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The Annotated Edition

The Nightingale by Samuel Taylor Coleridge

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A group of friends—Coleridge, his buddy William Wordsworth, and their "Sister" Dorothy—stop on a mossy bridge one April night to listen to a nightingale sing.

Poet
Samuel Taylor Coleridge
Themes
art, childhood, nature
The PoemFull text

The Nightingale

Samuel Taylor Coleridge

A CONVERSATION POEM, APRIL, 1798 No cloud, no relique of the sunken day Distinguishes the West, no long thin slip Of sullen light, no obscure trembling hues. Come, we will rest on this old mossy bridge! You see the glimmer of the stream beneath, 5 But hear no murmuring: it flows silently, O'er its soft bed of verdure. All is still, A balmy night! and though the stars be dim, Yet let us think upon the vernal showers That gladden the green earth, and we shall find 10 A pleasure in the dimness of the stars. And hark! the Nightingale begins its song, 'Most musical, most melancholy' bird![264:2] A melancholy bird? Oh! idle thought! In Nature there is nothing melancholy. 15 But some night-wandering man whose heart was pierced With the remembrance of a grievous wrong, Or slow distemper, or neglected love, (And so, poor wretch! filled all things with himself, And made all gentle sounds tell back the tale 20 Of his own sorrow) he, and such as he, First named these notes a melancholy strain. And many a poet echoes the conceit; Poet who hath been building up the rhyme When he had better far have stretched his limbs 25 Beside a brook in mossy forest-dell, By sun or moon-light, to the influxes Of shapes and sounds and shifting elements Surrendering his whole spirit, of his song And of his fame forgetful! so his fame 30 Should share in Nature's immortality, A venerable thing! and so his song Should make all Nature lovelier, and itself Be loved like Nature! But 'twill not be so; And youths and maidens most poetical, 35 Who lose the deepening twilights of the spring In ball-rooms and hot theatres, they still Full of meek sympathy must heave their sighs O'er Philomela's pity-pleading strains. My Friend, and thou, our Sister! we have learnt 40 A different lore: we may not thus profane Nature's sweet voices, always full of love And joyance! 'Tis the merry Nightingale That crowds, and hurries, and precipitates With fast thick warble his delicious notes, 45 As he were fearful that an April night Would be too short for him to utter forth His love-chant, and disburthen his full soul Of all its music! And I know a grove Of large extent, hard by a castle huge, 50 Which the great lord inhabits not; and so This grove is wild with tangling underwood, And the trim walks are broken up, and grass, Thin grass and king-cups grow within the paths. But never elsewhere in one place I knew 55 So many nightingales; and far and near, In wood and thicket, over the wide grove, They answer and provoke each other's song, With skirmish and capricious passagings, And murmurs musical and swift jug jug, 60 And one low piping sound more sweet than all-- Stirring the air with such a harmony, That should you close your eyes, you might almost Forget it was not day! On moonlight bushes, Whose dewy leaflets are but half-disclosed. 65 You may perchance behold them on the twigs, Their bright, bright eyes, their eyes both bright and full, Glistening, while many a glow-worm in the shade Lights up her love-torch. A most gentle Maid, Who dwelleth in her hospitable home 70 Hard by the castle, and at latest eve (Even like a Lady vowed and dedicate To something more than Nature in the grove) Glides through the pathways; she knows all their notes, That gentle Maid! and oft, a moment's space, 75 What time the moon was lost behind a cloud, Hath heard a pause of silence; till the moon Emerging, hath awakened earth and sky With one sensation, and those wakeful birds Have all burst forth in choral minstrelsy, 80 As if some sudden gale had swept at once A hundred airy harps! And she hath watched Many a nightingale perch giddily On blossomy twig still swinging from the breeze, And to that motion tune his wanton song 85 Like tipsy Joy that reels with tossing head. Farewell, O Warbler! till to-morrow eve, And you, my friends! farewell, a short farewell! We have been loitering long and pleasantly, And now for our dear homes.--That strain again! 90 Full fain it would delay me! My dear babe, Who, capable of no articulate sound, Mars all things with his imitative lisp, How he would place his hand beside his ear, His little hand, the small forefinger up, 95 And bid us listen! And I deem it wise To make him Nature's play-mate. He knows well The evening-star; and once, when he awoke In most distressful mood (some inward pain Had made up that strange thing, an infant's dream--) 100 I hurried with him to our orchard-plot, And he beheld the moon, and, hushed at once, Suspends his sobs, and laughs most silently, While his fair eyes, that swam with undropped tears, Did glitter in the yellow moon-beam! Well!-- 105 It is a father's tale: But if that Heaven Should give me life, his childhood shall grow up Familiar with these songs, that with the night He may associate joy.--Once more, farewell, Sweet Nightingale! once more, my friends! farewell. 110 1798.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

A group of friends—Coleridge, his buddy William Wordsworth, and their "Sister" Dorothy—stop on a mossy bridge one April night to listen to a nightingale sing. Coleridge challenges the tired poetic idea that the nightingale is a "melancholy" bird, arguing instead that it’s filled with joy and that it’s a human error to project sadness onto nature. The poem wraps up with a touching moment of Coleridge's baby son being comforted by the moonlight, along with a hope that the boy will grow up with a love for the natural world.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. No cloud, no relique of the sunken day / Distinguishes the West, no long thin slip

    Editor's note

    The poem begins by creating a vivid sensory scene: a quiet, dark April night without a fading sunset, a calm stream, and faint stars. Coleridge isn’t creating a gloomy atmosphere; instead, he’s highlighting that the darkness feels *pleasant*, not menacing. The suggestion to "rest on this old mossy bridge" indicates a friendly, laid-back conversation. When the nightingale’s song appears at line 12, it feels like a discovery rather than just background noise.

  2. 'Most musical, most melancholy' bird! / A melancholy bird? Oh! idle thought!

    Editor's note

    Coleridge references Milton's *Il Penseroso* with the phrase "most musical, most melancholy," but he quickly counters that idea. He claims that the notion of the nightingale being sad originated with a heartbroken person who projected his own sorrow onto the bird's song. Other poets then imitated this sentiment, and the cliché took hold. This forms the crux of Coleridge's argument — what we now refer to as "pathetic fallacy," the tendency to attribute human emotions to nature. He also subtly critiques poets who prefer to stay indoors crafting verses instead of venturing outside to truly listen to the world around them.

  3. My Friend, and thou, our Sister! we have learnt / A different lore

    Editor's note

    Coleridge addresses Wordsworth and Dorothy directly, highlighting their small group as individuals who have *unlearned* the familiar sadness often associated with poetry. He depicts the nightingale as "merry," filling the brief April night with its notes as if it fears there won't be enough time left. This sense of urgency transforms into exuberance and love rather than sorrow. The phrase "disburthen his full soul" is crucial: the nightingale sings because it is *full*, not because it feels empty or hurt.

  4. And I know a grove / Of large extent, hard by a castle huge

    Editor's note

    Coleridge paints a vivid picture of a real location — a forgotten grove beside an empty castle owned by a great lord — where nightingales come together in remarkable numbers. The untamed nature of the grove (with its broken paths and tangled underbrush) is portrayed positively; it shows how nature takes back what human carelessness has abandoned. In this place, the nightingales respond to each other's songs in a joyful rivalry. The image of the glow-worm carrying "her love-torch" emphasizes the poem's theme: this landscape is alive with desire and energy, rather than sorrow.

  5. A most gentle Maid, / Who dwelleth in her hospitable home

    Editor's note

    A young woman — probably a blend of different ideals — is presented as someone deeply familiar with the songs of nightingales. She observes the moon coming out from behind a cloud, which prompts an immediate chorus from the birds, likened to a hundred harps played by a strong wind. One of the most striking images in the poem is a nightingale perched on a swaying twig, adjusting its song to the movement "like tipsy Joy." Here, Joy feels tangible, a bit wobbly, and entirely carefree.

  6. Farewell, O Warbler! till to-morrow eve, / And you, my friends! farewell, a short farewell!

    Editor's note

    The poem ends with the group making their way home, but Coleridge reflects on a memory of his young son, Hartley. When the baby woke up crying at night, Coleridge took him outside to the orchard. The sight of the moon calmed the child's cries and brought out his laughter. This simple, domestic moment serves as the emotional heart of the poem: nature's joy isn't just an idea; it's something even a small child can sense. Coleridge's hope that his son will grow up "familiar with these songs" suggests he wants him to connect the night with happiness, not fear, providing a quiet, hopeful conclusion to the poem.

§04Tone & mood

How this poem feels

The tone is warm, conversational, and gently persuasive. Coleridge comes across as someone who has just had an important thought and is eager to share it with trusted friends. You can feel his affection for his friends, his joy in the natural details, and his tenderness in the closing scene with his son. The poem doesn’t turn serious or preachy — even when Coleridge critiques other poets, he does so with a sense of fond exasperation rather than disdain.

§05Symbols & metaphors

Symbols & metaphors

The Nightingale
The nightingale is the main symbol in the poem, yet Coleridge's key message is to *challenge* its usual symbolic meaning. Traditionally, the bird represents melancholy and loss, a concept stemming from the Greek myth of Philomela. Coleridge reinterprets it as a symbol of natural joy, erotic energy, and emotional abundance — it sings not out of sorrow, but because it is brimming with life.
The Moon
The moon shows up twice at important moments: it starts the nightingales' song in the grove, and it comforts Coleridge's crying baby. In each instance, it bridges the gap between humans and nature, serving as a force that brings life rather than sorrow. When it emerges from behind a cloud, it creates a little moment of revelation.
The Neglected Grove
The wild, overgrown grove near the uninhabited castle shows nature at its most vibrant when left to its own devices. The broken paths and tangled underbrush aren’t signs of decay; they indicate abundance. The presence of *more* nightingales here than anywhere else highlights the idea: nature flourishes when it’s undisturbed by humans.
The Infant Hartley
Coleridge's infant son symbolizes the potential for a new type of human — one who is brought up to experience joy in nature instead of projecting sadness onto it. The child's laughter in response to the moon, rather than tears, demonstrates that the connection Coleridge advocates for is not something learned; it's instinctual and can be either nurtured or diminished based on how a child is raised.
The Mossy Bridge
The bridge where the friends stop at the start of the poem serves as a threshold — marking the boundary between day and night, the human world and nature, and movement and stillness. It represents the physical setting for the "conversation" promised in the subtitle, and its mossy, weathered appearance hints at its connection to both human and natural realms.

§06Historical context

Historical context

Coleridge wrote this poem in April 1798, the same month he and Wordsworth were deeply engaged in creating *Lyrical Ballads*, the collection that would kickstart English Romanticism. The poem is directed toward Wordsworth ("My Friend") and Dorothy Wordsworth ("our Sister"), and the grove near the castle is believed to be Alfoxden Park in Somerset, where the Wordsworths were residing. Coleridge labeled the poem "A Conversation Poem," which places it among a select group of his meditative blank-verse works (like "Frost at Midnight" and "This Lime-Tree Bower My Prison") that transition from a specific scene to philosophical contemplation and back to personal emotion. His argument against the "melancholy nightingale" directly challenges the Miltonic and Petrarchan traditions that Coleridge and Wordsworth aimed to move away from, favoring poetry grounded in the direct experience of nature.

§07FAQ

Questions readers ask

He suggests that nature doesn't have emotions by itself — it's humans who *impose* their feelings onto it. The nightingale's song is simply a song; labeling it "melancholy" reveals more about the listener than the bird. This concept (projecting your own emotions onto nature) is what later critics referred to as the **pathetic fallacy**, and Coleridge was among the first poets to clearly identify it as a misunderstanding.

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