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275 Words


Browse By Author: K - Project Gutenberg

Stanza IV.
The poet suddenly cries out "Away! away! for I will fly to thee." He turns to fantasy again; he rejects wine in line 2, and in line 3 he announces he is going to use "the viewless wings of Poesy" to join a fantasy bird. In choosing Poesy, is he calling on analytical or scientific reasoning, on poetry and imagination, on passion, on sensuality, or on some something else?
He contrasts this mode of experience (poetry) to the "dull brain" that "perplexes and retards" (line 4); what way of approaching life does this line reject? What kinds of activities is the brain often associated with, in contrast to the heart, which is associated with emotion?
In line 5, he succeeds or seems to succeed in joining the bird. The imagined world described in the rest of the stanza is dark; what qualities are associated with this darkness, e.g., is it frightening, safe, attractive, empty, fulfilling, sensuous, alive?

Stanza V.
Because the poet cannot see in the darkness, he must rely on his other senses. What senses does he rely on? Are his experience and his sensations intense? for himself only or for the reader also?
Even in this refuge, death is present; what words hint of death? Do these hints help to prepare for stanza VI? Was death anticipated in stanza I by the vague suggestions in the words "Lethe," "hemlock," "drowsy numbness," "poisonous," and "shadowy darkness"?
The season is spring (the musk rose, which is a mid-May flower, has not yet bloomed). Nevertheless, Keats speaks of summer and in stanza one introduces the nightingale singing "of summer," and in this stanza he refers to the murmur of flies "on summer eves." In the progression of the seasons, what changes occur between spring and summer? how do they differ (as, for instance, autumn brings fulfillment, harvest, and the beginning of decay which becomes death in winter)? Why might Keats leap to thoughts of the summer to come?

Stanza VI.
In Stanza VI, the poet begins to distance himself from the nightingale, which he joined in imagination in stanzas IV and V.
Keats yearns to die, a state which he imagines as only joyful, as pain-free, and to merge with the bird's song. The nightingale is characterized as wholly blissful--"full-throated ease" in stanza I and "pouring forth thy soul abroad / In such an ecstasy!" (lines 7-8).
How are the mixed nature of reality and its transience suggested by the contrasting phrases "fast-fading violets" and "the coming musk-rose"?
In the last two lines, the poet no longer identifies with the bird. He realizes what death means for him; death is not release from pain; rather it means non-existence, the inability to feel the bird's ecstasy. Is there any suggestion of the bird's dying or experiencing anything but bliss? Note the contrast between the bird's singing and the poet's hearing that song; what are the emotional effects of or associations with "high requiem" and "sod"? Why does Keats now hear the bird's song as a requiem? (He heard the bird's song very differently earlier in the poem). Might the word "still" have more than one meaning here?
Is there any irony in Keats's using the same word to describe both the nightingale and death--the bird sings with "full-throated ease" at the end of stanza I and death is "easeful" (line 2 of this stanza)?

Stanza VII.
Keats moves from his awareness of his own mortality in the preceding stanza to the perception of the bird's immortality. On a literal level, his perception is wrong; this bird will die. Some readers, including very perceptive ones, see his chracterization of the bird as immortal as a flaw. Before you make this judgment, consider alternate interpretations. Interpreting the line literally may be a misreading, because the bird has clearly become a symbol for the poet.

John Keats (1795–1821). The Poetical Works of John Keats. 1884. 41. Ode on a Grecian Urn

2. hemlock: a poisonous plant which produces death by paralysis.
4. Lethe: a river of the lower world from which the shades drank, and thus obtained forgetfulness of the past.
7. Dryad: a wood nymph.
9. beechen: of the beech tree.
11. draught: what can be swallowed in a single drink.
13. Flora: the goddess of flowers, here used for flowers themselves. Cf. Keats' letter to Fanny Keats ca. May 1, 1819: "O there is nothing like fine weather ... and, please heaven, a little claret-wine cool out of a cellar a mile deep -- with a few or a good many ratafia cakes -- a rocky basin to bathe in, a strawberry bed to say your prayers to Flora in" (Letters, II, 56).
14. Provençal song. In the early Middle Ages the poets of southern France, the troubadours of Provence, were particularly famous for their love lyrics.
15. warm South: a southern wine.
16. Hippocrene: a fountain on Mount Helicon in Boeotia, sacred to the Muses.
26. Tom Keats died of consumption on Dec. 1, 1818.
32. Bacchus and his pards: the Roman god of wine, whho traditionally is shown in a conveyance drawn by leopards.
33. viewless: invisible. This phrase appears in half a dozen poems from 1765 to Mary Robinson's "The Progress of Liberty" in 1806 (II, 426).
37. Fays: fairies.
43. embalmed: full of balms, or perfumes. Lines 43-49 appear to echo Shakespeare's A Midsummer Night's Dream, II.i.249-52 The Riverside Shakespeare, ed. G. Blakemore Evans and J. J. M. Tobin, 2nd edn. (Boston: Houghton Mifflin, 1997):

Hyperion: A Fragment - John Keats Poetry - Keats' Kingdom

John Keats Essay

The poet contrasts the bird's singing and immunity from death and suffering with human beings, "hungry generations." What is he saying about the human experience with "hungry"? If you think in terms of the passage of time, what is the effect of "generations"?
The stanza begins in the poet's present (note the present tense verbs tread and hear in lines 2 and 3). Keats then makes three references to the bird's singing in the past; the first reference to emperor and clown is general and presumably in a historical past; the other two are specific, one from the Old Testament, the other from fairy tales. The past becomes more remote, ending with a non-human past and place ("faery lands"), in which no human being is present. Is Keats trying to limit the meaning of the bird's song with these images or to extend its meaning? What ideas or aspects of human life do these references represent?
The mixed nature of reality manifests itself in his imagining the nightingale's joyous song being heard by in the past in the series of three images. Is the reference to the emperor and clown positive or neutral? The story of Ruth is unhappy (what words indicate her pain?). In the third image, the "charm'd magic casements" of fairy are "forlorn" and the seas are "perilous." "Forlorn" and "perilous" would not ordinarily be associated with magic/enchantment. These words hint at the pain the poet recognized in the beginning of the poem and is trying to escape. Does bringing up the idea of pain prepare us or help to prepare us for the final stanza?

Stanza VIII.
The poet repeats the word "forlorn" from the end of stanza VII; who or what is now forlorn? Is the poet identified with or separate from the nightingale?
In lines 2 and 3, the poet says that "fancy" (imagination) has cheated him, as has the "elf" (bird). What allusion in the preceding stanza does the word "elf" suggest? What delusion is the poet awakening from?
The bird has ceased to be a symbol and is again the actual bird the poet heard in stanza I. The poet, like the nightingale, has returned to the real world. The bird flies away to another spot to sing. The bird's song becomes a "plaintive anthem" and fainter. Is the change in the bird and/or the poet? Is Keats's description of the bird's voice as "buried deep" a reference only to its physical distance, or does the phrase have an additional meaning? It is the last of the death images running through the poem.
With the last two lines, the poet wonders whether he has had a true insight or experience (vision) or whether he has been daydreaming. Is he questioning the validity of the experience the poem describes, or is he expressing the inability to maintain an intense, true vision? Of course, the imaginative experience is by its nature transient or brief. Is his experience a false vision, or is it a true, if transitory experience of and insight into the nature of reality?
Has the dreamer in this poem changed as a result of his visionary experience? For instance, has his life been improved in any way? has he been damaged in any way? (The effect of the dream on the dreamer is a thread that runs throgh Keats's poems. The life of the dreamer in "La Belle Dame sans Merci" has been destroyed, and there is a question about the impact of dreaming on Madeline in "The Eve of St. Agnes.) What does the tone of the ending seem to you, e.g., happy, excited, hopeful, depressed, sad, despairing, resigned, accepting?
Does Keats, in this ode, follow the pattern of the romantic ode?

Think of the quality or qualities attributed to the nightingale in deciding on the bird's symbolic meaning.

Stanza II.
Wanting to escape from the pain of a joy-pain reality, the poet begins to move into a world of imagination or fantasy. He calls for wine. His purpose is clearly not to get drunk. Rather he associates wine with some quality or state he is seeking. Think about the effects alcohol has; which one or ones is the poet seeking? Since his goal is to join the bird, what quality or qualities of the bird does he want to experience? How might alcohol enable him to achieve that desire?
The description of drinking and of the world associated with wine is idealized. What is the effect of the images associating the wine with summer, country pleasure, and romantic Provence? The word "vintage" refers to a fine or prime wine; why does he use this word? (Would the effect differ if the poet-dreamer imagined drinking a rotgut wine?) Why does Keats describe the country as "green"? Would the effect be different if the countryside were brown or yellowed? The activities in line 4 follow one another naturally: dance is associated with song; together they produce pleasure ("mirth"), which is sunburnt because the country dances are held outdoors. "Sunburnt mirth" is an excellent example of synaesthesia in Keats' imagery, since Flora, the green countryside, etc. are being experienced by Keats through drinking wine in his imagination.
The image of the "beaded bubbles winking at the brim" is much admired. Does it capture the action of sparkling wine? What sounds are repeated? What is the effect of this alliteration? Do any of the sounds duplicate the bubbles breaking? Say the words and notice the action of your lips.
This image of the bubbles is concrete; in contrast, the preceding imagery in the stanza is abstract. Can you see the difference?
Does the wine resemble the nightingale in being associated with summer, song, and happpiness?

Stanza III.
His awareness of the real world pulls him back from the imagined world of drink-joy. Does he still perceive the real world as a world of joy-pain? Does thinking of the human condition intensify, diminish, or have no effect on the poet's desire to escape the world?
The poet uses the word "fade" in the last line of stanza II and in the first line of this stanza to tie the stanzas together and to move easily into his next thought. What is the effect of the words "fade" and "dissolve"? why "far away"?
What is the relationship of the bird to the world the poet describes? See line 2. Characterize the real world which the poet describes. By implication, what kind of world does the nightingale live in? (is it the same as or different from the poet's?)
Lead is a heavy metal; why is despair "leaden-eyed" (line 8)?

Ode to a Nightingale - John Keats Poetry - Keats' Kingdom

Author record from the Project Gutenberg. A listing of all etexts currently available.

With "Ode to a Nightingale," Keats's speaker begins his fullest and deepest exploration of the themes of creative expression and the mortality of human life. In this ode, the transience of life and the tragedy of old age ("where palsy shakes a few, sad, last grey hairs, / Where youth grows pale, and spectre-thin, and dies") is set against the eternal renewal of the nightingale's fluid music ("Thou wast not born for death, immortal bird!"). The speaker reprises the "drowsy numbness" he experienced in "Ode on Indolence," but where in "Indolence" that numbness was a sign of disconnection from experience, in "Nightingale" it is a sign of too full a connection: "being too happy in thine happiness," as the speaker tells the nightingale. Hearing the song of the nightingale, the speaker longs to flee the human world and join the bird. His first thought is to reach the bird's state through alcohol--in the second stanza, he longs for a "draught of vintage" to transport him out of himself. But after his meditation in the third stanza on the transience of life, he rejects the idea of being "charioted by Bacchus and his pards" (Bacchus was the Roman god of wine and was supposed to have been carried by a chariot pulled by leopards) and chooses instead to embrace, for the first time since he refused to follow the figures in "Indolence," "the viewless wings of Poesy."

Wednesday,November 2, 2011

A conversation with Stanford professor of English literature DeniseGigante on the life and poetry of John Keats
and his relationship with his family, in particular, with one of hisbrothers, George Keats.

Ode to a Nightingale Notes on Ode to a Nightingale by John Keats
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Ode to a Nightingale - Wikipedia

The brief, fragmentary Book 3 describes the valley where Apollo, who will be the new sun god, is coming into his powers. Mnemosyne, herself a Titan, the goddess of memory and mother of the nine Muses, presides over the initiation ceremony. Apollo, whose poetic associations are emphasised by his possession of a lyre, reads a 'wondrous lesson' (book 3, line 112) in her face, and 'Knowledge enormous' (Book 3, line 113) transforms him into a god. Book 3 breaks off with his assumption of godhead. Hyperion invites comparisons with Paradise Lost by presenting another epic version of the Fall in Miltonic blank verse. Similarities can be seen in both the epic theme and the structure - including the opening in media res, with the Titans already fallen - and in specific scenes: the council of the defeated Titans in Book 1, for example, echoes Milton's description of the fallan angels in Hell. But while Milton is concerned with the fall and redemption of humankind, Keats is more interested in a cyclic process in improvement prompted by aesthetic vision, the replacement of a somewhat rigid divine dispensation by a more natural and humane order.

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