Introduction: “Music’s Empire” by Andrew Marvell
“Music’s Empire” by Andrew Marvell first appeared posthumously in 1681 in the collection “Miscellaneous Poems.” The poem explores the divine and civilizing power of music, tracing its origin from chaos to harmony. It opens with a portrayal of the primal world as a “great cymbal,” filled with discordant winds, where music was an isolated echo confined to natural elements like rocks and fountains. Marvell credits Jubal, a biblical figure, as the founder of musical harmony, attributing to him the invention of structured sound and the creation of the organ—symbolizing civilization and spiritual elevation. The lines describe how different musical elements—virgin trebles and manly bass—combine in harmonious unity, giving rise to varied musical forms, from the lute to the cornet. Marvell poetically calls music the “mosaic of the air,” emphasizing its universality and dominion over all things audible. Its enduring popularity lies in its eloquent celebration of music not just as art, but as a force that tames chaos, fosters unity, and aspires toward the divine—culminating in a reverent homage to a “gentler conqueror,” a subtle reference to Christ, who transcends even music’s power with the promise of heavenly harmony.
Text: “Music’s Empire” by Andrew Marvell
First was the world as one great cymbal made,
Where jarring winds to infant Nature played.
All music was a solitary sound,
To hollow rocks and murm’ring fountains bound.
Jubal first made the wilder notes agree;
And Jubal tuned music’s Jubilee;
He call’d the echoes from their sullen cell,
And built the organ’s city where they dwell.
Each sought a consort in that lovely place,
And virgin trebles wed the manly bass.
From whence the progeny of numbers new
Into harmonious colonies withdrew.
Some to the lute, some to the viol went,
And others chose the cornet eloquent,
These practicing the wind, and those the wire,
To sing men’s triumphs, or in Heaven’s choir.
Then music, the mosaic of the air,
Did of all these a solemn noise prepare;
With which she gain’d the empire of the ear,
Including all between the earth and sphere.
Victorious sounds! yet here your homage do
Unto a gentler conqueror than you;
Who though he flies the music of his praise,
Would with you Heaven’s Hallelujahs raise.
Annotations: “Music’s Empire” by Andrew Marvell
| Line from Poem | Simple Meaning (in Plain English) | Literary Devices |
| First was the world as one great cymbal made, | The early world is compared to a noisy cymbal, filled with chaotic sound. | Metaphor, Personification |
| Where jarring winds to infant Nature played. | Nature was young and filled with harsh, clashing winds. | Personification, Imagery |
| All music was a solitary sound, | Music was lonely and unstructured, lacking harmony. | Alliteration, Personification |
| To hollow rocks and murm’ring fountains bound. | Music existed only in natural echoes like rocks and fountains. | Imagery, Alliteration |
| Jubal first made the wilder notes agree; | Jubal brought harmony to chaotic sounds. | Allusion (to the biblical Jubal), Alliteration |
| And Jubal tuned music’s Jubilee; | Jubal created joyful, organized music. | Alliteration, Metaphor |
| He call’d the echoes from their sullen cell, | He awakened dormant echoes and brought them to life. | Personification, Metaphor |
| And built the organ’s city where they dwell. | He metaphorically created a musical world, symbolized by the organ. | Metaphor, Symbolism |
| Each sought a consort in that lovely place, | Every note found a matching sound to form harmony. | Personification, Metaphor |
| And virgin trebles wed the manly bass. | High-pitched and low-pitched notes were united like a marriage. | Metaphor, Contrast |
| From whence the progeny of numbers new | From this union, new musical patterns were born. | Metaphor, Imagery |
| Into harmonious colonies withdrew. | These new forms spread out like organized groups. | Metaphor, Personification |
| Some to the lute, some to the viol went, | Some music became lute melodies, others violin. | Enumeration, Imagery |
| And others chose the cornet eloquent, | Some music took the form of trumpet or horn. | Enumeration, Alliteration |
| These practicing the wind, and those the wire, | Some used wind instruments, others string instruments. | Contrast, Imagery |
| To sing men’s triumphs, or in Heaven’s choir. | Music praised human victories and divine glory. | Symbolism, Allusion |
| Then music, the mosaic of the air, | Music is described as a complex, beautiful part of the air. | Metaphor, Personification |
| Did of all these a solemn noise prepare; | Music created a serious, majestic sound from all sources. | Alliteration, Personification |
| With which she gain’d the empire of the ear, | Music gained control over human hearing. | Personification, Metaphor |
| Including all between the earth and sphere. | Music’s power spans from Earth to the heavens. | Hyperbole, Symbolism |
| Victorious sounds! yet here your homage do | Even powerful music must pay respect here. | Apostrophe, Exclamation |
| Unto a gentler conqueror than you; | A higher being (Christ) deserves more honor than music. | Allusion, Contrast |
| Who though he flies the music of his praise, | He avoids praise but is still worthy of it. | Irony, Allusion |
| Would with you Heaven’s Hallelujahs raise. | He would join with music to sing praises in heaven. | Religious Allusion, Symbolism |
Literary And Poetic Devices: “Music’s Empire” by Andrew Marvell
| Device | Example from Poem | Explanation |
| Allusion | “Jubal first made the wilder notes agree” | Refers to the biblical Jubal, the first musician (Genesis 4:21). |
| Apostrophe | “Victorious sounds! yet here your homage do” | Direct address to inanimate “sounds” as if they could respond. |
| Assonance | “murm’ring fountains bound” | Repetition of vowel sounds to enhance musical quality. |
| Contrast | “virgin trebles wed the manly bass” | Highlights the joining of opposites—high and low musical notes. |
| Enumeration | “Some to the lute, some to the viol went…” | Listing to show variety in musical expression. |
| Exclamation | “Victorious sounds!” | Used to express strong emotion or emphasis. |
| Hyperbole | “Including all between the earth and sphere” | Exaggeration of music’s dominion over all space. |
| Imagery | “To hollow rocks and murm’ring fountains bound” | Vivid sensory descriptions appeal to hearing and sight. |
| Irony | “Who though he flies the music of his praise” | It’s ironic that someone who avoids praise is worthy of divine music. |
| Metaphor | “Then music, the mosaic of the air” | Compares music to a mosaic, highlighting its complexity and beauty. |
| Onomatopoeia | “cymbal” (implied) | The word mimics a sharp crashing sound, adding auditory effect. |
| Parallelism | “Some to the lute, some to the viol went” | Balanced structure in successive clauses for rhythm. |
| Paradox | “gentler conqueror” | Suggests strength through gentleness—a spiritual superiority. |
| Personification | “Music…gain’d the empire of the ear” | Music is given human traits like ruling and conquering. |
| Religious Symbolism | “Heaven’s Hallelujahs” | Connects music to divine worship and spiritual transcendence. |
| Rhyme | “place” / “bass” | End rhyme contributes to the lyrical flow and cohesion. |
| Rhythm | Regular iambic pentameter throughout | Creates a flowing, musical cadence in the poem’s structure. |
| Symbolism | “organ’s city” | Represents the structured, civilized power of music. |
| Synecdoche | “empire of the ear” | The ear represents all of human hearing or appreciation of sound. |
Themes: “Music’s Empire” by Andrew Marvell
- Music as a Civilizing Force
In “Music’s Empire” by Andrew Marvell, music is portrayed as a powerful agent that tames chaos and brings order to the world. The poem opens with the image of a wild, dissonant universe: “First was the world as one great cymbal made, / Where jarring winds to infant Nature played.” Here, Marvell depicts an untamed natural world governed by random noise. The introduction of Jubal, “who first made the wilder notes agree,” marks the beginning of civilization through music. Jubal’s harmonization of wild sounds into structured forms signifies music’s role in shaping culture and intellect. As harmony spreads, “From whence the progeny of numbers new / Into harmonious colonies withdrew,” the poem suggests that music spurred societal development, mirroring how civilizations organize and expand. Music, then, is not mere art—it’s a foundational force of human refinement.
- Harmony Between Opposites
In Andrew Marvell’s “Music’s Empire,” the theme of harmony between opposites is vividly explored through musical metaphors that reflect unity and balance. The line “And virgin trebles wed the manly bass” captures this idea literally and symbolically, as high-pitched and low-pitched notes are personified and joined in metaphorical marriage. Marvell suggests that true beauty arises when contrasting elements work together—a reflection not only of musical balance but also of social and spiritual harmony. The “harmonious colonies” that form from these unions reinforce the idea that diversity, when orchestrated, leads to structured beauty. This theme resonates throughout the poem, especially in the culmination where “music, the mosaic of the air,” becomes a grand synthesis of varied sounds and styles, blending wind and wire, earthly and heavenly realms.
- The Spiritual and Divine Nature of Music
“Music’s Empire” by Andrew Marvell also explores the deep connection between music and spirituality. Music is not merely earthly entertainment—it is elevated to a divine plane. The poem transitions from Jubal’s earthly achievements to celestial aspirations, with lines like “To sing men’s triumphs, or in Heaven’s choir,” suggesting that music is both a celebration of human glory and a medium of worship. Ultimately, Marvell personifies music as a sovereign power—”she gain’d the empire of the ear”—whose influence extends “between the earth and sphere.” However, even this majestic music must bow to a “gentler conqueror,” a veiled reference to Christ. This final turn emphasizes that music, for all its glory, finds its highest purpose in worship and divine praise, as it helps raise “Heaven’s Hallelujahs.”
- The Power and Universality of Art
In “Music’s Empire,” Andrew Marvell emphasizes the transcendent power of music as a universal art form that surpasses boundaries of space and time. Music’s origin from natural chaos and its journey to harmonious mastery reflect the enduring human pursuit of beauty and expression. The phrase “the mosaic of the air” is a compelling metaphor for music’s intricate and omnipresent nature. By saying that music includes “all between the earth and sphere,” Marvell asserts that it spans all of existence—from the most grounded, natural echoes to the celestial chorus. This universality allows music to unify disparate forms, instruments, and purposes—whether “practicing the wind” or singing in “Heaven’s choir.” Music, in Marvell’s view, is the one form of art that can reach and resonate with every soul, every realm, and every emotion.
Literary Theories and “Music’s Empire” by Andrew Marvell
| Literary Theory | Application to “Music’s Empire” | References from the Poem |
| Formalism / New Criticism | Focuses on the poem’s internal structure—its use of sound, rhyme, meter, imagery, and metaphor to create meaning. The structured rhyming couplets, alliteration (“music’s Jubilee”), and metaphors (“mosaic of the air”) highlight the formal unity and aesthetic design. | “Then music, the mosaic of the air”, “Each sought a consort in that lovely place” |
| Mythological / Archetypal Theory | Explores biblical and archetypal symbols—such as Jubal, the mythic founder of music, representing the archetype of the cultural hero who brings order to chaos through art. | “Jubal first made the wilder notes agree” |
| Religious / Theological Criticism | Analyzes the poem through a spiritual lens, highlighting the transition from earthly music to divine worship. The final stanzas refer to Christ (“a gentler conqueror”), and the role of music in praising heaven. | “Would with you Heaven’s Hallelujahs raise”, “Unto a gentler conqueror than you” |
| Historical / Cultural Criticism | Situates the poem in the post-Renaissance era where music and science were seen as harmonizing human understanding with divine order. The poem reflects 17th-century ideas about the cosmos and the arts as expressions of divine harmony. | “Including all between the earth and sphere”, “gain’d the empire of the ear” |
Critical Questions about “Music’s Empire” by Andrew Marvell
- How does Marvell use the figure of Jubal to explore the origins of music and culture?
- In “Music’s Empire,” Andrew Marvell employs Jubal, a biblical character from Genesis, as a mythic symbol for the dawn of music and civilization. Jubal is portrayed not just as an inventor of instruments, but as a cultural architect who transforms chaotic sound into order: “Jubal first made the wilder notes agree; / And Jubal tuned music’s Jubilee.” His act of harmonizing wild sounds reflects a broader theme—the transition from natural disorder to human-imposed structure, a metaphor for the birth of civilization itself. Jubal’s role in “building the organ’s city where they dwell” signifies the domestication of sound, transforming echoes into organized art. Through Jubal, Marvell romanticizes the power of creativity to shape both society and spiritual understanding, positioning music as a foundational tool of human progress.
- In what ways does the poem reflect the 17th-century worldview of order, harmony, and divine hierarchy?
- “Music’s Empire” reflects the 17th-century worldview that valued cosmic order, rationality, and divine hierarchy, aligning music with these ideals. The poem moves from the dissonant “jarring winds” of infant nature to structured harmony, emphasizing the belief that music mirrors the order of the universe. Lines like “Into harmonious colonies withdrew” and “Then music, the mosaic of the air” showcase the Enlightenment ideal of a universe governed by harmony and proportion. Furthermore, the idea that music extends “between the earth and sphere” suggests the Ptolemaic and Platonic concept of the “music of the spheres,” where celestial harmony reflects divine will. Music’s dominion over the ear is celebrated, but it ultimately submits to “a gentler conqueror,” revealing that even the highest human art is subordinate to the divine—a clear reflection of the period’s religious and philosophical frameworks.
- What is the significance of the metaphor “mosaic of the air” in the context of the poem?
- The metaphor “mosaic of the air” in “Music’s Empire” encapsulates Marvell’s view of music as a complex, crafted art form composed of diverse elements unified into a harmonious whole. A mosaic implies beauty through structure—tiny, separate pieces arranged intentionally to form a larger, meaningful image. Similarly, Marvell describes music as combining various instruments, pitches, and tones: “Some to the lute, some to the viol went… These practicing the wind, and those the wire.” By calling music the “mosaic of the air,” he elevates it from mere sound to a visual and spiritual design—a symbol of order in the intangible realm of sound. This metaphor also emphasizes the invisible yet universal nature of music, which shapes the air into something sacred and intelligible. It’s a moment where Marvell fuses the sensory with the philosophical.
- How does the poem balance earthly art with spiritual humility in its final stanza?
- The final stanza of “Music’s Empire” shifts the tone from triumphant celebration of music’s worldly power to a quiet acknowledgment of spiritual humility. Though music has “gain’d the empire of the ear,” and conquered the realm “between the earth and sphere,” it is still asked to pay homage: “Victorious sounds! yet here your homage do / Unto a gentler conqueror than you.” This “gentler conqueror” is widely interpreted as a reference to Christ, whose quiet spiritual authority surpasses even the grandeur of music. Marvell ends the poem with a vision of music joining in heavenly praise: “Would with you Heaven’s Hallelujahs raise.” This balancing act—praising music’s power while acknowledging its subordination to divine grace—demonstrates the poet’s belief that all art, no matter how glorious, must serve a higher spiritual purpose.
Literary Works Similar to “Music’s Empire” by Andrew Marvell
- “Ode to Music” by Joseph Warton: Similar to Marvell’s poem, Moore praises music as a divine force that connects human emotion with spiritual transcendence.
- “Ode on a Grecian Urn” by John Keats: Like Marvell, Keats explores how art (in his case, visual rather than musical) captures eternal beauty and truth beyond the material world.
- “L’Allegro” by John Milton: Milton blends classical allusions and musical imagery, celebrating how music and mirth elevate the human spirit—much like Marvell’s vision of harmony.
- “The Hymn of Pan” by Percy Bysshe Shelley: Shelley, like Marvell, depicts music as a natural, mystical force that tames chaos and unites the human and divine realms.
- “A Song for St. Cecilia’s Day” by John Dryden: Dryden, echoing Marvell, links the origin of music to cosmic creation and sees it as a sacred force worthy of reverence and awe.
Representative Quotations of “Music’s Empire” by Andrew Marvell
| Quotation | Context | Theoretical Perspective |
| “First was the world as one great cymbal made,” | Describes the chaotic and noisy state of the world before music brought order. | Mythological Criticism – evokes the archetypal “chaos before creation” theme. |
| “Jubal first made the wilder notes agree;” | Introduces Jubal, the biblical founder of music, as a civilizing hero. | Archetypal Theory – Jubal as a cultural origin figure. |
| “Each sought a consort in that lovely place,” | Depicts musical notes forming harmonious pairs, symbolizing balance. | Structuralism – shows underlying binary oppositions in music (high/low, male/female). |
| “And virgin trebles wed the manly bass.” | Uses marriage imagery to describe the union of musical tones. | Feminist Criticism – raises questions about gender symbolism and hierarchy in harmony. |
| “Into harmonious colonies withdrew.” | Music spreads out into diverse forms, suggesting organized artistic creation. | Postcolonial Theory – the metaphor of “colonies” opens space for critique of cultural expansion. |
| “These practicing the wind, and those the wire,” | Differentiates between types of musical instruments and methods. | Formalism – examines the technical structure and categorization of musical expression. |
| “Then music, the mosaic of the air,” | Music is metaphorically described as a complex, artistic arrangement. | Aesthetic Theory – emphasizes music as refined, constructed beauty. |
| “With which she gain’d the empire of the ear,” | Music is personified as conquering human perception. | Psychoanalytic Criticism – explores the sensual and emotional dominance of sound. |
| “Unto a gentler conqueror than you;” | A humble turn where music yields to a higher spiritual force (Christ). | Religious/Christian Criticism – reflects on divine authority over artistic power. |
| “Would with you Heaven’s Hallelujahs raise.” | Ends with the image of music joining divine praise in heaven. | Theological Criticism – music as a medium of worship and sacred expression. |
Suggested Readings: “Music’s Empire” by Andrew Marvell
- Berthoff, Ann E. “The ‘Active Minde.'” Resolved Soul: A Study of Marvell’s Major Poems, Princeton University Press, 1970, pp. 143–98. JSTOR, http://www.jstor.org/stable/j.ctt13x16j6.8. Accessed 27 Mar. 2025.
- Banister, H. C. “Music as a Language.” Proceedings of the Musical Association, vol. 12, 1885, pp. 107–24. JSTOR, http://www.jstor.org/stable/765186. Accessed 27 Mar. 2025.
- Berthoff, Ann E. “Knowledge and Resolution.” Resolved Soul: A Study of Marvell’s Major Poems, Princeton University Press, 1970, pp. 34–67. JSTOR, http://www.jstor.org/stable/j.ctt13x16j6.5. Accessed 27 Mar. 2025.