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Summary
The speaker explains that he is forced to spend time apartfrom his lover, but before he leaves, he tells her that their farewellshould not be the occasion for mourning and sorrow. In the sameway that virtuous men die mildly and without complaint, he says,so they should leave without “tear-floods” and “sigh-tempests,”for to publicly announce their feelings in such a way would profanetheir love. The speaker says that when the earth moves, it brings“harms and fears,” but when the spheres experience “trepidation,”though the impact is greater, it is also innocent. The love of “dullsublunary lovers” cannot survive separation, but it removes that whichconstitutes the love itself; but the love he shares with his belovedis so refined and “Inter-assured of the mind” that they need notworry about missing “eyes, lips, and hands.”
Though he must go, their souls are still one, and, therefore,they are not enduring a breach, they are experiencing an “expansion”;in the same way that gold can be stretched by beating it “to aerythinness,” the soul they share will simply stretch to take in allthe space between them. If their souls are separate, he says, theyare like the feet of a compass: His lover’s soul is the fixed footin the center, and his is the foot that moves around it. The firmnessof the center foot makes the circle that the outer foot draws perfect:“Thy firmness makes my circle just, / And makes me end, where Ibegun.”
Form
The nine stanzas of this Valediction are quite simplecompared to many of Donne’s poems, which utilize strange metricalpatterns overlaid jarringly on regular rhyme schemes. Here, eachfour-line stanza is quite unadorned, with an ABAB rhyme scheme andan iambic tetrameter meter.
Commentary
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“A Valediction: forbidding Mourning” is one of Donne’smost famous and simplest poems and also probably his most directstatement of his ideal of spiritual love. For all his erotic carnalityin poems, such as “The Flea,” Donne professed a devotion to a kindof spiritual love that transcended the merely physical. Here, anticipatinga physical separation from his beloved, he invokes the nature ofthat spiritual love to ward off the “tear-floods” and “sigh-tempests”that might otherwise attend on their farewell. The poem is essentiallya sequence of metaphors and comparisons, each describing a way oflooking at their separation that will help them to avoid the mourningforbidden by the poem’s title.
First, the speaker says that their farewell should beas mild as the uncomplaining deaths of virtuous men, for to weepwould be “profanation of our joys.” Next, the speaker compares harmful“Moving of th’ earth” to innocent “trepidation of the spheres,”equating the first with “dull sublunary lovers’ love” and the second withtheir love, “Inter-assured of the mind.” Like the rumbling earth,the dull sublunary (sublunary meaning literally beneath the moonand also subject to the moon) lovers are all physical, unable toexperience separation without losing the sensation that comprisesand sustains their love. But the spiritual lovers “Care less, eyes,lips, and hands to miss,” because, like the trepidation (vibration)of the spheres (the concentric globes that surrounded the earthin ancient astronomy), their love is not wholly physical. Also,like the trepidation of the spheres, their movement will not havethe harmful consequences of an earthquake.
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The speaker then declares that, since the lovers’ twosouls are one, his departure will simply expand the area of theirunified soul, rather than cause a rift between them. If, however,their souls are “two” instead of “one”, they are as the feet ofa drafter’s compass, connected, with the center foot fixing theorbit of the outer foot and helping it to describe a perfect circle.The compass (the instrument used for drawing circles) is one of Donne’smost famous metaphors, and it is the perfect image to encapsulatethe values of Donne’s spiritual love, which is balanced, symmetrical,intellectual, serious, and beautiful in its polished simplicity.