MUSIC IN POETRY

Music is the only language of coexistence and tolerance as seen by many. It is the universal language of all human beings since it is the language of the soul, same as poetry, and by and large the only language understood and spoken by the whole world without the need of any explanation or translation. Music refines the soul and touches the feelings. It is the language of joys and sorrows, of healing and religious spirituality, especially when it adopts supreme human causes such as the rejection of racial discrimination, oppression and injustice. The role of poetry here is to promote the values of love, peace, social justice, resistance to evil and victory of good.

Music alone is an inclusive language. While poetry is at the heart of the language, music is at the heart of the soul. Anyone who senses music and understands its effects on the self does not need to master another language to understand it. Around 200 years ago American poet and educator, Henry Wadsworth Longfellow, stated that music is the universal language of all humankind. Ever since, lots of anthropologists and evolutionary biologists have been able to prove the validity of what Longfellow said. In the most comprehensive study of its kind, researchers at Harvard University compiled libraries and private music collections creating a comprehensive database of songs for comparisons, or a suite of audio recordings of dance, healing, peace and love songs from 315 cultures to find that different cultures share diverse musical themes only to prove recurring patterns in music with common features around the world.

In summary, “music is a universal language that arises within us without us knowing.” Who among us has not heard this sentence or thought about it when hearing music that does not belong to his heritage? This sentence expresses the truth. While music shares behavioural functions related to love, war, mourning, etc., poetry tends to have similar features. Therefore, they both spread in similar ways around the world.

Post Views : 121