Or snorted we in the Seven Sleepers’ den? The Good-Morrow Stanza One I wonder, by my troth, what thou and Iĭid, till we loved? Were we not weaned till then?īut sucked on country pleasures, childishly? The Good-Morrow by John Donne, 17th century British poet of Metaphysical Age describes the state of perfect love in which a speaker and his lover exist. While the next three reflect more deeply on the topic and sometimes provide an answer to a previously posed question. The first four lines introduce something about the speaker’s love. It is also interesting to note how the stanzas are divided within the seven lines. 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. 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. If ever any beauty I did see, Which I desired, and got, ’twas but a dream of thee.Īnd 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. 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. John Donne in his poetry speaks of this ecstatic transmission and exchange of transmission of passion and purgation. Such an innate drive to feel and to enact is a natural selection of harmony and to enjoy affinity to the being in whom one is totally immersed and let the other to be in complete immersion.
Rasa-adhaya is a feeling that derives out of live performance of the objects that is the agents of men in action. The moments in which mind undergoes various shades of emotions as delineated in Rasaadhya (rasa, (Sanskrit: “essence,” “taste,” or “flavour,” literally “sap” or “juice”) Indian concept of aesthetic flavour, an essential element of any work of visual, literary, or performing art that can only be suggested, not described), those moments when in introspective mode affect our relationship, our well being, our penchant for the other beings remains more or less passionate but incomplete. When we are in stage of savouring the most beautiful Rasa of our aesthetic sensuality or when we are in our most ecstatic sensibility, that moment the sensitivities of pain and pleasure despite being a part of everyday life, yet get stuck up in the flow of profound amiable joyous stream and our delightful aesthetics transcendentalises our being which unearths itself from the layers of crust of hesitant covers, throws away the shroud covering our body, that anonymously embodies and overshadows the Soul.
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