‘Upon Julia’s Voice’ is just one of the many passionate poems that Robert Herrick wrote about an unknown woman named Julia. Most scholars agree that because he never married or maintained any relationships, it is likely she was of fictitious design and not based on a real-life person. However, that doesn’t dampen the grandiose devotion and exceptionally torrid love that radiates from the various poems addressed to her.
This poem by Herrick serves as a celebration of Julia’s voice — highlighting its ethereal splendor and power. To this end, the poet employs an ornate array of imagery and figurative language to illustrate the aural luxuriance of her singing. This results in a profoundly affecting experience for the reader that overflows from its romantic exaltations of love and beauty.
Upon Julia's Voice Robert HerrickSo smooth, so sweet, so silv'ry is thy voice,As, could they hear, the damn'd would make no noise,But listen to thee, walking in thy chamber,Melting melodious words to lutes of amber.
Summary
‘Upon Julia’s Voice’ by Robert Herrick is an impassioned poem in which a speaker gives praise to a woman’s singing voice.
‘Upon Julia’s Voice’ is a short poem written as a romantic ode to a woman named Julia whom the speaker is evidently infatuated with. It begins with a description of her voice, which is characterized as being so “smooth, so sweet, so silv’ry.” This leads the speaker to make the claim that if the “damn’d” could hear her beauteous vocals, they would be moved to silence even in their agony and despair.
Then the speaker describes some of the scenery, implying that they are listening to Julia as she sings from within her “chamber” (i.e., room). In the final line, they offer one final reverent image of her singing, imagining it “melting melodious words to lutes of amber.”
Structure and Form
‘Upon Julia’s Voice’ consists of a single quatrain with a rhyme scheme of ‘AABB’. The first three lines are written in iambic pentameter, while the poem’s fourth line is written in iambic hexameter.
Literary Devices
‘Upon Julia’s Voice’ uses the following examples of literary devices:
- Auditory imagery: “So smooth, so sweet, so silv’ry is thy voice” (1); “lutes of amber” (4)
- Auditory/visual imagery: “But listen to thee, walking in thy chamber” (3)
- Simile: “As, could they hear, the damn’d would make no noise” (2)
- Metaphor: “Melting melodious words” (4)
Detailed Analysis
Lines 1-2
So smooth, so sweet, so silv’ry is thy voice,
As, could they hear, the damn’d would make no noise,
In the first two lines of ‘Upon Julia’s Voice,‘ the speaker creates a divine image of the woman’s vocal abilities and their perception of them. Herrick uses auditory imagery to describe them as “smooth, so sweet, so silv’ry” (1) — a portrayal that alludes to their heavenly nature.
What is curious is the poet’s diction which utilizes adjectives typically reserved for other types of imagery: “smooth” (tactile imagery); “sweet” (gustatory imagery); and “silv’ry” (visual imagery). The purpose of which might be to accentuate the comprehensive beauty of Julia’s voice, as it is not restricted to just an aural appreciation.
In line two, the speaker makes a further claim to the blessed power of Julia’s voice. Through the use of simile, Herrick creates another compelling image that pictures the “damn’d” souls of hell being stilled to silence by her singing. The implication is that even in their eternal sorrow and punishment, they cannot help but be touched by its beauty. Elevating the voice of Julia to angelic heights.
Lines 3-4
But listen to thee, walking in thy chamber,
Melting melodious words to lutes of amber.
The speaker gushes ardently over the eponymous woman in the last two lines of ‘Upon Julia’s Voice’. Herrick uses both auditory and visual imagery to expand the scene beyond the priorly narrow focus on her voice: “But listen to thee, walking in thy chamber” (3). The added scenery implies the speaker is outside Julia’s room, listening covertly to her singing.
The poem’s last line frames it with one final description of her voice. Herrick uses a combination of metaphor and auditory imagery to leave a lasting impression of Julia upon the reader. The speaker describes it as “melting melodious” (4), an image that emphasizes the lyrical quality of her words. At the same time, the second half of the line — “lutes of amber” (4) — compares her vocal cords to a rich-sounding instrument.
FAQs
The poem’s theme is an ardently romantic appreciation of a woman’s voice. One that revels in the divine beauty and power it wields while also highlighting the speaker’s intense love.
Herrick wrote the poem as an ode to the woman whose name graces the title. It celebrates the inherent beauty of her singing and the heavenly nature of the music of human vocals.
Herrick addressed a number of his poems to the woman named in this one. They include ‘Upon Julia’s Breath,‘ ‘Upon Julia’s Breasts,‘ and ‘Upon Julia’s Clothes,‘ to name just a few. Although they were most likely not based on any particular person, they burn fervently and sensually in awe over her. It is most likely that Julia was Herrick’s imagined ideal for a woman.
The original poem contains this footnote regarding diction: “Amber, used here merely for any rich material.” It also provides an example from another Herrick poem titled ‘To The King And Queen Upon Their Unhappy Distances,’ which also uses the phrase: “Treading on amber with their silver feet.”
Similar Poems
Readers who enjoyed this poem should also consider reading some other Robert Herrick poems. For example:
- ‘Upon Julia’s Clothes’ – this poem also explores the poet’s fascination with a woman named Julia.
- ‘Delight in Disorder’ – this poem expresses an appreciation of all that is imperfect or untidy.
- ‘Why Flowers Change Color’ – this poem explores the idea of virginity through the symbolism of flowers.
