Clare
has a very unique style in regards to the way he structures his poems. Like
most of the other Clare poems we are reading for class, he does not use punctuation
except for dashes. This means there are enjambments and caesuras throughout the
poem which slow down the reading of the poem, as if you are with the narrator
carefully looking for the nest. Another unique aspect of his style is that Clare
does not use a stanza break until line 67, resulting in a very long first
stanza and an unbalanced poem. He also uses very common language, which could
be attributed to his lack of a higher education, but this also allowed more
people to read and understand his poetry and get his messages. Clare uses
beautiful descriptions to set the scene and allow the reader to understand the
narrator’s love for the nightingale and her songs.
After
reading this poem for the first time, I did a little research on nightingales.
They are small birds with light brown feathers, red-brown tails, and a white stomach;
they are very common in forests and bushy areas in Europe and parts of Asia.
Most importantly though, they are best known for their beautiful songs, which
is why Clare mentions the bird singing and her songs multiple times throughout
the poem. However, general research on nightingales does not bring up
information about their nests, which is technically the subject of this poem.
But Clare goes into this detail in the last stanza by describing what the nest
is made of and what it looks like. The point of those details is seen about
two-thirds of the way through that stanza when he says, “Yet nature is the
builder and contrives / Homes for her childrens comfort” (lines 83-84). I
believe this is one of the main arguments of this poem, to leave nature alone
because nature has always been just fine without human intervention and that by
disturbing this nest and nature as a whole, human beings are only hurting
nature and the animals in it. A few lines later when he writes that, “the old
prickly thorn bush guards them well,” he adds to the above argument by stating
that even though the nest is not pleasing to the eye, it is perfectly made to
blend in with its surroundings and protect the nightingale’s eggs.
I
thought this was an interesting poem because it was not what I expected. Since
we’ve been talking about animal cruelty and Dr. Porter mentioned to keep that
in mind while reading Clare’s poems, I expected the narrator to pick up the nest,
especially while he was looking for it at line 42 and when he found it in line
53, “Aye as I live her secret nest is here”. However instead Clare shows the
cruelty of taking a nest by showing the Nightingale’s “choaking fear” (line 60)
at even the possibility of what might happen to her eggs and her nest. Clare
uses the last stanza, after the only stanza break, to wish the birds well by
saying “Sing on sweet bird may no worse hap befall / Thy visions then the fear
that now decieves” (lines 67-68). The last two lines of the poem, “And here
well leave them still unknown to wrong / As the old woodlands legacy of song”
(lines 91-31), are very powerful lines because Clare is saying that these eggs,
but also all of nature in a more broad sense, are innocent creatures that don’t
know the wrongs of humanity.
Questions:
1.
Why do you think Clare only used one stanza break? What does this add to the
poem?
2.
What is the importance of the word “extacy” being used in both line 22 and line
33?
3.
Why does Clare specifically mention harebells in line 72? Is there a symbolic
meaning to the harebells?
The ornithological description your provide is very much in keeping with Clare’s own approach to his subject: he offers detailed, meticulous descriptions of birds in their native habitats, which has lead many critics to see his work as proto-ecological in its approach and content. I agree with your assessment: The poem is indeed making an argument for leaving nature alone. We can see this very clearly in the violent imagery of the first stanza, especially in lines 55-8: “there put that bramble bye / Nay trample on its branches and get near / How subtle is the bird she started out / And raised a plaintive note of danger nigh.” Here, we see that the narrator is forced into violating the nightingale’s space in order to observe and describe its nest. As we discussed in class, Clare may be signaling of difficulty in the empirical approach to nature: observation can also be a kind of violation and cruelty, even if we don’t intend it to be. The opening lines of the second stanza (or third stanza, depending on if you see a stanza break at line 42) implicate poetry in this problem of violation as well. The speaker insists that “we will not plunder music of its dower / Nor turn this spot of happiness to thrall” (69-70), but the language of chivalric romance suggests that making the “real” nightingale into the subject of a poem is still a form of plunder (the language of thrall and dower also suggests the raped Philomela of Greek myth, who is turned into a nightingale).
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