The Common Nightingale or simply Nightingale (Luscinia megarhynchos), also known as Rufous Nightingale, is a small passerine bird that 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.
Description[edit source | edit]
The Common Nightingale is slightly larger than the European Robin, at 15–16.5 cm (5.9–6.5 in) length. It is plain brown above except for the reddish tail. It is buff to white below. Sexes are similar. The eastern subspecies L. m. hafizi and L. m. africana have paler upperparts and a stronger face-pattern, including a pale supercilium. The song of the Nightingale has been described as one of the most beautiful sounds in nature, inspiring songs, fairy tales, opera, books, and a great deal of poetry.
Distribution and habitat[edit source | edit]
It is a migratory insectivorous species breeding in forest and scrub in Europe and south-west Asia, but is not found naturally in the Americas. The distribution is more southerly than the very closely related Thrush Nightingale Luscinia luscinia. It nests on the ground within or next to dense bushes. It winters in southern Africa. At least in the Rhineland (Germany), the breeding habitat of nightingales agrees with a number of geographical parameters.
- less than 400 m (1300 ft) above mean sea level
- mean air temperature during the growing season above 14 °C (57 °F)
- more than 20 days/year on which temperatures exceed 25 °C (77 °F)
- annual precipitation less than 750mm
- aridity index lower than 0.35
- no closed canopy
Behaviour and ecology[edit source | edit]
|This section does not cite any references or sources. (August 2013)|
Common Nightingales are named so because they frequently sing at night as well as during the day. The name has been used for well over 1,000 years, being highly recognizable even in its Anglo-Saxon form – 'nightingale'. It means 'night songstress'. Early writers assumed the female sang when it is in fact the male. The song is loud, with an impressive range of whistles, trills and gurgles. Its song is particularly noticeable at night because few other birds are singing. This is why its name includes "night" in several languages. Only unpaired males sing regularly at night, and nocturnal song is likely to serve to attract a mate. Singing at dawn, during the hour before sunrise, is assumed to be important in defending the bird's territory. Nightingales sing even more loudly in urban or near-urban environments, in order to overcome the background noise. The most 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 nightingale is commonly seen and heard in the English countryside and is thought[by whom?] to have a large breeding ground in south country of England.
Relationship with humans[edit source | edit]
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, imitated and altered by later poets, including Chrétien de Troyes, Geoffrey Chaucer, John Gower, and George Gascoigne. T.S. Eliot's "The Waste Land" also evokes the Common Nightingale's song (and the myth of Philomela and Procne). Because of the violence associated with the myth, the nightingale's song was long interpreted as a lament.
The Common Nightingale has also been used as a symbol of poets or their poetry. Poets chose the nightingale as a symbol because of its creative and seemingly spontaneous song. Aristophanes's Birds and Callimachus both evoke the bird's song as a form of poetry. Virgil compares the mourning of Orpheus to the “lament of the nightingale”.
In Sonnet 102 Shakespeare compares his love poetry to the song of the Common Nightingale (Philomel):
- "Our love was new, and then but in the spring,
- When I was wont to greet it with my lays;
- As Philomel in summer's front doth sing,
- And stops his pipe in growth of riper days:"
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. Coleridge 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":
- "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 musician, who feel that they are moved and softened, yet know not whence or why.”
Cultural depictions[edit source | edit]
- The Aēdōn (Ancient Greek: Ἀηδών, "Nightingale") is a minor character in Aristophanes's 414 BC Attic comedy The Birds.
- The love of the nightingale for the rose is widely used, often metaphorically, in Persian literature.
- "The Owl and the Nightingale" (12th or 13th century) is a Middle English poem about an argument between these two birds.
- John Milton's sonnet "To the Nightingale" (1632–33) contrasts the symbolism of the nightingale as a bird for lovers, with the cuckoo as the bird that called when wives were unfaithful to (or "cuckolded") their husbands.
- Samuel Taylor Coleridge's "The Nightingale: A Conversation Poem", printed in 1798, disputes the traditional idea that nightingales are connected to the idea of melancholy.
- Ludwig van Beethoven's Symphony No. 6 (1808), the "Pastoral Symphony", includes in its second movement flute imitations of nightingale calls.
- John Keats's "Ode to a Nightingale" (1819) was described by Edmund Clarence Stedman as "one of our shorter English lyrics that still seems to me... the nearest to perfection, the one I would surrender last of all" and by Algernon Charles Swinburne as "one of the final masterpieces of human work in all time and for all ages".
- The beauty of the nightingale's song is a theme in Hans Christian Andersen's story "The Nightingale" from 1843.
- A recording of nightingale song is included, as directed by the score, in "The Pines of Janiculum", the third movement of Ottorino Respighi's 1924 symphonic poem "Pines of Rome" (Pini di Roma).
- Igor Stravinsky based his first opera, The Nightingale (1914), on the Hans Christian Andersen story and later prepared a symphonic poem, The Song of the Nightingale (1917), using music from the opera.
- In 1915, Joseph Lamb wrote a rag called "Ragtime Nightingale" that was intended to imitate the nightingale calls.
- "A Nightingale Sang in Berkeley Square" (1939) was one of the most popular songs in Britain during World War II.
- A nightingale is depicted on the reverse of the Croatian 1 kuna coin, minted since 1993.
References[edit source | edit]
- BirdLife International (2012). "Luscinia megarhynchos". IUCN Red List of Threatened Species. Version 2012.1. International Union for Conservation of Nature. Retrieved 16 July 2012.
- British Library Sound Archive. British wildlife recordings: Nightingale, accessed 29 May 2013
- Maxwell, Catherine. "The Female Sublime from Milton to Swinburne: Bearing Blindness", Manchester University Press, 2001, pp. 26–29 ISBN 0719057523
- (German) Wink, Michael (1973): " Die Verbreitung der Nachtigall (Luscinia megarhynchos) im Rheinland". Charadrius 9(2/3): 65-80. (PDF)
- Salisbury, Joyce E. (2001), Women in the ancient world, ABC-CLIO, p. 276, ISBN 978-1-57607-092-5
- Chandler, Albert R. (1934), "The Nightingale in Greek and Latin Poetry", The Classic Journal (The Classical Association of the Middle West and South, Inc.) XXX (2): 78–84
- Eliot, T.S. (1964), The Waste Land and Other Poems (Signet Classic ed.), New York, NY: Penguin Group, pp. 32–59, ISBN 978-0-451-52684-7
- Shippey, Thomas (1970), "Listening to the Nightingale", Comparative Literature (Duke University Press) XXII (1): 46–60
- Doggett, Frank (1974), "Romanticism's Singing Bird", Studies in English Literature 1500-1900 (Rice University) XIV (4): 568
- Doggett, Frank (1974), "Romanticism's Singing Bird", Studies in English Literature 1500-1900 (Rice University) XIV (4): 570
- Bysshe Shelley, Percy (1903), A Defense of Poetry, Boston, MA: Ginn & Company, p. 11
- "The Rose and nightingale in Persian literature". Archived from the original on 2008-01-22.
- Stedman, Edmund C. (1884), "Keats", The Century, XXVII: 600
- Swinburne, Algernon Charles (1886), "Keats", Miscellanies, New York: Worthington Company, p. 221, retrieved 2008-10-08. Reprinted from the Encyclopædia Britannica.
- The Nightingale
- Ragtime Nightingale
- 1 Kuna Coin. – Retrieved on 31 March 2009.