The good-morrow

 

"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 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.

Line by line analysis of the poem

"The Good-morrow" by John Donne is a metaphysical poem that explores the nature of love and its transformative power. Here's a line-by-line analysis:

"I wonder, by my troth, what thou and I

Did, till we loved? Were we not weaned till then?" - The speaker reflects on life before love, questioning what they did or experienced that was meaningful before their love began.

"But sucked on country pleasures, childishly?

Or snorted we in the Seven Sleepers’ den?" - The speaker compares their past experiences to childish pleasures or the mythical Seven Sleepers’ den, suggesting that their previous lives were insignificant compared to their love.

"’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 speaker dismisses past pleasures as mere fantasies compared to the reality of their love.

"And now good-morrow to our waking souls,

Which watch not one another out of fear;" - The speaker celebrates the awakening of their souls to love, where they no longer watch each other out of fear or insecurity.

"For love, all love of other sights controls,

And makes one little room an everywhere." - Love transcends physical boundaries and makes their shared space feel infinite and all-encompassing.

Let sea-discoverers to new worlds have gone,

Let maps to other, worlds on worlds have shown," - The speaker dismisses the achievements of explorers and mapmakers, suggesting that their love is a greater discovery than any new world.

"Let us possess one world, each hath one, and is one." - The speaker declares that in their love, they each possess a world, and together they are one unified world.

"My face in thine eye, thine in mine appears,

And true plain hearts do in the faces rest;" - The speaker describes a deep connection where they see themselves reflected in each other's eyes and their true selves are revealed in their faces.

"Where can we find two better hemispheres,

Without sharp north, without declining west?" - The speaker suggests that they are like two perfect halves of a globe, without any imperfections or divisions.

"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." - The speaker concludes that if their love is truly unified and equal, it cannot fade or die, as it is a perfect and eternal union.

Overall analysis of the poem 

John Donne's metaphysical poem "The Good-Morrow" examines the notion of spiritual awakening and the transformational power of love. The poem is organized as the speaker's reflection on the nature of their love, contrasting it with their prior encounters and worldview.

The speaker of the poem opens with wondering about their life before they fell in love, implying that all they had gone through before was unimportant or immature. A significant shift in perspective is evident when the speaker writes off previous pleasures as little more than fantasies in comparison to the reality of their love.

As the poem goes on, the speaker rejoices in their souls' awakening to love, explaining how love has no bounds and gives the impression that their shared space is endless. The speaker suggests that their love is a larger discovery than any physical adventure, rejecting the idea of discovering new worlds or territory.

The speaker states at the end of the poem that because of their love, each of them has their own world and, taken as a whole, they form a single, cohesive universe. The speaker talks of a profound bond in which they can see one other's actual selves in their looks and recognize themselves mirrored in other's eyes. The speaker comes to the conclusion that if their love is genuinely equal and unified, it is a perfect and eternal union that will never fade or perish.

All things considered, "The Good-Morrow" is a sophisticated and profoundly reflective poetry that examines the transformative power of love and its capacity to open the soul to a fresh perspective on reality. Donne crafts a profound reflection on love, identity, and the human experience using rich language and striking images.

Figures of speech in the poem

"The Good-Morrow" by John Donne contains several figures of speech that contribute to its richness and depth. Here are ten examples, along with their meanings and examples from the poem:

Metaphor: 

A comparison between two unlike things without using "like" or "as."

   - Example 1: "And now good-morrow to our waking souls" - The speaker metaphorically refers to their awakened souls as if they are greeting them in the morning, implying a newfound awareness or enlightenment.

   - Example 2: "makes one little room an everywhere" - Love is metaphorically depicted as expanding the confines of physical space, transforming a small room into a boundless realm of connection and intimacy.

Personification :

 Giving human qualities to abstract concepts or inanimate objects.

   - Example 1: "Which watch not one another out of fear" - The souls are personified as if they have the ability to watch each other, suggesting a sense of mutual understanding and trust.

   - Example 2: "let maps to other, worlds on worlds have shown" - Maps are personified as if they have the ability to show worlds upon worlds, emphasizing the vastness of exploration compared to the speaker's love.

Hyperbole:

 Exaggerated statements or claims not meant to be taken literally.

   - Example 1: "And true plain hearts do in the faces rest" - The speaker exaggerates the sincerity and depth of their love by suggesting that true hearts are visibly evident in their faces.

   - Example 2: "makes one little room an everywhere" - The idea that love can transform a small room into an infinite space is hyperbolic, emphasizing the power and expansiveness of love.

Alliteration: 

The repetition of consonant sounds at the beginning of adjacent or closely connected words.

   - Example 1: "For love, all love of other sights controls" - The repetition of the "l" sound emphasizes the dominance of love over other experiences.

   - Example 2: "Let sea-discoverers to new worlds have gone" - The repetition of the "w" sound creates a sense of movement and exploration.

Assonance:

The repetition of vowel sounds within nearby words.

   - Example 1: "Did, till we loved? Were we not weaned till then?" - The repetition of the "ee" sound creates a melodious and reflective tone.

   - Example 2: "Which watch not one another out of fear" - The repetition of the "o" sound creates a sense of harmony and unity.

Simile:

 A comparison between two unlike things using "like" or "as."

   - Example 1: "Or snorted we in the Seven Sleepers’ den?" - The speaker compares their past experiences to sleeping in the Seven Sleepers’ den, suggesting a sense of ignorance or unawareness before love.

   - Example 2: "Where can we find two better hemispheres" - The speaker compares their union to two perfect hemispheres, emphasizing the completeness and compatibility of their love.

Onomatopoeia: 

Words that imitate the sound they represent.

   - Example 1: "snorted" - The word imitates the sound of snorting, adding a sense of disdain or dismissal to the speaker's reflection on their past experiences.

   - Example 2: "watch not one another out of fear" - While not a traditional onomatopoeia, the phrase conveys the sense of vigilance and apprehension through its sound.

Oxymoron:

 A figure of speech in which apparently contradictory terms appear in conjunction.

   - Example 1: "true plain hearts" - The phrase combines the idea of sincerity (true) with simplicity (plain), suggesting that true love is both genuine and uncomplicated.

   - Example 2: "Without sharp north, without declining west" - The speaker describes their love as a world without direction, implying a sense of stability and permanence.

Irony: 

A contrast between expectations and reality, often humourous or unexpected.

   - Example 1: "Were we not weaned till then?" - The speaker ironically questions whether they were not matured until they experienced love, suggesting that their previous experiences were childish or immature in comparison.

   - Example 2: "And makes one little room an everywhere" - The speaker ironically describes how love expands the confines of physical space, suggesting that their love transcends ordinary boundaries.

Symbolism:

The use of symbols to represent ideas or concepts.

   - Example 1: "Let us possess one world, each hath one, and is one" - The world symbolizes their shared reality and unity in love, suggesting that they are complete and whole in each other.

   - Example 2: "My face in thine eye, thine in mine appears" - The image of faces reflected in each other's eyes symbolizes the deep connection and mutual understanding between the speaker and their beloved.

These figures of speech contribute to the poem's rich imagery and complex themes, enhancing its emotional impact and depth of meaning.