The Definition of Love

My love is born of a birth as rare
As ’tis for an object strange and high:
It was begotten by despair
Upon impossibility.

Magnanimous Despair alone
Could show me so divine a thing,
Where feeble Hope could ne’er have flown
But vainly flapped its tinsel wing.

And yet I quickly might arrive
Where my extended Soul is fixed,
But Fate does iron wedges drive,
And always crowds itself betwixt.

For Fate with jealous eye does see
Two perfect loves; nor lets them close:
Their union would her ruin be,
And her tyrannical power depose.

And therefore her decrees of steel
Us as the distant poles have placed,
(Though love’s whole world on us doth wheel)
Not by themselves to be embraced.

Unless the giddy heaven falls,
And earth some new convulsion tears;
And, us to join, the world should all
Be cramped into a planisphere.

As lines so loves oblique may well
Themselves in every angle greet:
But ours so truly parallel,
Though infinite can never meet.

Therefore the love which us doth bind,
But Fate so enviously debars,
Is the conjunction of the mind,
And opposition of the stars.

Welcome, fellow explorers of language and emotion, to a journey into one of English poetry’s most profound meditations on love. Andrew Marvell’s “The Definition of Love” is not merely a poem; it is a philosophical inquiry, a masterclass in wit, and a poignant exploration of desire thwarted by destiny. This remarkable piece invites us to reconsider everything we thought we knew about love, presenting a vision both intellectual and deeply moving. Prepare to unravel the intricate layers of meaning, discover the brilliant literary devices at play, and gain a comprehensive understanding of this enduring work.

Understanding “The Definition of Love” by Andrew Marvell

Andrew Marvell’s “The Definition of Love” stands as a cornerstone of metaphysical poetry, renowned for its intellectual rigor and complex exploration of human emotion. Published posthumously, this poem does not offer a simple, conventional definition of love. Instead, it delves into a paradoxical conceptualization, presenting love as a rare and extraordinary phenomenon born from the most unlikely of parents: despair and impossibility.

The central idea of “The Definition of Love” revolves around a profound, intellectual connection between two individuals that is destined to remain unfulfilled due to insurmountable external forces. The speaker articulates a love so perfect and unique that it provokes the jealousy of Fate itself. This love, though powerful and all encompassing in the minds of the lovers, is physically barred from union, creating a poignant tension between intense desire and inevitable separation. It is a love defined as much by its limitations as by its potential, a “conjunction of the mind” tragically opposed by the “stars.”

Common readers often find themselves captivated by the poem’s blend of philosophical depth and emotional resonance. It speaks to the universal experience of longing and the frustration of obstacles beyond one’s control. The poem’s enduring appeal lies in its ability to articulate the bittersweet reality that some connections, however profound, are simply not meant to be realized in the physical world. It is a testament to the power of the mind to conceive of a perfect love, even when the world conspires against its manifestation.

Major Themes in “The Definition of Love”

Marvell masterfully weaves several profound themes throughout the poem, inviting readers to ponder the very nature of existence and desire.

• The Paradoxical Origin of Love: The poem immediately establishes love as something extraordinary and unconventional, stating:
  

  My love is born of a birth as rare
  As ’tis for an object strange and high:
  It was begotten by despair
  Upon impossibility.

  This opening defines love not as a product of joy or ease, but as a creation of profound longing and the recognition of an unattainable ideal. It suggests that true, deep love can arise from the very conditions that seem to preclude it.

• The Overwhelming Power of Fate: Fate is personified as a jealous, tyrannical entity actively preventing the lovers’ union. The speaker laments:
  

  But Fate does iron wedges drive,
  And always crowds itself betwixt.

  And further explains Fate’s motive:

  For Fate with jealous eye does see
  Two perfect loves; nor lets them close:
  Their union would her ruin be,
  And her tyrannical power depose.

  This theme highlights the idea that external forces, beyond human control, can dictate the course of love and life, often with a sense of cosmic injustice.

• Intellectual Connection Versus Physical Separation: The poem culminates in the powerful declaration that the lovers share a deep mental bond, yet are physically separated:
  

  Is the conjunction of the mind,
  And opposition of the stars.

  This encapsulates the core tension of the poem: a perfect spiritual or intellectual union exists, but it is tragically thwarted by the physical realities and cosmic decrees, symbolized by the “stars.”

• Unrequited or Unconsummated Love: While the love is presented as mutual and perfect in its essence, its inability to be realized physically places it in the realm of unrequited or unconsummated passion. The imagery of distant poles and parallel lines emphasizes this eternal separation:
  

  But ours so truly parallel,
  Though infinite can never meet.

  This theme explores the profound sorrow and resignation that accompany a love that can never truly be.

Literary and Poetic Devices in “The Definition of Love”

Marvell’s genius shines through his masterful deployment of literary and poetic devices, which enrich the poem’s meaning, enhance its musicality, and contribute to its enduring power. Understanding these techniques unlocks deeper layers of appreciation for “The Definition of Love.”

Metaphysical Conceit

A hallmark of metaphysical poetry, the conceit is an extended, often surprising, metaphor that compares two very dissimilar things. Marvell employs this brilliantly from the outset:

It was begotten by despair
Upon impossibility.

Here, love is conceived as a child born to abstract parents, Despair and Impossibility. This striking and intellectual comparison immediately establishes the poem’s unconventional approach to love. Another powerful conceit is the comparison of the lovers to “parallel lines” that “though infinite can never meet,” a geometric metaphor for their eternal separation despite their perfect alignment.

Personification

Marvell gives human qualities and actions to abstract concepts, making them active agents in the poem’s narrative:

• Despair and Hope:
  

  Magnanimous Despair alone
  Could show me so divine a thing,
  Where feeble Hope could ne’er have flown
  But vainly flapped its tinsel wing.

  Despair is portrayed as “magnanimous” or generous, capable of revealing a profound truth, while Hope is “feeble” and ineffective, unable to reach the same heights.

• Fate:
  

  For Fate with jealous eye does see
  Two perfect loves; nor lets them close:
  Their union would her ruin be,
  And her tyrannical power depose.

  Fate is depicted as a jealous, tyrannical ruler who actively prevents the lovers’ union, fearing the loss of her own power. This personification elevates Fate to a cosmic antagonist.

Imagery

Vivid sensory details and descriptive language create mental pictures that convey abstract ideas:

• Obstacles and Separation:
  

  But Fate does iron wedges drive,
  And always crowds itself betwixt.

  The image of “iron wedges” powerfully conveys the unyielding and forceful nature of the obstacles separating the lovers.

• Cosmic Upheaval:
  

  Unless the giddy heaven falls,
  And earth some new convulsion tears;

  These lines conjure dramatic images of a world in chaos, emphasizing the cataclysmic changes that would be required for the lovers to unite, highlighting the impossibility of their situation.

Symbolism

Objects or ideas represent deeper, more complex meanings:

• Poles:
  

  Us as the distant poles have placed,
  (Though love’s whole world on us doth wheel)
  Not by themselves to be embraced.

  The “distant poles” symbolize extreme, unbridgeable separation, despite the idea that the entire “world” of love revolves around them.

• Parallel Lines:
  

  But ours so truly parallel,
  Though infinite can never meet.

  “Parallel lines” symbolize an eternal trajectory alongside one another, yet an inherent inability to converge, perfectly illustrating the lovers’ fate.

• Stars:
  

  And opposition of the stars.

  The “stars” symbolize destiny, astrological influence, and the cosmic forces that dictate human fate, reinforcing the idea that their separation is preordained.

Allusion

Subtle references to broader philosophical, cosmological, or mythological ideas enrich the poem’s context:

• Cosmic Determinism: The references to “heaven” and “stars” allude to the ancient belief in a deterministic universe where human lives are governed by celestial bodies and an overarching Fate. This connects the lovers’ personal tragedy to a larger, universal order.

Sound Devices

Marvell carefully employs sound to enhance the poem’s musicality and emphasize certain ideas:

• Alliteration: The repetition of initial consonant sounds adds a subtle rhythm and draws attention to specific words:
  

  For Fate with jealous eye does see

  The repetition of the /f/ sound here underscores the formidable presence of Fate.

• Assonance: The repetition of vowel sounds within words creates internal rhyme and flow:
  

  As ’tis for an object strange and high

  The long ‘i’ sound contributes to the poem’s elegant and contemplative tone.

• Consonance: The repetition of consonant sounds within or at the end of words adds texture:
  

  As lines so loves oblique may well

  The echoing /l/ sounds link the geometric concept of lines to the abstract idea of loves, reinforcing the comparison.

Structure and Form

The poem’s architecture is integral to its meaning:

• Quatrains: The poem is composed of eight quatrains, or four-line stanzas. This structured form provides a sense of order and intellectual control, allowing Marvell to develop his complex argument logically.
• Rhyme Scheme: A consistent ABAB rhyme scheme in each quatrain (e.g., rare/high/despair/impossibility) provides musicality and a predictable rhythm, making the intellectual content more accessible and memorable.
• Meter: The poem predominantly uses iambic tetrameter, a line of four iambic feet (an unstressed syllable followed by a stressed syllable). This regular meter gives the poem a steady, contemplative pace, suitable for its philosophical inquiry.

Diction

Marvell’s word choice is precise, formal, and intellectual, reflecting the speaker’s analytical approach to love. Words like “begotten,” “magnanimous,” “tyrannical,” “depose,” “decrees,” “convulsion,” “oblique,” “conjunction,” and “opposition” elevate the discourse, lending gravity and philosophical weight to the exploration of love.

Tone

The poem exhibits a complex and intellectual tone, characterized by a blend of longing, resignation, and philosophical inquiry. The speaker is not merely lamenting lost love; he is grappling with fundamental questions about the nature of desire, fate, and the human condition. There is a sense of melancholic acceptance, a profound understanding of an inescapable truth.

The Enduring Legacy of “The Definition of Love”

Andrew Marvell’s “The Definition of Love” remains a compelling and essential work in English literature. Its unique blend of intellectual rigor, emotional depth, and masterful poetic craft continues to resonate with readers. The poem challenges us to look beyond simplistic notions of love, inviting us to consider its origins in unexpected places, its vulnerability to external forces, and its capacity to exist profoundly even in separation.

By exploring the “conjunction of the mind” against the “opposition of the stars,” Marvell offers a timeless meditation on the bittersweet reality of human connection. It is a poem that defines love not by its fulfillment, but by its very struggle against impossibility, cementing its place as an authoritative guide to the complexities of the heart and mind.