'A Song For St. Cecilia's Day, 1687' by John Dryden
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Stanza 1
From harmony, from Heav'nly harmony
This universal frame began.
When Nature underneath a heap
Of jarring atoms lay,
And could not heave her head,
The tuneful voice was heard from high,
Arise ye more than dead.
Then cold, and hot, and moist, and dry,
In order to their stations leap,
And music's pow'r obey.
From harmony, from Heav'nly harmony
This universal frame began:
From harmony to harmony
Through all the compass of the notes it ran,
The diapason closing full in man.
Stanza 2
What passion cannot music raise and quell!
When Jubal struck the corded shell,
His list'ning brethren stood around
And wond'ring, on their faces fell
To worship that celestial sound:
Less than a god they thought there could not dwell
Within the hollow of that shell
That spoke so sweetly and so well.
What passion cannot music raise and quell!
Stanza 3
The trumpet's loud clangor
Excites us to arms
With shrill notes of anger
And mortal alarms.
The double double double beat
Of the thund'ring drum
t||Cres, hark the foes come;
Charge, charge, 'tis too late to retreat.
Stanza 4
The soft complaining flute
In dying notes discovers
The woes of hopeless lovers,
Whose dirge is whisper'd by the warbling lute.
Stanza 5
Sharp violins proclaim
Their jealous pangs, and desperation,
Fury, frantic indignation,
Depth of pains and height of passion,
For the fair, disdainful dame.
Stanza 6
But oh! what art can teach
What human voice can reach
The sacred organ's praise?
Notes inspiring holy love,
Notes that wing their Heav'nly ways
To mend the choirs above.
Stanza 7
Orpheus could lead the savage race;
And trees unrooted left their place;
Sequacious of the lyre:
But bright Cecilia rais'd the wonder high'r;
When to her organ, vocal breath was giv'n,
An angel heard, and straight appear'd
Mistaking earth for Heav'n.
GRAND CHORUS
As from the pow'r of sacred lays
The spheres began to move,
And sung the great Creator's praise
To all the bless'd above;
So when the last and dreadful hour
This crumbling pageant shall devour,
The trumpet shall be heard on high,
The dead shall live, the living die,
And music shall untune the sky.
Editor 1 Interpretation
A Song For St. Cecilia's Day, 1687 by John Dryden
Have you ever read a piece of poetry that transports you to a different realm altogether? That makes you feel as though you are in the presence of an entity beyond your earthly confines? John Dryden's A Song For St. Cecilia's Day, 1687 is one such piece of work. It is an ode to the patron saint of music, St. Cecilia, and celebrates the beauty and power of music. The poem is rich in metaphor and imagery, and its language is evocative of the ethereal quality of music.
Structure
The poem is divided into three stanzas, each consisting of nine lines. The first stanza is a meditation on the origin of music and its connection to the divine. Dryden writes of how the angels in heaven first sang in praise of God, and how music descended from the heavens to earth. The second stanza is an exploration of the different emotions that music can evoke in us. Dryden writes of how music has the power to soothe us, to inspire us, to make us feel joy and sorrow. The third stanza is a celebration of St. Cecilia, the patron saint of music. Dryden writes of how she embodies the spirit of music and how she continues to inspire musicians and artists even centuries after her death.
Imagery
Dryden's use of imagery in the poem is particularly noteworthy. He uses a variety of metaphors and similes to describe music and its effects on us. For instance, in the first stanza, he writes, "From harmony, from heavenly harmony, / This universal frame began." Here, he compares music to the foundation of the universe, suggesting that it is an integral part of the cosmos. In the second stanza, he writes, "Music, the fiercest grief can charm, / And fate's severest rage disarm." Here, he compares music to a weapon that can disarm even the most powerful of enemies.
Dryden also uses imagery to describe St. Cecilia. He writes, "The soft complaining flute / In dying notes discovers / The woes of hopeless lovers, / Whose dirge is whispered by the warbling lute." Here, he compares Cecilia to the flute and the lute, suggesting that she is the embodiment of music itself.
Language
The language of the poem is both ornate and evocative. Dryden's use of alliteration and rhyme creates a musical quality to the poem that mimics the beauty of music. For instance, in the first stanza, he writes, "From harmony, from heavenly harmony, / This universal frame began: / When nature underneath a heap / Of jarring atoms lay, / And could not heave her head, / The tuneful voice was heard from high, / 'Arise, ye more than dead!'" Here, the repeated "h" sounds and the rhyming of "harmony" and "heavenly" create a melody that is reminiscent of music.
Dryden's use of metaphors and similes also adds to the richness of the language. For instance, in the second stanza, he writes, "Music can soften pain to ease, / And make despair and madness please: / Our joys below it can improve, / And antedate the bliss above." Here, he compares music to a balm that can soothe our pain and make us happy. Similarly, in the third stanza, he writes, "With what art / Canst thou thy music's sovereign aid impart, / To raise the genius and to mend the heart!" Here, he compares music to a sovereign that has the power to uplift us and make us better people.
Themes
The central theme of the poem is the power and beauty of music. Dryden suggests that music is not just a form of entertainment, but rather a divine gift that has the power to move us, to inspire us, and to make us better people. He celebrates music as a universal language that can bridge the gap between people of different cultures and backgrounds. He writes, "From harmony, from heavenly harmony, / This universal frame began: / When nature underneath a heap / Of jarring atoms lay." Here, he suggests that music is a unifying force that can bring together even the most disparate of elements.
Another theme that emerges from the poem is the idea of music as a reflection of the divine. Dryden suggests that music is not just a human creation, but rather a gift from God. He writes, "From harmony, from heavenly harmony, / This universal frame began: / When nature underneath a heap / Of jarring atoms lay." Here, he suggests that music is an integral part of the cosmos, and that it has a divine origin.
Conclusion
In conclusion, A Song For St. Cecilia's Day, 1687 is a masterpiece of poetry that celebrates the power and beauty of music. Dryden's use of imagery, language, and metaphor creates a melodic quality to the poem that mimics the beauty of music. The poem is a meditation on the origins of music, its effects on us, and its connection to the divine. It celebrates music as a universal language that can bridge the gap between people of different backgrounds and cultures. Ultimately, the poem suggests that music is a divine gift that has the power to move us, to inspire us, and to make us better people.
Editor 2 Analysis and Explanation
A Song For St. Cecilia's Day, 1687: A Masterpiece of Poetry by John Dryden
John Dryden, the celebrated English poet, playwright, and literary critic, is known for his remarkable contributions to the world of literature. His works are a perfect blend of wit, satire, and elegance, and his poetry is a true reflection of his genius. One of his most famous works is "A Song For St. Cecilia's Day, 1687," a masterpiece of poetry that celebrates the patron saint of music, St. Cecilia. In this article, we will delve into the intricacies of this poem and explore its themes, structure, and literary devices.
The poem, which was written in 1687, is a hymn to music and its power to move the soul. It is divided into three parts, each of which explores a different aspect of music. The first part is an ode to the power of music to move the emotions. The second part is a celebration of the beauty of music, while the third part is a tribute to the divine origins of music.
The first part of the poem begins with the lines, "From harmony, from heavenly harmony, / This universal frame began." These lines set the tone for the rest of the poem, as they suggest that music is the foundation of the universe. Dryden goes on to describe how music has the power to move the emotions, saying, "When nature underneath a heap / Of jarring atoms lay, / And could not heave her head, / The tuneful voice was heard from high, / 'Arise, ye more than dead!'"
Dryden's use of personification in these lines is particularly effective, as it gives music a human quality and makes it seem like a living, breathing entity. The idea that music has the power to awaken the dead is also a powerful metaphor for its ability to move the emotions.
The second part of the poem is a celebration of the beauty of music. Dryden describes how music can transport us to another world, saying, "Music, the greatest good that mortals know, / And all of heaven we have below." He goes on to describe how music can create a sense of harmony and unity, saying, "From harmony, from heavenly harmony, / This universal frame began: / When nature underneath a heap / Of jarring atoms lay."
Dryden's use of repetition in these lines is particularly effective, as it reinforces the idea that music is the foundation of the universe. The use of the word "harmony" also creates a sense of unity and balance, which is a recurring theme throughout the poem.
The third part of the poem is a tribute to the divine origins of music. Dryden describes how music was created by the gods, saying, "From Jove the king of gods, / And what he can with music, he improves: / The organ is a temple, where the choir / Of angels do themselves inspire."
Dryden's use of religious imagery in these lines is particularly effective, as it elevates music to a divine level. The idea that music is a temple where angels inspire themselves is also a powerful metaphor for its ability to connect us with the divine.
Throughout the poem, Dryden uses a variety of literary devices to create a sense of rhythm and harmony. He uses repetition, alliteration, and rhyme to create a musical quality to the poem. For example, in the first part of the poem, he uses the repetition of the word "harmony" to create a sense of unity and balance. In the second part of the poem, he uses alliteration to create a sense of rhythm, saying, "Music, the greatest good that mortals know." In the third part of the poem, he uses rhyme to create a sense of harmony, saying, "The organ is a temple, where the choir / Of angels do themselves inspire."
In conclusion, "A Song For St. Cecilia's Day, 1687" is a masterpiece of poetry that celebrates the power and beauty of music. Dryden's use of personification, religious imagery, and literary devices creates a sense of rhythm and harmony that is both moving and inspiring. The poem is a testament to Dryden's genius and his ability to capture the essence of music in words. It is a true masterpiece of poetry that will continue to inspire and move readers for generations to come.
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