On Hearing A Lady Play On The Musical Glasses.

Beyond expression, delicately fine,
Beneath her slender fingers swept the sound
Of 'witching tones, melodious, divine;
Soothing and soft upon the sense they wound,
Join'd with the syrens' music, as it were,
As her sweet voice came mingling on the ear.
Ah, who but knows what woman's voice can do!
To every soul such melody is dear;
Angelic harmony, and beauty too!
Our very hearts melt in the sounds we hear:
The breaks--the pauses--check our pulse's beats.
Enraptur'd memory still each air retains,--
And, as the mind the syren's songs repeats,
Creates sensations sweeter than her strains.

John Clare

John Clare was an English poet known for his celebrations of the English countryside and lamentation of its disruption. Born in Helpston, Northamptonshire, Clare was initially a farm laborer. His poetry is characterized by its natural imagery and rustic language. Despite periods of fame during his period, Clare spent the later part of his life in an asylum due to mental health issues. His works gained greater recognition posthumously. Clare's major poem collections include "Poems Descriptive of Rural Life and Scenery" and "The Shepherd's Calendar."

John Clare

The Last Of March. Written At Lolham Brigs.

John Clare, Simple Poetry

The Nightingale

John Clare, Simple Poetry

Summer Images

John Clare, Simple Poetry

Song's Eternity

John Clare, Simple Poetry

English

Suggested Poems

Explore a curated selection of verses that share themes, styles, and emotional resonance with the poem you've just read.

To A Lady Who Had Been Singing.

The spirit-harp within the breast
A spirit's touch alone can know,
Yet thine the power to wake its rest,
And bid its echoing numbers flow.

Yes, and thy minstrel art the while,
Can blend the tones of weal and we,
So archly, that the heart may smile,
Though bright, unbidden tear-drops flow.

And thus thy wizard skill can weave
Music's soft twilight o'er the breast,
As mingling day and night, at eve,
Robe the far purpling hills for rest.

Thy voice is treasured in my soul,
And echoing memory shall prolong
Those woman tones, whose sweet control
Melts joy and sorrow into song.

The tinted sea-shell, borne away
Far from the ocean's pebbly shore,
Still loves to hum the choral lay,
The whispering mermaid taught of yore.

T...

Samuel Griswold Goodrich

To Jenny Lind

I cannot touch the harp again,
And sing another idle lay,
To cool a maddening, burning brain,
And drive the midnight fiend away.
Music, own sister to the soul.
Bids roses bloom on cheeks all pale;
And sweet her joys and sorrows roll
When sings the Swedish Nightingale.

* * * * *

I cannot touch the harp again;
No chords will vibrate on the string;
Like broken flowers upon the plain,
My heart e'en withers while I sing.
Aeolian harps have witching tones,
On morning or the evening gale;
No melody their music owns
As sings the Swedish nightingale.

John Clare

To Miss Susan Beckford.[1] On Her Singing.

I more than once have heard at night
    A song like those thy lip hath given,
And it was sung by shapes of light,
    Who looked and breathed, like thee, of heaven.

But this was all a dream of sleep.
    And I have said when morning shone:--
"Why should the night-witch, Fancy, keep
    "These wonders for herself alone?"

I knew not then that fate had lent
    Such tones to one of mortal birth;
I knew not then that Heaven had sent
    A voice, a form like thine on earth.

And yet, in all that flowery maze
    Through which my path of life has led,
When I have heard the sweetest lays
    From lips of rosiest lustre shed;

When I have felt the warbled word
    From Beauty's lip, in sweetness vying
With music's own melodious bird;

Thomas Moore

The Æolian Harp

My pensive SARA! thy soft cheek reclined
Thus on mine arm, most soothing sweet it is
To sit beside our Cot, our Cot o'ergrown
With white-flower'd Jasmin, and the broad-leav'd Myrtle,
(Meet emblems they of Innocence and Love!)
And watch the clouds, that late were rich with light,
Slow saddenning round, and mark the star of eve
Serenely brilliant (such should Wisdom be)
Shine opposite! How exquisite the scents
Snatch'd from yon bean-field! and the world so hush'd!
The stilly murmur of the distant Sea
Tells us of silence.
[spacer][spacer]And that simplest Lute,
Plac'd length-ways in the clasping casement, hark!
How by the desultory breeze caress'd,
Like some coy maid half-yielding to her lover,
It pours such sweet upbraiding, as must needs
Tempt to repeat th...

Samuel Taylor Coleridge

To Elia

Elia, thy reveries and visioned themes
To care's lorn heart a luscious pleasure prove;
Wild as the mystery of delightful dreams,
Soft as the anguish of remembered love:
Like records of past days their memory dances
Mid the cool feelings manhood's reason brings,
As the unearthly visions of romances
Peopled with sweet and uncreated things;--
And yet thy themes thy gentle worth enhances!
Then wake again thy wild harp's tenderest strings,
Sing on, sweet Bard, let fairy loves again
Smile in thy dreams, with angel ecstasies;
Bright over our souls will break the heavenly strain
Through the dull gloom of earth's realities.

John Clare

The Passions, An Ode to Music

When Music, heavenly maid, was young,
While yet in early Greece she sung,
The Passions oft, to hear her shell,
Thronged around her magic cell,
Exulting, trembling, raging, fainting,
Possest beyond the Muse's painting:
By turns they felt the glowing mind
Disturbed, delighted, raised, refined;
Till once, 'tis said, when all were fired,
Filled with fury, rapt, inspired,
From the supporting myrtles round
They snatched her instruments of sound,
And, as they oft had heard apart
Sweet lessons of her forceful art,
Each (for Madness ruled the hour)
Would prove his own expressive power.

First Fear his hand, its skill to try,
Amid the chords bewildered laid,
And back recoiled, he knew not why,
E'en at the sound himself had made.

Next Anger...

William Collins