Depressed, discouraged, even mulling suicide, Keats ruminates on the melodious happiness of a nightingale. He finds short-lived solace from the woes of the world – even inspiration to carry on – from the chill bleakness when the bird Singest of summer in full-throated ease. But Keats can’t be sure he didn’t imagine the reprieve of happiness. The poem suggests other implications of Birds.
The preceding sections cover multiple aspects of Birds elicited from four works of art: Claude Monet’s The Magpie, a poem by John Keats, Ode to a Nightingale, a rock song’s metaphor for a wanderlust male, and a movie’s terrifying strafings by vicious birds. Here are additional thoughts about the theme of Birds that don’t associate closely with any of those works.
A young man explains his leaving a girlfriend, and exults in his choice, by invoking the image of a bird unfettered to come and go as it pleases. He can’t help himself, he suggests, and he can’t change his behavior because, like a bird, he is destined to flit off to other places, other experiences, other women. What else does this song suggest about Birds?
The fright of this cinematic horror movie by director Alfred Hitchcock is birds run amok. Flocks of crows, seagulls and other birds descend en masse and slash at the frightened Tippi Hedren and other actors (Jessica Tandy, Rod Taylor). Nature red in tooth and claw descends on the small coastal village, and the movie suggests various concepts about Birds.
Still and alone, perched above a snowy field on a gate formed in a wattle fence, sits a large, black magpie (with a blue belly). The solitary bird mesmerizes viewers of Monet’s snowscape, once they notice it, and brings to mind a number of associations with Birds.