Tonight’s poem was written in a single morning. Keats carried a chair into the garden, sat under a plum tree for two or three hours listening to a nightingale, and came back with scraps of paper. His friend helped him put them together.

Learn from Songs · Poetry · C1
Keats’s ode written under a plum tree in Hampstead, listening to a nightingale while grieving for his brother: wishes with O for…! and That I might…, the language of the senses (I cannot see what flowers are at my feet), thou wast not born for death, and the question of dream and reality, with Philo, Sophia, Marcos and Demetria.

Tonight’s poem was written in a single morning. Keats carried a chair into the garden, sat under a plum tree for two or three hours listening to a nightingale, and came back with scraps of paper. His friend helped him put them together.

Was he happy?

Happy in the bird’s song, and very sad. His young brother Tom had just died of tuberculosis, and Keats had nursed him. The poem longs to escape with the bird from a world of sickness and sorrow. And Philo, you’ll find our friend Ruth in it.

Ruth? In an English poem? I must read it.
Hampstead, London, May 1819
In December 1818, John Keats’s nineteen-year-old brother Tom died of tuberculosis, which was then incurable. Keats, who had trained as a doctor, had nursed him through his last months. The next spring, living in a friend’s house in Hampstead, Keats wrote his great odes.
His friend Charles Brown remembered that a nightingale had built her nest near the house. One morning Keats took his chair under a plum tree and sat for two or three hours. Afterwards he came in with four or five scraps of paper: the “Ode to a Nightingale”. The original draft is now in the Fitzwilliam Museum in Cambridge.
In the poem, the speaker feels both joy and pain at the bird’s song. He wishes he could fly away with it, away from a world where young people grow pale and die. The bird’s song is immortal: the same song was heard by emperors and by Ruth in the fields. Then the song fades, and he is alone again: was it a vision, or a dream?
Beauty can comfort us, even in sorrow, but we must come back to life.
John Keats (1795–1821)
My heart aches, and a drowsy numbness pains
My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
One minute past, and Lethe-wards had sunk:
’Tis not through envy of thy happy lot,
But being too happy in thine happiness,—
That thou, light-winged Dryad of the trees
In some melodious plot
Of beechen green, and shadows numberless,
Singest of summer in full-throated ease.
O, for a draught of vintage! that hath been
Cool’d a long age in the deep-delved earth,
Tasting of Flora and the country green,
Dance, and Provençal song, and sunburnt mirth!
O for a beaker full of the warm South,
Full of the true, the blushful Hippocrene,
With beaded bubbles winking at the brim,
And purple-stained mouth;
That I might drink, and leave the world unseen,
And with thee fade away into the forest dim:
Fade far away, dissolve, and quite forget
What thou among the leaves hast never known,
The weariness, the fever, and the fret
Here, where men sit and hear each other groan;
Where palsy shakes a few, sad, last gray hairs,
Where youth grows pale, and spectre-thin, and dies;
Where but to think is to be full of sorrow
And leaden-eyed despairs,
Where Beauty cannot keep her lustrous eyes,
Or new Love pine at them beyond to-morrow.
Away! away! for I will fly to thee,
Not charioted by Bacchus and his pards,
But on the viewless wings of Poesy,
Though the dull brain perplexes and retards:
Already with thee! tender is the night,
And haply the Queen-Moon is on her throne,
Cluster’d around by all her starry Fays;
But here there is no light,
Save what from heaven is with the breezes blown
Through verdurous glooms and winding mossy ways.
I cannot see what flowers are at my feet,
Nor what soft incense hangs upon the boughs,
But, in embalmed darkness, guess each sweet
Wherewith the seasonable month endows
The grass, the thicket, and the fruit-tree wild;
White hawthorn, and the pastoral eglantine;
Fast fading violets cover’d up in leaves;
And mid-May’s eldest child,
The coming musk-rose, full of dewy wine,
The murmurous haunt of flies on summer eves.
Darkling I listen; and, for many a time
I have been half in love with easeful Death,
Call’d him soft names in many a mused rhyme,
To take into the air my quiet breath;
Now more than ever seems it rich to die,
To cease upon the midnight with no pain,
While thou art pouring forth thy soul abroad
In such an ecstasy!
Still wouldst thou sing, and I have ears in vain—
To thy high requiem become a sod.
Thou wast not born for death, immortal Bird!
No hungry generations tread thee down;
The voice I hear this passing night was heard
In ancient days by emperor and clown:
Perhaps the self-same song that found a path
Through the sad heart of Ruth, when, sick for home,
She stood in tears amid the alien corn;
The same that oft-times hath
Charm’d magic casements, opening on the foam
Of perilous seas, in faery lands forlorn.
Forlorn! the very word is like a bell
To toll me back from thee to my sole self!
Adieu! the fancy cannot cheat so well
As she is fam’d to do, deceiving elf.
Adieu! adieu! thy plaintive anthem fades
Past the near meadows, over the still stream,
Up the hill-side; and now ’tis buried deep
In the next valley-glades:
Was it a vision, or a waking dream?
Fled is that music:—Do I wake or sleep?
drowsy numbness: a sleepy lack of feeling
hemlock: a poisonous plant
opiate: a drug that brings sleep
Lethe: in Greek myth, the river of forgetting
Dryad: a tree spirit
draught of vintage: a drink of old wine
Hippocrene: the Muses’ spring, here meaning wine that inspires
fret: worry
palsy: illness that makes the body shake
spectre-thin: thin as a ghost
viewless: invisible
Poesy: poetry
Fays: fairies
verdurous: green with plants
embalmed: full of perfume
eglantine: wild rose
darkling: in the dark
requiem: a song for the dead
alien corn: foreign fields of grain
casements: windows
forlorn: lonely and abandoned
plaintive: sad-sounding
Read and listen: the journey and the return

Read the poem stanza by stanza. How does the speaker feel at the start? Where does he want to go? Who heard the same song long ago? What brings him back?

This is a C1 poem, rich and difficult. Use the glossary, read slowly, and listen to a reading. Then answer Section A.
Wishes: O for…! That I might…

O for a draught of vintage! O for a beaker full of the warm South… that I might drink, and leave the world unseen.

O for + noun! = how I wish I had… (poetic). that I might + infinitive = so that I could (purpose, formal). Modern: If only I had…! I wish I could…
The language of the senses

I cannot see what flowers are at my feet, nor what soft incense hangs upon the boughs, but in embalmed darkness, guess each sweet.

In the dark, the speaker uses smell and sound instead of sight. Notice I cannot see what…, nor what…: an indirect question after see. Collect the sense words in stanza 5: hawthorn, eglantine, violets, musk-rose, flies.
Thou wast not born for death

Thou wast not born for death, immortal Bird! The voice I hear this passing night was heard in ancient days by emperor and clown.

Thou wast = you were. The passive was heard links the present to the past: the same song, through all ages, even by Ruth, homesick in a foreign field. The bird as a species never dies.
Dream or reality?

Was it a vision, or a waking dream? Fled is that music:—Do I wake or sleep?

The poem ends with two questions and an inversion: Fled is that music (= that music has fled). The word forlorn works like a bell that calls him back to his sole self. Escape is beautiful, but it doesn’t last.
Sophia’s comparison: Ruth in the alien corn, and Philomela

Keats imagines Ruth, a Moabite far from home, standing in tears in the barley fields of Bethlehem, hearing the nightingale. In the book of Ruth she isn’t crying: she is brave and faithful. But Keats saw the loneliness in her, and he was right that she was far from home.

And we Greeks say that Philomela was turned into a nightingale, after a terrible wrong, so that her grief became the most beautiful song in the world. Poets have always heard sorrow in the nightingale’s song.
Sophia’s summary
| Words and forms | Use | Example |
|---|---|---|
| O for + noun! | poetic wish | O for a draught of vintage! |
| that I might + infinitive | purpose, formal | that I might drink and leave the world unseen |
| cannot see what…, nor what… | indirect questions after verbs of perception | I cannot see what flowers are at my feet. |
| was heard (passive) | linking present and past | The voice I hear was heard in ancient days. |
| Fled is that music | inversion for emphasis | = That music has fled. |
Listen to the song for Section A, then do the rest. Press “Check my answers” at the end. You can try again as many times as you like.
Listen to the song and choose the best answer.
1. How does the speaker feel at the start?
2. What does he want to do?
3. Which biblical woman heard the same song, in the poem?
4. Which word brings him back to himself?
5. Whose death was Keats grieving?
6. Where did he write the poem?
Write the missing word or words.
7. O a draught of vintage! (I wish I had)
8. That I drink, and leave the world unseen. (purpose)
9. I cannot see flowers are at my feet.
10. Thou not born for death. (old form of were)
11. The voice I hear was in ancient days. (hear)
12. is that music. (= that music has fled)
Is the sentence correct English?
13. “I cannot see what flowers are there.”
14. “I cannot see what are the flowers.”
15. “Thou wast not born for death.”
16. “The song heard by kings long ago.”
Discussion and writing
Five senses. In groups, go through stanza 5 and list everything the speaker can smell or hear. Then write five lines describing a place you love using only sound, smell, touch and taste.
Discuss. 1. Can music or nature comfort people in sorrow? 2. Is it good to escape into imagination, or must we always come back? 3. Why do poets so often hear sadness in birdsong?
Write (150–200 words). A waking dream. Describe a moment when music, nature or art carried you away, and how you came back. Use a wish (If only… / O for…), an indirect question, and a passive.