Introduction: “The Frog and the Nightingale” by Vikram Seth
“The Frog and the Nightingale” by Vikram Seth first appeared in Beastly Tales from Here and There (1991), a collection of fables told in verse. This poem blends humor, satire, and morality, portraying the manipulative relationship between a boastful frog and a talented but naïve nightingale. Central to the poem are themes of exploitation, self-doubt, the pursuit of recognition, and the corrupting influence of external validation. Its universal appeal lies in its layered narrative, relatable moral lessons, and Seth’s mastery of rhythmic storytelling. This makes it a popular choice as a textbook poem, appreciated for its vivid imagery, accessible language, and timeless message on the importance of individuality and resilience against negative influences.
Text: “The Frog and the Nightingale” by Vikram Seth
Once upon a time a frog
Croaked away in Bingle Bog
Every night from dusk to dawn
He croaked awn and awn and awn
Other creatures loathed his voice,
But, alas, they had no choice,
And the crass cacophony
Blared out from the sumac tree
At whose foot the frog each night
Minstrelled on till morning night
Neither stones nor prayers nor sticks.
Insults or complaints or bricks
Stilled the frogs determination
To display his heart’s elation.
But one night a nightingale
In the moonlight cold and pale
Perched upon the sumac tree
Casting forth her melody
Dumbstruck sat the gaping frog
And the whole admiring bog
Stared towards the sumac, rapt,
And, when she had ended, clapped,
Ducks had swum and herons waded
To her as she serenaded
And a solitary loon
Wept, beneath the summer moon.
Toads and teals and tiddlers, captured
By her voice, cheered on, enraptured:
“Bravo! ” “Too divine! ” “Encore! “
So the nightingale once more,
Quite unused to such applause,
Sang till dawn without a pause.
Next night when the Nightingale
Shook her head and twitched her tail,
Closed an eye and fluffed a wing
And had cleared her throat to sing
She was startled by a croak.
“Sorry – was that you who spoke? “
She enquired when the frog
Hopped towards her from the bog.
“Yes,” the frog replied. “You see,
I’m the frog who owns this tree
In this bog I’ve long been known
For my splendid baritone
And, of course, I wield my pen
For Bog Trumpet now and then”
“Did you… did you like my song? “
“Not too bad – but far too long.
The technique was fine of course,
But it lacked a certain force”.
“Oh! ” the nightingale confessed.
Greatly flattered and impressed
That a critic of such note
Had discussed her art and throat:
“I don’t think the song’s divine.
But – oh, well – at least it’s mine”.
“That’s not much to boast about”.
Said the heartless frog. “Without
Proper training such as I
– And few others can supply.
You’ll remain a mere beginner.
But with me you’ll be a winner”
“Dearest frog”, the nightingale
Breathed: “This is a fairy tale –
And you are Mozart in disguise
Come to earth before my eyes”.
“Well I charge a modest fee.”
“Oh! ” “But it won’t hurt, you’ll see”
Now the nightingale inspired,
Flushed with confidence, and fired
With both art and adoration,
Sang – and was a huge sensation.
Animals for miles around
Flocked towards the magic sound,
And the frog with great precision
Counted heads and charged admission.
Though next morning it was raining,
He began her vocal training.
“But I can’t sing in this weather”
“Come my dear – we’ll sing together.
Just put on your scarf and sash,
Koo-oh-ah! ko-ash! ko-ash! “
So the frog and nightingale
Journeyed up and down the scale
For six hours, till she was shivering
and her voice was hoarse and quivering.
Though subdued and sleep deprived,
In the night her throat revived,
And the sumac tree was bowed,
With a breathless, titled crowd:
Owl of Sandwich, Duck of Kent,
Mallard and Milady Trent,
Martin Cardinal Mephisto,
And the Coot of Monte Cristo,
Ladies with tiaras glittering
In the interval sat twittering –
And the frog observed them glitter
With a joy both sweet and bitter.
Every day the frog who’d sold her
Songs for silver tried to scold her:
“You must practice even longer
Till your voice, like mine grows stronger.
In the second song last night
You got nervous in mid-flight.
And, my dear, lay on more trills:
Audiences enjoy such frills.
You must make your public happier:
Give them something sharper snappier.
We must aim for better billings.
You still owe me sixty shillings.”
Day by day the nightingale
Grew more sorrowful and pale.
Night on night her tired song
Zipped and trilled and bounced along,
Till the birds and beasts grew tired
At a voice so uninspired
And the ticket office gross
Crashed, and she grew more morose –
For her ears were now addicted
To applause quite unrestricted,
And to sing into the night
All alone gave no delight.
Now the frog puffed up with rage.
“Brainless bird – you’re on the stage –
Use your wits and follow fashion.
Puff your lungs out with your passion.”
Trembling, terrified to fail,
Blind with tears, the nightingale
Heard him out in silence, tried,
Puffed up, burst a vein, and died.
Said the frog: “I tried to teach her,
But she was a stupid creature –
Far too nervous, far too tense.
Far too prone to influence.
Well, poor bird – she should have known
That your song must be your own.
That’s why I sing with panache:
“Koo-oh-ah! ko-ash! ko-ash! “
And the foghorn of the frog
Blared unrivalled through the bog.
Annotations: “The Frog and the Nightingale” by Vikram Seth
| Stanza | Annotation |
| 1. Once upon a time a frog / Croaked away in Bingle Bog / Every night from dusk to dawn / He croaked awn… | Introduces the frog as an annoying, persistent singer in Bingle Bog. The wordplay with “awn and awn” emphasizes the monotony of his croaking. Despite his unpleasant voice, the other creatures have no choice but to endure it, establishing the setting and the frog’s dominant position. |
| 2. Neither stones nor prayers nor sticks / Insults or complaints or bricks / Stilled the frogs determination… | Describes the resilience and audacity of the frog. He continues to croak despite widespread dislike and resistance. This highlights his stubborn nature and sets up his characterization as overconfident and self-centered. |
| 3. But one night a nightingale / In the moonlight cold and pale / Perched upon the sumac tree… | Introduces the nightingale, whose melodious singing contrasts sharply with the frog’s croaking. The imagery of the moonlight enhances the ethereal quality of her voice, capturing the attention of the bog’s inhabitants. |
| 4. Dumbstruck sat the gaping frog / And the whole admiring bog / Stared towards the sumac, rapt… | Highlights the nightingale’s immediate impact on the bog’s creatures. Even the frog, usually indifferent to others, is mesmerized. The reaction of the bog residents shows the universal appeal of her talent and creates an emotional high point. |
| 5. Ducks had swum and herons waded / To her as she serenaded… | Depicts the immense admiration and attraction the nightingale’s singing garners. The imagery of animals flocking to hear her shows the magnetic quality of her voice and contrasts with the frog’s previous dominance in the bog. |
| 6. Next night when the Nightingale / Shook her head and twitched her tail… | Marks the beginning of the frog’s manipulation. The frog interrupts her with a critique, showing his intent to control her through his supposed expertise. His inflated self-importance is evident as he claims ownership of the tree and a prominent artistic reputation. |
| 7. “Did you… did you like my song?” / “Not too bad – but far too long…” | The frog belittles the nightingale’s talent, planting seeds of self-doubt in her mind. This moment establishes the power imbalance and sets up the exploitative relationship that will follow. |
| 8. “Proper training such as I / And few others can supply…” | The frog offers to train the nightingale, exploiting her innocence and admiration for him. His self-proclaimed expertise and her naïve trust reveal her vulnerability to his manipulation. |
| 9. “Well I charge a modest fee.” / “Oh!” “But it won’t hurt, you’ll see” | The frog introduces a financial element, emphasizing his opportunistic nature. The nightingale, flattered and eager to improve, agrees, unaware of the consequences. |
| 10. Now the nightingale inspired, / Flushed with confidence… | Describes the nightingale’s initial success under the frog’s “training.” Her natural talent, amplified by her newfound confidence, draws widespread admiration, benefiting the frog financially. |
| 11. Though next morning it was raining, / He began her vocal training… | The frog’s relentless training schedule disregards the nightingale’s well-being. His focus is on profit, not artistry, as he forces her to sing in unfavorable conditions. |
| 12. And the sumac tree was bowed / With a breathless, titled crowd… | Portrays the nightingale’s continued popularity but foreshadows her decline. The elaborate descriptions of the audience underline the pressure and expectations she faces, contributing to her eventual burnout. |
| 13. Every day the frog who’d sold her / Songs for silver tried to scold her… | The frog criticizes and overworks the nightingale, eroding her confidence. His greed and manipulation become more apparent as her natural creativity is stifled. |
| 14. Day by day the nightingale / Grew more sorrowful and pale… | Depicts the nightingale’s decline due to overexertion and loss of joy in her art. The emotional toll of the frog’s exploitation becomes evident, leading to her eventual collapse. |
| 15. Now the frog puffed up with rage. / “Brainless bird – you’re on the stage…” | The frog’s anger and cruelty surface as he berates the nightingale. His criticism reflects his lack of empathy and reinforces the destructive nature of their relationship. |
| 16. Trembling, terrified to fail, / Blind with tears, the nightingale… | The nightingale’s final attempt to meet the frog’s impossible standards ends tragically. Her physical and emotional collapse highlights the devastating effects of the frog’s exploitation. |
| 17. Said the frog: “I tried to teach her, / But she was a stupid creature…” | The frog shows no remorse, blaming the nightingale for her demise. His arrogance and lack of accountability underscore his selfish and manipulative character. |
| 18. That’s why I sing with panache: / “Koo-oh-ah! ko-ash! ko-ash!” | The frog reasserts his dominance in the bog, undeterred by the nightingale’s fate. His triumphant croaking reflects his unchecked ego and the cycle of exploitation. |
Literary And Poetic Devices: “The Frog and the Nightingale” by Vikram Seth
| Device | Example | Explanation |
| Alliteration | “Flushed with confidence, and fired” | Repetition of the initial consonant sounds (“f”) emphasizes the nightingale’s excitement and enthusiasm. |
| Allegory | The entire poem | The poem serves as an allegory, depicting societal exploitation, the corrupting influence of greed, and the dangers of losing individuality. |
| Allusion | “Mozart in disguise” | Refers to the famous composer Mozart, highlighting the nightingale’s awe of the frog’s self-proclaimed musical expertise. |
| Anthropomorphism | The frog and nightingale talk, sing, and manipulate | Animals are given human traits such as speech, emotions, and social interactions, making the narrative relatable and engaging. |
| Assonance | “In the moonlight cold and pale” | Repetition of vowel sounds (“o” and “a”) creates a melodic rhythm, mirroring the nightingale’s song. |
| Cacophony | “Croaked awn and awn and awn” | Harsh, jarring sounds emphasize the unpleasantness of the frog’s voice, contrasting with the nightingale’s melodious singing. |
| Contrast | The frog’s croaking vs. the nightingale’s singing | Highlights the stark differences between the two characters, symbolizing mediocrity vs. talent and arrogance vs. humility. |
| Dialogue | “Did you… did you like my song?” / “Not too bad – but far too long.” | Builds character interaction and develops the plot by showcasing the frog’s manipulation and the nightingale’s naïveté. |
| Enjambment | “And the crass cacophony / Blared out from the sumac tree” | Lines run over without pause, creating a natural flow and mimicking the continuity of the frog’s incessant croaking. |
| Euphemism | “A modest fee” | The frog uses a mild term to mask his greed and exploitative intentions. |
| Hyperbole | “The sumac tree was bowed / With a breathless, titled crowd” | Exaggerates the audience’s admiration for the nightingale to emphasize her temporary success and the pressure she feels. |
| Imagery | “In the moonlight cold and pale” | Vivid description appeals to the senses, enhancing the ethereal beauty of the nightingale’s song. |
| Irony | “Proper training such as I… You’ll remain a mere beginner.” | The frog, an untalented croaker, ironically claims to be a superior trainer for the highly talented nightingale. |
| Metaphor | “And the foghorn of the frog / Blared unrivalled through the bog” | The frog’s voice is compared to a foghorn, emphasizing its harshness and dominance over the bog. |
| Mood | Admiration, followed by tension, and then despair | The poem begins with awe for the nightingale, shifts to unease as the frog manipulates her, and ends with tragedy after her death. |
| Onomatopoeia | “Koo-oh-ah! ko-ash! ko-ash!” | The sound of the frog’s croaking is mimicked to enhance its auditory impact. |
| Personification | “Ducks had swum and herons waded / To her as she serenaded” | Assigning human traits to animals (listening to and appreciating music) creates a magical and engaging narrative. |
| Rhyme Scheme | AABBCC | The consistent rhyme scheme throughout the poem creates rhythm and helps maintain the fable-like quality of the narrative. |
| Satire | The frog’s critique and training methods | Mocks the self-proclaimed expertise of mediocre individuals who exploit true talent, reflecting real-world societal flaws. |
| Symbolism | The sumac tree | Symbolizes the platform of art and expression, where power dynamics and exploitation play out. |
Themes: “The Frog and the Nightingale” by Vikram Seth
- Exploitation and Manipulation
The central theme of the poem is the exploitation of the nightingale by the frog. The frog, envious of the nightingale’s natural talent, manipulates her into believing she requires his guidance. He exploits her innocence and desire for approval, as seen when he claims, “With me you’ll be a winner” and imposes grueling training on her. The nightingale’s eventual demise highlights the consequences of trusting manipulative individuals who prioritize personal gain over others’ well-being. - Loss of Individuality
The nightingale’s tragic downfall stems from her loss of individuality under the frog’s influence. Initially, her unique, melodious singing captivates the bog: “Ducks had swum and herons waded / To her as she serenaded.” However, as she conforms to the frog’s demands for “sharper, snappier” songs, her originality fades, and her once-enchanting voice becomes uninspired: “At a voice so uninspired / And the ticket office gross / Crashed.” The poem warns against sacrificing one’s identity to meet others’ expectations. - The Corrupting Influence of External Validation
The nightingale’s growing dependence on applause and recognition contributes to her downfall. Initially, she is content singing for herself, but the bog’s praise intoxicates her: “Her ears were now addicted / To applause quite unrestricted.” When the frog criticizes her performance, her confidence deteriorates, and she becomes desperate to reclaim her audience’s admiration. The poem critiques the pursuit of external validation at the expense of inner fulfillment. - Mediocrity vs. True Talent
The stark contrast between the frog’s mediocrity and the nightingale’s natural talent underscores the theme of envy and false superiority. Despite being a “crass cacophony,” the frog dominates the bog, using his authority to suppress the nightingale’s talent. His claim, “I’m the frog who owns this tree,” symbolizes how mediocrity often uses power and manipulation to overshadow genuine brilliance. The poem reflects societal dynamics where talent is overshadowed by self-serving opportunists.
Literary Theories and “The Frog and the Nightingale” by Vikram Seth
| Literary Theory | Application to the Poem | References from the Poem |
| Marxist Theory | Examines class dynamics, power struggles, and exploitation. The frog represents the dominant elite, using his position to exploit the nightingale, a symbol of the working class or natural talent. His manipulation and greed mirror societal systems where the powerful exploit the vulnerable for profit. | “With me you’ll be a winner” and “He began her vocal training… till she was shivering and her voice was hoarse.” The frog’s control over the nightingale’s labor parallels class exploitation. |
| Feminist Theory | Highlights gendered exploitation and the dynamics of power. The nightingale’s vulnerability and subjugation under the male frog can be interpreted as a critique of patriarchal systems where women’s talents are exploited and undervalued. The frog’s dominance reflects gendered power imbalances, and the nightingale’s eventual destruction symbolizes the suppression of female agency. | “Brainless bird—you’re on the stage—Use your wits and follow fashion.” The frog’s dismissive tone and control over the nightingale’s creativity signify gender-based subjugation. |
| Psychoanalytic Theory | Focuses on the unconscious desires, fears, and emotions of the characters. The nightingale’s craving for approval and fear of failure stem from her lack of self-confidence, manipulated by the frog’s critique. The frog’s egoistic behavior reflects his insecurities masked by arrogance and control, highlighting psychological dynamics of dependency and domination. | “Her ears were now addicted / To applause quite unrestricted.” The nightingale’s psychological need for validation drives her to exhaustion and collapse. |
| Postcolonial Theory | Interprets the frog as a colonizer who imposes his own ideas and culture on the nightingale, a metaphor for a colonized subject. The frog’s critique of her singing style and insistence on “proper training” symbolize how colonial powers devalue native talents and enforce conformity to their standards, ultimately leading to the destruction of the colonized. | “The technique was fine of course, / But it lacked a certain force.” The frog devalues the nightingale’s natural ability, imposing his own standards of art and performance. |
Critical Questions about “The Frog and the Nightingale” by Vikram Seth
1. What does the poem suggest about the dangers of seeking external validation over self-acceptance?
The poem critiques the nightingale’s dependence on external validation, which ultimately leads to her downfall. Initially, she sings for the joy of expression, captivating the bog with her natural talent: “Dumbstruck sat the gaping frog / And the whole admiring bog.” However, the nightingale becomes addicted to the applause and approval of her audience: “Her ears were now addicted / To applause quite unrestricted.” This dependency makes her vulnerable to the frog’s manipulation, as he convinces her that she needs his training to maintain her popularity. By sacrificing her individuality and succumbing to the frog’s demands, she loses the essence of her talent and the joy of creation. The poem warns against prioritizing external validation over self-acceptance, as the nightingale’s desire to please others ultimately costs her her life.
2. How does the poem explore power dynamics and exploitation in relationships?
The relationship between the frog and the nightingale exemplifies a toxic dynamic in which the powerful exploit the vulnerable. The frog, aware of the nightingale’s innocence and desire to improve, manipulates her by positioning himself as an authority: “In this bog I’ve long been known / For my splendid baritone.” He leverages her admiration to extract financial gain: “Counted heads and charged admission.” Despite the nightingale’s talent, the frog maintains control through constant criticism and overwork, breaking her spirit: “Day by day the nightingale / Grew more sorrowful and pale.” The poem reflects real-world scenarios where those in positions of power exploit the creativity, labor, or trust of others for their own benefit, often leaving the exploited depleted and discarded.
3. What does the poem convey about the conflict between mediocrity and genuine talent?
The poem contrasts the mediocrity of the frog with the natural brilliance of the nightingale, critiquing how power often overshadows talent. The frog’s croaking, described as “crass cacophony,” is loathed by the bog’s inhabitants, yet he dominates the space through persistence and arrogance. In contrast, the nightingale’s singing is celebrated as “Too divine! Encore!” Despite her undeniable talent, the frog uses manipulation and deceit to maintain his superiority, ultimately stifling the nightingale’s creativity. The frog’s triumph at the end—“And the foghorn of the frog / Blared unrivalled through the bog”—illustrates how mediocrity, when paired with cunning, can suppress true talent. The poem critiques societal structures that allow such dynamics to prevail, emphasizing the tragedy of lost potential.
4. How does the poem portray the consequences of losing one’s individuality?
The nightingale’s downfall is rooted in her loss of individuality as she succumbs to the frog’s influence. Initially, her unique voice captivates the bog: “Perched upon the sumac tree / Casting forth her melody.” However, under the frog’s constant critique, she alters her style to conform to his expectations: “Audiences enjoy such frills. / You must make your public happier.” This shift robs her of the authenticity that made her special, leaving her voice uninspired and her audience disinterested: “At a voice so uninspired.” The nightingale’s death, a result of overwork and loss of self, underscores the poem’s warning against compromising one’s identity to fit others’ expectations. It highlights the importance of staying true to oneself despite external pressures.
Literary Works Similar to “The Frog and the Nightingale” by Vikram Seth
- “The Grasshopper and the Cricket” by John Keats
Similarity: Like Seth’s poem, this work contrasts two characters to highlight perseverance and artistry, reflecting nature’s role in human emotions. - “Ode to a Nightingale” by John Keats
Similarity: Both poems celebrate the nightingale as a symbol of beauty and artistry, contrasting fleeting joy with enduring creativity. - “The Raven and the Fox” by Jean de La Fontaine
Similarity: A fable in verse, this poem explores themes of manipulation and flattery, akin to the frog’s exploitation of the nightingale. - “The Caged Bird” by Maya Angelou
Similarity: Angelou’s poem mirrors the nightingale’s loss of freedom and joy, emphasizing the stifling effects of external control and oppression. - “The Owl and the Pussycat” by Edward Lear
Similarity: Although whimsical, this poem shares a narrative structure with Seth’s work, blending anthropomorphism and moral undertones in its storytelling.
Representative Quotations of “The Frog and the Nightingale” by Vikram Seth
| Quotation | Context | Theoretical Perspective |
| “Croaked awn and awn and awn” | Describes the frog’s relentless croaking, which dominates the bog despite its unpleasantness. | Mediocrity vs. Talent: Highlights the persistence of mediocrity overshadowing true brilliance. |
| “Dumbstruck sat the gaping frog / And the whole admiring bog” | Shows the nightingale’s enchanting impact on the bog, capturing their attention and admiration. | Psychoanalytic Theory: Reflects the unconscious appeal of beauty and talent to those surrounded by mediocrity. |
| “With me you’ll be a winner” | The frog manipulates the nightingale into believing she needs his guidance to succeed. | Marxist Theory: Symbolizes exploitation by those in power who take advantage of the vulnerable. |
| “Her ears were now addicted / To applause quite unrestricted” | Highlights the nightingale’s growing dependence on external validation and the audience’s approval. | Psychoanalytic Theory: Examines the psychological need for affirmation and its destructive consequences. |
| “Day by day the nightingale / Grew more sorrowful and pale” | Reflects the toll of overwork and criticism on the nightingale, who loses her passion and creativity. | Feminist Theory: Highlights the suppression of female agency and individuality under patriarchal pressure. |
| “Brainless bird – you’re on the stage – Use your wits and follow fashion” | The frog berates the nightingale, demanding she conform to the audience’s expectations to maintain her popularity. | Postcolonial Theory: Critiques the imposition of external standards and the erasure of native or individual expression. |
| “The sumac tree was bowed / With a breathless, titled crowd” | Describes the high expectations placed on the nightingale, symbolizing societal pressure on artists. | Marxist Theory: Represents the commodification of art and its audience-driven demands. |
| “Not too bad – but far too long” | The frog’s initial critique undermines the nightingale’s confidence, setting the stage for his control. | Psychoanalytic Theory: Explores the effect of criticism on self-esteem and creative expression. |
| “That’s why I sing with panache: / Koo-oh-ah! ko-ash! ko-ash!” | The frog boasts of his croaking as he reclaims the bog, symbolizing mediocrity’s triumph over talent. | Satire: Critiques societal systems that allow mediocrity to dominate through manipulation and arrogance. |
| “Her voice was hoarse and quivering” | Reflects the nightingale’s physical and emotional exhaustion after relentless exploitation. | Feminist Theory: Highlights the physical and mental toll of oppressive systems on those they exploit. |
Suggested Readings: “The Frog and the Nightingale” by Vikram Seth
- Seth, Vikram. “The Frog and the Nightingale.” Beastly Tales From Here And There (2010): 63-67.
- Mohanty, Seemita. A Critical Analysis of Vikram Seth’s Poetry and Fiction. Atlantic Publishers & Dist, 2007.
- Rajan, Rajeswari Sunder. “After ‘Midnight’s Children’: Some Notes on the New Indian Novel in English.” Social Research, vol. 78, no. 1, 2011, pp. 203–30. JSTOR, http://www.jstor.org/stable/23347209. Accessed 29 Dec. 2024.
- Scott, Bede. “Reticence: Vikram Seth’s A Suitable Boy.” Affective Disorders: Emotion in Colonial and Postcolonial Literature, Liverpool University Press, 2019, pp. 55–78. JSTOR, https://doi.org/10.2307/j.ctvt6rj7f.6. Accessed 29 Dec. 2024.
- Meer, Ameena, and Vikram Seth. “Vikram Seth.” BOMB, no. 33, 1990, pp. 18–20. JSTOR, http://www.jstor.org/stable/40424064. Accessed 29 Dec. 2024.