about the poet of poem the frog and the nightingale
Indian poet Vikram Seth
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The Frog and the Nightingale The Frog and the Nightingale is a poem composed by Indian poet Vikram Seth in 1994. The poem is a fable about a frog and a nightingale. It was originally published by Evergreen Publications, and was later used by the Ministry of Education, India as a poem for school students. It has been taken in Class 10th CBSE English Textbook . The poem is a fable, like most fables it has a moral. Various themes are intertwined. The poem can be seen as exposing the role of critics towards any fresh talent; it can be
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The Frog and the Nightingale The Frog and the Nightingale is a poem composed by Indian poet Vikram Seth in 1994. The poem is a fable about a frog and a nightingale. It was originally published by Evergreen Publications, and was later used by the Ministry of Education, India as a poem for school students. It has been taken in Class 10th CBSE English Textbook . The poem is a fable, like most fables it has a moral. Various themes are intertwined. The poem can be seen as exposing the role of critics towards any fresh talent; it can be
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read as exploitation of a simple, genuine talent by a personal gain or as a poem about a jealous person who does not let real talent flourish by discouraging and finally eliminating it. There is another subject the poet touched upon: a lack of confidence that leads to disaster and the poet comments that one must recognise his own capabilities and should not try to emulate others. The poem is targeted at a young audience mainly and teaches how to keep clear of cunning people who can exploit your talents to their benefit. The use of animal characters in the
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poem is for the purpose of appealing to a younger audience. The main characters are the frog and the nightingale where the frog represents the cunning capitalist mind and the nightingale a vulnerable artist. The arrogant frog has been ruling the bog and torturing its residents with his cacophonous singing. The arrival of the nightingale and her singing provides the creatures in the bog a pleasant break who admire her sweet voice. The frog approaches her and appreciates her like a critic making her feeling flattered. He manipulates her making her sing for him in a concert and earns money
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by selling tickets. The poor creature does not know how she is being manipulated by the frog and sings till she has lost her voice and health. The frog pushes her to the verge where her health and energy fail her and she dies. The poem leaves behind a lesson that while it is good to be talented you must also watch your weaknesses and instead of feeling flattered must cautiously tread your way towards your target. The nightingale was vulnerable to flattery and fell victim to the frog's manipulation. The Frog and the Nightingale The Frog and the Nightingale
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about Hartley are, 'The Nightingale' is as a whole a less successful poem than the other conversation poems. It has rather a blank at the centre, just where the others pivot on a significant controlling idea." The Nightingale: A Conversation Poem The Nightingale: A Conversation Poem is a poem written by Samuel Taylor Coleridge in April 1798. Originally included in the joint collection of poems called "Lyrical Ballads", the poem disputes the traditional idea that nightingales are connected to the idea of melancholy. Instead, the nightingale represents to Coleridge the experience of nature. Midway through the poem, the narrator stops
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uses a Welsh poetic form, the "awdl", and Welsh orthography; for example: The poem consists of 96 lines in 13 stanzas. It is an address to Christ through the Virgin Mary. An alternative claim for the first poem in English written by a Welshman is made for John Clanvowe's "The Book of Cupid, God of Love" or "The Cuckoo and the Nightingale", a long love poem based on "The Owl and the Nightingale". Garlick, Raymond, and Roland Mathias. "Anglo-Welsh Poetry 1480-1990" (Bridgend: Seren, 1995). Ieuan ap Hywel Swrdwal Ieuan ap Hywel Swrdwal (?1430 - ?1480) was a Welsh poet, from
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the 'Ode on a Grecian Urn' that succeeds in saying what poetry can say, and that the other ode attempts to say all that the "poet" can." Although the poem was defended by a few critics, E. C. Pettet returned to the argument that the poem lacked a structure and emphasized the word "forlorn" as evidence of his view. In his 1957 work, Pettet did praise the poem as he declared, "The "Ode to a Nightingale" has a special interest in that most of us would probably regard it as the most richly representative of all Keats's poems. Two reasons
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was continued by Wordsworth, and there are connections to many later works which include images found within George Dyer's "Poetic", John Keats's "Ode to a Nightingale", and Leigh Hunt's "Imagination or Fancy". There is also a connection to Coleridge's earlier poem "To the Nightingale", a poem that followed the traditional cliche about nightingales and melancholy. In statements regarding "Lyrical Ballads", Coleridge's friend Robert Southey described "The Nightingale" as "tolerable". In the 20th-century, George Watson writes, "'The Nightingale' has a scattered air, as if it had been written with an altogether exceptional indifference to design and scale." Following this, Geoffrey Yarlott
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figures on the urn to silence. In the fourth stanza, the poet states that he will fly to the nightingale rather than it to him, moving upon the "wings of Poesy", which leaves Walter Jackson Bate to believe that while the poet intends to identify with the bird by describing the poem as being "to" it, the real identification in the narrative exists between the poet and his perceptions of the nightingale's song. In its closing, the poem questions whether the bird's song has been real or part of a dream: "Was it a vision, or a waking dream? /
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composed so quickly." In 1968, Robert Gittins stated, "It may not be wrong to regard ["Ode on Indolence" and "Ode on Melancholy"] as Keats's earlier essays in this [ode] form, and the great "Nightingale" and "Grecian Urn" as his more finished and later works." From the late 1960s onward, many of the Yale School of critics describe the poem as a reworking of John Milton's poetic diction, but, they argued, that poem revealed that Keats lacked the ability of Milton as a poet. The critics, Harold Bloom (1965), Leslie Brisman (1973), Paul Fry (1980), John Hollander (1981) and Cynthia Chase
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(1985), all focused on the poem with Milton as a progenitor to "Ode to a Nightingale" while ignoring other possibilities, including Shakespeare who was emphasised as being the source of many of Keats's phrases. Responding to the claims about Milton and Keats's shortcomings, critics like R. S. White (1981) and Willard Spiegelman (1983) used the Shakespearean echoes to argue for a multiplicity of sources for the poem to claim that Keats was not trying to respond just to Milton or escape from his shadow. Instead, "Ode to a Nightingale" was an original poem, as White claimed, "The poem is richly
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Lamia (poem) Lamia is a narrative poem written by English poet John Keats which was published in 1820. The poem was written in 1819, during the famously productive period that produced his 1819 odes. It was composed soon after his ""La belle dame sans merci"" and his odes on Melancholy, on Indolence, to a Grecian Urn and to a Nightingale and just before "Ode to Autumn". The poem tells how the god Hermes hears of a nymph who is more beautiful than all. Hermes, searching for the nymph, instead comes across Lamia, trapped in the form of a serpent. She
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Nightingale", respectively. Sappho's description of the physical response to desire in this poem is especially celebrated. The poem is quoted in Longinus's treatise "On the Sublime" for the intensity of its emotion, Plato draws on it in Socrates' second speech on love in the "Phaedrus", and the physical symptoms of desire portrayed in the poem continue to be used to convey the feeling in modern culture. Sappho 31 Sappho 31 is an archaic Greek lyric poem by the ancient Greek female poet Sappho of the island of Lesbos. The poem is also known as phainetai moi (φαίνεταί μοι) after the
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The Nightingale: A Conversation Poem The Nightingale: A Conversation Poem is a poem written by Samuel Taylor Coleridge in April 1798. Originally included in the joint collection of poems called "Lyrical Ballads", the poem disputes the traditional idea that nightingales are connected to the idea of melancholy. Instead, the nightingale represents to Coleridge the experience of nature. Midway through the poem, the narrator stops discussing the nightingale in order to describe a mysterious female and a gothic scene. After the narrator is returned to his original train of thought by the nightingale's song, the narrator recalls a moment when he
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over if we are to appreciate the depth and significance of the issues engaged." Brooks would later argue in "The Well-Wrought Urn" (1947) that the poem was thematically unified while contradicting many of the negative criticisms lodged against the poem. Richard Fogle responded to the critical attack on Keats's emphasis on rhyme and language put forth by Garrod, Gerard, and others in 1953. His argument was similar to Brooks: that the poem was thematically coherent and that there is a poet within the poem that is different from Keats the writer of the poem. As such, Keats consciously chose the
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Fate"), expresses his deep ambivalence about the union with Russia in the phrase "what pleasure does the nightingale receive from honour if it is in a cage?" Georgia became a theme in Russian literature as well. In 1829, Russia's greatest poet Alexander Pushkin visited the country and his experience is reflected in several of his lyrics. His younger contemporary, Mikhail Lermontov, was exiled to the Caucasus in 1840. The region appears as a land of exotic adventure in Lermontov's famous novel "A Hero of Our Time" and he also celebrated Georgia's wild, mountainous landscape in the long poem "Mtsyri", about
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had drunk." Part of the poem is quoted in an episode of Penny Dreadful, when Lucifer appears to Vanessa Ives to tempt her, and quotes the poem in his conversation. The poem inspired Tennessee Williams to name his first play "Not About Nightingales". "Ode to a Nightingale" is the subject matter for Ben Moore's piece, "Darkling, I listen," a song-cycle written for baritone in 2010, commissioned by Bruce and Suzie Kovner. This song-cycle uses the entirety of the work with the cycles' eight songs based on the eight stanzas of the poem. Nearly all the songs in the cycle have
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idea of nightingale as melancholic, the poem relies on the tradition and gothic descriptions to guide the poem. Eventually, the nightingale is what brings the narrator back to his topic after diverging from it in a manner similar to John Keats's use in "Ode to a Nightingale". Unlike tradition, the nightingales represented an experience that Coleridge had with his friends, the Wordsworths. During the moment within the poem, a female is described that seems to be a combination of Dorothy and the title character of "Christabel". There is no mention of Coleridge's wife, Sara, which separates "The Nightingale" from the
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Laüstic "Laüstic", also known as "Le Rossignol", "Le Laustic", "Laostic", and "Aüstic", is a Breton lai by the medieval poet Marie de France. The title comes from the Breton word for "nightingale" ("eostig"), a symbolic figure in the poem. It is the eighth poem in the collection known as the "Lais of Marie de France", and the poem is only found in the manuscript known as Harley 978 (also called manuscript H). Like the other poems in the collection, "Laüstic" is written in the Anglo-Norman dialect of Old French, in couplets eight syllables long. Two knights live in adjoining houses,
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Nemesis will depart the earth, leaving behind ills against which there will be no bulwark. The kings are now addressed, as Hesiod relates the fable of the nightingale and the hawk to them. A hawk flying high in the air had a nightingale in its talons. The smaller bird was shrieking and crying, to which the hawk responded: Works and Days The Works and Days (, "Erga kai Hēmerai") is a didactic poem of some 800 lines written by the ancient Greek poet Hesiod around 700 BC. At its center, the "Works and Days" is a farmer's almanac in which
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meaning a lively young man (an eyas is a hawk nestling). The British Poet Laureate Ted Hughes wrote a poem entitled "Sparrow Hawk" which refers to this species. Hermann Hesse mentioned this bird in his book "Demian" and the bird is also referred to in "One Thousand and One Nights" by Richard Francis Burton: Good sooth my bones, wheneas they hear thy name Quail as birds quailed when Nisus o'er them flew The Eurasian sparrowhawk was written about by Alfred, Lord Tennyson: A sparhawk proud did hold in wicked jail Music's sweet chorister, the Nightingale To whom with sighs she
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the human, of art and life, freedom and bondage, waking and dream." Of course, the nightingale's song is the dominant image and dominant "voice" within the ode. The nightingale is also the object of empathy and praise within the poem. However, the nightingale and the discussion of the nightingale is not simply about the bird or the song, but about human experience in general. This is not to say that the song is a simple metaphor, but it is a complex image that is formed through the interaction of the conflicting voices of praise and questioning. On this theme, David
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not only the elements of Agamemnon's death in Aeschylus' play but the sister's revenge against Tereus in the myth. In the poem "To the Nightingale", Argentine poet and fabulist, Jorge Luis Borges (1899–1986), who compares his efforts as a poet to the bird's lament though never having heard it. He describes its song as "encrusted with mythology" and that the evolution of the myth has distorted it—that the opinions of other poets and writers have kept both poet and reader from actually hearing the original sound and knowing the essence of the song. Several artists have applied Ovid's account to
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In the Bazaars of Hyderabad "In The Bazaars of Hyderabad" is an early 20th-century English poem written by Sarojini Naidu (1879–1949) (also known as "The Nightingale of India"), an Indian independence activist and a poet from Hyderabad, India. The poem is written in five stanzas, was first published in the year 1912 from London in a form of book "The Bird of Time" with her other series of poems. The poem typifies the social and the cultural life of Hyderabad, it is not only meant for financial dealing for buying and selling, but it is also a meeting place for
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Ode on a Grecian Urn "Ode on a Grecian Urn" is a poem written by the English Romantic poet John Keats in May 1819 and published anonymously in the January 1820, Number 15, issue of the magazine "Annals of the Fine Arts" (see 1820 in poetry). The poem is one of several "Great Odes of 1819", which includes "Ode on Indolence", "Ode on Melancholy", "Ode to a Nightingale", and "Ode to Psyche". Keats found earlier forms of poetry unsatisfactory for his purpose, and the collection represented a new development of the ode form. He was inspired to write the poem
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that his "Ode to a Nightingale" was in part inspired by the Middle English poem, or by Dryden's modernization of it. The musician and poet Sidney Lanier outdid them all when he declared "The Floure and the Leafe" was worth all the "Canterbury Tales" put together. In 1868 scenes from the poem were represented in the memorial window (destroyed in World War II) placed above Chaucer's tomb in Westminster Abbey. The same year, the scholar Henry Bradshaw gave reasons for thinking the poem to have been written too late to be Chaucer's work. The pioneering Middle English scholar Thomas Tyrwhitt
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of the Muses has been cried-down; whatever questions may still leave to be settled as to the kind and degree of his poetical merits. Take for instance, as proof of the justice of our praise, the following passage from an Ode to the Nightingale:--it is distinct, noble, pathetic, and true: the thoughts have all chords of direct communication with naturally-constituted hearts: the echoes of the strain linger bout the depths of human bosoms. In a review for the 21 January 1835 "London Journal", Hunt claimed that while Keats wrote the poem, "The poet had then his mortal illness upon him,
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drew neither attention nor admiration. Herbert Grierson believed "Nightingale" to be superior to the other odes because it and "To Autumn" were more logical and contained stronger arguments. Although the poet is gazing round the surface of the urn in each stanza, the poem cannot readily be consumed as a series of 'idylls'." John Keats's 1819 odes In 1819, John Keats composed six odes, which are among his most famous and well-regarded poems. Keats wrote the first five poems, "Ode on a Grecian Urn", "Ode on Indolence", "Ode on Melancholy", "Ode to a Nightingale", and "Ode to Psyche" in quick
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poem introduces Philomela, a character from Greek legend that suffered and whose name was later connected to the nightingale: The poem introduces a female character that is Gothic and Romantic: Eventually, the poem discusses Hartley, Coleridge's child. After the child started crying, the narrator takes him out into the night for the poem's conclusion: The nightingale is used as an image to begin a topic that was directed towards William and Dorothy Wordsworth, Coleridge's friends. The nightingale was used as a sign of melancholy because of its relationship to the legend of Philomela, a rape victim. Although Coleridge corrects the
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to his childhood home at Ottery and then went to visit William and Dorothy Wordsworth. It was during this time that Coleridge wrote "Fears in Solitude: Written in April 1798, During the Alarm of an Invasion". The poem was included in a joint publication with William Wordsworth called "Lyrical Ballads", which first appeared in 1798 (see 1798 in poetry). Originally, Coleridge intended to place "Lewti or the Circassian Love-chaunt" in the collection. "The Nightingale" was published in seven other editions but was altered little. The poem begins with Milton's line in "Il Penseroso" about nightingales and then corrects it: The
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Two centuries earlier, the German poet Gotthold Ephraim Lessing had given the theme an even darker reinterpretation in his "The Water Snake" ("Die Wasserschlange"). Taking its beginning from the Phaedrus version, the poem relates how a frog asks the snake why it is devouring his kind. 'Because you have invited me to,' is the reply; but when the frog denies this, the snake declares that it will therefore eat the frog because he has not. Part of a set of variations on Aesopic themes, this appears as the last in Gary Bachlund's recent setting of five fables by Lessing ("Fünf
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poems and "Ode to a Nightingale" shares many of the same themes as Keats' "Sleep and Poetry" and "Eve of St. Agnes". This further separates the image of the nightingale's song from its closest comparative image, the urn as represented in "Ode on a Grecian Urn". The nightingale is distant and mysterious, and even disappears at the end of the poem. The dream image emphasizes the shadowiness and elusiveness of the poem. These elements make it impossible for there to be a complete self-identification with the nightingale, but it also allows for self-awareness to permeate throughout the poem, albeit in
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"fiery heart," depicted the bird "as an instance of natural poetic creation," and as the "voice of nature." Other notable mentions include: The Philomela myth is perpetuated largely through its appearance as a powerful device in poetry. In the 20th century, American-British poet T. S. Eliot (1888–1965) directly referenced the myth in his most famous poem, "The Waste Land" (1922), where he describes, <poem> The change of Philomel, by the barbarous king So rudely forced; yet there the nightingale Filled all the desert with inviolable voice And still she cried, and still the world pursues, "Jug Jug" to dirty ears.
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more beautiful nightingale's song so that he "not dull you with my song" (line 14). Emilia Lanyer (1569–1645), a poet who is considered by some scholars to be the woman referred to in the poetry of William Shakespeare as "Dark Lady", makes several references to Philomela in her patronage poem "The Description of Cookeham" in "Salve Deus Rex Judaeorum" (1611). Lanyer's poem, dedicated to Margaret Clifford, Countess of Cumberland and her daughter Lady Anne Clifford refers to Philomela's "sundry layes"(line 31) and later to her "mournful ditty" (line 189). The image of the nightingale appears frequently in poetry of the
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this interpretation, the Republic was ungratefully throwing over its former ally who (in its own view, at least) had helped the Dutch to prosperity. The poem was also issued as a propaganda pamphlet under the title of "The Frog, or the Low Countrey Nightingale" during the Second Anglo-Dutch War. A similar claim was made, using the same fable, during the Franco-Dutch War of 1672-8 in a European pamphlet war encompassing publications in Latin, French, Spanish and Italian. La Fontaine's contribution was a long fable with the same title ("Le soleil et les grenouilles"), dating from this time but not included
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return to the older, effusive manner, evidently written in a white heat of patriotic indignation against the degradation of English public opinion during the French wars, and it is only by stretching charity that it can be considered a conversation poem at all." Holmes simply claims "Fears in Solitude" as "one of the most difficult of [Coleridge's] Conversation Poems". In discussing "The Nightingale", Ashton writes that, "Bantering though this is, and, however, beautiful the final lines about Hartley are, 'The Nightingale' is as a whole a less successful poem than the other conversation poems. It has rather a blank at
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Ode on Melancholy "Ode on Melancholy" is one of five odes composed by English poet John Keats in the spring of 1819, along with "Ode on a Grecian Urn", "Ode to a Nightingale", "Ode on Indolence", and "Ode to Psyche". The narrative of the poem describes the poet's perception of melancholy through a lyric discourse between the poet and the reader, along with the introduction to Ancient Grecian characters and ideals. While studying at Enfield, Keats attempted to gain a knowledge of Grecian art from translations of Tooke's "Pantheon", Lempriere's "Classical Dictionary" and Spence's "Polymetis". Although Keats attempted to learn
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poems ("The Eolian Harp", "Reflections on having left a Place of Retirement", "This Lime-Tree Bower my Prison", "Frost at Midnight", "Fears in Solitude", "The Nightingale: A Conversation Poem", "Dejection: An Ode", "To William Wordsworth") as a group, usually as his "conversation poems". The term was coined in 1928 by George McLean Harper, who used the subtitle of "The Nightingale: A Conversation Poem" (1798) to describe all eight. Harper considered these poems as a form of blank verse that is "...more fluent and easy than Milton's, or any that had been written since Milton". In 2006, Robert Koelzer wrote about another
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the following July. The poem is one of the most frequently anthologized in the English language. "Ode to a Nightingale" is a personal poem that describes Keats's journey into the state of negative capability. The tone of the poem rejects the optimistic pursuit of pleasure found within Keats's earlier poems and, rather, explores the themes of nature, transience and mortality, the latter being particularly personal to Keats. The nightingale described within the poem experiences a type of death but does not actually die. Instead, the songbird is capable of living through its song, which is a fate that humans cannot
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as a series of 'idylls'." Ode on a Grecian Urn "Ode on a Grecian Urn" is a poem written by the English Romantic poet John Keats in May 1819 and published anonymously in the January 1820, Number 15, issue of the magazine "Annals of the Fine Arts" (see 1820 in poetry). The poem is one of several "Great Odes of 1819", which includes "Ode on Indolence", "Ode on Melancholy", "Ode to a Nightingale", and "Ode to Psyche". Keats found earlier forms of poetry unsatisfactory for his purpose, and the collection represented a new development of the ode form. He was
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reader never learns which bird bests her opponent at the debate; the poem ends with the two flying off in search of Nicholas. The text is composed of rhyming octosyllabic couplets, generally following the poetic construction of iambic tetrameter. Iambic tetrameter, while commonly used to create flowing lyricism and ease of reading, can quickly become monotonous, with the repetitive pattern distracting from the subject matter. The poet avoids this by including variety in his meter, occasionally adding or omitting syllables. The poem is also rife with imagery, alliteration, and assonance. The poem's language is not superfluously dense or grandiloquent. The
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die meets the poem's standard of true beauty. The image of the bursting of Joy's grape (line 28) gives the poem a theme of sexuality. According to critics, the bursting of the grape alludes to the passing from the moment of ultimate sexual pleasure to the decreased pleasure of a post-orgasmic state. "Ode to a Nightingale" is the longest of the 1819 odes with 8 stanzas containing 10 lines each. The poem begins by describing the state of the poet, using negative statements to intensify the description of the poet's physical state such as "numbless pains" and "not through envy
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intrigued by the institution of the Marker and his function in rating master-songs ... I conceived during a walk a comic scene in which the popular artisan-poet, by hammering upon his cobbler's last, gives the Marker, who is obliged by circumstances to sing in his presence, his come-uppance for previous pedantic misdeeds during official singing contests, by inflicting upon him a lesson of his own. Gervinus' book also mentions a poem by the real-life Hans Sachs on the subject of Protestant reformer Martin Luther, called "Die Wittenbergisch Nachtigall" (The Wittenberg Nightingale). The opening lines for this poem, addressing the Reformation,
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poetry, if only burlesque debates. There is no certain information about the poem's author, date of composition or origin. Nicholas of Guildford is mentioned several times in the text as the man best suited to judge which bird presents the strongest argument. His character never actually makes an appearance, and the poem ends with the debate unresolved and the owl and nightingale flying off in search of Nicholas. Critics tend to agree that the most likely reason for the mention of Nicholas of Guildford in the poem is because he is the author. However, in the introduction to the latest
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characteristic feature of the song is a loud whistling crescendo, absent from the song of thrush nightingale. It has a frog-like alarm call. The common nightingale is an important symbol for poets from a variety of ages, and has taken on a number of symbolic connotations. Homer evokes the nightingale in the "Odyssey", suggesting the myth of Philomela and Procne (one of whom, depending on the myth's version, is turned into a nightingale). This myth is the focus of Sophocles' tragedy, "Tereus", of which only fragments remain. Ovid, too, in his "Metamorphoses", includes the most popular version of this myth,
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of Orpheus to the “lament of the nightingale”. In Sonnet 102 Shakespeare compares his love poetry to the song of the common nightingale (Philomel): During the Romantic era the bird's symbolism changed once more: poets viewed the nightingale not only as a poet in his own right, but as “master of a superior art that could inspire the human poet”. For some romantic poets, the nightingale even began to take on qualities of the muse. The nightingale has a long history with symbolic associations ranging from "creativity, the muse, nature's purity, and, in Western spiritual tradition, virtue and goodness." Coleridge
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fiercer lion, through her peaceful groves; No poison there infects, no scaly snake Creeps through the grass, nor frog annoys the lake; An island worthy of its pious race, In war triumphant, and unmatch'd in peace!</poem> His feast day is 22 October. The numerous locations and churches incorporating his name, San Donato, provide evidence of his influence and popularity throughout Tuscany. Donatus of Fiesole Saint Donatus (Donat, Donnchad) of Fiesole was an Irish teacher and poet, and Bishop of Fiesole, about 829–876. Donatus was born in Ireland of noble parents towards the end of the eighth century. There is good
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a Nightingale" (1819) idealizes the nightingale as a poet who has achieved the poetry that Keats himself longs to write. Keats directly employs the Philomel myth in "The Eve of St. Agnes" (1820) where the rape of Madeline by Porphyro mirrors the rape of Philomela by Tereus. Keats' contemporary, poet Percy Bysshe Shelley (1792–1822) invoked a similar image of the nightingale, writing in his "A Defence of Poetry" that "a poet is a nightingale who sits in darkness and sings to cheer its own solitude with sweet sounds; his auditors are as men entranced by the melody of an unseen
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Keats was writing "Ode on a Grecian Urn" and the other poems, Brown transcribed copies of the poems and submitted them to Richard Woodhouse. During this time, Benjamin Haydon, Keats' friend, was given a copy of "Ode to a Nightingale", and he shared the poem with the editor of the "Annals of the Fine Arts", James Elmes. Elmes paid Keats a small sum of money, and the poem was published in the July issue. The poem was later included in Keats' 1820 collection of poems, "Lamia, Isabella, The Eve of St Agnes, and Other Poems". "Ode to a Nightingale" was
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expect. The poem ends with an acceptance that pleasure cannot last and that death is an inevitable part of life. In the poem, Keats imagines the loss of the physical world and sees himself dead—as a "sod" over which the nightingale sings. The contrast between the immortal nightingale and mortal man sitting in his garden, is made all the more acute by an effort of the imagination. The presence of weather is noticeable in the poem, as spring came early in 1819, bringing nightingales all over the heath. Of Keats's six major odes of 1819, "Ode to Psyche", was probably
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and an optimistic view of poetry found within his earlier poems, especially "Sleep and Poetry", and rejects them. This loss of pleasure and incorporation of death imagery lends the poem a dark air, which connects "Ode to a Nightingale" with Keats' other poems that discuss the demonic nature of poetic imagination, including "Lamia". In the poem, Keats imagines the loss of the physical world and sees himself dead—he uses an abrupt, almost brutal word for it—as a "sod" over which the nightingale sings. The contrast between the immortal nightingale and mortal man, sitting in his garden, is made all the
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he was exposed to death of his family members throughout his life. Within the poem, there are many images of death. The nightingale experiences a sort of death and even the god Apollo experiences death, but his death reveals his own divine state. As Perkins explains, "But, of course, the nightingale is not thought to be literally dying. The point is that the deity or the nightingale can sing without dying. But, as the ode makes clear, man cannot—or at least not in a visionary way." With this theme of a loss of pleasure and inevitable death, the poem, according
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is limited. The Owl and the Nightingale The Owl and the Nightingale is a twelfth- or thirteenth-century Middle English poem detailing a debate between an owl and a nightingale as overheard by the poem's narrator. It is the earliest example in Middle English of a literary form known as debate poetry (or verse contest). Verse contests from this time period were usually written in Anglo-Norman or Latin. This poem shows the influence of French linguistic, literary, and rhetorical techniques. After the Norman conquest, French became a predominant language in England, but English was still widespread and recognized as an acceptable
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The Owl and the Nightingale The Owl and the Nightingale is a twelfth- or thirteenth-century Middle English poem detailing a debate between an owl and a nightingale as overheard by the poem's narrator. It is the earliest example in Middle English of a literary form known as debate poetry (or verse contest). Verse contests from this time period were usually written in Anglo-Norman or Latin. This poem shows the influence of French linguistic, literary, and rhetorical techniques. After the Norman conquest, French became a predominant language in England, but English was still widespread and recognized as an acceptable language for
The Owl and the Nightingale
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Ode to a Nightingale "Ode to a Nightingale" is a poem by John Keats written either in the garden of the Spaniards Inn, Hampstead, London or, according to Keats' friend Charles Armitage Brown, under a plum tree in the garden of Keats' house at Wentworth Place, also in Hampstead. According to Brown, a nightingale had built its nest near the house Keats and Brown shared in the spring of 1819. Inspired by the bird's song, Keats composed the poem in one day. It soon became one of his 1819 odes and was first published in "Annals of the Fine Arts"
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written first and "To Autumn" written last. Sometime between these two, he wrote "Ode to a Nightingale". It is possible that "Ode to a Nightingale" was written between 26 April and 18 May 1819, based on weather conditions and similarities between images in the poem and those in a letter sent to Fanny Brawne on May Day. The poem was composed at the Hampstead house Keats shared with Brown, possibly while sitting beneath a plum tree in the garden. According to Keats' friend Brown, Keats finished the ode in just one morning: "In the spring of 1819 a nightingale had
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start of the 15th century, the poet John Lydgate expanded Marie's story even further. The most significant additional detail is the mouse's moralising on the happiness of being satisfied with one's lot. It is as a result of this that the frog is preferred by the kite for its fatness, since the virtuous mouse, being content with little, is 'slender and lean'. Lydgate's account was followed by two more vernacular versions. In William Caxton's collection of the fables, it is a rat on pilgrimage who asks the frog's help to cross a river. A Scottish poem under the title The
The Frog and the Mouse
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poem influenced by Chaucer's "Parliament of Fowls". In the poem, the nightingale praises love but the cuckoo mocks it for causing more trouble than joy. The poem is written as a literary dream vision and is an example of medieval debate poetry. A concerto inspired by the poem was composed by Handel. It apparently also influenced works by both John Milton and William Wordsworth. Clanvowe also wrote "The Two Ways", a penitential treatise. He is first mentioned in the "History of English Literature" by F. S. Ellis in 1896. "The Cuckoo and the Nightingale" had previously been attributed to Chaucer,
John Clanvowe
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and the nightingale in their works. Most notably, it was the core of the tragedy "Tereus" by Sophocles (lost, extant only in fragments), and later in a set of plays by Philocles, the nephew of the great playwright Aeschylus. In Aeschylus's "Agamemnon", the prophetess Cassandra has a visionary premonition of her own death in which she mentioned the nightingale and Itys, lamenting: <poem> Ah for thy fate, O shrill-voiced nightingale! Some solace for thy woes did Heaven afford, Clothed thee with soft brown plumes, and life apart from wail(ing)— </poem> In his "Poetics", Aristotle points to the ″voice of the
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claims, "In "The Nightingale", where the metaphysic is played down [...] it is greatly to the improvement of the poem, and there the mature conversational tone duplicates almost perfectly the shifting flow of natural speech and feeling." Richard Holmes, when referring to "Lyrical Ballads", states: "Yet this final, unsatisfactory mixture did allow a significant third element to enter the collection at a later stage: the intimate, blank verse nature meditations which produced two of the finest individual poems — Coleridge's 'The Nightingale' and Wordsworth's 'Tintern Abbey'." Rosemary Ashton argues that, "Bantering though this is, and, however, beautiful the final lines
The Nightingale: A Conversation Poem
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and knew it. Never was the voice of death sweeter." David Moir, in 1851, used "The Eve of St Agnes" to claim, "We have here a specimen of descriptive power luxuriously rich and original; but the following lines, from the 'Ode to a Nightingale,' flow from a far more profound fountain of inspiration." At the end of the 19th century, Robert Bridges's analysis of the poem became a dominant view and would influence later interpretations of the poem. Bridges, in 1895, declared that the poem was the best of Keats's odes but he thought that the poem contained too much
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and Wordsworth saw the nightingale more as an instance of natural poetic creation: the nightingale became a voice of nature. John Keats' "Ode to a Nightingale" pictures the nightingale as an idealized poet who has achieved the poetry that Keats longs to write. Invoking a similar conception of the nightingale, Shelley wrote in his “A Defense of Poetry": The nightingale is the national bird of Ukraine. One legend tells how nightingales once only lived in India, when one nightingale visited Ukraine. Hearing sad songs from the people, the nightingale sang its song to cheer them up. The people responded with
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testing out of a symbol, and, compared with the urn as a symbol, the nightingale would seem to have both limitations and advantages." Walter Jackson Bate also made a similar defense of the word "forlorn" by claiming that the world described by describing the impossibility of reaching that land. When describing the poem compared to the rest of English poetry, Bate argued in 1963, "Ode to a Nightingale" is among "the greatest lyrics in English" and the only one written with such speed: "We are free to doubt whether any poem in English of comparable length and quality has been
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the theme of moral dispute by featuring a cuckoo, symbol of female infidelity, debating the nightingale over love. The nightingale advocates love as an ethically uplifting emotion, while the cuckoo claims that love's arbitrariness damages people's lives. The poem ends with the human observer throwing a rock at the cuckoo and the nightingale rewarding him with happiness in marriage. A poem in which two human, though allegorical, figures engage in a debate is the anonymous "Wynnere and Wastoure" (c.1352), written in alliterative verse. Such poems may simply have been recorded or read for entertainment, or to convey a moral or
Medieval debate poetry
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þe þat al y waxe grene. Bituene Lyncolne ant Lyndeseye, Norhamptoun ant Lounde,<br> Ne wot y non so fayr a may as y go fore ybounde.<br> Suete lemmon ypreȝe þe þou lovie me a stounde!<br> Y wole mone my song<br> On wham þat hit ys on ylong. When the Nightingale Sings When The Nightingale Sings is a Middle English poem, author unknown, recorded in the British Library's Harley 2253 manuscript, verse 25. It is a love poem, extolling the beauty and lost love of an unknown maiden. When þe nyhtegale singes þe wodes waxen grene.<br> Lef ant gras ant blosme
When the Nightingale Sings
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When the Nightingale Sings When The Nightingale Sings is a Middle English poem, author unknown, recorded in the British Library's Harley 2253 manuscript, verse 25. It is a love poem, extolling the beauty and lost love of an unknown maiden. When þe nyhtegale singes þe wodes waxen grene.<br> Lef ant gras ant blosme springes in aueryl y wene,<br> Ant love is to myn herte gon wiþ one spere so kene<br> Nyht ant day my blod hit drynkes myn herte deþ me tene. Ich have loved al þis er þat y may love namore,<br> Ich have siked moni syk lemmon for
When the Nightingale Sings
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Glas" (1576), poet George Gascoigne (1535–1577) depicts "Philomel" as the representative of poetry (Poesys), her sister Progne as satire (Satyra), and Tereus as "vayne Delight." The characterization of Philomela and the nightingale was that of a woman choosing to exercise her will in recovering her voice and resisting those forces which attempts to silence her. Critics have pointed to Gascoigne's use of the Philomela myth as a personal appeal and that he was fighting in verse a battle with his enemies who violently opposed his poems. In his poem "The complaynt of Philomene" (1576), the myth is employed to depict
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much of Langley's work came from the landscapes of Suffolk, where he resided during the closing years of his life. His range of reference was, however, extremely broad, and was informed by close acquaintance with the art criticism of Adrian Stokes and the work of psychoanalyst Melanie Klein. Langley was posthumously awarded the 2011 Forward Prize for Best Single Poem, for "To a Nightingale", described by the judges as "a masterclass in precision". R. F. Langley Roger Francis Langley (commonly known as R. F. Langley, 23 October 1938 – 25 January 2011) was an English poet and diarist. During his
R. F. Langley
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a concern with material beauty and the transience of life. Among his most famous works are: "The Eve of St Agnes", "Ode to Psyche", "La Belle Dame sans Merci", "Ode to a Nightingale", "Ode on a Grecian Urn", "Ode on Melancholy", "To Autumn" and the incomplete "Hyperion", a 'philosophical' poem in blank verse, which was "conceived on the model of Milton's "Paradise Lost" ". Keats' letters "are among the finest in English" and important "for their discussion of his aesthetic ideas", including 'negative capability' ". Keats has always been regarded as a major Romantic, "and his stature as a poet
Romantic literature in English
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a Nightingale,' 'Ode on a Grecian Urn,' and 'To Autumn' as three of the most anthologized lyric poems of tragic vision in English." To Autumn "To Autumn" is a poem by English Romantic poet John Keats (31 October 1795 – 23 February 1821). The work was composed on 19 September 1819 and published in 1820 in a volume of Keats's poetry that included "Lamia" and "The Eve of St. Agnes". "To Autumn" is the final work in a group of poems known as Keats's "1819 odes". Although personal problems left him little time to devote to poetry in 1819, he
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he cursed her so that her prophetic warnings would go unheeded. Elaine Showalter called Nightingale's writing "a major text of English feminism, a link between Wollstonecraft and Woolf." In 1972 the poet Eleanor Ross Taylor wrote "Welcome Eumenides," a poem written in Nightingale's voice and quoting frequently from Nightingale's writings. Adrienne Rich wrote that "...Eleanor Taylor has brought together the waste of women in society and the waste of men in wars and twisted them inseparably." Despite being named as a Unitarian in several older sources, Nightingale's own rare references to conventional Unitarianism are mildly negative. She remained in the
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Vriendt, who was born elsewhere, wrote a poem that praised the town and its churches: The Flemish poet Gislain de Coninck, who was born in the town, translated the Latin poems of Charles Wynkius in "Himni, Quorum Usus Est In Ecclesiastico Dei Cultu", and the two were published together in 1573. Then in the following century there were two more Latin poets from the town, Joannes Bartholomaeus Roens and Petrus Wenis (1648-1726). Wenis published "Gheestelycken nachtegael" (The Spiritual Nightingale, 1698) on the miracle that restored a still-born child to life in 1479, an event associated with the statue of Our
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in English poetic history as baffling as Keats's repetition of the word 'forlorn'". When referring to the reliance of the ideas of John Dryden and William Hazlitt within the poem, Poet Laureate Andrew Motion, in 1999, argued "whose notion of poetry as a 'movement' from personal consciousness to an awareness of suffering humanity it perfectly illustrates." F. Scott Fitzgerald took the title of his novel "Tender is the Night" from the 35th line of the ode. According to Ildikó de Papp Carrington, Keats' wording, "when, sick for home, / She stood in tears amid the alien corn", seems to be
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candour that he restricted their imaginative power. His identity had prevailed." Ode on Indolence The "Ode on Indolence" is one of five odes composed by English poet John Keats in the spring of 1819. The others were "Ode on a Grecian Urn", "Ode on Melancholy", "Ode to a Nightingale" and "Ode to Psyche". The poem describes the state of indolence, a word which is synonymous with "avoidance" or "laziness". The work was written during a time when Keats was presumably more than usually occupied with his material prospects. After finishing the spring poems, Keats wrote in June 1819 that its
Ode on Indolence
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Ode on Indolence The "Ode on Indolence" is one of five odes composed by English poet John Keats in the spring of 1819. The others were "Ode on a Grecian Urn", "Ode on Melancholy", "Ode to a Nightingale" and "Ode to Psyche". The poem describes the state of indolence, a word which is synonymous with "avoidance" or "laziness". The work was written during a time when Keats was presumably more than usually occupied with his material prospects. After finishing the spring poems, Keats wrote in June 1819 that its composition brought him more pleasure than anything else he had written
Ode on Indolence
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a woman's brooch (less than 10 cm diameter). A common graphic is an old pattern oil lamp. These lamps or candles were the only lighting available before kerosene became available early in the twentieth century. There are a selection of lamps in the Florence Nightingale museum, thought to have been used in the Scutari hospital in the area known geographically as the Balkans (then British Moldavia, now southern Ukraine), during the war with Russia. American Poet Henry Wadsworth Longfellow wrote a poem "Saint Philomena" dedicated to the work of Florence in 1857. In this verses, Longfellow characterised Florence as "The
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of a passage like that in the fourth stanza […] to praise or comment on a stroke of art like this is to throw doubt on the reader's power to perceive it for himself." Bridges' view of "Ode to a Nightingale" was taken up by H. W. Garrod in his 1926 analysis of Keats's poems. As Albert Gerard would argue later in 1944, Garrod believed that the problem within Keats's poem was his emphasis on the rhythm and the language instead of the main ideas of the poem. When describing the fourth stanza of the poem, Maurice Ridley, in 1933,
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Nivedita is a lipogrammatic novel in Tamil. The entire novel is written without the common word ஒரு ("oru", "one", also used as the indefinite article), and there are no punctuation marks in the novel except dots. Later the novel was translated into English. Russian 18th-century poet Gavriil Derzhavin avoided the harsh "R" sound (and the letter Р that represents it) in his poem "The Nightingale" in order to render the bird's singing. Russian author Sergei Dovlatov adopted a rule that no two words starting with the same letter should appear in any single sentence, inspired by Perec's experience. The seventh-century
Lipogram
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“have concerned the critics far more than what the poem is really about, the true state of Milton’s mind when he wrote it.” As an example of what poetry is about, Lewis cites a poem, part of William Wordsworth's "Prelude". There is a personality in a poem, says Lewis, but we don’t know whose. We meet the poet “only in a strained and ambiguous sense” (9f.). Especially in drama we meet the poet's creation rather than the poet. In order to write poetry, the poet must use words to suggest what is public, common, impersonal, and objective. That is why
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Search for My Tongue "Search for My Tongue" is a poem by Sujata Bhatt. The poem is studied in England as part of the "AQA Anthology". "I have always thought of myself as an Indian who is outside India," the poet has said in an interview, stating that her language is the deepest layer of her identity. The poem is about personal and cultural identity and contains some Gujarati script. The poem is about how although the poet has moved to another country and no longer needs her original language, she still reminisces about it and worries that she may
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an altered state. Midway through the poem, there is a split between the two actions of the poem: the first attempts to identify with the nightingale and its song, and the second discusses the convergence of the past with the future while experiencing the present. This second theme is reminiscent of Keats's view of human progression through the Mansion of Many Apartments and how man develops from experiencing and wanting only pleasure to understanding truth as a mixture of both pleasure and pain. The Elysian fields and the nightingale's song in the first half of the poem represent the pleasurable
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Henri", which is thought to reference "either the death of Henry II of England in 1189 or of Henry III of England in 1272". Scholars see no evidence that the poem predates the surviving manuscripts by many years. It is possible that the poem was written in the 12th or 13th century, and "there is a serious possibility the poem was composed after the death of Henry III in 1272". Linguistic evidence suggests the poem's origins lie in Kent or a neighbouring region, but there is little evidence to support this theory. Because "The Owl and the Nightingale" cannot be
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and correcting men, and in turns threatens the nightingale. In Chaucer's shorter and more sentimental poem, a formel (a female eagle) has three suitors who submit their cases to an assembly of birds; the birds all have different agendas and cannot reach a decision, and 'Nature' must finally intervene by giving the formel the right to choose her own spouse. In the end the formel opts to delay being married to anyone for a year. A similar and probably later poem is "The Cuckoo and the Nightingale", by Sir John Clanvowe (1341–1391), a contemporary of Chaucer. This poem also continues
Medieval debate poetry
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Tchaikovsky's work as "Isle of the Dead" (1909) does its independence from it. A similar debt to his teacher Rimsky-Korsakov imbues Igor Stravinsky's "The Song of the Nightingale", excerpted from his opera "The Nightingale". Alexander Scriabin's "The Poem of Ecstasy" (1905–08) and "" (1908–10), in their projection of an egocentric theosophic world unequalled in other symphonic poems, are notable for their detail and advanced harmonic idiom. Socialist realism in the Soviet Union allowed program music to survive longer there than in western Europe, as typified by Dmitri Shostakovich's symphonic poem "October" (1967). While France was less concerned than other countries
Symphonic poem
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Anjani Thomas (music) and Leonard Cohen (lyrics). "Nightingale" was previously recorded by Cohen on "Dear Heather". "The Mist" contains lyrical elements from "As the Mist Leaves No Scar", the same poem "True Love Leaves No Traces" is based on (see "Death of a Ladies' Man"). Later (2012), Leonard Cohen recorded his own version of "Crazy to Love You" for "Old Ideas". Blue Alert (album) Blue Alert is a jazz album recorded by Anjani, girlfriend and longtime backing singer of iconic Canadian singer-songwriter and poet Leonard Cohen, who also produced the album and wrote the lyrics. Also on the production team
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Canada's first female Senator, Cairine Wilson, attended the school and was Head Girl in her final year. The school's Wilson House is named in her honour. Canadian television broadcaster Catherine Clark, daughter of the Right Honourable Joe Clark, also attended Elmwood. Poet Elizabeth Smart, author of the prose poem 'By Grand Central Station I Sat Down and Wept', attended Elmwood from 1922-1929. Children's television writer, Mary MacKay-Smith attended Elmwood in the mid-1960s and was Head of Nightingale House. MacKay-Smith has written for many children's television series including Caillou and Polka Dot Door. Gemini Award-winning Canadian screenwriter Tassie Cameron spent her
Elmwood School (Ottawa)
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period with it and its song described by poets as an example of "joyance" and gaiety or as an example of melancholy, sad, sorrowful, and mourning. However, many use the nightingale as a symbol of sorrow but without a direct reference to the Philomela myth. Poets in the Romantic Era recast the myth and adapted the image of the nightingale with its song to be a poet and “master of a superior art that could inspire the human poet”. For some romantic poets, the nightingale even began to take on qualities of the muse. John Keats (1795–1821), in "Ode to
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Perkins summarizes the way "Ode to a Nightingale" and "Ode on a Grecian Urn" perform this when he says, "we are dealing with a talent, indeed an entire approach to poetry, in which symbol, however necessary, may possibly not satisfy as the principal concern of poetry, any more than it could with Shakespeare, but is rather an element in the poetry and drama of human reactions". However, there is a difference between an urn and a nightingale in that the nightingale is not an eternal entity. Furthermore, in creating any aspect of the nightingale immortal during the poem the narrator
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happy songs, and since then, nightingales have visited Ukraine every spring to hear Ukrainian songs. National poet Taras Shevchenko observed that "even the memory of the nightingale's song makes man happy." Common nightingale The common nightingale or simply nightingale ("Luscinia megarhynchos"), also known as rufous nightingale, is a small passerine bird best known for its powerful and beautiful song. It was formerly classed as a member of the thrush family Turdidae, but is now more generally considered to be an Old World flycatcher, Muscicapidae. It belongs to a group of more terrestrial species, often called chats. "Nightingale" is derived from
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of thy happy lot" (lines 1–5). While the ode is written "to a Nightingale", the emphasis of the first line is placed upon the narrator rather than the bird, and Helen Vendler suggests that the negation of the reader as a party in the discourse happens just as the song of the nightingale becomes the "voice of pure self-expression". In the third stanza, the poet asks the nightingale to "Fade far away", casting it off just as the narrator in "Ode to Indolence" rejects the Love, Ambition, and Poesy and the poet in "Ode on a Grecian Urn" banishes the
John Keats's 1819 odes
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World War II. <poem style="margin-left: 1em;"> Hitler declared that war of his, while people strutting in ease, until then, going about their business, abandon that and put themselves in state of combat. </poem> Thierno Abdourahmane, well-armed intellectually, began to observe the increasing difficulties besetting the populations, his fellow citizens. He lived intensely common suffering, poet who recognizes himself as the mirror of his people, as he later wrote: <poem style="margin-left: 1em;"> It is the poet who enthusiasm the people, who doubles their efforts; it is also the poet who shakes the hearts that revivify. </poem> After the war, the intellectual
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Tereus, Itys. All were changed to birds, the murderous mother to a nightingale. Itylus In Greek mythology, Itylus or Itylos (Ancient Greek: Ἴτυλον), was the son of Aedon, daughter of Pandareus of Ephesus and wife of King Zethus of Thebes. Envious of Niobe, the wife of her husband's brother Amphion, who had six sons and six daughters, she formed the plan of killing the eldest of Niobe's sons, but by mistake slew her own son Itylus. Zeus relieved her grief by changing her into a nightingale, whose melancholy tunes are represented by the poet as Aëdon's lamentations about her child.
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The Hawk and the Nightingale The Hawk and the Nightingale is one of the earliest fables recorded in Greek and there have been many variations on the story since Classical times. The original version is numbered 4 in the Perry Index and the later Aesop version, sometimes going under the title "The Hawk, the Nightingale and the Birdcatcher", is numbered 567. The stories began as a reflection on the arbitrary use of power and eventually shifted to being a lesson in the wise use of resources. The original fable appeared in Hesiod's poem "Works and Days", a work dating from
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some capital letters in red and no illumination. The script is a professional, gothic bookhand. This manuscript has a 19th-century binding and shows no evidence of whom the previous owner(s) may have been. The poem consists entirely of a fierce debate between the eponymous owl and nightingale, as overheard by an unidentified narrator. When he first happens upon them, the Nightingale is perched on a blossom-covered branch, and the Owl is sitting on a bough overgrown with ivy. The Nightingale begins the argument by noting the Owl's physique, calling her ugly and unclean. The Owl proposes that they proceed civilly
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preludes, interludes and postludes, possibly hinting at a Schumann-like effect, where the piano is the main voice and the sung part merely adds decoration. Ode to a Nightingale "Ode to a Nightingale" is a poem by John Keats written either in the garden of the Spaniards Inn, Hampstead, London or, according to Keats' friend Charles Armitage Brown, under a plum tree in the garden of Keats' house at Wentworth Place, also in Hampstead. According to Brown, a nightingale had built its nest near the house Keats and Brown shared in the spring of 1819. Inspired by the bird's song, Keats
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and Welsh. Welsh writing in English might be said to begin with the fifteenth-century bard Ieuan ap Hywel Swrdwal (?1430 - ?1480), whose "Hymn to the Virgin" was written at Oxford in England in about 1470 and uses a Welsh poetic form, the "awdl", and Welsh orthography; for example: A rival claim for the first Welsh writer to use English creatively is made for the poet, John Clanvowe (1341–1391). Clanvowe's best-known work was "The Book of Cupid, God of Love" or "The Cuckoo and the Nightingale". which is influenced by Chaucer's "Parliament of Fowls". "The Cuckoo and the Nightingale" had
Welsh literature in English
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separates any union that he can have with the nightingale. The nightingale's song within the poem is connected to the art of music in a way that the urn in "Ode on a Grecian Urn" is connected to the art of sculpture. As such, the nightingale would represent an enchanting presence and, unlike the urn, is directly connected to nature. As natural music, the song is for beauty and lacks a message of truth. Keats follows Coleridge's belief, as found in "The Nightingale", in separating from the world by losing himself in the bird's song. Although Keats favours a female
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Bysshe Shelley's "To a Skylark", Keats's narrator listens to a bird song, but listening to the song within "Ode to a Nightingale" is almost painful and similar to death. The narrator seeks to be with the nightingale and abandons his sense of vision in order to embrace the sound in an attempt to share in the darkness with the bird. As the poem ends, the trance caused by the nightingale is broken and the narrator is left wondering if it was a real vision or just a dream. The poem's reliance on the process of sleeping is common to Keats's
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nightingale over Coleridge's masculine bird, both reject the traditional depiction of the nightingale as related to the tragedy of Philomela. Their songbird is a happy nightingale that lacks the melancholic feel of previous poetic depictions. The bird is only a voice within the poem, but it is a voice that compels the narrator to join with in and forget the sorrows of the world. However, there is tension in that the narrator holds Keats's guilt regarding the death of Tom Keats, his brother. The song's conclusion represents the result of trying to escape into the realm of fancy. Like Percy
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for this quality are immediately apparent: there is its matchless evocation of that late spring and early summer season […] and there is its exceptional degree of 'distillation', of concentrated recollection". David Perkins felt the need to defend the use of the word "forlorn" and claimed that it described the feeling from the impossibility of not being able to live in the world of the imagination. When praising the poem in 1959, Perkins claimed, "Although the "Ode to a Nightingale" ranges more widely than the "Ode on a Grecian Urn," the poem can also be regarded as the exploration or
Ode to a Nightingale