Metaphysical poets, selected poems Contents
- Social / political context
- Religious / philosophical context
- Literary context: ideas and innovations
- Aire and Angels
- A Hymn to God the Father
- A Hymn to God, my God, in my Sicknesse
- A Nocturnall upon St. Lucies day
- At the Round Earth's Imagin'd Corners
- A Valediction: Forbidding Mourning
- Synopsis of Valediction: Forbidding Mourning
- Commentary on Valediction: Forbidding Mourning
- Language and tone in Valediction: Forbidding Mourning
- Structure and versification in Valediction: Forbidding Mourning
- Imagery and symbolism in Valediction: Forbidding Mourning
- Themes in Valediction: Forbidding Mourning
- A Valediction: of Weeping
- Batter my heart
- Death be not Proud
- Elegie XIX: Going to Bed
- Elegie XVI: On his Mistris
- Good Friday, 1613. Riding Westward
- Lovers' Infiniteness
- Oh my blacke Soule!
- Satyre III: 'On Religion'
- Show me Deare Christ
- Since She Whom I Lov'd
- Song: Goe, and catche a falling starre
- The Anniversarie
- The Dreame
- The Extasie
- The Flea
- The Good-morrow
- The Sunne Rising
- This is my playes last scene
- Twicknam Garden
- What if this present
- Aaron
- Affliction I
- Death
- Discipline
- Easter Wings
- Jordan I
- Jordan II
- Life
- Love II
- Man
- Prayer I
- Redemption
- The Church-floore
- The Collar
- Vertue
- Hymn in Adoration of the Blessed Sacrament
- Hymn to St Teresa
- St Mary Magdalene, or the Weeper
- To the Countesse of Denbigh
- Ascension - Hymn
- Man
- Regeneration
- The Night
- The Retreate
- The Water-fall
- A Dialogue between Soul and Body
- On a Drop of Dew
- The Coronet
- The Definition of Love
- The Garden
- The Mower Against Gardens
- The Mower to the Glo-Worms
- The Mower's Song
- The Nymph Complaining for the Death of her Faun
- The Picture of Little T.C. in a Prospect of Flowers
- To his Coy Mistress
- Upon Appleton House, to my Lord Fairfax
- An Elegie upon the Death of the Deane of Paul's Dr John Donne
- To a Lady that Desired I would Love her
Imagery and symbolism in The Good-morrow
As is usual with a Donne poem, the argument in The Good-morrow is carried on through the images or conceits used. So there is a density of imagery, and we have to pick out the central one first. This is clearly the iamage at the centre of the poem, the microcosmic one, in l.11:
Map imagery
The geographical images in the poem are straightforward. Donne lived in an age of sea voyages undertaken in order to discover new lands. Map-makers were kept busy drawing routes or making globes on which the maps were fastened. These have some validity for others, but not for the lovers. The geographical imagery is extended into the points of the compass (l.18):
- North symbolises bitterness and discord
- West symbolises dying
The lovers' world does not contain these directions. This is Donne's conceit. It is based on hyperbole – taking an idea to its limit so it becomes an outrageous exaggeration.
Other images
Some of the other images are more complicated.
- The idea of one lover being reflected in the other's eyes is an important one (ll.15, 16). Donne combines this with the preceding image of globes.
- Then he extends this to the fact that ‘plain hearts', by which he means honest hearts, show also in the faces of the lovers. There is no pretence, which is why there is no fear (l.9). ‘Perfect love casts out fear' says the Bible (1 John 4:18), and this is echoed here.
Donne often uses almost religious language in his love poems.
- Christian belief states that only God is unchanging James 1:17, but here on earth, the place where everything is supposed to change, the poet is supposing they can defy this in their godlike love (ll.20-21).
The first stanza contains several interesting images:
- babies at the breast and being weaned, suggesting the immaturity of their previous emotional life
- the ‘seven sleepers', an allusion to a legend which tells how seven young Christian men from Ephesus hid in a cave during a persecution. The cave was sealed up, but the young men fell asleep for several centuries – a sort of Rip van Winkle fable.
- Read through the imagery of the opening stanza
- How does Donne make fun of their life before they became lovers?
- English Standard Version
- King James Version
- English Standard Version
- King James Version
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