The Good-Morrow

The Good-Morrow Literary Elements

Speaker or Narrator, and Point of View

Speaker of the poem: unnamed
Point of view: first person

Form and Meter

three stanzas, each a septet, ABABCCC rhyme scheme, mostly iambic pentameter

Metaphors and Similes

The process of "weaning"—literally, of easing a child off its mother's breastmilk—is used metaphorically to depict the speaker and his lover's childlike state in the past. The poet also invokes the concept of "hemispheres" metaphorically, with the speaker positing himself and his love as two halves of one globe. The poem contains no similes.

Alliteration and Assonance

Alliteration: "w" sounds in "Which watch not one another out of fear" and "Were we not weaned till then?"

Assonance: "u" sounds in "sucked on country pleasures" and "i" sounds in "My face in thine eye, thine in mine appears"


Arguably, Donne's use of religious themes in order to extoll romantic love is an ironic choice, given his historical context, since convention held that love of God was necessarily the "higher" form of love.


Lyric poetry


Implicitly, two lovers awakening next to each other.


Exuberant, introspective, philosophical

Protagonist and Antagonist

Protagonist: the lover (the speaker of the poem)

Major Conflict

The speaker's difficulty reconciling his past existence, before he met his lover, with the profound significance of love to his present life





"Or snorted we in the Seven Sleepers’ den?" Allusion to a Christian parable

Metonymy and Synecdoche

Synecdoche: "our waking souls," where "souls" is used as a stand-in for the speaker and his lover as a whole.



"If ever any beauty I did see, / Which I desired, and got, 'twas but a dream of thee": a hyperbolic expression of the power of the speaker's love, which relegates every other experience of beauty or desire he has had to a "dream," i.e., a lesser manifestation of, his lover.