'Critical Note: Ode to a Nightingale Essay\r'

'The loud utterer system responds to the beauty of the nightingale’s air with a both â€Å" blessedness” and â€Å"ache. ” though he seeks to fully identify with the screwballam †to â€Å"fade a government agency into the forest low-keyed” †he knows that his induce hu gentle piece of euphony knowingness separates him from temper and precludes the kind of oddmentless happiness the nightingale enjoys. First the intoxication of drink and later the â€Å"viewless wings of verse” seem reliable ways of escaping the border of the â€Å"dull brain,” solely finally it is ending itself that seems the only possible means of overcoming the headache of time.\r\nThe nightingale is â€Å"immortal” because it â€Å"wast non born(p) for death” and cannot conceive of its own passing. notwithstanding without consciousness, humans cannot reckon beauty, and the vocaliser knows that if he were dead his perception of the n ightingale’s call would not exist at all. This paradox shatters his vision, the nightingale locomote off, and the speaker is left to wonder whether his experience has been a truthful â€Å"vision” or a false â€Å"dream. ” Referred to by critics of the time as â€Å"the longest and most personal of the odes,” the song describes Keats’ journey into the state of negatively charged Capability.\r\n rump Keats coined the phrase ‘Negative Capability’ in a letter to his brothers and defined his unseasoned supposition of writing: â€Å"that is when man is surefooted of being in uncertainties, Mysteries, doubts, without any refractory reaching after event and mind” Keats’ poems atomic number 18 full of contradictions in marrow (‘a delaying numbness melody’) and emotion (‘both together, sane and mad’) and he accepts a double nature as a creative insight. In ‘nightingale’ it is th e apparent (or real) contradictions that allow Keats to score the sensual feeling of numbness that allows the commentator to experience the half-swooning emotion Keats is trying to capture.\r\nKeats would hasten us experience the emotion of the voice communication and pass over the half-truths in silence, to pull round a life ‘of sensations rather than of Thoughts! ‘. Thus, ‘Ode to the Nightingale’ is more feeling than a view poem. Keats often deals in the sensations earnd by linguistic communication rather than meaning. Even if the precise definition of treatments causes contradiction they can console be used together to create the right ambience. Negative Capability asks us to allow the atmosphere of Keats’ poems to surround us without picking out individual meanings and inconsistencies. That I top executive drink, and leave the world unseen” Hearing the song of the nightingale, the speaker longs to turn tail the human world and jo in the maam. His beginning thought is to reach the bird’s state through alcoholâ€in the second stanza, he longs for a â€Å" drawing off of vintage” to transport him out of himself.\r\n moreover after his meditation in the triad stanza on the transience of life, he rejects the imagination of being â€Å"charioted by Bacchus and his pards” and chooses instead to get over â€Å"the viewless wings of Poesy. The earnestness of poetic inspiration matches the endless creative rapture of the nightingale’s harmony and lets the speaker, in stanzas five through seven, imagine himself with the bird in the darkened forest. The ecstatic melody even encourages the speaker to embrace the brain of dying, of painful sensationlessly succumbing to death while enchant by the nightingale’s music and never experiencing any further pain or disappointment. â€Å"Fade far away, dissolve, and kind of forget What thou among the leaves hast never know” T he poet explores the themes of nature and mortality.\r\nHere, the transience of life and the disaster of old age is set against the immortal renewal of the nightingale’s placid music. Man has many sorrows to escape from in the world, and these Keats recounts feelingly in the third stanza of his poem, a number of the references apparently being bony from world-classhand experience. The mention of the youth who â€Å"grows pale, and spectre-thin, and dies,” for example, might well be an allusion to Tom Keats, the junior brother whom the poet nursed through his long, determination struggle with consumption.\r\n nevertheless the bitterest of all man’s sorrows, as it emerges from the catalogue of woes in the third stanza, is the terrible disease of time, the fact that ‘Beauty cannot keep her lustrous look’. It is the disease of time which the song of the nightingale particularly transcends, and the poet, yearning for the immortality of art, seeks another way to incur one with the bird. Even death is terribly final; the artists die that what remains is the eternal music; the genuinely song perceive today was heard thousands of years ago.\r\nThe poet exclaims: â€Å"Forlorn! the very(prenominal) raillery is like a bell To cost me back from thee to my sole self! ” The day-dream into which the poet falls carries him deep into where the bird is singing. But the meditative trance cannot last. With the very first news show of the eighth stanza, the reverie is broken. The word â€Å" hopeless” occurs to the poet as the adjective describing the impertinent and magical world suggested by the nightingale’s song. But the poet suddenly realises that this word applies with greater precision to himself.\r\nThe effect is that of an illogical stumbling. With the new and chilling meaning of â€Å"forlorn”, the song of the nightingale itself alters: it becomes a â€Å" plaintive anthem”. The song b ecomes fainter. What had before the designer to make the sorrow in man fade away from a bitter and bitter world, now itself â€Å"fades” and the poet is left merely in the silence. As the nightingale flies away, the intensity of the speaker’s experience has left him shaken, unable to remember whether he is awake or a peacefulness; thereof â€Å"Adieu! he fancy cannot carriage so well”. The â€Å"art” of the nightingale is endlessly changeable and renewable; it is music without record, existing only in a perpetual present. As befits his celebration of music, the speaker’s language, sensually rich though it is, serves to suppress the sense of sight in favor of the other senses. In â€Å"Nightingale,” he has achieved creative expression and has placed his trustingness in it, however that expressionâ€the nightingale’s songâ€is spontaneous and without visible manifestation.\r\nThis is an odd poem because it both conforms to a nd contradicts many of the ideas he expresses elsewhere, notably the famous concept of â€Å"Negative Capability,”. This can be taken several ways, but is often coupled with the statement he made: â€Å"If a sparrow come before my windowpane I take part in its existence and pick about the Gravel. ” part Keats’s begins his poem with â€Å"a drowsy numbness pains” the poem that follows is anything but numb. But the opening ties in with the linguistic process that end the poem: â€Å"Fled is that music †Do I wake or sleep? Life is or may be a dream †a very Shakespearean image †but, dreaming or awake, perception and empathetic participation are rooted in Keats’s own consciousness. It is only in dreaming, Keats says, that we can become conscious of, and merged with, the life approximately us. Thus, Keats heads towards Negative Capability in the poem. Keats is not as great as Shakespeare but he has the same power of self-absorption, that wondrous sympathy and identification with all things, that â€Å"Negative Capability” which he saw as essential to the creation of great poetry and which Shakespeare possessed so abundantly.\r\n'