piano is the main voice and the sung part only adds ornamentation.^[73]

In that location is also a very fine setting by Hamilton Harty, set for soprano and orchestra. Information technology was first performed at the Cardiff Festival in 1907, and later magnificently recorded by Heather Harper.^{[ citation needed ]}

A setting of the poem by Stephen Douglas Burton, for soprano and orchestra, was completed in 1962.^[74]

Notes [edit]

^ "Hitting Singles past Joshua Weiner". Poetry Foundation. xi April 2018. Retrieved eleven Apr 2018.
^ Bate 1963 p. 498
^ Gittings 1968 pp. 316–318
^ Bate 1963 qtd p. 501
^ ^a ^b Motion 1999 p. 395
^ Gittings 1968 311
^ Bate 1963 p.533
^ Stillinger 1998 p. fifteen
^ Bate 1963, pp. 499–502.
^ Bate 1962, pp. 52–54.
^ Bate 1962, pp. 58–60.
^ Bate 1962, pp. 133–135.
^ Bate 1962, p. 137.
^ Bate 1962, p. 139.
^ Keats 1905 pp. 191-193
^ Fogle 1968 p. 32
^ Bate 1963 p. 500
^ John Keats 1979 p. 500
^ Perkins 1964 p. 103
^ Vendler pp. 77–81
^ Gittings 1968 p. 317
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^ Blossom 1993 pp. 407–411
^ Bate 1963 pp. 502–503
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^ Finney 1936 p. 632
^ Wasserman 1953 p. 222
^ Evert 1965|pp=256–269
^ Evert 1965|pp=vii, 269
^ Hilton 1971 p. 102
^ ^a ^b O'Rourke 1998 p. 4
^ Matthews 1971 qtd pp. 214–215
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^ Matthews 1971 qtd. 224
^ Matthews 1971 qtd p. 283
^ Matthews 1971 qtd p. 352
^ ^a ^b O'Rourke 1998 p. 2
^ Wilkinson 1897 pp. 217–219
^ Grierson 1928 p. 56
^ Forest 1916 qtd. p. 1291
^ MacKie 1906 p. 29
^ Colvin 1920 pp. 419–420
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^ Leavis 1936 p. 144
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^ White 1981 pp. 217–218
^ Spiegelman 1983 p. 360
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