Tuesday, April 13, 2010

"To The Nightingale"

I would like to focus on lines 7 through 9, "How many wretched Bards address thy name,/And Hers, the full-orb'd Queen, that shines above./ But I do hear thee,..." (343). The poem starts off talking about the nightingale. There is a reference to the origins of the nightingale in greek mythology . Later on the bird is referred to as "most musical, most melancholy". Considering the idea of melancholy being mentioned, lines 7-9 can perhaps be interpreted differently. Some people may hear a nightingale's songs and experience beautiful imaginings at a such a wonder of nature. However, others like the speaker in Effusion XXIII hear the songs true meaning of sadness. This may be because some individuals have more melancholy experiences than others. They may not look at nature as only a beautiful image of life, but as reality. Nature takes on what we know in our own lives and makes us more perceptive to other emotions. The speaker can possible "hear" the nightingale's true song. It is a song that someone filled with joy would not understand. We discussed in class how Coleridge's existence took on many troubles with his love, Sara, and his opium addiction. Troubles don't just occur over night. Many times they build up over time and become overwhelming, but it is hard to express this feeling freely. Unlike the nightingale, Coleridge couldn't sing his disappointment and sadness for others to take in as their enjoyment. However, just like the nightingale there is a sense of melancholy. A desire for something complete and not troubled. This is why Coleridge (the speaker) can say that he does hear the nightingale. He hears the nightingale's thoughts and feelings. They are not meant to be enjoyed, but only expressive. Unfortunately, not everyone understands this, but instead fail to hear the lesson of the nightingale. This relates to the rest of the poem that goes over the speaker's desires, dreams, that he is perhaps settling against in life.

1 comment:

  1. I think you're on to something really interesting in suggesting that the poet sees the bird and himself as expressing sorrow but not for others to enjoy. I don't think that's a view C. would endorse consciously, at least, but he may fear that it's true. Also, he does go on to say the song fires his imagination ("phantasies"), so he's not just advocating respect for an impenetrable expressiveness, is he? The song is good for the hearer.

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