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Charm me asleep, and melt me so
With thy delicious numbers,
That, being ravish’d, hence I go
Away in easy slumbers.
Ease my sick head,
And make my bed,
Thou power that canst sever
From me this ill,
And quickly still,
Though thou not kill
Thou sweetly canst convert the same
From a consuming fire
Into a gentle licking flame,
And make it thus expire.
Then make me weep
My pains asleep;
And give me such reposes
That I, poor I,
May think thereby
I live and die
Fall on me like the silent dew,
Or like those maiden showers
Which, by the peep of day, do strew
A baptism o’er the flowers.
Melt, melt my pains
With thy soft strains;
That, having ease me given,
With full delight
I leave this light,
And take my flight
–Robert Herrick, To Music, to becalm his Fever (ca. 1660) in Chrysomela: A Selection from the Lyrical Poems of Robert Herrick p. 229 (F.T. Palgrave ed. 1876)
Download a reading of Herrick’s To Music for your iPod or MP3 player here.
Of the seventeenth century English poets, Herrick’s work has the closest inherent relationship to music. It is melodious, and most of his poems (excepting perhaps the more religiously themed ones) have the character of song about them. Among his contemporaries, in fact, Herrick is called “the songwriter,” and settings of some of his poems survive (unfortunately for him, the poetry is much better than the music.) Still reading this particularly beautiful effort (note especially: “Fall on me like the silent dew, / Or like those maiden showers/ Which, by the peep of day, do strew/ A baptism o’er the flowers.” The construction and language are wonderful), I think immediately of John Dowland’s songs, especially the Second and Third Books. There is an inescapably downbeat angle to them, but they are beautiful, lyrical and thematically very close to Herrick.
Listen to John Dowland’s Lachrymae Pavane as performed by Winston Arblaster in the Bishop’s Chapel, Wells, England – there are no lyrics for this “dance of tears,” so imagine Herrick’s appeal to the curative power of music.
More from Scott Horton:
Conversation — March 30, 2016, 3:44 pm
Joseph Hickman discusses his new book, The Burn Pits, which tells the story of thousands of U.S. soldiers who, after returning from Iraq and Afghanistan, have developed rare cancers and respiratory diseases.
The new docudrama The People v. O. J. Simpson: American Crime Story (FX) isn’t really about Orenthal James Simpson. It’s about the trials that ran alongside his — those informal, unboundaried, court-of-public-opinion trials in which evidence was heard for and against the murder victims, the defense and the prosecution, the judge, the jury, and the Los Angeles Police Department, to say nothing of white and black America. History has freed us from suspense about Simpson’s verdict, so that the man himself (played here by Cuba Gooding Jr.) is less the tragic hero he seemed in the mid-Nineties than a curiously minor character. He comes to the center of our attention only once, in Episode 2, at the end of the lengthy Ford Bronco chase scene — which in real life was followed by a surreal cavalcade of police cars and media helicopters, as well as an estimated 95 million live viewers — when Simpson repeatedly, and with apparent sincerity, apologizes for taking up so much of so many people’s time. It is an uncannily ordinary moment of social decorum, a sort of could-you-please-pass-the-salt gesture on a sinking Titanic, in which Simpson briefly becomes more than just an archetype.
Amount an auditor estimated last year that Oregon could save each year by feeding prisoners less food:
Kentucky is the saddest state.
An Italian economist was questioned on suspicion of terrorism after a fellow passenger on an American Airlines flight witnessed him writing differential equations on a pad of paper.
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“Matt was happy enough to sustain himself on the detritus of a world he saw as careening toward self-destruction, and equally happy to scam a government he despised. 'I’m glad everyone’s so wasteful,' he told me. 'It supports my lifestyle.'”