John Keats (1795-1821)
After he had finished the poem he came back with scraps of paper in his hand. Brown rescued the papers and found them to be the poem on the nightingale.
Thus the poem is an expression of Keats's feelings rising in his heart at the hearing of the melodious song of the bird. The song of the nightingale moves from the poet to the depth of his heart and creates in him a heartache and numbness as is created by the drinking of hemlock. He thinks that the bird lives in a place of beauty. When he hears the nightingale's song, he is entrenched by its sweetness and his joy becomes so excessive that it changes into a kind of pleasant pain. He is filled with a desire to escape from the world of caring to the world of beautiful place of the bird.
The poem presents the picture of the tragedy of human life. It brings out an expression of Keats's pessimism and dejection. He composed this poem at the time when his heart was full of sorrow. His youngest brother Tom had died, the second one had gone abroad and the poet himself was under the suspense and agony by the passionate love for Fanny Brawne. All these happenings had induced in the poet a mood of sorrow. He could not suppress it. Thus the poet enjoys the pleasure in sadness/ pain and feasts upon the very sadness/ pain into joy. This complex emotion gives the poem a unique charm.
In the beginning, Keats seems to be an immature youth with a melancholic heart urging to find a means of oblivion and escape. On catching the sight of a nightingale and hearing its music, which he assumes to be an immortal voice of happiness, Keats feels that his body is getting benumbed. But, he also feels an acute pain because he is conscious of his mortality and suffering. He fantasizes of having drunk hemlock or 'some dull opiate': "My heart aches, and a drowsy numbness pains, / my sense, as though of hemlock I had drunk." The initial situation of awareness and conflict is slowly to change and develop throughout the ode with a corresponding shift in tone. The tragic awareness of suffering inflicts on him a peculiar kind of ache because the opposing effect of dullness, which is the effect of desire, is increasing. The awareness is a burden that makes him 'sunk' gradually towards the world of oblivion.
After describing his plight, Keats acknowledges, rather than envy the bird's 'happy lot' and participates in its permanent happiness. He identifies the bird with dryad, the Greek Goddess of the tree. He contrasts the mortality and suffering of human being with the immortality and perfect happiness of the nightingale. Of course, Keats immortalizes the bird by thinking of the race of it as the symbol of universal and undying musical voice, which is the voice of nature, and also of ideal romantic poetry, of the world of art and spirit. This universal and eternal voice has comforted human beings embittered by life and tragedies by opening the casement of the remote, magical, spiritual, eternal, and the ideal. The poet is longing for the imaginative experience of an imaginatively perfect world. At this stage in the poem, the poet is trying to escape from the reality, and experience the ideal rather than complement one with the other. This dualism is to resolve later. Keats begins by urging for poison and wine, and then desires for poetic and imaginative experience.
But, as the poem develops, one feels that the numbness and intoxication the poet deliberately and imaginatively imposes upon his senses of pain are meant to awaken a higher sense of experience. The vintage, dance and song, the waters of poetic inspiration are the warmth of the south together make a compound and sensuous appeal.
Keats develops a dialectic by partaking both the states-the fretful here of man and the happy there of the Nightingale-and serves as the mediator between the two. After activating the world of insight and inner experience by obliterating that of the sense, Keats is revived into a special awareness of the conflict. With this awareness, he moves into a higher thematic ground moving from the ache of the beginning through yearning for permanence and eventually exploring the tension so as to balance the transient with the permanent.
In fact, no one can escape into the ideal world forever. Imaginative minds can have a momentary flight into the fanciful world. But, ultimately one has to return to the real world and must accept the reality. John Keats is no exception to this. He makes imaginative flights into the ideal world, but accepts the realities of life despite its 'fever, fret and fury'.
The process of experience, he has undergone has undoubtedly left him with a heightened awareness of both the modes of experience. When the imaginative life wakes, the pressures of ordinary experience is benumbed: and when ordinary experience becomes acute, the intensity of imaginative reality is reduced. And this makes life and experience more complete.
The song of the bird symbolizes the song of the poet. Keats is contrasting the immorality of poetry with the immorality of the poet. This is the climax of the poem and the point where the different themes harmonized—the beauty of the nightingale's song, the loveliness of the Spring night, the miseries of the world, the desire to escape from those miseries by death, by wine, or by poetry.
The Ode is not the expression of a single mood, but of a succession of moods. From being too happy in the happiness of the bird's song, Keats becomes aware of the contrast between the bird's apparent joy and the misery of the human condition, from the thought of which he can only momentarily escape by wine, by poetry, by the beauty of nature, or by the thought of death. In the seventh stanza the contrast is sharpened: the immortal bird, representing natural beauty as well as poetry, is set against the 'hungry generations' of mankind. Keats expresses with a maximum of intensity the desire to escape from reality, and yet he recognizes that no escape is possible.
One kind of mastery displayed by Keats in this ode is worth noting—the continuous shifting of view-point. We are transported from the poet in the garden to the bird in the trees; in the second stanza we have glimpses of Flora and Provence, followed by one of the poets drinking the wine; in the fourth stanza we are taken up into the starlit skies, and in the next we are back again in the flower-scented darkness. In the seventh stanza we rang furthest in time and place. The nightingale's song is unrestricted by either time or space. The voice of the nightingale is made immune first to history, and then to geography. It can establish a rapport with dead generations or with faery lands. In the last stanza we start again from the Hampstead garden, and then follow the nightingale as it disappears in the distance.
The poem expresses the poet's love of romance, deep delight in nature and his interest in the Greek mythology. In the poem the reference to Flora, Dryad, and Bacchus is made which are all related to Greek mythology. It shows that Greek mythology had a deep hold on the mind of the poet. The poem contains concrete imagery, richness of coloring and the elements of charm and deep human interest. The mastery of poetic language is perfectly seen in the poem. The style of the poem is Shakespearean. The expressions are unsurpassed.
To sum up, Keats soars high with his 'wings of poesy' into the world of ideas and perfect happiness. But the next moment, consciousness makes him land on the grounds of reality and he bids farewell to the ideal bird. At this moment, Keats must also have been conscious that the very bird, which he had idealized and immortalized, existed in the real world, mortal and vulnerable to change and suffering like himself.
Shrestha, Roma. "Ode to a Nightingale by John Keats: Summary and Analysis." BachelorandMaster, 11 Nov. 2013, bachelorandmaster.com/britishandamericanpoetry/ode-to-a-nightingale.html.