- Metaphysical poets, selected poems
- John Donne: Poem analysis
-
The Good-morrow
- Aire and Angels
- A Hymn to God the Father
- At the Round Earth's Imagin'd Corners
- Elegie XVI: On his Mistris
- 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 Flea
- This is my playes last scene
- What if this present
- Language and tone in The Good-morrow
Metaphysical poets, selected poems Contents
- Introduction
- Timeline
- Images
-
Author(s)
- Donne, John
- John Donne's early life
- John Donne - from Catholic to Protestant
- John Donne's marriage and its aftermath
- John Donne - The Reverend Dean
- Herbert, George
- Crashaw, Richard
- Vaughan, Henry
- Marvell, Andrew
- King, Henry
- Lovelace, Richard
- Cowley, Abraham
- Philips, Katherine
- Cleveland, John
- Who were the Metaphysicals?
- The context of Metaphysical Poetry
- John Donne: Poem analysis
- Aire and Angels
- A Hymn to God the Father
- A Hymn to God, my God, in my Sicknesse Show more
- A Nocturnall upon St. Lucies day Show more
- At the Round Earth's Imagin'd Corners
- A Valediction: Forbidding Mourning Show more
- 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 Show more
- Batter my heart Show more
- Death be not Proud Show more
- Elegie XIX: Going to Bed Show more
- Elegie XVI: On his Mistris
- Good Friday, 1613. Riding Westward Show more
- 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 Show more
- The Flea
- The Good-morrow
- The Sunne Rising Show more
- This is my playes last scene Show more
- Twicknam Garden Show more
- What if this present
- George Herbert: Poem analysis
- Aaron
- Affliction I Show more
- Death Show more
- Discipline
- Easter Wings
- Jordan I
- Jordan II
- Life
- Love II
- Man
- Prayer I
- Redemption Show more
- The Church-floore
- The Collar Show more
- Vertue
- Richard Crashaw: Poem analysis
- Hymn in Adoration of the Blessed Sacrament
- Hymn to St Teresa Show more
- St Mary Magdalene, or the Weeper Show more
- To the Countesse of Denbigh
- Henry Vaughan: Poem analysis
- Ascension - Hymn Show more
- Man
- Regeneration Show more
- The Night
- The Retreate
- The Water-fall
- Andrew Marvell: Poem analysis
- A Dialogue between Soul and Body
- On a Drop of Dew
- The Coronet
- The Definition of Love Show more
- The Garden Show more
- The Mower Against Gardens Show more
- 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 Show more
- Upon Appleton House, to my Lord Fairfax
- Thomas Carew: Poem analysis
- An Elegie upon the Death of the Deane of Paul's Dr John Donne Show more
- To a Lady that Desired I would Love her
- Henry King: Poem analysis
- Richard Lovelace: Poem analysis
- Abraham Cowley: Poem analysis
- Katherine Philips: Poem analysis
- John Cleveland: Poem analysis
- Themes and significant ideas
- Critical analysis
- Approaching exams and essays
- Resources and further reading
Language and tone in The Good-morrow
Dramatic
Donne's poetry is typically dramatic. One good way of seeing this is to look at the beginning of each poem. In The Good-morrow the ‘I' voice jumps out and hits us with a question to which he demands an answer, even though the question posed is a semi-rhetorical question - the other person is never allowed a minute to reply!
This is in great contrast to the much softer second stanza. It starts off with a note of restrained triumph and finishes with a persuasive plea to enjoy their world. There are no questions any more.
Doubt
The poem seems to end on a note of some doubt: ‘If … or ... '. Perhaps after all Donne cannot any longer keep up the conceit that nothing will come to change their love or intrude upon it.
Investigating The Good-morrow
- What are your thoughts on The Good-morrow?
- Do you think the final ‘if ... or' suggests doubt, or is it merely the logical proof to his argument that they will live unchanged and unchanging?
- Do you see the poem as celebratory, or does it seem to you more of a joke?
- What evidence can you produce from the language used?
A figure of speech where a question is apparently asked, but no answer is expected.
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