John Donne- The Good Morrow, The Sun Rising

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Introduction

Welcome to this exploration of the work of John Donne, a leading figure in English literature whose poetry continues to fascinate and challenge readers four centuries after it was written. Donne’s work marks a significant departure from the smooth, conventional lyricism of the Elizabethan era, introducing a new intellectual severity, emotional difficulty, and conversational proximity. This newsletter will focus on two of his most celebrated love poems, The Sun Rising and The Good Morrow, providing the poems themselves, a detailed analysis, and a discussion of their style and critical importance. We will pay specific attention to explaining the literary and technical terms crucial for appreciating Donne’s unique genius.

Key Literary Context: Metaphysical Poetry

1. Definition: The term "Metaphysical Poetry" is commonly applied to the work of a group of seventeenth-century poets, chief among them John Donne, followed by George Herbert, Andrew Marvell, and Henry Vaughan. The label was initially coined by critics like John Dryden and later Samuel Johnson, who used it disparagingly to describe what they saw as these poets' excessive display of learning and their tendency to yoke disparate ideas together violently.
2. Characteristics: The hallmarks of this poetry include:
   1. The Conceit: This is the most defining feature. A conceit is an extended, elaborate, and often startling metaphor that draws a clever, surprising parallel between two apparently dissimilar things. It is a device of "wit" in the 17th-century sense, meaning intellectual acuity and the ability to perceive hidden similarities.
   2. Dramatic Voice and Colloquial Tone: The poems often begin abruptly (in medias res) and adopt a direct, conversational, and sometimes argumentative tone, unlike the more melodic and formal tone of his predecessors.
   3. Argumentative Structure: 
      The poems frequently resemble a structured argument or a logical disputation, where the speaker tries to persuade a listener (a lover, God, or even an abstract concept like the sun) of a point.
   4. Psychological Realism: Metaphysical poets delve into complex states of mind, exploring the intricacies of love, devotion, doubt, and desire with intellectual and emotional honesty.
   5. Themes: Love, both sacred and profane, religion, mortality, and the nature of reality are central concerns.

The Text

1. The Good Morrow

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.

Source - Internet

Analysis

Stanza 1: The speaker begins with a conversational, wondering question about their existence before love. He uses several metaphors to describe this prior state:

1. "weaned till then?" and "sucked on country pleasures, childishly": He compares their past pleasures to the simple, instinctual sustenance of an infant, implying they were immature and unaware.
2. "the Seven Sleepers’ den": A reference to a Christian and Islamic legend of seven youths who slept in a cave for centuries to escape persecution. This conceit suggests their pre-love life was a state of unconscious dormancy.
3. The stanza establishes the central metaphor: life before love was a dream; life with love is being awake.

Stanza 2: The speaker joyfully greets this new state of consciousness ("good-morrow"). The love they share eliminates fear and jealousy ("watch not one another out of fear") and transforms their reality.

1. "makes one little room an everywhere": This is a key metaphysical conceit. The power of their love is such that the confines of their private room become as vast and significant as the entire world. Their internal, emotional world transcends physical geography.
2. He dismisses the age of exploration ("sea-discoverers," "maps"); their discovered world—each other—is superior to any new world found on a map. "Let us possess one world, each hath one, and is one": This line captures the fusion of two individuals into a single, complete universe.

Stanza 3: The speaker develops another intricate conceit based on looking into each other's eyes.

1. "My face in thine eye, thine in mine appears": Their reflections in each other's eyes symbolize their mutual interdependence and the way they define each other's world.
2. "two better hemispheres": He compares their two souls to the two hemispheres of a perfect world map. Unlike the real world, their world has no coldness ("sharp north"—a metaphor for emotional distance) and no decay ("declining west"—a metaphor for sunset and death).
3. The final three lines present a logical, almost scientific argument for immortality, rooted in contemporary belief: if two elements are perfectly mixed, they become a new, stable compound. Similarly, if their two loves are perfectly united into one, that love cannot die because it is no longer composed of separate, mortal parts.

Summary
The Good Morrow is a love poem spoken by a lover to his beloved upon waking. It reflects on the life they led before they found each other, which the speaker now dismisses as a childish, unconscious sleep. Their true life, their "waking" existence, began only with their mutual love. The poem argues that their love has created a complete and perfect world of its own, superior to the physical worlds explored by navigators. It concludes with the idea that a love so perfectly balanced and united is immortal and cannot die.

The Text

2. The Sun Rising

Busy old fool, unruly Sun,
Why dost thou thus,
Through windows, and through curtains, call on us?
Must to thy motions lovers’ seasons run?
Saucy pedantic wretch, go chide
Late school boys and sour prentices,
Go tell court-huntsmen that the king will ride,
Call country ants to harvest offices;
Love, all alike, no season knows nor clime,
Nor hours, days, months, which are the rags of time.

Thy beams, so reverend and strong
Why shouldst thou think?
I could eclipse and cloud them with a wink,
But that I would not lose her sight so long;
If her eyes have not blinded thine,
Look, and tomorrow late, tell me,
Whether both th’ Indias of spice and mine
Be where thou left’st them, or lie here with me.
Ask for those kings whom thou saw’st yesterday,
And thou shalt hear, All here in one bed lay.

She’s all states, and all princes, I,
Nothing else is.
Princes do but play us; compared to this,
All honour’s mimic, all wealth alchemy.
Thou, sun, art half as happy as we,
In that the world’s contracted thus;
Thine age asks ease, and since thy duties be
To warm the world, that’s done in warming us.
Shine here to us, and thou art everywhere;
This bed thy center is, these walls thy sphere.

Source - Internet

Analysis

Stanza 1: The poem opens with a dramatic, insulting address to the sun, establishing its colloquial and argumentative tone.

a. "Busy old fool, unruly Sun": The sun is personified as a foolish, meddlesome old man. "Unruly" also ironically suggests the sun is like a misbehaving child.

b. The speaker questions the sun’s authority over lovers. "Must to thy motions lovers’ seasons run?" This rhetorical question challenges the idea that the natural world (and time itself) governs the private world of love.

c. He tells the sun to go bother those bound by time and duty: schoolchildren, apprentices, courtiers, and labourers ("country ants").

d. The final line makes the grand claim: "Love, all alike, no season knows nor clime, / Nor hours, days, months, which are the rags of time." Love exists outside of time; temporal measurements are mere insignificant fragments ("rags").

Stanza 2: The speaker’s boasts become more extreme, employing hyperbole (exaggeration for effect).

a. He claims he could "eclipse and cloud [the sun’s beams] with a wink" but chooses not to, as he cannot bear to look away from his beloved. This is a conceit that places the power of the lover’s will above that of the sun.

b. He then suggests his lover’s eyes are so bright they could blind the sun itself.

c. He introduces a colonial conceit: "both th’ Indias of spice and mine" refers to the East Indies (source of spices) and the West Indies (source of gold mines), the most prized treasures of the nascent British Empire. The speaker claims these riches, and all the kings of the world, are now contained within his bed. The external world of commerce and power is subsumed into the microcosm of their love.

Stanza 3: The argument reaches its climax. The private world doesn’t just ignore the public world; it becomes it.

a. "She’s all states, and all princes, I": This is a central metaphysical conceit. The lovers embody the entire world of geopolitical power. He is every ruler, and she is every kingdom he rules. This metaphor has been critiqued for its potential misogyny, casting the female beloved as a passive territory to be possessed.

b. He declares everything else an imitation ("mimic") or a fake ("alchemy"—a false gold).

c. In a final, triumphant inversion of power, he pities the sun. Since their love contains the whole world, the sun’s job is now easy: it need only shine on their room to warm the entire globe. Their bed becomes the center of the Ptolemaic universe, with the sun revolving around it.

·   Summary

    The Sun Rising is an aubade—a poetic form about lovers separating at dawn. The speaker is in bed with his lover and angrily berates the rising sun for interrupting them. He commands the sun to bother other, less important people instead. The poem’s argument evolves through three stanzas: first, he claims the world of love is independent of the sun’s time; second, he boasts that his lover’s beauty surpasses the sun’s light and that all the world’s riches are contained within their bed; finally, he declares that their love is the entire world and that the sun’s duty is now simply to warm them, as they are the centre of this new universe.

Style

• Dramatic Openings: Both poems begin abruptly, pulling the reader directly into the speaker’s mental drama. "I wonder, by my troth..." and "Busy old fool, unruly Sun..." create an immediate sense of a mind in action.
• Use of the Conceit: Both poems rely on extended, intellectual conceits to make their arguments:
1. The Good Morrow uses the conceits of waking/sleeping, microcosm/macrocosm (the room as a world), and the perfect hemispheres.
2. The Sun Rising uses the conceits of eclipsing the sun, the bed containing the world's riches, and the lovers as the center of the universe.
• Argumentative Logic: The poems are structured as persuasive arguments. The speaker uses hyperbole, rhetorical questions, and logical (if fanciful) deductions to convince his audience of love's supreme power.
• Colloquial Diction: Donne uses language that feels spoken and direct ("by my troth," "saucy pedantic wretch"), which was a radical departure from the more formal and decorative diction of earlier Elizabethan sonneteers.

Critical Appreciation

• Unification of Sensibility: The poet T.S. Eliot praised Donne and the Metaphysicals for a "unification of sensibility"—the ability to "feel their thought as immediately as the odour of a rose." A thought was not just an idea; it was an experience. This is evident in both poems: the intellectual concept that love creates a new world is also a deeply felt emotional reality for the speakers.
• Tension rather than Resolution: However, a closer reading, especially of The Sun Rising, reveals a deep tension beneath the confident boasts. The speaker’s need to so vehemently assert his independence from the sun suggests an underlying awareness that he cannot truly escape time and the social world. The poem is not just a statement of a belief but a dramatic performance of a mind wrestling with that belief, trying to convince itself of its truth through the force of its own rhetoric. This psychological realism is key to Donne's modernity.
• Reflection of the Age: The poems are products of their time. The references to the "Indias," new worlds, and alchemy reflect the Renaissance spirit of exploration, scientific inquiry, and colonial ambition. Donne yokes these very public, worldly concerns with the most private of experiences—romantic love.
• Legacy: Donne’s tough, intellectual, and psychologically complex style fell out of favour after his death but was resurrected in the early 20th century by Modernist poets like T.S. Eliot and W.B. Yeats, who saw in him a precursor to their own artistic aims. His influence cemented his place as one of the most important and innovative poets in the English language.

In conclusion, The Good Morrow and The Sun Rising are masterful examples of Metaphysical poetry. They transcend simple love declarations to become complex, witty, and passionate explorations of the nature of reality, time, and the transformative power of human connection. They challenge the reader to think and feel simultaneously, offering a reading experience that is as intellectually stimulating as it is emotionally resonant.