Analysis of Love and Music. Written at Oxford, When Young
William Shenstone 1714 (Halesowen) – 1763 (Halesowen)
Shall Love alone for ever claim
An universal right to fame,
An undisputed sway?
Or has not Music equal charms,
To fill the breast with strange alarms,
And make the world obey?
The Thracian bard, as poets tell,
Could mitigate the powers of hell,
Even Pluto's nicer ear:
His arts, no more than Love's, we find
To deities or men confined,
Drew brutes in crowds to hear.
Whatever favourite passion reign'd,
The poet still his right maintain'd
O'er all that ranged the plain:
The fiercer tyrants could assuage,
Or fire the timorous into rage,
Whene'er he changed the strain.
In milder lays the bard began;
Soft notes through every finger ran,
And echoing charm'd the place:
See! fawning lions gaze around,
And, taught to quit their savage sound,
Assume a gentler grace.
When Cymon view'd the fair one's charms,
Her ruby lips, and snowy arms,
And told her beauties o'er:
When Love reform'd his awkward tone,
And made each clownish gesture known,
It show'd but equal power.
The bard now tries a sprightlier sound,
When all the feather'd race around
Perceived the varied strains;
The soaring lark the note pursues;
The timorous dove around him coos,
And Philomel complains.
An equal power of Love I've seen,
Incite the deer to scour the green,
And chase his barking foe.
Sometimes has Love, with greater might,
To challenge-nay-sometimes-to fight,
Provoked the enamour'd beau.
When Silvia treads the smiling plain,
How glows the heart of every swain,
By pleasing tumults tost!
When Handel's solemn accents roll,
Each breast is fired, each raptured soul
In sweet confusion lost.
If she her melting glances dart,
Or he his dying airs impart,
Our spirits sink away.
Enough, enough! dear nymph, give o'er;
And thou, great artist! urge no more
Thy unresisted sway.
Thus Love or Sound affects the mind:
But when their various powers are join'd,
Fly, daring mortal, fly!
For when Selinda's charms appear,
And I her tuneful accents hear-
I burn, I faint, I die!
|Scheme||AABCCB DDEFFE GGHIIH JJKLLK CCMNNM LLOXXO PPQRRQ HHFSSX TTBMXB FXUXEU|
|Poetic Form||Etheree (30%)|
|Metre||11011101 1010111 10101 11110101 11011101 010101 0111101 11001011 1010101 11111111 11001101 110111 101101 01011101 1011101 01010101 1100100011 11101 01010101 111100101 0100101 11010101 01111101 010101 1110111 01010101 0101010 11011101 0111101 1111010 0111011 11010101 010101 01010101 010010111 0101 110101111 010111001 011101 01111101 11010111 01011 110010101 110111001 11011 11010101 11110111 010101 11010101 11110101 1010101 010111110 01110111 111 11110101 1111001011 110101 111101 01010101 111111|
|Closest metre||Iambic tetrameter|
|Stanza Lengths||6, 6, 6, 6, 6, 6, 6, 6, 6, 6|
|Letters per line (avg)||25|
|Words per line (avg)||6|
|Letters per stanza (avg)||152|
|Words per stanza (avg)||33|
Submitted on May 13, 2011
- 1:45 min read
- 95 Views
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"Love and Music. Written at Oxford, When Young" Poetry.com. STANDS4 LLC, 2023. Web. 21 Mar. 2023. <https://www.poetry.com/poem-analysis/41573/love-and-music.-written-at-oxford%2C-when-young>.
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