Song: To Celia
by Ben Jonson
Drink to me only with thine eyes,
And I will pledge with mine;
Or leave a kiss but in the cup,
And I’ll not look for wine.
The thirst that from the soul doth rise
Doth ask a drink divine;
But might I of Jove’s nectar sup,
I would not change for thine.I sent thee late a rosy wreath,
Not so much honouring thee
As giving it a hope, that there
It could not withered be.
But thou thereon didst only breathe,
And sent’st it back to me;
Since when it grows, and smells, I swear,
Not of itself, but thee.
Summary of Song: To Celia
“Song: To Celia,” penned by Ben Jonson, is a lyrical exploration of ardent, yet unrequited, love. First published in 1616, the poem centers on a speaker deeply enamored with Celia, a woman who seems to hold herself apart. The speaker does not crave lavish displays of affection; instead he finds satisfaction in the simplest gestures from Celia—a look, a breath. He asserts that even the most exquisite ambrosia of the gods, Jove’s nectar, would not replace the sweetness of a single glance or kiss from his beloved.
The poem unfolds with the speaker recounting a gift—a rosy wreath—sent to Celia. The gesture is not an act of honor but a hope that her presence might preserve its beauty. Celia’s response is subtle; she merely breathed upon the wreath before returning it. In the speaker’s eyes, this simple act imbues the wreath with a magical quality, making it flourish and carry her essence, surpassing its own natural fragrance. The poem beautifully illustrates a love that thrives not on reciprocation, but on admiration and the value placed on even the smallest sign of acknowledgement.
Analysis of Literary Devices Used in “Song to Celia”
Ben Jonson’s “Song: To Celia” is a testament to the power of poetic craft. He skillfully employs a variety of literary devices to enhance the poem’s emotional resonance and thematic depth.
- Alliteration: The repetition of consonant sounds at the beginning of words creates a musical effect. In line 6, “Doth ask a drink divine,” the recurring ‘d’ sound subtly emphasizes the yearning within the line.
- Assonance: The repetition of vowel sounds within words adds to the poem’s musicality and creates a sense of flow. For example, “of Jove’s nectar sup” (line 7) features a pleasing repetition of the ‘o’ and ‘a’ sounds.
- Consonance: The repetition of consonant sounds within or at the end of words contributes to the poem’s texture. In “Not so much honouring thee” (line 9), the repeating ‘n’ sound creates a subtle emphasis.
- Enjambment: This technique, where a phrase or sentence continues onto the next line without punctuation, creates a sense of momentum and natural speech. Observe how lines 11 and 12 flow seamlessly together: “It could not withered be.
But thou thereon didst only breathe.” - Hyperbole: The use of exaggeration for effect is evident in line 7, “But might I of Jove’s nectar sup.” The speaker is not literally suggesting he could drink with the gods, but rather emphasizing the intensity of his desire.
- Imagery: Jonson evokes vivid sensory experiences through descriptive language. The “rosy wreath” (line 9) is a strong visual image, while the descriptions of the wreath’s fragrance appeal to the sense of smell.
- Metaphor: The comparison of Celia’s kiss to wine (line 3) is a central metaphor, suggesting that her affection is intoxicating and more desirable than any earthly pleasure.
- Paradox: The phrase “The thirst that from the soul doth rise / Doth ask a drink divine” (lines 5-6) presents a paradox, as thirst is typically quenched by a physical drink, not a spiritual one. This highlights the speaker’s yearning for a deeper, more profound connection.
- Personification: The wreath is given human-like qualities in the final stanza, “Since when it grows, and smells… not of itself, but thee” (lines 15-16), suggesting that it has absorbed Celia’s essence and become infused with her spirit.
- Symbolism: Elements within the poem carry symbolic weight. The eyes represent connection and intimacy, the cup signifies offering and sharing, and the wreath symbolizes beauty, fleetingness, and the enduring power of love.
Analysis of Poetic Devices Used in Song To Celia
Beyond literary devices, “Song: To Celia” showcases masterful use of poetic techniques that contribute to its rhythm, sound, and overall effect.
- Diction: Jonson’s careful word choice creates an elevated and refined tone. The language is formal and deliberately crafted to convey the speaker’s romantic feelings.
- End Rhyme: The poem employs a consistent end rhyme scheme (ABAB) throughout, creating a sense of musicality and cohesion. This predictable pattern enhances the poem’s memorability and pleasing sound.
- Meter: “Song: To Celia” is primarily written in iambic tetrameter, meaning each line consists of four iambs (pairs of unstressed and stressed syllables). This regular rhythm contributes to the poem’s graceful flow.
- Rhyme Scheme: As mentioned, the ABAB rhyme scheme is fundamental to the poem’s structure and sound. It creates a sense of balance and harmony.
- Stanza: The poem is divided into four quatrains (stanzas of four lines each). This structure allows Jonson to develop his ideas in a concise and focused manner.
- Tone: The prevailing tone of the poem is one of passionate admiration and longing. The speaker’s voice is reverent and tender, even in the face of unrequited love.
Quotes to be Used
The opening lines of the poem, “Drink to me only with thine eyes,
And I will pledge with mine,” are particularly resonant and often quoted. This excerpt beautifully encapsulates the speaker’s desire for a deep, non‑verbal connection with Celia. It suggests that true intimacy lies not in grand gestures, but in shared glances and unspoken understanding. It’s a potent metaphor for the power of connection and the beauty of silent communication.
“Drink to me only with thine eyes,
And I will pledge with mine;
Or leave a kiss but in the cup,
And I’ll not look for wine.”