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Summary
After twilight, the speaker, the speakers friend, and the friends sister sit
and rest on an old mossy bridge, beneath which a stream flows silently.
Hearing a nightingales song, the speaker remembers that the
nightingale has been called a melancholy bird and thinks that such an
assignation is ridiculous: While a melancholy human being might feel
that a natural object expresses his present mood, nature itself cannot be
melancholy. The speaker regrets that so many poets have written about
the melancholy song of the nightingale, when they would have been
better off putting aside their pens and simply listening to this natural
music.
The speaker tells his companions that they are not like those youths and
maidens most poetical, for to them, natures voices are full of love and
joy. He says that he knows of a neglected grove near a huge castle, which
is visited by more nightingales than he has ever heard in his life; at night,
they layer the air with harmony. He says that a most gentle Maid has
been known to walk through the glade. Sometimes, the moon passes
behind a cloud, and the nightingales grow quiet, but then it comes out
again, and they burst forth into song.
Form
Commentary
It was a dark and stormy night just kidding, Shmoopers. It's a dark and quiet night,
and the speaker welcomes his friend and her sister to join him on a bridge overlooking a
green bit of nature, where they begin chatting about the night sky.
A nightingale interrupts their chat with its melancholy song. But wait, says the speaker.
Who decided that it sounds melancholy? Nature is never melancholy, he argues. It all
just depends on the mood of the person who is listening.
In fact, he goes on to say, everyone would benefit from spending more time in nature,
really experiencing it, rather than projecting their current feelings onto it. He then
recounts a story about a pretty grove where a maiden makes nightly visits to listen to
the birds. In a fairy-tale-esque twist, he says that, every time the moon comes out, the
grove turns into a chorus of songs.
At the end of the night, the speaker bids everyone (including the nightingale) farewell,
but not before reminiscing how his son came to associate nature, and especially the
night sky, with joy. He hopes that his son will always enjoy the night sky, even if most
people seem to associate night with gloom and doom in the same way they associate the
nightingale's song with sorrow.
STANZA 1 SUMMARY
Line 1-4
No cloud, no relique of the sunken day
Distinguishes the West, no long thin slip
Of sullen light, no obscure trembling hues.
Come, we will rest on this old mossy bridge!
The day is ending, and we are going to sit on a bridge and um, think about it.
The speaker calls the day "sunken" and says it has left no relic ("relique") of itself
anywhere.
The light is fading pretty quickly. Using imagery, Coleridge gives us a glimpse of
the light, a "long thin strip," but it has already faded into darkness by the time
we make it to the bridge.
It's dark.
Notice the wordplay here? The speaker describes fading light as "sullen," and
says there are no "obscure" or "trembling" hues.
There's definitely a particular tone being established. It sounds like the speaker
isn't in the best mood.
Say what? Well, count the syllables in these first four lines, and you'll notice that
there are the same number of syllables in each line.
And that's not all: those syllables are called feet and they can vary based on
where the emphasis is placed.
Because of the particular type of feet, and the number in each line, the poem's
meter is what's called "iambic pentameter."
The speaker addresses us in the second person; we are right there, in the dark,
sitting with him.
The stream under the bridge is quietly "flowing" over the green plants below.
We get more visually-appealing imagery here: the "verdure" (plants) are "soft"
and the water is "glimmering." Oh, and the night is "balmy" and the stars are
"dim."
Has the speaker's mood improved because of this peaceful moment in nature?
Let's read on
Lines 9-12
Yet let us think upon the vernal showers
That gladden the green earth, and we shall find
A pleasure in the dimness of the stars.
And hark! the Nightingale begins its song
Vocab alert: "Vernal" means "springtime." It definitely sounds like the speaker's
mood is improving.
The poem asks us to think about spring rain and how it "gladdens" the earth.
There's definitely been some repetition of the color "green" so far in the poem.
With the color's associations with life and growing things, we can bet that the
poet didn't do it on accident.
This repetition adds some rhythm to poetry (and to rap music, too). So
does enjambment, or breaking up phrases over multiple lines. It adds a bit of
flow.
Back to our nighttime reverie: the speaker also asks us to find pleasure in the
night sky, even if the stars are dim.
Lines 13-15
'Most musical, most melancholy' bird!
A melancholy bird? Oh! idle thought!
In Nature there is nothing melancholy.
Did you hear all those M sounds? That's more alliteration coming at you. "Most,"
"musical," and "melancholy" echo throughout these three lines. Try not to get
your tongue too twisted.
Allusion alert: Line 13 references John Milton's Il Penseroso. (Check out "Shout-
Outs" for a whole list of allusions.) Although Milton is one of the most famous
poets of all time, the speaker isn't too into the way the ol' guy describes the
nightingale.
But then, why do so many people associate the nightingale's song with sorrow?
Lines 16-18
But some night-wandering man whose heart was pierced
With the remembrance of a grievous wrong,
Or slow distemper, or neglected love,
It isn't the bird's song that's melancholy; it's the person listening to it.
He doesn't just say "broken heart," though (clich, much?). He compares the
heartbreak to having an arrow pierce the vital organ.
Ouchthat probably would make a nightingale's song sound pretty dreary.
That's the speaker's argument: our moods affect the way we experience nature.
Lines 19-22
(And so, poor wretch! filled all things with himself,
And made all gentle sounds tell back the tale
Of his own sorrow) he, and such as he,
First named these notes a melancholy strain.
The dude can't even experience things as they are. He makes everything about
his own sorrow.
The speaker argues that this phenomenon is the reason people thing a
nightingale sounds sad. We are putting our own emotions into the bird's noises.
It was probably someone experiencing this type of sorrow that first named the
nightingale melancholy.
Lines 23-26
And many a poet echoes the conceit;
Poet who hath been building up the rhyme
When he had better far have stretched his limbs
Beside a brook in mossy forest-dell,
Poets are also guilty of projecting their emotions onto nature, says the speaker.
Poetry term alert: a conceit is a kind of metaphor that compares two very
different things.
In this case, he's saying that melancholy feelings and a nightingale's song are
very different, but poets often use one as a stand-in for the other.
He goes even further to say that poets spend more time writing about nature
than actually experiencing it.
It'd be better for them to sit outside and stretch in a nice "mossy" area.
The speaker says it'd be good for him to sit out in the sunlight or under the
moonlight and pay attention to the things around him
What things? He's referring to the shapes, sounds, and "shifting elements"
nature, basically, in all its forms.
If the poet does this, he'll forget about trying to write a poem to get famous. He'll
instead gain something more valuable. Cold hard cash, maybe?
Lines 31-34
Should share in Nature's immortality,
A venerable thing! and so his song
Should make all Nature lovelier, and itself
Be loved like Nature! But 'twill not be so;
If the poet abandons his spirit to nature, he'll be able to share in nature's
immortality.
Say what?
Basically, nature keeps on going, ignoring mortal things like poems and fame. So
joining in with nature will make the poet part of this immortal world, too.
His poems will be better, too, says the speaker; they'll make nature "lovelier" by
their words.
But it won't ever happen, says the speaker. The poet won't ever abandon himself
totally.
Lines 35-38
And youths and maidens most poetical,
Who lose the deepening twilights of the spring
In ball-rooms and hot theatres, they still
Full of meek sympathy must heave their sighs
Young people who write poetry will spend their time dancing and going to the
theater instead of communing with nature, and thus will "lose the deepening
twilights of the spring."
Here, we finally get the whole spring thing. It's a symbol for youth.
The speaker says they'll totally miss out on some very awesome nature-stuff.
This means they won't understand nature very well, but will still pretend to
with "mock sighs" and half-hearted sympathy.
The poets will think they have a deep understanding of things like bird songs or
sunsets, but because they don't know nature, they don't really get it.
Lines 39-42
O'er Philomela's pity-pleading strains.
My Friend, and thou, our Sister! we have learnt
A different lore: we may not thus profane
Nature's sweet voices, always full of love
In the myth, she's a young woman who gets turned into a nightingale.
Here, the speaker says that the young people and the poets will pretend to
understand the song of the nightingale. Because they don't commune with
nature, though, they won't be able to really hear it.
They'll think the song is full of sorrow and pity, when really, it's "always full of
love."
He also addresses his company. We now know that he's sitting with his friend and
his friend's sister.
Many believe his friend meant to stand for the poet Wordsworth, who also wrote
a poem about a nightingale.
Lines 43-45
And joyance! 'Tis the merry Nightingale
That crowds, and hurries, and precipitates
With fast thick warble his delicious notes,
This contrasts with how the poet and the heartbroken young man describe the
song.
Why? Like the speaker said, it's because that's the mood they were in.
The "he" the speaker refers to is the nightingale, whose song he calls a "love-
chant."
This again contrasts to the way we might interpret the bird's song.
In fact, says the speaker, the bird is really unburdening his whole soul.
This is kind of like what poets try to do with each poem, right?
So, is the nightingale working as a symbol for a poet, or for the things
that inspire a poet?
This signals the end of the first stanza. It's on to stanza two
STANZA 2 SUMMARY
Lines 49-54
And I know a grove
Of large extent, hard by a castle huge,
Which the great lord inhabits not; and so
This grove is wild with tangling underwood,
And the trim walks are broken up, and grass,
Thin grass and king-cups grow within the paths.
Yes, though there is a line break, we are technically still on line 49. Coleridge
just cuts it in half to signal the start of a new stanza.
Now, the speaker tells us about a grove near a castle. It's uninhabited and
overgrown with trees, grass, and flowers.
We can bet that the speaker prefers the grove to be wild rather than tamed by
humans. After all, he wants to experience nature in its natural state.
Lines 55-60
But never elsewhere in one place I knew
So many nightingales; and far and near,
In wood and thicket, over the wide grove,
They answer and provoke each other's song,
With skirmish and capricious passagings,
And murmurs musical and swift jug jug,
This grove has more nightingales than any other place the speaker has visited.
They hang out in the thick forest or fly over the grove, singing to each other.
The speaker says they "skirmish" or briefly (and probably playfully) fight, and
behave capriciously (unpredictably).
He really wants us to consider the birds' real life, which is often overlooked
because of their song.
What sounds like "jug jug" to our ears is actually a complex language.
Trivia alert: "Jug jug" will later appear in one of the most famous poems of all
time, T. S. Eliot's The Waste Land.
We guess that this is a pretty influential poem, despite it having a few stern
words for poets.
Lines 61-64
And one low piping sound more sweet than all
Stirring the air with such an harmony
That should you close your eyes, you might almost
Forget it was not day! On moonlight bushes,
Amongst all the bird songs in the grove, one sound is sweeter than the rest.
The speaker describes it with flourish: the creature's song makes the grove fill
with harmony.
If you close your eyes, he says, you'd think it was still daytime.
Or at least, he's saying that most people would make that association.
Lines 65-69
Whose dewy leaflets are but half-disclosed.
You may perchance behold them on the twigs,
Their bright, bright eyes, their eyes both bright and full,
Glistening, while many a glow-worm in the shade
Lights up her love-torch.
We can assume, then, that it's a bird, and it's probably not a stretch to assume
it's the subject of this poem (the nightingale).
Coleridge describes their eyes as "bright" not once, not twice, but three times in
one line.
Or is he trying to say, by emphasizing how strangely bright their eyes are, that
the nightingales are almost unnatural, or other-worldly?
The speaker did reference the immortality of nature earlier, so maybe that isn't a
stretch.
And their thing is glowing. Coleridge calls this glow their "love torch."
Say what?
He's right: glow worms use their colorful glow to attract mates.
But most people would just walk by and think, "How pretty."
By referencing the real nature of glow worms, he again reminds us that nature
doesn't just exist as a reflection of our feelings.