'Good -Morrow, The' by John Donne
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I wonder, by my troth, what thou and I
Did till we loved. Were we not weaned till then,
But sucked on country pleasures, childishly?
Or snorted we in the seven sleepers' den?
'Twas so; but this, all pleasures fancies be.
If ever any beauty I did see,
Which I desired and got, 'twas but a dream of thee.
And now good-morrow to our waking souls,
Which watch not one another out of fear
For love all love of other sights controls
And makes one little room an everywhere.
Let sea-discoverers to new worlds have gone,
Let maps to others worlds on worlds have shown,
Let us possess one world, each hath one, and is one.
My face in thine eye, thine in mine appears,
And true plain hearts do in the faces rest
Where can we find two better hemispheres
Without sharp North, without declining West?
Whatever dies was not mixed equally;
If our two loves be one, or thou and I
Love so alike that none do slacken, none can die.
Song
Go, and catch a falling star;
Get with child a mandrake root;
Tell me, where all past years are,
Or who cleft the devil's foot.
Teach me to hear mermaids singing
Or to keep off envy's stinging,
And find
What wind
Serves to advance an honest mind.
If thou beest born to strange sights,
Things invisible to see,
Ride ten thousand days and nights
Till age snow white hairs on thee.
Thou, when thou return'st, wilt tell me
All strange wonders that befell thee,
And swear
No where
Lives a woman true, and fair.
If thou find'st one, let me know;
Such a pilgrimage were sweet.
Yet do not, I would not go:
Though at next door we might meet,
Though she were true when you met her,
And last till you write your letter,
Yet she
Will be
False, ere I come, to two, or three.
The Undertaking
I have done one braver thing
Than all the worthies did,
And yet a braver thence doth spring,
Which is to keep that hid.
It were but madness now t'impart
The skill of specular stone,
When he which can have learned the art
To cut it, can find none.
So, if I now should utter this,
Others (because no more
Such stuff to work upon there is)
Would love but as before.
But he who loveliness within
Hath found, all outward loathes,
For he who color loves and skin
Loves but their oldest clothes.
If, as I have, you also do
Virtue attired in woman see,
And dare love that, and say so too,
And forget the he and she;
And if this love, though placèd so,
From profane men you hide,
Which will no faith on this bestow,
Or if they do, deride:
Then you have done a braver thing
Than all the worthies did,
And a braver thence will spring,
Which is to keep that hid.
A Nocturnal upon Saint Lucy's Day
'Tis the year's midnight and it is the day's,
Lucy's, who scarce seven hours herself unmasks;
The sun is spent, and now his flasks
Send forth light squibs, no constant rays;
The world's whole sap is sunk:
The general balm th'hydroptic earth hath drunk,
Whither, as to the bed's feet, life is shrunk,
Dead and interred; yet all these seem to laugh
Compared with me, who am their epitaph.
Study me then, you who shall lovers be
At the next world, that is at the next spring:
For I am every dead thing,
In whom love wrought new alchemy,
For his art did express
A quintessence even from nothingness,
From dull privations and lean emptiness:
He ruined me, and I am rebegot
Of absence, darkness, death; things which are not.
All others from all things draw all that's good,
Life, soul, form, spirit, whence they being have;
I by love's limbecke am the grave
Of all that's nothing. oft a flood
Have we two wept, and so
Drowned the whole world, us two; oft did we grow
To be two chaoses, when we did show
Care to aught else; and often absences
Withdrew our souls and made us carcases.
But I am by her death (which word wrongs her)
Of the first nothing the elixir grown;
Were I a man, that I were one
I needs must know; I should prefer,
If I were any beast,
Some ends, some means; yea, plants, yea, stones detest
And love; all some properties invest;
If I an ordinary nothing were,
As shadow, a light and body must be here.
But I am none; nor will my sun renew.
You lovers, for whose sake the lesser sun
At this time to the goat is run
To fetch new lust and give it you,
Enjoy your summer all;
Since she enjoys her long night's festival
Let me prepare towards her and let me call
This hour her vigil and her eve, since this
Both the year's and the day's deep midnight is.
Song
Sweetest love, I do not go
For weariness of thee,
Nor in hope the world can show
A fitter love for me;
But since that I
Must die at last, 'tis best
To use myself in jest,
Thus by feigned deaths to die;
Yesternight the sun went hence,
And yet is here to-day;
He hath no desire nor sense,
Nor half so short a way:
Then fear not me,
But believe that I shall make
Speedier journeys, since I take
More wings and spurs than he.
O how feeble is man's power,
That if good fortune fall,
Cannot add another hour
Nor a lost hour recall!
But come bad chance,
And we join to it our strength,
And we teach it art and length
Itself o'er us to advance.
When thou sigh'st, thou sigh'st not wind
But sigh'st my soul away;
When thou weep'st, unkindly kind,
My life's blood doth decay.
It cannot be
That thou lov'st me, as thou say'st,
If in thine my life thou waste
That art the best of me.
Let not thy divining heart
Forethink me any ill;
Destiny may take thy part,
And may thy fears fulfil;
But think that we
Are but turned aside to sleep;
They who one another keep
Alive, ne'er parted be.
Death, Be Not Proud
Death, be not proud, though some have callèd thee
Mighty and dreadful, for thou art not so;
For those whom thou think'st thou dost overthrow
Die not, poor death, nor yet canst thou kill me.
From rest and sleep, which yet thy pictures be,
Much pleasure, then from thee much more, must low
And soonest our best men with thee do go,
Rest of their bones and soul's delivery.
Thou art slave to fate, chance, kings and desperate men
And dost with poison, war and sickness dwell,
And poppy or charms can make us sleep as well
And better than thy stroke; why swell'st thou then ?
One short sleep past, we wake eternally,
And death shall be no more; death, thou shalt die.
The Bait
Come live with me, and be my love,
And we will some new pleasures prove
Of golden sands, and crystal brooks:
With silken lines, and silver hooks.
There will the river whispering run
Warm'd by thy eyes, more then the Sun.
And there th'inamored fish will stay,
Begging themselves they may betray.
When thou wilt swim in that live bath,
Each fish, which every channel hath,
Will amorously to thee swim,
Gladder to catch thee than thou him.
If thou, to be so seen, beest loth,
By Sun, or Moon, thou darknest both,
And if my self have leave to see,
I need not their light, having thee.
Let others freeze with angling reeds,
And cut their legs with shells and weeds,
Or treacherously poor fish beset,
With strangling snare, or windowy net:
Let coarse bold hands, from slimy nest
The bedded fish in banks out-wrest,
Or curious traitors, sleavesilke flies
Bewitch poor fishes wandering eyes.
For thee, thou needst no such deceit,
For thou thyself art thine own bait;
That fish, that is not catched thereby,
Alas, is wiser far than I.
The Message
Send home my long stray'd eyes to me,
Which O too long have dwelt on thee,
Yet since there they have learn'd such ill,
Such forc'd fashions,
And false passions,
That they be
Made by thee
Fit for no good sight, keep them still.
Send home my worthless heart again,
Which no unworthy thought could stain,
Which if't be taught by thine
To make jestings
Of protestings,
And cross both
Word and oath,
Keep it, for then 'tis none of mine.
Yet send me back my heart and eyes,
That I may know, and see thy lies,
And may laugh and joy, when thou
Art in anguish
And dost languish
For some one
That will non,
Or prove as false as thou art now.
The Primrose
Upon this Primrose hill,
Where, if Heav'n would distill
A shower of rain, each several drop might go
To his own primrose, and grow Manna so;
And where their form, and their infinity
Make a terrestrial galaxy,
As the small stars do in the sky:
I walk to find a true love, and I see
That 'tis not a mere woman, that is she,
But must, or more, or less than woman be.
Yet know I not, which flower
I wish; a six, or four
For should my true-love less than woman be,
She were scarce anything; and then, should she
Be more than woman, she would get above
All thought of sex, and think to move
My heart to study her, and not to love;
Both these were monsters; since there must reside
Falsehood in woman, I could more abide,
She were by art, than Nature falsify'd.
Live Primrose then, and thrive
With thy true number five;
And women, whom this flower doth represent,
With this mysterious number be content'
Ten is the farthest number; if half ten
Belong to each women, then
Each woman may take half us men,
Or if this will not serve their turn, since all
Numbers are odd, or even, and they fall
First into this five, women may take us all.
The Legacy
When I died last, and, Dear, I die
As often as from thee I go,
Though it be but an hour ago,
And Lovers' hours be full eternity,
I can remember yet, that I
Something did say, and something did bestow;
Though I be dead, which sent me, I should be
Mine own executor and legacy.
I heard me say, "Tell her anon,
That myself, that is you, not I,
Did kill me," and when I felt me die,
I bid me send my heart, when I was gone,
But alas could there find none,
When I had ripp'd me, and search'd where hearts should lie;
It kill'd me again, that I who still was true,
In life, in my last will should cozen you.
Yet I found something like a heart,
But colors it, and corners had,
It was not good, it was not bad,
It was intire to none, and few had part.
As good as could be made by art
It seem'd, and therefore for our losses sad,
I meant to send this heart in stead of mine,
But oh, no man could hold it, for 'twas thine.
Elegy: Change
Although thy hand and faith, and good works too,
Have seal'd thy love which nothing should undo,
Yea though thou fall back, that apostasy
Confirm thy love; yet much, much I fear thee.
Women are like the Arts, forc'd unto none,
Open to'all searchers, unpriz'd, if unknown.
If I have caught a bird, and let him fly,
Another fouler using these meanes, as I,
May catch the same bird; and, as these things be,
Women are made for men, not him, nor me.
Foxes and goats; all beasts change when they please,
Shall women, more hot, wily, wild then these,
Be bound to one man, and did Nature then
Idly make them apter to endure than men?
They are our clogges, not their owne; if a man be
Chain'd to a galley, yet the galley is free;
Who hath a plow-land, casts all his seed corn there,
And yet allows his ground more corn should bear;
Though Danuby into the sea must flow,
The sea receives the Rhene, Volga, and Po.
By nature, which gave it, this liberty
Thou lov'st, but Oh! canst thou love it and me?
Likeness glues love: Then if so thou do,
To make us like and love, must I change too?
More than thy hate, I hate it, rather let me
Allow her change, then change as oft as she,
And soe not teach, but force my opinion
To love not any one, nor every one.
To live in one land is captivity,
To run all countries, a wild roguery;
Waters stink soon, if in one place they bide,
And in the vast sea are worse putrified:
But when they kiss one bank, and leaving this
Never look back, but the next bank do kiss,
Then are they purest; Change is the nursery
Of music, joy, life, and eternity.
Elegy: Going to Bed
Come, Madam, come, all rest my powers defy,
Until I labor, I in labor lie.
The foe oft-times having the foe in sight,
Is tir'd with standing though he never fight.
Off with that girdle, like heaven's Zone glittering,
But a far fairer world encompassing.
Unpin that spangled breastplate which you wear,
That th'eyes of busy fools may be stopt there.
Unlace your self, for that harmonious chime,
Tells me from you, that now it is bed time.
Off with that happy busk, which I envie,
That still can be, and still can stand so nigh.
Your gown going off, such beautious state reveals,
As when from flow'ry meads th'hills shadow steals.
Off with that wiry Coronet and show
The hairy diadem which on you doth grow:
Now off with those shoes, and then softly tread
In this, love's hallow'd temple, this soft bed.
In such white robes, heaven's Angels us'd to be
Receiv'd by men: thou Angel bringst with thee
A heaven like Mahomet's Paradice, and though
Ill spirits walk in white, we eas'ly know,
By this these Angels from an evil sprite,
Those set our hairs, but these our flesh upright.
License my roaving hands, and let them go,
Behind, before, above, between, below.
O my America! my new-found-land,
My kingdom, safeliest when with one man man'd,
My mine of precious stones: my emperie,
How blest am I in this discovering thee!
To enter in these bonds, is to be free;
Then where my hand is set, my seal shall be.
Full nakedness! All joys are due to thee,
As souls unbodied, bodies uncloth'd must be,
To taste whole joyes. Gems which you women use
Are like Atlanta's balls, cast in mens views,
That when a fool's eye lighteth on a gem,
His earthly soul may covet theirs, not them:
Like pictures or like books gay coverings made
For lay-men, are all women thus array'd.
Themselves are mystick books, which only wee
(Whom their imputed grace will dignify)
Must see rever'd. Then since that I may know;
As liberally, as to a midwife show
Thyself: cast all, yea, this white linen hence,
There is no penance due to innocence:
To teach thee I am naked first; why than
What needst thou have more covering then a man?
Love's Deity
I long to talk with some old lover's ghost,
Who died before the god of Love was born:
I cannot think that he, who then lov'd most,
Sunk so low, as to love one which did scorn.
But since this god produc'd a destiny,
And that vice-nature, custom, lets it be;
I must love her, that loves not me.
Sure, they which made him god, meant not so much:
Nor he, in his young godhead practic'd it.
But when an even flame two hearts did touch,
His office was indulgently to fit
Actives to passives. Correspondency
Only his subject was; it cannot be
Love, till I love her, that loves me.
But every modern god will now extend
His vast perogative, as far as Jove.
To rage, to lust, to write it, to commend,
All is the purlew of the God of Love.
Oh, were we wakened by this tyranny
To ungod this child again, it could not be
That I should love, who loves not me.
Rebel and Atheist too, why murmur I,
As though I felt the worst that love could do?
Love might make me leave loving, or might try
A deeper plague, to make her love me too,
Which since she loves before, I am loth to see;
Falsehood is worse than hate; and that must be
If she whom I love, should love me.
Editor 1 Interpretation
The Good-Morrow: A Masterpiece of Metaphysical Poetry
Have you ever read a poem and felt like you were transported to another world? John Donne's "The Good-Morrow" is one such work that has the power to do just that. It is a poem filled with metaphysical conceits, rich imagery, and clever wordplay that makes it a masterpiece of English literature.
Background Information
Before delving into the poem itself, let's first explore some background information about the poet, John Donne. Born in 1572, Donne was a prominent English poet and cleric in the 17th century, known for his metaphysical poetry. His works have often been compared to those of George Herbert, Andrew Marvell, and William Shakespeare. Donne's poetry is characterized by its use of unconventional imagery, intricate metaphors, and a deep exploration of the human condition.
Analysis of "The Good-Morrow"
"The Good-Morrow" is a love poem that explores the idea of two souls merging into one. The speaker begins the poem by addressing his lover, saying, "I wonder, by my troth, what thou and I did, till we loved?" This line sets the tone for the rest of the poem - one of wonder and amazement at the power of love. The speaker then goes on to describe how their love has made them both complete: "And now good-morrow to our waking souls, which watch not one another out of fear."
The use of the phrase "good-morrow" is significant here. It is a greeting used in the morning, and the speaker is essentially saying that their love is like a new day, one that brings hope and joy. The phrase "waking souls" implies that their love has awakened them from a state of ignorance, and they are now able to see the world in a new light.
The poem is filled with metaphysical conceits, which are extended metaphors that compare two seemingly unrelated things. For example, the speaker compares their love to a compass: "Our two souls therefore, which are one, though I must go, endure not yet a breach, but an expansion, like gold to airy thinness beat." Here, the speaker is saying that their love is like a compass that always points them back to each other, no matter how far apart they are. The metaphor of gold being beaten into thinness is also significant - it implies that their love has been refined and purified, making it even stronger.
Another extended metaphor is the comparison of their love to the world: "My face in thine eye, thine in mine appears, and true plain hearts do in the faces rest." Here, the speaker is saying that their love is like the world, in that it is a reflection of each other. He also suggests that their love is pure and true, and that it is visible in their faces.
The final stanza of the poem is perhaps the most powerful: "And makes one little room an everywhere. Let sea-discoverers to new worlds have gone, let maps to other, worlds on worlds have shown, let us possess one world, each hath one, and is one." Here, the speaker is saying that their love is so strong that it has the power to transform a small room into a world. He is also suggesting that their love is all-encompassing and that it is the only world that matters.
Interpretation of "The Good-Morrow"
"The Good-Morrow" is a poem that can be interpreted in many ways, but one of the most common interpretations is that it is a celebration of love. The speaker is amazed at the power of love and how it has transformed him and his lover. He suggests that their love is so strong that it has the power to transform the world around them.
Another interpretation of the poem is that it is a reflection on the nature of reality. The speaker suggests that their love is more real than anything else in the world, and that it has the power to transcend physical boundaries. This idea is reflected in the extended metaphors used throughout the poem, such as the comparison of their love to a compass and the world.
The poem can also be seen as a meditation on the human condition. The speaker suggests that love has the power to awaken us from a state of ignorance and to bring us into a state of enlightenment. He also suggests that love has the power to transform us, making us better versions of ourselves.
Conclusion
"The Good-Morrow" is a poem that has the power to transport the reader to another world. It is a masterpiece of metaphysical poetry that explores the power of love, the nature of reality, and the human condition. The use of metaphysical conceits, rich imagery, and clever wordplay makes it a work of art that is both beautiful and profound. If you haven't read it already, I highly recommend that you give it a try - you won't be disappointed!
Editor 2 Analysis and Explanation
John Donne's "The Good-Morrow" is a classic poem that explores the theme of love and its transformative power. Written in the 17th century, the poem is a beautiful expression of the poet's deep understanding of the nature of love and its ability to transcend physical boundaries. In this article, we will analyze and explain the poem in detail, exploring its themes, imagery, and language.
The poem is structured in three stanzas, each consisting of eight lines. The rhyme scheme is ABAB CDCD EFEF GG, and the meter is iambic tetrameter. The poem begins with a striking image of two lovers waking up to a new day, and the speaker's realization that their love has transformed their world.
"I wonder, by my troth, what thou and I Did, till we loved? Were we not weaned till then? But sucked on country pleasures, childishly? Or snorted we in the Seven Sleepers' den? 'Twas so; but this, all pleasures fancies be. If ever any beauty I did see, Which I desired, and got, 'twas but a dream of thee."
The opening lines of the poem are a rhetorical question that sets the tone for the rest of the poem. The speaker wonders what he and his lover did before they fell in love. He suggests that they were like children, indulging in simple pleasures and unaware of the transformative power of love. The reference to the Seven Sleepers' den is a biblical allusion to a story about seven young men who fell asleep in a cave and woke up 300 years later, unaware of the passage of time. The speaker suggests that their love has awakened them from a similar slumber, and they are now fully alive and aware of the world around them.
The second stanza of the poem continues the theme of transformation, as the speaker describes how their love has changed their perception of the world.
"And now good-morrow to our waking souls, Which watch not one another out of fear; For love, all love of other sights controls, And makes one little room an everywhere. Let sea-discoverers to new worlds have gone, Let maps to other, worlds on worlds have shown, Let us possess one world, each hath one, and is one."
The speaker greets the morning with a sense of joy and wonder, as he and his lover awaken to a new day. He describes their love as a force that transcends physical boundaries and makes their small room feel like the entire world. The reference to sea-discoverers and maps is a metaphor for the limitations of physical exploration, suggesting that their love has opened up a new world of emotional and spiritual exploration.
The final stanza of the poem is a celebration of the power of love to transform and transcend. The speaker describes their love as a force that has united them in a way that is beyond physical and emotional boundaries.
"My face in thine eye, thine in mine appears, And true plain hearts do in the faces rest; Where can we find two better hemispheres, Without sharp north, without declining west? Whatever dies, was not mixed equally; If our two loves be one, or thou and I Love so alike that none can slacken, none can die."
The final lines of the poem are a beautiful expression of the speaker's belief in the transformative power of love. He suggests that their love is so strong that it has united them in a way that is beyond physical and emotional boundaries. The reference to "two better hemispheres" suggests that their love is a perfect union, without any flaws or imperfections. The final lines of the poem are a celebration of the power of love to transform and transcend, suggesting that their love will endure even in the face of death.
In conclusion, John Donne's "The Good-Morrow" is a beautiful expression of the transformative power of love. The poem explores the theme of love and its ability to transcend physical and emotional boundaries, suggesting that true love is a force that can unite two people in a way that is beyond words. The imagery and language of the poem are rich and evocative, creating a sense of wonder and joy that is both timeless and universal. The poem is a testament to the enduring power of love, and a reminder that true love is a force that can transform and transcend even the most difficult of circumstances.
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