The Silent Forest Amidst the Noise of Jets

It’s easy to forget that this whole ChatGPT/“The Darkling Thrush” thing started with a simple nod of the head to McNulty’s Ascendance, a book that I could easily identify with, one that helped remind me how I feel about Nature, and the Olympics, in particular.  

Originally, I was going to include a different second poem called Breath that ends with: “Timeless beauty and human grief/between these poles/the world’s suffering wakes anew/with each striking sunrise.”

However, after all the long-winded discussion following my comments on McNulty’s “Varied Thrush Calling in Autumn,” somehow it seems appropriate to circle back and mention this McNulty poem, which complements the one previously posted.  

DECEPTION PASS BEFORE THE BOMBS FALL 

Navy jets strafing the heavens, 

the trees gather small intermittent silence

into themselves. 

I walk out through wet winter brush. 

I stop to listen to the story of a leaning cedar 

as it folds its bark over an ancient burn. 

Along charred heartwood 

I feel the rough burnt edge of old bark, 

the burgeoning growth of healthy sapwood, 

as a fighter jet splits the sky. 

Into the leaf’s-breadth of silence 

that follows, a winter wren utters 

Its clear, ebullient song. 

Its notes pierce the darkness of war-noise 

like a blossom of light, resplendent 

with an ounce and a half of hope. 

A digital collage featuring contrasting scenes: two fighter jets emitting fire and smoke in the sky, a close-up of a textured tree trunk, a picturesque river and bridge landscape, and a singing bird surrounded by musical notes and a glowing aura.

Although I’ve been in that area once or twice, I didn’t remember it clearly so I looked it up in Google: “Deception Pass State Park, Washington’s most visited state park, features accessible, stunning old-growth forests, particularly in the Hoypus Point and Hoypus Hill areas of Whidbey Island. These, sometimes 700-850+ year-old, Douglas-fir and cedar forests offer miles of hiking trails, providing a rare, low-elevation, and easily accessible glimpse into the region’s ancient, pre-settlement ecosystems.” 

The Whidbey Island Naval Station is just south of the area.  I’ve only driven by it once or twice, but I remember thinking the Naval Base seemed strangely out of place so near these old-growth forests.  

The poem seems balanced on that incongruity – the stillness of the ancient forest blasted with the sound of jets taking off and landing.  

Of course, it’s probably not literally true that “trees gather small intermittent silence/into themselves,” but they do block most noise, and the Pacific Northwest rainforests seem to do a particularly good job of doing that. 

Perhaps that silence is what makes hiking in the forest so meditative and allows us to notice things we miss when we are distracted by the chatter going on in our heads.  Luckily, I’ve never encountered the kind of jet noise McNulty describes here while hiking in PNW forests, but I’m often distracted by the sound of passenger jets flying over while hiking Mt. Rainier or other Cascade hikes.  There seems to be no place where you can totally avoid human noise pollution.

Luckily, that cacophony doesn’t manage to entirely drown out the elegant Winter Wrens’ song, a song offering hope that man’s destruction won’t destroy Nature, that we, like the “leaning cedar as it folds its bark over an ancient burn,” will be able to restore what our bombs have destroyed.

Unfortunately, our current bombing of Iran barely leaves us “with an ounce and a half of hope.”

Debating Poetry Interpretation with Chat GPT

If we don’t accept the concept that philosophically Thomas Hardy was a Pessimist and, instead, accept him as a Realist, or even as an Ameliorist, as he claimed he was, it seems reasonable to argue that despite the bleak world he saw in front of him, the Thrush’s song offered some hope even to the narrator.

I see the Thrush’s song as a contrast to the morbid scenario described in the first two stanzas.  

At once a voice arose among

      The bleak twigs overhead

In a full-hearted evensong

      Of joy illimited;

An aged thrush, frail, gaunt, and small,

      In blast-beruffled plume,

Had chosen thus to fling his soul

      Upon the growing gloom.

Perhaps the narrator feels the song is ill-suited to the moment, that it is too joyous; how can it be“illimited” on a day like this?  It is, after all, winter, and birds are much less apt to sing in the Winter than they are in Spring when they are trying to attract a mate or claim a territory.  

Still, there is something impressive about a “frail, gaunt, and small” thrush that has obviously suffered through several winters, refusing to give up.  

So little cause for carolings

      Of such ecstatic sound

Was written on terrestrial things

      Afar or nigh -round,

That I could think there trembled through

      His happy good-night air

Some blessed Hope, whereof he knew

      And I was unaware.

The narrator doesn’t accept this sign of hope blindly. Instead, he hears the message of the song not as a sign of “joy illimited,” but as a message of hope, trembling, full of anxiety or despair.

I spent days trying to convince ChatGPT that this was the correct interpretation.  I even went back and discussed Hardy’s novels, particularly Jude the Obscure, and all I could get it to admit was that Hardy was a great writer.  

Finally,I decided to treat this as a debate and asked: How do those who argue that the Thrush’s song is, indeed, a sign of hope that this too will pass support their argument? This is ChatGBT’s response: 

Those who read the thrush as a genuine sign that “this too will pass” build their case on several textual and contextual elements. Their argument is not naïve optimism; it is typically grounded in structure, diction, seasonal symbolism, and poetic tradition.

Here is how that case is usually constructed.

First, the seasonal framework implies renewal. The poem takes place at the end of the year—December 31, 1900. Winter imagery dominates, but winter in pastoral and literary tradition is rarely terminal; it is cyclical. “The ancient pulse of germ and birth” may appear “shrunken hard and dry,” but the very word “germ” implies latent life. Advocates of the hopeful reading argue that Hardy is describing dormancy, not extinction. The thrush’s song anticipates spring before it is visible.

Second, the song interrupts despair structurally. The first two stanzas accumulate images of death, sterility, and historical exhaustion. Then, abruptly:

“At once a voice arose…”

The tonal shift is decisive. The poem does not gradually warm; hope breaks in. Supporters argue that this structural turn signals more than biological noise—it signals counterpoint. The thrush’s “full-hearted evensong / Of joy illimited” directly contradicts the speaker’s emotional state. The energy of the language—“full-hearted,” “illimited”—is excessive compared to the restraint elsewhere in the poem. That surplus suggests authentic vitality.

Third, the capitalization of “Hope” is treated as evidence. By capitalizing “Hope,” Hardy invokes the theological virtue. Those arguing for a hopeful interpretation suggest he would not elevate the word unless he meant to grant it ontological weight. “Some blessed Hope” echoes Christian eschatological language: the idea that historical suffering precedes renewal. The thrush’s evensong aligns with liturgical evening prayer—traditionally a moment of trust before darkness.

Fourth, the bird’s age strengthens the hopeful case rather than weakening it. The thrush is “aged, frail, gaunt, and small.” Yet it sings ecstatically. That contrast supports an interpretation of resilient endurance. If even this diminished creature can produce “joy illimited,” then vitality persists despite visible decline. The frailty becomes emblematic of survival through adversity.

Fifth, Hardy’s phrasing leaves room for belief. The speaker says:

“I could think there trembled through

His happy good-night air

Some blessed Hope…”

Defenders of hope emphasize “trembled through.” The verb suggests something real, though subtle. The speaker may not possess the hope, but he does not dismiss it. He acknowledges the possibility of knowledge beyond his awareness. That epistemic humility opens space for hope rather than closing it.

Sixth, Hardy’s broader oeuvre includes moments of muted persistence. While often labeled pessimistic, Hardy frequently depicts endurance rather than annihilation. The hopeful reading places this poem within that pattern: not triumph, but continuity.

In summary, the pro-hope argument rests on cyclical seasonality, structural contrast, theological diction, resilient vitality, and the poem’s refusal to negate the possibility of transcendence. The thrush does not convert the speaker—but it introduces a credible alternative to despair. Whether that alternative is metaphysical truth or instinctive persistence is the interpretive divide.Those who read the thrush as a genuine sign that “this too will pass” build their case on several textual and contextual elements. Their argument is not naïve optimism; it is typically grounded in structure, diction, seasonal symbolism, and poetic tradition.

I was a little amazed by ChatGPt’s response because it was almost exactly the reasoning I had used in the many years since I first read the poem.  

This experience suggests that how you ask ChatGPT a question determines the answer you get. There’s not much value in just sending students home with instructions to analyze a paarticular poem if they have access to a computer.  

Teachers, and, thankfully, I’m no longer one, will have to devise new ways to involve their students and how to “grade their work.”  

If I were still teaching, I might ask students why they agree or disagree with the AI’s interpretation of the poem or have them discuss how the poem makes them feel, whether that’s similar to or different from what AI suggests.  

Heck, teachers may end up having to allow students to respond to a poem, or poems they’ve read through other media, like drawings or songs. I loved the response I got from freshman students many, many years ago, when I allowed them to use other art forms to respond to the poems they had read.  I especially loved the collages that some students made. Of course, other teachers frowned on that approach, wanting students to “use their words.”

Understanding Thomas Hardy: Pessimism vs Realism

It’s clear that ChatGPT’s interpretation of Hardy’s “The Darkling Thrush” is based on the premise that Hardy is a Pessimist and that his works consistently reflect that philosophy.  I beg to differ with that opinion. Even though most of the people I personally referred Jude the Obscure to did find it depressing rather than inspiring, I saw it as a warning that helped me succeed where I might otherwise have failed. I used Hardy’s observations to make sure that I didn’t make the mistakes his characters made. Of course, I was also fortunate enough to live in a society that had managed to rid itself of many of the rigid social codes that dominate his characters. 

It’s hard to deny that Hardy’s most famous novels focus on characters who seem doomed to end badly, no matter how hard they struggle against their environment and society’s arbitrary rules. It is depressing to see someone you empathize with end up like his characters do.  However, I tend to see the novels as tragedies, not tragedies that focus on heroic heroes or royalty, but tragedies that focus on everyday people, people like you or me, and their downfall is no less tragic than that of a rich or famous character.

Although more critics see Hardy as a pessimist than a realist, It seems to me that Hardy is a realist, not a pessimist, and it’s not hard to find critics on the internet who agree with me that he’s a realist, if not an ameliorist. Let me cite a couple here.  

In a post entitled “The Realist Mistaken for a Pessimist” Eric (I assume that’s his name ) argues that :

The standard academic line on Hardy is that his work shows the futile struggle of individuals against an indifferent force that rules the world and plays ironical tricks on frail humanity.

Rubbish. Hardy is just a realist. As he says of a poet in one of his short stories, “he was a pessimist in so far as that character applies to a man who looks at the worst contingencies as well as the best in the human condition”.

As a naive high school student, I had no idea what the “academic line on Hardy” was, but I’m pretty sure I had never encountered novels that focused on ordinary people who led such tragic lives before, and yet, when I thought about it, I had personally known people whose lives had turned out almost as badly.    

Like most critics, Eric admits that most Hardy characters “suffer tragically” and are defeated by forces they do not control:

Coincidences often drive his plots and certainly his characters often (but not always) suffer tragically. But the protagonist in any Hardy novel is more likely to be in conflict with his own very human obsessions, or struggling with rigid and unjust social codes, than against some faceless fate ruling the universe. His characters aren’t railing against God but against followers of organized religion, not against the devil but against their own consciences.

Yes, he’s depressed at times over who will win these battles. Who isn’t?

Although Hardy’s focus on those most affected by economic turmoil and rigid, unjust social codes makes it appear that he is simply pessimistic, it’s hard to deny that he was realistically portraying the effects on members of the lower class during his age.

Perhaps the author’s view of Hardy depends on his own social standing and life experiences. One can certainly understand how Dr. Mahmoud Baroud, “an Assistant Professor of English and Comparative Literature in the English Department at The Islamic University of Gaza, Palestine,” might find Hardy’s portrayal of human misery entirely realistic.

He begins his argument by admitting that Hardy’s view of life is:


… basically tragic. He is one of those who believe that life is full of hurdles which we cannot override. His novels concentrate on human sufferings and show that there is no escape for human beings. Pessimism runs like a dark thread through his novels.


and that


All these creations of Hardy’s leave in the mind, beyond a shadow of doubt, an immense sense of life’s sad uselessness. Such textual illustrations from his novels would invite us to say that there is no doubt that Hardy’s vision is bleak, somber and pessimistic.


One can almost believe that Dr. Baroud actually agrees with ChatGPT and critics who believe Hardy is a Pessimist, but he gradually shifts the argument to a very different view: 


As one can observe in most of his novels, Hardy’s sympathy was always with the individuals from the working classes against the rigid conventions of his society and the church corruption. Most of the best and well known characters in his novels meet unpleasant ends – largely because they are unable to break out of social conventions, financial woe or other difficulties. This is clear in his choice of his ordinary heroes and heroines for his novels…

To me, the most important point here is that Hardy’s “sympathy was always with the individuals from the working classes.”  His novels work because the reader either identifies with the main character or sympathizes with them.  We empathize with them because we see the injustice of the system that victimizes them and realize that his portrayal is accurate.   

Seen in this light, it’s difficult to see Hardy as a Pessimist, and we are more likely to agree with Hardy’s own view of his works:

Hardy himself was sadly offended by what he considered as invalid charges. He sought to justify his view of life on many occasions and in various ways. In defense of himself and in a conversation with

William Archer in 1904 (quoted in A Hardy Companion by F. B. Pinion) he said ‘…I believe, indeed,that a good deal of the robustious, swaggering optimism, of recent literature is at bottom cowardly and insincere…my pessimism, if pessimism it be, does not involve the assumption that the world is going to the dogs…On the contrary, my practical philosophy is distinctly meliorist… What are my books but one long plea against man’s inhumanity against man—to women—and to the lower animals?’(Mathur, 1982, 23) Hardy attempted a justification of his dark outlook when he declared that ‘the highest flights of the pen are mostly the excursions and revelations of souls unreconciled to life. Consequently he regarded himself as a ‘meliorist’ rather than a ‘pessimist.’

When I read these novels and “The Darkling Thrush” in high school I didn’t think that Hardy was too pessimistic; I thought he was exposing societal injustices that I had never thought about — and some of them were still in force when I was in high school.  

I agree with Dr. Mahmoud Baroud when he concludes:


Hardy is not a pessimist – a misanthrope (somebody who hates humanity) like Hobbes. He is a pessimist like the classical writers who view Man simply as a puppet in the hands of powerful fate as can be seen in Greek tragedies. Simply he is gloomier than they are. Instead of causing in the reader a feeling of disgust and scorn for the shortcomings of his characters, he creates in them a feeling of deep sympathy. This is due to his profound sympathy for humanity.


Equally important, since he was describing life as it really was why don’t we also elaborate and suggest that his pessimism is mixed up with some sort of realism as well. One note which Hardy strikes repeatedly is his insistence on realism; his whole aim seems to have been to present the Truth regardless of the consequences.


If Hardy had written“A Christmas Carol,” which focused on a lot of the same problems that Dickens did, he wouldn’t have ended with a sentimental, but unrealistic, happy ending. In Hardy’s version, Tiny Tim would have died, and the father wouldn’t have been able to attend the funeral because he had to work unless he wanted to risk getting fired. Of course, his readers would have been outraged, and he might never have published another story. Of course, that seems unlikely because of how popular his early works were.

The Thrush’s Song: Hope or Skepticism in Hardy’s Work?

I tried several ways to refute ChatGPT’s interpretation of Hardy’s poem, but GPT countered each of the arguments I made, insisting that its interpretation was the correct one, perhaps the only one.

First, I tried looking up positive interpretations of the poem like this one posted at St James Cathedral and pasted this part of the post into ChatGPT:


Just at this low ebb, when the world, both without and within, seems drained of life and energy, something happens. A thrush begins to sing. In many ways, the thrush shares the influence of the bleak landscape: he is no bright-eyed young bird, but “an aged thrush, frail, gaunt, and small, / In blast-beruffled plume.” And yet, the thrush sings, “in a full-hearted evensong / Of joy illimited.” “Evensong,” of course, means more than just a song at evening. It’s one name for the Church’s liturgy of evening prayer. The old thrush doesn’t just sing, he carols joyfully; he “fling[s] his soul / Upon the growing gloom.”
 
The poet is astonished, because there is nothing in view, far or near, that suggests a cause for this ecstatic singing. The cause, then, must be not in what is seen, but in what is unseen. The poem ends with doubt—a wholesome doubt. Perhaps there is something beyond the gloom, cold, and darkness of the world. Perhaps there is “some blessed Hope, whereof he knew / And I was unaware.”

to see how ChatGPTwould respond to it.

I got back a five-page rebuttal, beginning with this:

To refute that reading persuasively, you don’t deny the poem’s ambiguity—you show that the interpretation overstates what Hardy actually allows the speaker to claim and subtly turns skepticism into affirmation. The key is to stay rigorously inside Hardy’s language.

Here’s how I would dismantle it, point by point.

I’ll spare you all the five page reply and leave you with this 7 Point refutation of the St. James Chapel reading:


1. The Reading Smuggles Belief Where Hardy Allows Only Supposition


2. “Wholesome Doubt” Softens Hardy’s Stark Ending‘


3. The Religious Language Is Explicitly Undercut, Not Endorsed

4. The Thrush Is Not a Religious Messenger—It Is a Problem

5. Hardy’s Historical Position Makes the “Hopeful” Reading Unlikely


6. The Ending Does Not Invite the Reader to Believe


7. A Cleaner Counter-Reading

A more textually faithful conclusion would be:

The thrush’s song does not restore faith or reveal hidden meaning. Instead, it dramatizes the speaker’s modern predicament: confronted with an inexplicable expression of joy, he can neither explain it nor share it. Hope may exist somewhere—but it is no longer available to human consciousness.

That preserves the poem’s power without converting it into consolation.

One-Sentence Refutation

That interpretation turns Hardy’s carefully fenced-off speculation into affirmation, mistaking the poem’s acknowledgment of unknowable hope for a belief in it—something Hardy’s final line explicitly refuses.

If you’d like, I can also show how this “optimistic misreading” resembles the way Darkling Thrush is often taught defensively in schools—as if Hardy needed to be rescued from his own bleakness.

I’ll have to admit that I don’t know what “smuggles” means, and it seems unlikely that Hardy would offer a religious response to the bleak surroundings, since his novels reveal him more as an agnostic/atheist than a Christian. So, while I would agree that the Thrush is not a “religious messenger, “I don’t see it as a problem. I’m not exactly sure what GPT means by “ The Ending Does Not Invite the Reader to Believe.” If that means that the poem isn’t an attempt to make the reader believe in God, per se, I would agree with that, but, for me, the ending suggests that, despite the bleak state of nature in the middle of Winter, there is always the Hope of a Spring redemption.

I’ll have to deal with GPT’s argument that “Hardy’s Historical Position Makes the ‘Hopeful’ Reading Unlikely” in my next blog entry because I’m still figuring out why I didn’t see Hardy as overly pessimistic.