Poems About Music
Curated by the Writory editorial team. Updated September 2026.
Quick answer: Read 13 classic poems about music and song, from Poe and Browning to Dickinson and Barrett Browning. Full texts with short notes on how each one chases sound.
Poetry began as song, and it never quite forgot. The poems here reach after the thing music does that words cannot, and the best of them get surprisingly close by sheer sound.
Poe rings every bell in the language until the poem itself chimes. Browning follows a musician improvising until the notes touch heaven. Dickinson insists there is something better than music, and then can hardly say what.
Read these aloud. They were half made for the ear.
Orpheus with his Lute Made Trees
William Shakespeare · Elizabethan
Orpheus with his lute made trees,
And the mountain tops that freeze,
Bow themselves, when he did sing:
To his music plants and flowers
Ever sprung; as sun and showers
There had made a lasting spring.
Everything that heard him play,
Even the billows of the sea,
Hung their heads, and then lay by.
In sweet music is such art,
Killing care and grief of heart
Fall asleep, or hearing, die.
Even the trees and the frozen mountain-tops bow to Orpheus. Shakespeare's small hymn to what music can do.
Sonnet 8: Music to hear, why hear'st thou music sadly?
William Shakespeare · Elizabethan
Music to hear, why hear'st thou music sadly?
Sweets with sweets war not, joy delights in joy:
Why lov'st thou that which thou receiv'st not gladly,
Or else receiv'st with pleasure thine annoy?
If the true concord of well-tuned sounds,
By unions married, do offend thine ear,
They do but sweetly chide thee, who confounds
In singleness the parts that thou shouldst bear.
Mark how one string, sweet husband to another,
Strikes each in each by mutual ordering;
Resembling sire and child and happy mother,
Who, all in one, one pleasing note do sing:
Whose speechless song being many, seeming one,
Sings this to thee: 'Thou single wilt prove none.'
He tells a friend who dislikes music that the reason is in the friend: a single string is no true chord.
Israfel
Edgar Allan Poe · American
In Heaven a spirit doth dwell
"Whose heart-strings are a lute;"
None sing so wildly well
As the angel Israfel,
And the giddy Stars (so legends tell),
Ceasing their hymns, attend the spell
Of his voice, all mute.
Tottering above
In her highest noon,
The enamoured Moon
Blushes with love,
While, to listen, the red levin
(With the rapid Pleiads, even,
Which were seven),
Pauses in Heaven.
And they say (the starry choir
And the other listening things)
That Israfeli's fire
Is owing to that lyre
By which he sits and sings--
The trembling living wire
Of those unusual strings.
But the skies that angel trod,
Where deep thoughts are a duty--
Where Love's a grow-up God--
Where the Houri glances are
Imbued with all the beauty
Which we worship in a star.
Therefore, thou art not wrong,
Israfeli, who despisest
An unimpassioned song;
To thee the laurels belong,
Best bard, because the wisest!
Merrily live and long!
The ecstasies above
With thy burning measures suit--
Thy grief, thy joy, thy hate, thy love,
With the fervor of thy lute--
Well may the stars be mute!
Yes, Heaven is thine; but this
Is a world of sweets and sours;
Our flowers are merely--flowers,
And the shadow of thy perfect bliss
Is the sunshine of ours.
If I could dwell
Where Israfel
Hath dwelt, and he where I,
He might not sing so wildly well
A mortal melody,
While a bolder note than this might swell
From my lyre within the sky.
Poe borrows an angel whose heartstrings are a lute, and half wishes he could trade places.
The Bells
Edgar Allan Poe · American
Hear the sledges with the bells--
Silver bells!
What a world of merriment their melody foretells!
How they tinkle, tinkle, tinkle,
In their icy air of night!
While the stars, that oversprinkle
All the heavens, seem to twinkle
With a crystalline delight;
Keeping time, time, time,
In a sort of Runic rhyme,
To the tintinnabulation that so musically wells
From the bells, bells, bells, bells,
Bells, bells, bells--
From the jingling and the tinkling of the bells.
Hear the mellow wedding bells,
Golden bells!
What a world of happiness their harmony foretells!
Through the balmy air of night
How they ring out their delight!
From the molten golden-notes,
And all in tune,
What a liquid ditty floats
To the turtle-dove that listens, while she gloats
On the moon!
Oh, from out the sounding cells,
What a gush of euphony voluminously wells!
How it swells!
How it dwells
On the future! how it tells
Of the rapture that impels
To the swinging and the ringing
Of the bells, bells, bells,
Of the bells, bells, bells, bells,
Bells, bells, bells--
To the rhyming and the chiming of the bells!
Hear the loud alarum bells--
Brazen bells!
What a tale of terror now their turbulency tells!
In the startled ear of night
How they scream out their affright!
Too much horrified to speak,
They can only shriek, shriek,
Out of tune,
In a clamorous appealing to the mercy of the fire,
In a mad expostulation with the deaf and frantic fire
Leaping higher, higher, higher,
With a desperate desire,
And a resolute endeavor
Now--now to sit or never,
By the side of the pale-faced moon.
Oh, the bells, bells, bells!
What a tale their terror tells
Of Despair!
How they clang, and clash, and roar!
What a horror they outpour
On the bosom of the palpitating air!
Yet the ear it fully knows,
By the twanging,
And the clanging,
How the danger ebbs and flows;
Yet the ear distinctly tells,
In the jangling,
And the wrangling,
How the danger sinks and swells,
By the sinking or the swelling in the anger of the bells--
Of the bells--
Of the bells, bells, bells, bells,
Bells, bells, bells--
In the clamor and the clangor of the bells!
Hear the tolling of the bells--
Iron bells!
What a world of solemn thought their monody compels!
In the silence of the night,
How we shiver with affright
At the melancholy menace of their tone!
For every sound that floats
From the rust within their throats
Is a groan.
And the people--ah, the people--
They that dwell up in the steeple.
All alone,
And who tolling, tolling, tolling,
In that muffled monotone,
Feel a glory in so rolling
On the human heart a stone--
They are neither man nor woman--
They are neither brute nor human--
They are Ghouls:
And their king it is who tolls;
And he rolls, rolls, rolls,
Rolls
A pæan from the bells!
And his merry bosom swells
With the pæan of the bells!
And he dances, and he yells;
Keeping time, time, time,
In a sort of Runic rhyme,
To the pæan of the bells--
Of the bells:
Keeping time, time, time,
In a sort of Runic rhyme,
To the throbbing of the bells--
Of the bells, bells, bells--
To the sobbing of the bells;
Keeping time, time, time,
As he knells, knells, knells,
In a happy Runic rhyme,
To the rolling of the bells--
Of the bells, bells, bells--
To the tolling of the bells,
Of the bells, bells, bells, bells,
Bells, bells, bells--
To the moaning and the groaning of the bells.
Four kinds of bell, four moods of a life, rung until the poem itself becomes the sound it describes.
Abt Vogler: After he has been extemporizing upon the musical instrument of his invention
Robert Browning · Victorian
Would that the structure brave, the manifold music I build,
Bidding my organ obey, calling its keys to their work,
Claiming each slave of the sound, at a touch, as when Solomon willed
Armies of angels that soar, legions of demons that lurk,
Man, brute, reptile, fly,--alien of end and of aim,
Adverse, each from the other heaven-high, hell-deep removed,--
Should rush into sight at once as he named the ineffable Name,
And pile him a palace straight, to pleasure the princess he loved!
Would it might tarry like his, the beautiful building of mine,
This which my keys in a crowd pressed and importuned to raise!
Ah, one and all, how they helped, would dispart now and now combine,
Zealous to hasten the work, heighten their master his praise!
And one would bury his brow with a blind plunge down to hell,
Burrow awhile and build, broad on the roots of things,
Then up again swim into sight, having based me my palace well,
Founded it, fearless of flame, flat on the nether springs.
And another would mount and march, like the excellent minion he was,
Ay, another and yet another, one crowd but with many a crest,
Raising my rampired walls of gold as transparent as glass,
Eager to do and die, yield each his place to the rest:
For higher still and higher (as a runner tips with fire,
When a great illumination surprises a festal night--
Outlining round and round Rome's dome from space to spire)
Up, the pinnacled glory reached, and the pride of my soul was in sight.
In sight? Not half! for it seemed, it was certain, to match man's birth,
Nature in turn conceived, obeying an impulse as I;
And the emulous heaven yearned down, made effort to reach the earth.
As the earth had done her best, in my passion, to scale the sky:
Novel splendours burst forth, grew familiar and dwelt with mine.
Not a point nor peak but found and fixed its wandering star;
Meteor-moons, balls of blaze: and they did not pale nor pine,
For earth had attained to heaven, there was no more near nor far.
Nay more; for there wanted not who walked, in the glare and glow,
Presences plain in the place; or, fresh, from the Protoplast,
Furnished for ages to come, when a kindlier wind should blow,
Lured now to begin and live, in a house to their liking at last:
Or else the wonderful Dead who have passed thro' the body and gone,
But were back once more to breathe in an old world worth their new:
What never had been, was now; what was, as it shall be anon;
And what is,--shall I say, matched both? for I was made perfect too.
All thro' my keys that gave their sounds to a wish of my soul,
All thro' my soul that praised as its wish flowed visibly forth,
All thro' music and me! For think, had I painted the whole,
Why, there it had stood, to see, nor the process so wonder-worth:
Had I written the same, made verse--still, effect proceeds from cause,
Ye know why the forms are fair, ye hear how the tale is told;
It is all triumphant art, but art in obedience to laws,
Painter and poet are proud, in the artist-list enrolled:--
But here is the finger of God, a flash of the will that can,
Existent behind all laws, that made them, and, lo, they are!
And I know not if, save in this, such gift be allowed to man,
That out of three sounds he frame, not a fourth sound, but a star.
Consider it well: each tone of our scale in itself is naught;
It is everywhere in the world--loud, soft, and all is said:
Give it to me to use! I mix it with two in my thought,
And, there! Ye have heard and seen; consider and bow the head!
Well, it is gone at last, the palace of music I reared;
Gone! and the good tears start, the praises that come too slow;
For one is assured at first, one scarce can say that he feared,
That he even gave it a thought, the gone thing was to go.
Never to be again! But many more of the kind
As good, nay, better perchance: is this your comfort to me?
To me, who must be saved because I cling with my mind
To the same, same self, same love, same God: ay, what was, shall be.
Therefore to whom turn I but to Thee, the ineffable Name?
Builder and maker, Thou, of houses not made with hands!
What, have fear of change from Thee who art ever the same?
Doubt that Thy power can fill the heart that Thy power expands?
There shall never be one lost good! What was, shall live as before;
The evil is null, is naught, is silence implying sound;
What was good, shall be good, with, for evil, so much good more;
On the earth the broken arcs; in the heaven, a perfect round.
All we have willed or hoped or dreamed of good shall exist;
Not its semblance, but itself; no beauty, nor good, nor power
Whose voice has gone forth, but each survives for the melodist,
When eternity affirms the conception of an hour.
The high that proved too high, the heroic for earth too hard.
The passion that left the ground to lose itself in the sky,
Are music sent up to God by the lover and the bard;
Enough that he heard it once; we shall hear it by and by.
And what is our failure here but a triumph's evidence
For the fulness of the days? Have we withered or agonized?
Why else was the pause prolonged but that singing might issue thence?
Why rushed the discords in but that harmony should be prized?
Sorrow is hard to bear, and doubt is slow to clear,
Each sufferer says his say, his scheme of the weal and woe:
But God has a few of us whom He whispers in the ear;
The rest may reason and welcome; 'tis we musicians know.
Well, it is earth with me; silence resumes her reign:
I will be patient and proud, and soberly acquiesce.
Give me the keys. I feel for the common chord again,
Sliding by semitones, till I sink to the minor,--yes,
And I blunt it into a ninth, and I stand on alien ground,
Surveying awhile the heights I rolled from into the deep:
Which, hark, I have dared and done, for my resting-place is found,
The C Major of this life: so, now I will try to sleep.
A musician improvises a palace of sound out of nothing, and grieves when the last chord lets it fall.
A Toccata of Galuppi's
Robert Browning · Victorian
Oh Galuppi, Baldassaro, this is very sad to find!
I can hardly misconceive you; it would prove me deaf and blind;
But altho' I take your meaning, 'tis with such a heavy mind!
Here you come with your old music, and here's all the good it brings.
What, they lived once thus at Venice where the merchants were the kings,
Where St. Mark's is, where the Doges used to wed the sea with rings?
Ay, because the sea's the street there; and 'tis arched by ... what you call
... Shylock's bridge with houses on it, where they kept the carnival:
I was never out of England--it's as if I saw it all.
Did young people take their pleasure when the sea was warm in May?
Balls and masks begun at midnight, burning ever to mid-day,
When they make up fresh adventures for the morrow, do you say?
Was a lady such a lady, cheeks so round and lips so red,--
On her neck the small face buoyant, like a bell-flower on its bed,
O'er the breast's superb abundance where a man might base his head?
Well, and it was graceful of them: they'd break talk off and afford
--She, to bite her mask's black velvet--he, to finger on his sword,
While you sat and played Toccatas, stately at the clavichord?
What? Those lesser thirds so plaintive, sixths diminished sigh on sigh,
Told them something? Those suspensions, those solutions--"Must we die?"
Those commiserating sevenths--"Life might last! we can but try!"
"Were you happy?"--"Yes."--"And are you still as happy?"--"Yes. And you?"
--"Then, more kisses !"--"DidI_ stop them, when, a million seemed so few?"
Hark, the dominant's persistence till it must be answered to!
So, an octave struck the answer. Oh, they praised you, I dare say!
"Brave Galuppi! that was music! good alike at grave and gay!
I can always leave off talking when I hear a master play!"
Then they left you for their pleasure: till in due time, one by one,
Some with lives that came to nothing, some with deeds as well undone,
Death, stepped tacitly and took them where they never see the sun.
But when I sit down to reason, think to take my stand nor swerve,
While I triumph o'er a secret wrung from nature's close reserve,
In you come with your cold music till I creep thro' every nerve.
Yes, you, like a ghostly cricket, creaking where a house was burned:
"Dust and ashes, dead and done with, Venice spent what Venice earned.
The soul, doubtless, is immortal--where a soul can be discerned.
"Yours, for instance: you know physics, something of geology,
Mathematics are your pastime; souls shall rise in their degree;
Butterflies may dread extinction,--you'll not die, it cannot be!
"As for Venice and her people, merely born to bloom and drop,
Here on earth they bore their fruitage, mirth and folly were the crop:
What of soul was left, I wonder, when the kissing had to stop?
"Dust and ashes!" So you creak it, and I want the heart to scold.
Dear dead women, with such hair, too--what's become of all the gold
Used to hang and brush their bosoms? I feel chilly and grown old.
Musicians wrestle everywhere
Emily Dickinson · American
Musicians wrestle everywhere --
All day -- among the crowded air
I hear the silver strife --
And -- walking -- long before the morn --
Such transport breaks upon the town
I think it that "New Life"!
If is not Bird -- it has no nest --
Nor "Band" -- in brass and scarlet -- drest --
Nor Tamborin -- nor Man --
It is not Hymn from pulpit read --
The "Morning Stars" the Treble led
On Time's first Afternoon!
Some -- say -- it is "the Spheres" -- at play!
Some say that bright Majority
Of vanished Dames -- and Men!
Some -- think it service in the place
Where we -- with late -- celestial face --
Please God -- shall Ascertain!
Dickinson hears music no one else can, a silver strife in the air, and cannot tell where it comes from.
Split the Lark -- and you'll find the Music --
Emily Dickinson · American
Split the Lark -- and you'll find the Music --
Bulb after Bulb, in Silver rolled --
Scantilly dealt to the Summer Morning
Saved for your Ear when Lutes be old.
Loose the Flood -- you shall find it patent --
Gush after Gush, reserved for you --
Scarlet Experiment! Sceptic Thomas!
Now, do you doubt that your Bird was true?
A Musical Instrument
Elizabeth Barrett Browning · Victorian
What was he doing, the great god Pan,
Down in the reeds by the river?
Spreading ruin and scattering ban,
Splashing and paddling with hoofs of a goat,
And breaking the golden lilies afloat
With the dragon-fly on the river.
He tore out a reed, the great god Pan,
From the deep cool bed of the river:
The limpid water turbidly ran,
And the broken lilies a-dying lay,
And the dragon-fly had fled away,
Ere he brought it out of the river.
High on the shore sat the great god Pan,
While turbidly flowed the river;
And hacked and hewed as a great god can,
With his hard bleak steel at the patient reed,
Till there was not a sign of the leaf indeed
To prove it fresh from the river.
He cut it short, did the great god Pan,
(How tall it stood in the river!)
Then drew the pith, like the heart of a man,
Steadily from the outside ring,
And notched the poor dry empty thing
In holes, as he sat by the river.
"This is the way," laughed the great god Pan,
(Laughed while he sat by the river)
"The only way, since gods began
To make sweet music, they could succeed."
Then, dropping his mouth to a hole in the reed,
He blew in power by the river.
Sweet, sweet, sweet, O Pan!
Piercing sweet by the river!
Blinding sweet, O great god Pan!
The sun on the hill forgot to die,
And the lilies revived, and the dragon-fly
Came back to dream on the river.
Yet half a beast is the great god Pan,
To laugh as he sits by the river,
Making a poet out of a man:
The true gods sigh for the cost and pain--
For the reed which grows nevermore again
As a reed with the reeds in the river.
Pan hacks a reed from the river to make his pipe, and Barrett Browning counts the cost of the beautiful sound.
On Music
Thomas Moore · Romantic
When through life unblest we rove,
Losing all that made life dear,
Should some notes we used to love,
In days of boyhood, meet our ear,
Oh! how welcome breathes the strain!
Wakening thoughts that long have slept,
Kindling former smiles again
In faded eyes that long have wept.
Like the gale, that sighs along
Beds of oriental flowers,
Is the grateful breath of song,
That once was heard in happier hours.
Fill'd with balm the gale sighs on,
Though the flowers have sunk in death;
So, when pleasure's dream is gone,
Its memory lives in Music's breath.
Music, oh, how faint, how weak,
Language fades before thy spell!
Why should Feeling ever speak,
When thou canst breathe her soul so well?
Friendship's balmy words may feign,
Love's are even more false than they;
Oh! 'tis only music's strain
Can sweetly soothe, and not betray.
Sing -- Sing -- Music Was Given
Thomas Moore · Romantic
Sing -- sing -- Music was given
To brighten the gay, and kindle the loving;
Souls here, like planets in heaven,
By harmony's laws alone are kept moving.
Beauty may boast of her eyes and her cheeks,
But Love from the lips his true archery wings;
And she, who but feathers the dart when she speaks,
At once sends it home to the heart when she sings.
Then sing -- sing -- Music was given,
To brighten the gay, and kindle the loving;
Souls here, like planets in heaven,
By harmony's laws alone are kept moving.
When Love, rock'd by his mother,
Lay sleeping as calm as slumber could make him,
"Hush, hush," said Venus, "no other
Sweet voice but his own is worthy to wake him."
Dreaming of music he slumber'd the while,
Till faint from his lip a soft melody broke,
And Venus, enchanted, look'd on with a smile,
While Love to his own sweet singing awoke.
Then sing -- sing -- Music was given,
To brighten the gay, and kindle the loving;
Souls here, like planets in heaven,
By harmony's laws alone are kept moving.
Music: An Ode
Algernon Charles Swinburne · Victorian
WAS it light that spake from the darkness,
or music that shone from the word,
When the night was enkindled with sound
of the sun or the first-born bird?
Souls enthralled and entrammelled in bondage
of seasons that fall and rise,
Bound fast round with the fetters of flesh,
and blinded with light that dies,
Lived not surely till music spake,
and the spirit of life was heard.
Music, sister of sunrise, and herald of life to be,
Smiled as dawn on the spirit of man,
and the thrall was free.
Slave of nature and serf of time,
the bondman of life and death,
Dumb with passionless patience that breathed
but forlorn and reluctant breath,
Heard, beheld, and his soul made answer,
and communed aloud with the sea.
Morning spake, and he heard:
and the passionate silent noon
Kept for him not silence:
and soft from the mounting moon
Fell the sound of her splendour,
heard as dawn's in the breathless night,
Not of men but of birds whose note
bade man's soul quicken and leap to light:
And the song of it spake, and the light and the darkness
of earth were as chords in tune.
Better -- than Music! For I -- who heard it --
Emily Dickinson · American
Better -- than Music! For I -- who heard it --
I was used -- to the Birds -- before --
This -- was different -- 'Twas Translation --
Of all tunes I knew -- and more --
'Twasn't contained -- like other stanza --
No one could play it -- the second time --
But the Composer -- perfect Mozart --
Perish with him -- that Keyless Rhyme!
So -- Children -- told how Brooks in Eden --
Bubbled a better -- Melody --
Quaintly infer -- Eve's great surrender --
Urging the feet -- that would -- not -- fly --
Children -- matured -- are wiser -- mostly --
Eden -- a legend -- dimly told --
Eve -- and the Anguish -- Grandame's story --
But -- I was telling a tune -- I heard --
Not such a strain -- the Church -- baptizes --
When the last Saint -- goes up the Aisles --
Not such a stanza splits the silence --
When the Redemption strikes her Bells --
Let me not spill -- its smallest cadence --
Humming -- for promise -- when alone --
Humming -- until my faint Rehearsal --
Drop into tune -- around the Throne --
Frequently Asked Questions
What is a famous poem about music?
Edgar Allan Poe's 'The Bells' and 'Israfel' are two of the most musical poems in English. Robert Browning's 'Abt Vogler' is the great poem about a musician in the act of creating.
Are there short poems about music?
Yes. Shakespeare's 'Orpheus with his Lute' and several of Dickinson's poems here are brief, and Dickinson's 'Split the Lark' is only a few lines long.
Which poets wrote about music?
Edgar Allan Poe, Robert Browning, Emily Dickinson, Thomas Moore and Elizabeth Barrett Browning all wrote about music and song. This page gathers their strongest work on it.
How to write a poem about music
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