The Good-Morrow
By John Donne
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 other 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.
Summary of The Good-Morrow
- Popularity of “The Good‑Morrow”: This beautiful poem, known as an aubade or morning love poem, was written by John Donne, a prominent metaphysical poet of the seventeenth century. Donne remains one of the most studied metaphysical poets and has influenced writers such as T. S. Eliot. The poem first appeared in his collection Songs and Sonnets (1633) and quickly gained recognition during his time at Lincoln’s Inn while studying law. A central theme of the poem is that deeply felt erotic love can be equivalent to spiritual love.
- “The Good‑Morrow” as a Representative of Sensual Love: The speaker begins by playfully questioning what their lives were like before falling in love, suggesting that existence was incomplete, like infancy or frivolous pursuits. This frames his assertion that love awakens them to a profound reality. He argues that any prior beauty or desire was only a glimpse of the full fulfillment now found in the beloved. The second stanza conveys a self‑sufficient contentment, where love alone satisfies. The final stanza portrays the merging of their identities, implying a love that transcends mortality.
- Major Themes in “The Good‑Morrow”: The poem explores awakening to love, the unity of souls, and love’s capacity to form a self‑contained world. Through a series of questions, the speaker and his beloved realize they are experiencing a spiritual awakening. Their bond transcends the physical world, illustrated by the imagery of mutual reflection in each other’s eyes. The final lines affirm that a love that is pure and equal will be immune to death.
Analysis of Literary Devices Used in The Good‑Morrow
John Donne skillfully employs a variety of literary devices to enrich the meaning and impact of his poem. Here’s a breakdown of some key techniques:
- Anaphora: The repetition of the word “Let” at the beginning of successive lines emphasizes the speaker’s rejection of external adventures in favor of their intimate love.
- Allusion: The “Seven Sleepers’ den” alludes to a Christian legend of seven youths who slept for centuries, waking to a changed world, suggesting the speaker felt similarly lost and inactive before finding love.
- Assonance: The short “u” sound in “But sucked on country pleasures” creates a pleasing musicality.
- Alliteration: The repeated “s” sound in “Seven Sleepers” draws attention and creates a memorable phrase.
- Conceit: The central conceit of the poem compares the lovers to two hemispheres, perfectly united and self‑sufficient, dominating the final stanza.
- Consonance: The repetition of the “l” sound in “For love, all love of other sights controls” adds subtle musicality.
- Hyperbole: The claim that their “little room” becomes “everywhere” exaggerates the all‑encompassing nature of their love.
- Imagery: “My face in thine eye, thine in mine appears” creates a vivid visual image of complete intimacy and mutual reflection.
- Metaphor: The lovers are directly compared to hemispheres, suggesting completeness and unity.
- Parallelism: “My face in thine eye, thine in mine appears” demonstrates parallel structure.
- Personification: The suggestion that their love “controls” sights hints at personification.
- Rhetorical Question: The opening lines are filled with rhetorical questions that prompt the reader to consider the speaker’s state of mind before love.
- Symbolism: The “hemispheres” symbolize completeness, unity, and the merging of two individuals into one.
Analysis of Poetic Devices Used in The Good‑Morrow
Poetic devices are techniques used to enhance the aesthetic and emotional impact of poetry. Here’s an examination of the poetic devices employed in this poem:
- Diction: Donne’s diction is both formal and colloquial, creating a tone that is elevated and intimate.
- End Rhyme: End rhyme refers to the rhyme that occurs at the end of lines, contributing to the poem’s musicality.
- Rhyme Scheme: Each stanza follows a distinctive rhyme scheme that provides structure and rhythm.
- Stanza: The poem consists of three seven‑line stanzas, or septets.
- Tone: The tone of “The Good‑Morrow” is initially playful and inquisitive, then becomes increasingly intimate, celebratory, and ultimately transcendent.
Quotes to be Used
The following lines are particularly evocative and useful for illustrating the intensity and completeness of the lovers’ bond:
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.