A Song for St Cecilia’s Day (1687)

John Dryden

Only lines 1-54 should be recited, as shown below

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!’
Then cold, and hot, and moist, and dry,
In order to their stations leap,
And Music’s power obey.
From harmony, from heavenly harmony
This universal frame began:
From harmony to harmony
Through all the compass of the notes it ran,
The diapason closing full in Man.

What passion cannot Music raise and quell?
When Jubal struck the chorded shell,
His listening brethren stood around,
And, wondering, 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?

The trumpet’s loud clangour
Excites us to arms,
With shrill notes of anger
And mortal alarms.
The double double double beat
Of the thundering drum
Cries, ‘Hark, the foes come;
Charge, charge, ’tis too late to retreat!’

The soft complaining flute
In dying notes, discovers
The woes of hopeless lovers,
Whose dirge is whispered by the warbling lute.

Sharp violins proclaim
Their jealous pangs and desperation,
Fury, frantic indignation,
Depth of pains, and height of passion,
For the fair, disdainful dame.

But O, what art can teach,
What human voice can reach
The sacred organ’s praise?
Notes inspiring holy love,
Notes that wing their heavenly ways
To mend the choirs above.

Orpheus could lead the savage race;
and trees unrooted left their place,
Sequacious of the lyre;
But bright Cecilia raised the wonder higher:
When to her organ vocal breath was given,
An angel heard, and straight appeared
Mistaking Earth for heaven.

Learn more about the language of this poem in the
Oxford English Dictionary:

diapason  chorded  shell  frame, n. and adj.2