There be none of Beauty’s daughters
With a magic like thee;
And like music on the waters
Is thy sweet voice to me.

These lines come from Lord Byron’s lyric “There be none of Beauty’s daughters,” a short song-like poem written in the early 19th century and published in his collection *Hebrew Melodies* (1815). The *Hebrew Melodies* were produced in collaboration with the composer Isaac Nathan, who supplied or arranged tunes and encouraged Byron to write verses suited to musical setting. Although framed by a “Hebrew” or biblical atmosphere in the volume, many of the poems are essentially romantic lyrics. Here Byron adopts the diction of a serenade, praising a beloved’s voice and presence through flowing, musical imagery.

The speaker elevates the beloved above all “Beauty’s daughters,” claiming her charm is uniquely “magic.” The central comparison—her voice like “music on the waters”—suggests sound that is both soothing and elusive, carried and softened by a natural element. Byron’s language fuses sensual admiration with an almost supernatural aura (“magic”), implying that beauty is not merely visual but also auditory and atmospheric. The lyric’s cadence reinforces its theme: the poem itself aims to sound like what it describes, turning praise into a kind of music and presenting love as an experience that harmonizes the senses and the natural world.