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1975

A Neoplatonic Reading Five Donne Poems

Yuko Miyazoe
Eastern Illinois University
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Miyazoe, Yuko, "A Neoplatonic Reading Five Donne Poems" (1975). Masters Theses. 3529.
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 A NEOPT.ATONIC READING

FIVE DONNE POEMS

(TITLE)

BY

YUKO MIYAZOE
-

B. A. in English, Tokyo Woman's Christian College, 19 7 3

THESIS

SUBMllTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

FOR THE DEGREE OF

Master of Art in English

IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY

CHARLESTON, ILLINOIS

1975
YEAR

I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING

THIS PART OF THE GRADUATE DEGREE CITED ABOVE

�J 1
. ... •••
DATE
<
 1

Among Donne' s poems a r e a number w h ic h reflect tne Neopl ato ni c

theory of love, and which, therefore, sud denly make sense when read

in the light of Neopla to nic concepts. Do nne ' s s tatement of the concepts

of love in his poems closely parallels the concepts of Marsilio F icino,

a representative philosopher of Neoplatonism during the Renaissance.

Marsilio Ficino' s Commentary on Pla to's Sym p osium lprovides a philo-

sophic statement of the Neoplato nic position prior to Donne's time .

The ideas as found in Ficino's work would therefore provid e a suitable

yardstick by which to assess Donne's idea s . T his paper will discuss

ti
"The good-morrow, " tl A Valediction: forbidding mourning, " Holy

Sonnet XVII," "A nocturnall upon S. Lu ci e s day, Being the shortest

day," and " T he E xta s ie, ti in rela tion to selected statements of Ficino

on the Neopla to nic theory of love.

Ficino philosophically reconciles Platonism and Ch ristianity .

Rather, he interprets Platonism in terms of Christianity . One of the

most unique aspects of his philos ophy is his treatment of love. In

Christianity, God is the Creator of all creatures, and the origina l

source of the whole universe. Simila rly, F icino considers Love as

"the motive force of the whole universe" and as "the source of all

earthly goods . ti T hus, Love and God are identical. He a lso says

that "Love h as the enjoyment of Bea uty as its end " (Commentary, P .130).
 2

Whoever sees and loves beauty in God's creatures, seeing and loving

the ima ge of God or the divine Bea uty immanent in them, indirec tly

and directly, s ees and loves the image of the Creator, tha t is, God

(Commentary, P . 140).

Therefore, a s long a s a lover loves divine Beauty in his mortal

beloved, his earthly love is as good as divine love. In fact, Ficino

say s that any kind of love l s good, and that earthly love and divine

love a re equally good . However, F ic ino strongly recommend s that

human being s s hould love God a s the universal Good and Beauty,

because He is the source of the whole univers e. O n the other hand,

huma n being s s hould love a ny ea rthly good and bea uty derived from
2
the univer sal good, s ince God c reated all earthly thing s . However,

Love of God is much s uperior to a ny secular love, because it is

spiritual, eternal, a nd infinitely s atisfying to the huma n s oul . The

human s o ul is, becau se of its nature, never satis fied by a ny s ecular

love or a ny earthly good and beauty, because its objec t ls phy s ical

and mutable after all . Therefore, Ficino repeatedly says that man

s hould s incerely love God a lone.

However, he s ays that it i s very difficult for men o n earth to love

God alo ne. He explains this difficulty tha t they must face on earth

in term s of the nature of the human s oul . The human soul ha s dual

inclinatio ns because of its middle and third pos ition in Ficino's

 3

hierarchy of Bei ngs, in whic h there are God, Angelic Mi nd, Soul,

Nature {Quality } , and Body . Therefore, the Soul mov e s naturally both

toward the Body and the corporeal, a nd toward God and the incorporeal.

Although, the Soul is born whole, it is thus s plit (Commentary, p. 159 ) .

The Soul on earth is con s ta ntly prevented by the exis tence of the body

from attaining its highes t good, that is, to know and love God alone .

Therefore, the body is the pris onhouse of the S o ul.

F icino justifies these two movements of the S oul -- one, toward

the body, and the other, towa rd God -- in terms of the natural appetite

of the Soul which results from the dua l nature of the Soul . E ven when

the Soul des cends toward the body, it is free from moral reproa c h

(Kriste ller , pp . 18 8 -1 9 4 ). Nevertheless , when the S oul goes down

toward the body, it is often "s eized by sensua Uty and lus t as though

by a tyrant a nd his bullies " (Commentar.y_, p. 159 ), and it can enjoy

only phy s ical a nd corporeal beauty, neglecting the divine, whic h is

obviously against the other natural appetite of the S oul, that is, toward

God.

However, the Soul, through lea rning of a nd recollecting its original

nature, in whic h there a re both the natural light to perceive corporeal

and earthly beauty, a nd the s upernatural light to perceive the incor­

poreal and divine (Commenta ry, p. 158 ) , notic es that the natural light

is not sufficient to s atis fy its elf . For the Soul, by its nat ure , cannot
 4

find rest or s atisfaction until it reaches infinite Good and Truth, that

is, God (Kris teller, pp . l90-l9l) . So the Soul, according to its nature,

begins to s eek something divine by recovering its supernatura l light in

itself. Ficino says that on these two, that i s , o n natural light a nd

supernatural l ight, "as though on a pair of wings, the soul is able to

fly through the heavenly region" (Commentary, p . 158). Natural light

i s a lso explained a s the Soul's power of propa gatio n, and supernatural

light, as its power of co ntempla tio n . Both powers of the Soul a re thus

jus tified (Commentary, p . 143. p . 1 5 8 ).

Ficino, who, as a Renais s a nc e ma n, ha. s a huma nistic view of love,

explains a great deal about earthly love and lovers . Fir s t, he quotes

Plato's explana tio n that a lover is " a s oul dea d in its body and living

in that of another . " To love s omeo ne is to lo s e a nd forget o ne's self

and to give one's s elf to the beloved. So, love causes the lo s s of

s elf a nd the literal death of the s oul of a lover. Ficino d ivides earthly

love into two; o ne, s imple love, and the other, mutual love. Simple

love occurs when the beloved doe s n't love his lover in return . I n thi s

case, "the lover is completely dea d, for he neither live s in hims elf,

nor does he live in his beloved" (Comme nta ry, p . 143). On the

co ntrary, mutual love make s the lovers live in ea ch other afte r they

die to thems elves , t h a t is, they lo se themselves. ? tcino explains:

 5

• . • Whenever two people are brought together in

mutual a ff e ctio n, one lives in the other a nd the other
in him. In this way they mutually exchange identities;
each gives himself to the other, in such a way that
eac h receives the oth er in return each has him­
• • • •

s elf a nd has the oth er A ha s hims elf, but in B;

• • •

B has himself , but in A. (Cornmentan:_, pp. 144-145).

Thus , mutual love c a u s es the mutua l exchange of identities . After

each lover has lost h ims elf, he recovers hims elf through his beloved

a nd finds hims elf in his beloved's c ontemplatio n of him (Commentary,

p. 145). Such kind of earthly love can lea d the lovers to a s cent toward

God, because they love the divine B eauty immanent in ea ch other.

Therefore, Ficino s eems to s a y tha t mutual ea rthly love is ideal human

love o n earth, from which the lovers ca n reach divine love by climbing

up the ladder of love hierarc hically .

What I have s aid a bove i s the ba s ic idea of Ficino's philo s ophy

of love, a philos ophy whic h we find reflected in Donne 1 s poetry,

es pecially in "T he good -morrow, 11 "A Valediction: fo rbidding mourni ng , 11

"Holy So nnet XVII, 11 11A nocturna ll upo n S . T.ucies day, Being th e

3
s horte s t day , 11 and " T he E xtasle. 11

The s peaker a nd his beloved in " T he good -morrow" have bee n jus t

awakened in the morning. And the s peaker s ta rts to wo nder what they

did until they began to love eac h other . For his newly dis covered love

makes him feel as if they had s lept and s norted in their earlier live s

and as if the y had s ucked o n "the countrey pleasures" of s exua l love

 6

child i s hly, w ithout being weaned from them. The s peaker is a s ton ished

that their new love, unlike that of h i s former love affairs which gave

him only plea s ures of s exual love, g ives him immutable, spiritual s at i s ­

factio n a nd pleasure s . Therefore, it s eems to him that all pleas ures

he ha s had before are merely " fancies " and any beauty he ha s s een,

des ired, and got is o n l y a " dream" o f his new beloved, wh o i s now

ly ing in the bed next to him. H i s fo rmer lovers and love a ffairs were

unreal and uns atis fying beca u s e they had noth ing incorporeal and

spiritual. In contra s t, h i s newly discovered love is more real and true

to him, becaus e he loves his lady s piritually.

Th i s is a reflection of Neoplaton i s m, wh ich emphasize s the ins ub­

s tantiality a nd mortality of the vis ible, and the s uperiority of the

spiritual to the phys ical perce ived through human senses. The speaker's

former love a ffa irs were merely bas ed on the s en s e s , and therefore, they

were not s ufficient to satisfy h i s s oul. But, h is new love, wh ich i s

bas ed o n t h e spiritual rather than o n th e phys ical, can s at i s fy h im and

give h im spiritual happine s s . As in Flcino's idea of the two lights with

wh ich the Soul is endowed (Commentary, p. 158), th e s oul of the s peaker,

before he met h i s new beloved, only had natural light with which he o nly

perceived the physical, and cons equently, he s imply indulged h im s elf

in s uch phys ical love. Nevertheles s , when he s tarted to love h i s new

beloved, h i s s oul became a ttracted by the spiritual beauty inherent i n her.

 7

Accordingly, his soul, by its nature, s ta rted to recover its i nherent

supernatural light to apprehend s ome th i ng s piritual and div in e . Now

his soul loves the divine im age immanent in her.

As a res ult, the s peaker s ay s that it is now good -morrow not o nly

to him and his beloved who have been just awakened, but also to their

s ouls, wh ich have been als o awakened becaus e of their new spiritual

love, and have begun to perceive and love, through supernatural light,

the spiritual beauty in each other. Thus , the title of the poem, " The

good-morrow, " metaphorically suggests the two lovers' souls'

awakening.

In the s econd and third stanzas , Do nne elaborately u s es the meta­

phor of the microco s m in a Neoplato nic manner to pres ent the lovers'

amorous unio n. In co ntra. s t to the real and larger wo rld, their amorou s

unio n is a perfect small world, which is composed of two hemispheres,

that is, the speaker a nd his beloved. In consequence, the s peaker

s ays that "each has o ne, and is one " ; each has his own hemisphere to

make o ne complete sma 11 wo rld. T his implies the Neoplatonic idea of

the lover s ' o neness in w hich two lovers become united by mutual

affectio n after exchanging their identities .

The s peaker, fully co nte nt with their s mall world, cares little

a bout the real a nd larger world, who s e map has been extended as the

res ult of the recent dis covery o f a new world . He also s ays that h i s
 8

new love is s o powerful that it controls " all love of o ther sights" and

makes "one little roome, an every where." Small as it is, it is more

perfect than the l a rger o ne, becaus e, u nl ik e the larger and real world,

it has no "sharpe North, " nor " de c l i nin g Wes t," and becaus e the two

hem i s pheres of the s mall world, that is, tho s e of the s peaker and h i s

b eloved, are far better than tho s e o f the real world.

In the last s tanza, thoug h Donne employ s the cliche of Renais sance

poetry that each lover's face is re fle c ted in the ot her ' s eye, 4 he vivifies

it i n the light of the Neoplatonic idea about the lovers' mutual exc hange

of their ide nt ities . Ficino uses the same kind of met a phor of reflection.

According to him, the s oul o f a lover beco mes a mirror in which the

image of h is beloved is impri nted and reflected, and "when the loved

one re co gni z es hims elf in the lover, he is forced to love him " (Commentary,

p. 146) . Likewise, when the s peaker and his be lov e d find their own

images in each oth er ' s eye, they are forced to love their own beloved s

more sincerely than before. Thus , their identities are exchanged and

res tored in their own beloveds who imprint the images of thei r lovers

not only in their eyes but al s o in their souls (Comme ntar y , pp. 1 4 5-1 4 6) .

T hu s , they pos ses s each other c o mp l etely i n t heir amorous union.

S imilarly , F icino claims that

if two lovers become pos s e s sors of their own beloveds,

each res ts eas ily in the po s ses sion of his own bel o ve d
and has no fear that the other will t a k e possession of
a fairer loved. (Commentary, p. 1 62).
 9

In this poem, the s peaker and his beloved als o become true "po s ses s o r s

of their own beloveds, " and therefore, they watc h eac h other without

fear (l. 9) .

Thus, they mutually love eac h other with " true plain hearts . " The

s peaker concludes the poem by saying that their love is eternal, since

they "love so alike, " that is, they love equally and n:utually. Whatever

i s not mixed equally wo uld die. However, since the speaker and his

beloved, like the two hemisphere s , are mixed equally in their amorous

union, their love cannot be s lackened by anything, nor can it die.

The love of the s peaker a nd his beloved in " The good-morrow " is

s p iritual love, in whic h they have recently s tarted to contemplate the

d ivine Beauty in their own beloved s . Through their earthly love, they

love and contemplate God Hims elf. Donne thus pres ents the lovers

who s e earthly love is s piritual so that it leads them to as cent toward

God. The ir co ntemplation of God, through that of their own earthly

beloved s, in fact, gives them s uch s piritual s atis faction and happines s .

"A Valed iction: forbidding mourning " i s one o f Donne's s eparation

poems, in whic h the s peaker addre s s e s his lady on the occasion of h i s

departure o n a journey. In the firs t stanza, Donne uses a duali stic

contrast between the incorporeal and the corporeal, and between the

s piritual and the earthly to present the superiority of the incorporeal

and s piritual to the corporeal and earthly, by showing the complete

 10

union of two lovers based on spiritual love. Obviously, this contrast

i s b ased on Ne opl a tonic dualism.

First, Donne c ompares v1rtuous men, who are now dy ing, with their

friends . Virtuo u s men part with their lives mildly, even though their

friends are sad and upset about the ir deaths. T he calm attitude toward

death of these virtuous men is a ref le ctio n of N e o plato ni s m , in which

the Soul i s impris oned i n the body on earth s o that it cannot attain its

high est good, that is, God Himse lf. Since death is the S ou l's actual

separation from the body, o nly after death can the S oul be free from the

body and f inally attain th e h ig h e s t good and enjo y it forever. S imilarly,

v irtuous men can take their own deaths calmly becau s e they bel ieve

that the Soul i s immortal. S o there is noth ing for them to be afraid

about in dea th . I n contras t, their s ad friend s , c ons idering that death

is a cruc ial and important th ing becau s e it is the end of life, make no i s e

abo ut virtuous men's death s .

The s peaker, telling about virtuou s men, s uggests to his lady that

they, like virtuou s men, s hould part calmly, w ithou t making any noise,

a n d without mourning, c rying, and s ighing. Here, the s peak er begins

the second c ontra s t, that of earth ly profane lover s and themselves .

Profane lovers , s u c h as the s peaker s i n "A Valediction: of weeping"

and "A Valediction: of my name, i n the window, " weep, mourn, and

sigh, becaus e they cannot e ndure their physical separation. Their soul
 11

is "sense " and their love is based on the physical. Therefore, the

separation, re m o ving the most important element of their love, means

the end o f their love and cau s es the lov e r ' s literal death. S o , floods

of tears and tempes t s of s ig h s are Petrarchan cliches to des cribe s uch

separations. Unlike that of thes e profane lovers, the love of the

speaker and his beloved is bas ed more on t he s piritual tha n on the

phy s ical, and they c are little if they s hould mis s each other's phy s ical

beauty , s uc h a s , that of eyes , lips, and hand s . For their souls are

united even w h e n they part ph y s ic ally from each other. Therefore,

flood s of tears and tempes t s of s ig h s, the s peaker s ay s, are only

profanation of the true joy of their s piritual love.

The third contras t i s that of the eart h and the spheres. Donne u s e s

i t meta p horica l ly t o pres ent t h e s piritual as s uperior to the physical.

The movement of the earth i s s o irrational and intense that it bring s

harm and fear to men. As a res ult, men puzzle over what the movement

meant. In contra s t, " trepidation " of the spheres is muc h greater than

tha t of t h e earth, but brings no harm or fear to men. Since the s pheres

move harmoniou s ly accord i ng to the divine power, men cannot know

the ir movement on earth. Their rational and orderly mo vement is qu ite

different from the irrational movement of the earth. The s peaker and

his lady, like the s phere s , move rationally and in orderly fas hion, becau se

they love someth i ng s piritual in their own beloveds. On the oth er hand,
 12

profane l o ve rs , like t he movement of the earth, are a l way s irratio na l

and intense. 5

The s pea ker, i n the f i fth s tanza , says that they are refined by love

so much that they thems elves don't know what it is they love and desire.

This also parallels Ficino's idea o f earthly lovers. According to h im,

since a l o v e r loves the divine image of God in his beloved, he never

knows what it is he seeks and desires. Because the object of h is love

is d i vi ne , he cannot k now it as long as he is on earth (Commentary,

p . 140) . L ikewise, the speaker o f the poem does n't know the objec t

of their love, either. The only thing he knows about their love is that

they a re dependent on their minds and are attracted by eac h other's

spiritua l rather than physical beauty, so t hat they c an e ndure the tem­

porary separatio n without mourning.

Not only can they endure the s eparation, but also they can expand

the ir love like beaten gold when they part physically. S ince their sou ls

are un ited, there is no breach between them. Besides, th e fa rther the

speaker goes from his lady, the broader their love is. As in " T he

good-morrow, " Donne employ s the Neoplato nic idea of lovers' oneness

by using the metaphor of beaten go ld.

Altho ugh th e two lovers are one, they are s til l separate b e i ngs.

Ficino explains this, s aying that " each gives himself up for the oth er,

and has the other, yet does not cease t o have himself" (Com m e ntary, p . 145) .
 13

By u s i ng the famous metaphor of a pair of compasse s, Donne describes

this Neoplatonic relationship be tween the two lovers in this poem. Like

the lover in Ficino ' s definition, the s peaker of the poe m s ays that they

become o ne becau s e of their mutual spiritual love , yet they are, ju st

like two feet of compa s s e s , still two different s elves. His lady's s oul

is the fixed foo t , which does n't s eem to move, but does move when the

other foot, his s oul, moves , because their souls are one and move

together, ju s t as the two feet of compas s are bound together and move

together. Although the fixed foot sits in t he center far from the other,

it " leans and hearkens" after the other foot, when the other foot draw s

a circle. S imilarly, no matter where and how far the speaker goes after

the s eparation, his lady alway s "leans and hearkens " after him. S ince

their s ouls a re united, he alway s comes back to her, just as the two

feet of the compas s meet each other after drawing a circle. As the foot

of the compa s s can draw a circle j u stly becau s e of the fixed foot, s o

the s peaker can g o and mo ve i n the right way becau s e of the exi s te nce

of his lady. Therefore, the s peaker s ay s to his lady, 11 thy firmnes s

makes my circle jus t. 11 Namely, his love for her and his contemplation

of her leads him to the right way, in which he comes bac k exactly where

he s tarted .

Donne thus presents us with the idea that their separation is, not

the end of th eir love, but a s tarting point for refreshing and strengthening
 14

it, by using the metaphors of beaten gold and of a pai r of compas ses.

The image of the circle drawn by the compass suggests the perfection

of their u n i t y . Moreover, a Neoplatonic i d e a seems to be illus trate d

in this me taphor. Ficino s ays that "each thing tend s toward its origin,

and, therefore, beginning a nd end are a lways identical " ( Kris teller,

p. 175). Like the continual circular motion of the c o m pass, the

spea ker's so ul alway s c omes back where it s ta rt e d . Besides, his

soul , at the beginning, s eeks his lady's beauty, which is also identi-

fied with the final end of his s o ul. When it is united with wha t it loves,

it f inally find s res t a nd s atis fa ctio n. T hus; the beginning and the end

of the movement of the s peaker's s o ul a re identical in this poem.

Moreove r , the orderly movement of compa s ses is co rrelated to that

of the s phere s of the third s ta nza. A s we ha.ve s een, all the co ntra s t s

between the c orporeal a nd incorporeal, and the metaphors of beaten

gold a nd of compas s e s are thus linked together to s how the perfect

union of the two lovers in the poem .

. In Neoplatoni s m, everything except God and the Angelic Mind,

has its na tural appetite or natural movement to attain a good as its

goa l ( Kr i s teller , pp. 171-184). Ficino defines Love as a form of appetite

who s e goal is beauty. Kris teller explains thi s :

. When the loving s ubject is united with its object,

• .

the movement s tops , and love find s satisfaction in the

enjoyment of its attained object! 'that is, b ea u t y of the
objec C
/
. ( Kris teller, p. 264)
 15

In "A Valediction: forbidding mourning," Donne creates the lover who

find s such satis fa ction after his s oul i s united with his beloved' s . Although

his love is s ecular love, this poem creates a spiritual a tmosphere . For

the s peaker's love for his lady lea d s him to righteous love, through which

he and his lady can a sc end toward God. Such love is the ideal earthly

love which Ficino define s .

T he Neoplatonis ts justify s ecular love in terms of the Soul's dual

nature . T he human s oul, w hen it is on earth, can turn equally towa rd

God and the earthly ( Kristeller, p. 192) . Accordingly, they consider

that earthly love is good, becaus e human beings can reach divine love

by climbing up the ladder of love hierarchically from earthly love . As

C. S. Lewis points out, thi s ju s tification of earthly love is one of the

characteris tics of Neoplatonis m, for the Renais s a nce Neoplatonists think

that love can attain the divine " without abandoning the human and becomes

s piritual while remaining als o carnal, but they don't find it in Plato . 116

They modify Plato to s atisfy Renais s ance man's humanistic view of love.

Although Fic ino als o jus tifies earthly love, he explains that s piritual

and divine love is much superior to the earthly in various way s. For

example, he defines God as " the universal Good and Bea uty" which is

the s ourc e of all earthly good and beauty . In contrast to univer s al Good

and Beauty, any earthly good and beauty is only " a particular good and

beauty, " bec a us e it is trans ient and physical ( Kristeller, p. 1 93) . T here­

fore, man s hould love God a s his ultimate end even when he love s a
 16

mortal being . As long a s man considers his earthly love only as a means

to as cend toward God, and G od as the ultimate object of his l o v e , it is

j us tified as righ teou s earthly love . However, i n its e a rt h ly l ife, the

human soul is often tempted by it s inclination toward the earthly to

love only earthly good inordi na tely, forgetting its ultimate goal. In

this c ase, love is clas s ifie d as s i nf u l earthly love. Kris te ller explains

Ficino's idea of two op po s i t e destinies of the S oul determined accord ing

to these two kinds of earthly love:

. •T he f utur e destiny of the S ou l rests on this

•

difference a s developed during earthly life. For

the one who follows virtue here below, that is ,
for him who turns his appe ti t e immediately toward
' ' God, is res erved beautitude after death , that is,
! '

the unl imite d vis ion and e nj oyment of G o d . But he

w ho turns his a pp etite toward earthly good, and
thu s falls into vice, fa ces after death condemnation
and the e ternal lo s s of the knowledge of God .
(Kris te l ler , p . 193)

Among Donne's poem s , we c an see clea rly these two oppo site

a ttitudes of the Soul toward its end . The s peaker in "Holy S onnet XVII"
I II
,
repres ents the righteous lover and the s pe a ker in "A Noc t urna ll u po n S .
I1
i '
Luc ies day, Being the s hortest day " repres ents the sinful l ove r of
1 !

Ficino's definition . Since both s pe a kers themselves are, of cour s e,

not dead, we cannot dis c us s the futu re des tiny of their souls. However,

we can s ee the s ame kind of two op po s it e phenomena, as Fic ino expla ins,

whe n they are forced to face the reality of human mortality and the muta -

bility of human love on the occ as ion of their beloveds' deaths.

 17

In righteous eartnly love, a lover loves the lmage of God immanent in

his beloved and directly and indirectly conterr:platc's God through his

earthly lovi::-. He loves God as the universal Good and Beauty, a nd t he

object of his earthly love as a pa rti c u l a r good. Ficino says tha t the s o u l

of the lover thu s a lwa y s recollects and yearns t o return to its original

pla ce, that is, to God ( Kr i s te l le r , pp. 174-175). But it is very h a rd for

the human soul to attain its go a l o n earth because of the e x iste nce of

the bod y. T he refore, Fic i no expl ains that the human s o ul alwa y s fee l s
7
misery and unrest in the morta l body , ' and only when it se pa rate s fro m

the body, can it atta in its h ig h e s t goal. He considers this s e p a ra tion

of the So ul from the bo dy as a "ravis hment" or "rapture" (Kris teller,

p. 216), which re s ults in the s tate of e c s ta s y i n wh ich the Soul c a n

enjoy the knowledge o f God fore ver . He c ont inue s e x p l a i n i ng th a t o nly

a few me n can experience this "ravis hment" in their earthly live s , and

mo s t p e o p l e fir s t ex perie n ce it after death, since it is th e a c tua l

separation of th eir s ou l s from their bod ies . Therefo re, th e Soul can

a tta in its hig he s t Good, if not in its e a rthly life , then, a fte r dea th .
8

T h e s pe a ker o f "Holy S onnet XVII " love d h i s la dy a lmo s t exact l y in

the righteou s m a nne r o f Neop l atonls m w h e n she was st i ll a live . He

loved the divine Beauty inherent in his beloved, and ther e fore , h i s love

was so s piri t ua l that his admiratio n for her wh e tted hls mi nd (so u l ) to

seek G o d H im s elf as the u ltima te s ourc o f his eartht'/ lo v e . His m i nd

 18

(soul), with the aid of his love for his lady, recollected God as its

or iginal place and contemplated Him, just as streams look back at

their head as their origin.

Since his earthly love was righteous and spiritual, he could confront

his lady's death calmly, ju s t a s the virtuous men in "A Valedict ion:

forbidding mourning" face their own deaths mildly. The death of his

beloved meant to him the separation of her s oul from its body. Accord­

ingly, he s ays that her s oul was "ravis hed" into heave n by God's w ill .

Now, after her death, he sincerely thinks that her soul, with great

delight, can enjoy the knowledge of God infin itely, for the lowe r function

of he r s oul, which had prevented it from knowing God before, was

abandoned with its body by Go d's ravis hme nt. Of cour s e, there is a

s en s e of lo s s in the s peaker, who s ay s that her s oul was ravished

"early . " Altho ugh he is s orry about her death, he take s it happily

because this ravis hme nt of his beloved was from the will of the Creator .

Since she whom he loved paid her last debt to Nature and to he r

nature, "as a human being who is s u bject to death," 9 the s pe aker s ay s

that his good is als o dead. His s oul loved her beauty as its good .

However, as beautiful as she wa s , and althou gh her beauty was als o

div ine Beauty, s he was after all a mortal woman. Her beauty was

mutable and he recognized it a s a particular good, in c ontr a s t to the

infinite univer s al Goo d that is God . Therefore, when she died, his
 19

mutable good, her beauty, died with her. Her death, naving taught

him that all earthly goods are not satisfying after all, makes his mind

turn "wholly" toward hea v e nl y things. For only God can extinguish

his a rde n t thirst e t ern a l l y and infinitely (Kris teller, p. 268). As

Shawcross points out , "whol ly " is a pun o n "holy" (Shawcross, p. 309,

n. 4), which emphatically p r e s e nts the speaker's devotion to the

heavenly and holy.

Even before his beloved's death, he fo und God in h er , and He

"fed" his th irs t . But now, after h er death, "a holy thirsty dropsy "of

God's Love s t ill melts him. Now, there is no one i n ter v en i ng between

him an d God, s ince h i s lady h a s died. He can now love God directly.

Wondering at the infiniteness of God's Love, h e asks , "But why should

I begg more Lo ve ?" H aving carried her away fro m him, G o d , like a

new beloved, now woos his soul and infinitely offers him all H is Lo ve ,

i n stead of hers. God's Love i s thus fully satisfying, so he thinks that

he do e s n't have to ask more Love from Him.

God, like e art hl y lovers, i s jea lous , too . H e , in H is "tender

jealousy," not only fears that the sp e ak e r may offe r his spiritual lo ve

too generously to the things divine, such as, Saints and Angels, but

also fe a r s that his love toward the earthly , such as, the ·world, the

Flesh, and the Devil, will put out His divine Love . His jealousy is

a lw a ys t e nder and rat i o n al , w h i l e huma n jealousy is irrational and

 20

inte n s e (A ndrea se n, pp. 23 5-236) . God is only afraid in His tende r

jea lousy that the s pe a ke r m a y love , not a r ight object , but a wrong

object. God's "te nder jea lousy" thu s lea ds men to righteou s love i n

which God is the only obje ct.

Be fore his la dy' s d e a t h , t h e s pe a ker of the s onnet tur ne d equa l ly

toward t he ea rthly, his l a dy, a nd towa rd God. However, like the

righ teou s lover in Fic ino 's definition , he immediate l y s e eks G od a lone

afte r her de a th . As a res u l t , he rece ive s G od's i nfi nite Love a nd

reaches the enjoy ment of G od .

On th e contrary , t h e s pea ker of "A nocturna l l," i s too s a d and up s et

a bout h i s la d y ' s death to turn h i s s ou l to s eek G od. O f cour s e , there

is not h i ng wrong w ith huma n love for a noth er morta l be ing if one love s

his beloved in a r i g h t way . Howe ve r , the love of the s pe a ker of th i s

poe m lea d s h im to s e l f -de s truct ion and hel p l e s s de s pair a fter h i s l a d y's

death, because he loved h er a s i f s h e were the inf inite Good , w h ich

love is only due to G od. He becomes jus t l ike a dead per s on s p ir i tual l y ,

alth ough he i s s ti l l a live phy s ica ll y . F or , h i s love put too much

em p h a s i s on the muta ble and he wa s not awa re of h i s la dy ' s muta b i l ity

when she was alive . T h e re fore , h is grief a nd despair a bout her death

are s o gre a t that he doe s n't e ven fee l his own exi s tence.

"A noc tu rna l l " i s d e d icated to th e m emory of th i s s pe a ke r ' s l a d y .

It beg i ns with the d e s cription of N a ture in t h e m id night o f St . Lucy's da y ,

 21

the shortest day of the year. St. Lucy's day falls on tn.e winter solstice

(December 13) (S haw c ross , p. 15 5, n.), so it is very cold and we can

easily imagine t h a t all living things s eem to be dead. Besides, it is

the midnight of the day, the time of s leep of all the living. The darkness

a nd quietne s s of t h e c o ld winter m idnig h t fit his mournful mood.

It is the mid n i gh t of St. Lucy's day, the shortest day of the year.

Lucy, the patron s a int of lig h t , who i s meta phor ica lly ide ntified with

the sun, unma s k s h e rs elf for o nly s e ve ra l hours in the day. Therefore,

it is the midnight of the year a s well. It i s black and da rk beca u s e t h e

sun has spent h i s lig h t, and now, only h i s invisible ligh t , "flasks,"

ma k e s s ta r s vi s ib le , y e t the y a r e shining l ike " s q u ib s " a nd there a re no

c o n s tan t rays from t h e m . To t h e m o urnfu l s pe a ker , all the l i vi ng in the

world look l i k e de a d in s u c h d e a th - like d a r k ne s s of the m idn i g h t . T he

world ' s who l e sap i s s unk, a nd th e "thirs ty" e a rth h a s d runk a l l the

g enera l "ba lm" w h ich , a s Shaw cro s s s ug g e s t s , proba b l y implies "life­

giving rain," that co mfort s s uc h dry , th irsty earth (Shawcross, p . 15 5,

n. 6). It seems to t h e s peaker tha t l ife o f N ature i s shrunk, dead, and

entered into t he dry w i nter g round , jus t a s life of a sick person gr a d u a l l y

sinks to the bed-foot a nd f ina l l y ceases. Moreover, comparing th ese

seemingly d e a d thing s in N a ture w i t h himself, the speaker s ays t h a t

they seem to laug h a t him mo c k i ngly , because he is beir "Epitaph."

Since his lady d ied , h e fe e l s he l ple s s a s if he were actually dea d,

r;ecaus,:.' he has lost the pLrposc· of hi�; Hfe, that is, to love his lady

v: i.th aH his heart.

In tr1e following stanza, he suggests to persons, who will be

lovers at the next world, namPly, at the next spring, that bey should

study hm1 in orde r to know how and why his love h a s thus des troyed him

and made him such an "Epttaph" of all dead things. He begins to exp l a i n

that love wrought new a l chemy i n him a nd c hang ed him into "eve ry de a d

thing• II

\/Vt1en bis lady was still a l ive , he loved her so inrJrdlnately t h a t he

never imagi ne d that she wa s morta l and that his love for h er was a lso

mutable. He s im p ly belie ve d in t h e imm orta l ity of his love . N ow he

mourns over her death inten s e ly a nd s ti l l c a nnot be l ieve h e r morta lity.

He t h i nks that love's art is a ll "impo s ture , " l ike medieva l a lc h e my .

Ju s t a s a lc he my s e e m e d to cha nge worth l e s s m e ta l s into the mo s t

precio u s pure g o l d , s o h is love s e e m e d to promis e him th e h ig h e s t

esse nce a nd " h idde n my s tery" o f love, na mely , e ter na l h a p p i ne s s

( "Loves Alc h emie ", l. 5-6). N evert h e les s , to his gre a t d i s a p p o i ntment ,

it actually b rought him not e terna l h a p pine s s , b u t the dea th of h i s la dy ,

just a s a lc h e m y brought no gold .

Because of h e r d e a th , h e fe e l s tota l ly dead, a no th ing , priva tive

and empty. Blaming the fa l s e art of love, he sardonica l ly s ays that

love may s w ear that it can draw a qu int e s s enc e of love even from such
 23

" no t h i ng ne s s " , " du l l priva tio ns , 1 1 a nd " l e a n e m p t i ne s s " o f h i s fee l i ng .

H e th inks th a t h e w a s d e c e i ve d a nd fi na l l y r u i ne d by love , w h ic h

c h a ng e d h i m i nto " e ve ry d e a d t h i ng . " B u t , he i s re -be got, y e t , ou t

o f " a b s e nc e , " " da rkne s s , " and " dea th " w h ic h a l l a re no t . S ince h e

is r e b o r n fro m t he s e no nex i s te nt t h i ng s , h e h i m s e lf doe s n ' t exis t ,

e it he r . T h e re fore , h e k e e p s ca l l ing h im s e lf " no t h i ng " thro ug h o u t the

po e m .

In the th ird s ta nza , the s peaker conf irm s h im s e l f t h a t he i s " no th i ng "

i n c o m p a r i s o n to a l l o th e r pe o pl e wh o e x i s t . Fro m a l l thing s , they draw

a ll th a t ' s good whic h g ive s t h e m b e i n g . In contra s t , the s pe a k e r ,

dis til led b y the " a l e m b ic " o f love's a lchemy (Sha wc ro s s , p. 156 , n . 3 ) ,

becom e s 11 th e g rave" of a l l ex i s t i ng thi ng s , that i s , no th i ng . Ju s t l ik e

t h e s p e a ker in " Ho ly So nne t XVII , " h e l o v e d the b e a uty o f h i s l a d y a s

h i s g o od . Howeve r , h i s good which g a ve him b e ing be fore her d e a th

d ie d w i t h he r , s o he doe s n't h a ve be ing (e x i s t e nc e ) in the onto lo g ica l

s e n s e , a l thou g h h e i s s ti l l a live phy s ic a l l y .

W h en h i s la dy wa s a live , he reco l le c t s , the ir love often caus ed

sorrow . H e d i dn ' t rea l i ze why , b u t it is b e c a u s e th e o b j ect o f the ir

l o v e w a s m u ta b le a nd e a rthly , wh ich ne v e r ful ly s a t i s f i e d t h e ir s oul s .

They o fte n w e p t s o inten s e l y tha t the flood of t h e i r t e a r s drow ned " th e

who l e world , " th a t i s , the s ma l l wor ld of t heir a morous un i o n . This

inte ns i t y a nd i rra tio na lity o f th e i r f e e l i ng s h ow s u s b a t t h e y w e re

 24

t y p .L c c; l P e tra rc h a n lovers . B e s ide s , t'"J e y were too s e l f - i m porta nt to

r e c o g ru z e t h e e x is te nce of the r e a l world , a nd co n s e q u E' n t l y , t h e i r

a m o ro u s u nio n wa s " the who l e worl d " to them .

F ic i no say s tha t lover pos s e s s e a c h other ' s s ou l . W h e n a b e lo ve d

do e s n ' t love h i s lover in r e t urn , th e s o u l o f t h e love r b e co m e s h o m e -

le s s and comp l e te l y dea d (C orr_i1ne nta ry , pp . 1 4 4 - 1 4 5 ) . T h i s idea i s

i l l u s tra te d i n a l ittle d iffe re nt wa y i n th i s poe m t o d e s cribe t h e u n ­

s ta b le ne s s of the ir love .

E v e n though the love of t h e s pe a ker a nd h i s l a dy wa s mu tua l , th ey

o ften g rew to b e two " c h a o s e s " w h e n th e y s h ow e d c a re for s ome body

or s o me th ing other th a n th e ir own b e love d s . T h e wo rd , " c ha o s , " i s

re l a te d to "the fir s t noth ing" i n t h e next s ta n z a . G o d c re a ted , throug h

H i s infinite power , H i s c re a ture s out o f " th e fir s t no th ing " or "c hao s "

(<;:: o m m e ntary , p . 1 2 9 ) . More o ver , Love wa s a ccompa nied by c h a o s i n

G od ' s c re a tio n . T herefore , c h a o s m ea n s the s ta g e w i t h o u t Lo ve . Thus ,

the s p e a ker a nd h i s l a dy be ca me " ch a o s e s " i n w h ic h they co u l d no t f i nd

a ny lo ve , w h e n the ir love w a s no t acc e pted by the ir ow n b e love d s .

Furth e rmore , s ince th e ir love w a s e a rth l y , no t s p iri tual , each

o th e r ' s phys ica l pre s e nc e w a s the mo s t importa nt e le m e nt of the ir love .

T h e y c o u l d h a rd ly e ndure th e ir physica l s e para t io n , b e cau s e i t m e a nt

to them the e nd of the ir love . S ince they po s s e s s e c e a c h o t h er ' s s o u l

w h e n t h e y love d e a c h o t h e r , e a c h o t h er ' s p h y s i c a l a b s e nc e o ft e n
 25

w i t h d reN th e ir s o u l s a nd m a d e th e m s o ll l l e s s b o d ie s , h a t i s , " c a r a c a s s e s . "

I n t h e previo u s s t a nza , t h e s p e a k. e r pre s e nt s t h e ir re l a t i o ns h i p a nd

t b c" c h <:Ha cte ri s tic s of th e ir love b e fo re h is l a d y ' s d e a th . E ve n though

t h e ir love w a s re c i pro c a l , he wa s ofte n " c h a o s " a nd " c a ra c a s s , " a nd ,

i n the fo urth s ta nz a , h e s a y s tha t h e now b e c o m e s " the fir s t no th ing " b y

her d e a tn . Because o f h e r d e a th , wh i c h i s , for h i m , p h y s i c a l d e priva -

tio n of h e r , both h i s l o ve a n d h is s o u l lo s e the ir p l a c e to r e s ide . His

s o u l , a ft e r the lo s s o f h i s l a d y , thu s turne d o ut to be " the fir s t no t h ing . "

H e re , th e s pe a k e r s ta r t s to prove h im s e lf a s " th e f ir s t no t h i ng " by

u s ing th e N eo p la to ni c idea of b e i ng . F ic i no s a y s tha t th ing s w h ic h

do n ' t func t io n d o n ' t e x i s t , s inc e function a nd exi s te nce (b e i n g } are

al m o s t e q u iva l e nt (C o m m e ntary , p . 1 4 4) . T h e s pe a k e r i n th i s po e m s a y s

th a t h e do e s n ' t even k now w h e th e r h e l s a man o r no t . H is soul ha s

lo s t i t s fu nc tio n , Rea s o n ,a nd a s a re s u l t , h e l s i nca pa b l e of know i ng

w ha t he is . F ic i no a l s o s a y s tha t Rea s o n l s ma n ' s unique prope rty

wh ich d i s t i ngu i s h e s ma n from o th e r lower a ni ma l s . S i nce the s pe a k er ' s

soul d oe s n ' t th u s fu nc t io n , i t doe s n ' t e x i s t . B e s ide s , s ince h e lo s t

Rea son , the unique p ro p e rty o f ma n , h e doe s n ' t e x i s t a s a m a n , e ither ,

fo r th i s v e r y pro pe rty i s s up po s e d to g ive h i m b e i ng ( Kr i s te l l e r , p p . 4 0 - 4 1) .

Thus , h e prove s tha t he l s no t a m a n a ny more .

W h a t i s he , th e n ? H e s a y s t h a t h e i s no t a b e a s t , no r p la nt s or

s t o ne s , b e c a u s e the y a l l h a ve th e ir ow n pro p e rtie s ,·: 1 i c h g i v e th e m b e i ng ,

 26

b ut h o do e s n ' t . H e i s no t an ord i na ry noth ing li k e s h a dow , e i th e r ,

w h ich is a lw a y s a c c o m pa n i e d b y som e s ub s t a n ti a l bo d y a nd l ig h t , for

h e is not a c c o m p a n i e d b y a ny t h i ng . T h u s , he s u c c e e d s in pro v i ng

h im s e l f as " th e fi r s t noth ing " .

I n t h e l a s t s ta n z a of the poe m , h e c o n t ra s t s " h i s S u n , " h i s la d y ,

with " t he l e s s e r S u n , " th e re a l s un . Vv' h i l e " h i s S u n " wa s t h e s ource

of h i s l ife , " th e le s s er S u n " is th e orig ina l s o urc e o f l ig h t a nd l ife of

the wh o l e world . The s pe a ker s a y s tha t h e i s " N o ne , " nor w i l l " h i s

Sun " r e ne w h i s l if e a nd s a v e h i m a ny more fro m s uc h no t h i ng ne s s

b e c a u s e s he i s d e a d . 0 n the o th e r h a nd , tho u g h it i s the mid night

o f t h e s horte s t da y o f the y e a r , " th e le s s e r S u n " i s go i ng to r i s e a g a i n

a n d re new th e l ig h t to m a ke a no th e r da y from s uc h d a r k ne s s of t h e n i g h t .

Th i s s y mbo l ic a l l y s ug ge s t s the e terna l c yc le of rebirth fro m d e a th i n

N a ture . It i s obviou s fo r u s to th ink t h a t " the l e s s er S un " re pre s e nt s

the e te ma l a nd h e a ve nly a n d " h i s S u n " re pre s e n t s th e tra n s i e nt a nd

e a rth ly . H owe ver , i n s tea d o f a d m i t t i ng the fa c t , t h e s pe a ker s t i l l

tre a t s h i s d e a d l a dy a s i f s he were g re a ter a nd m ore e te r na l t h a n th e

rea l s u n . Moreove r , h e s a r do ni c a l l y s a y s tha t the l e s s er S u n is no w

runn i ng to the G o a t to fe tc h new l u s t to g ive it to nevv love r s . l O And

he te l l s the new l o v e r s to e nj o y the ir s ummer a l l , w hi c h im p l ie s that

t h e ir p l e a s ure from lo ve i s o n l y a s s h ort as s ummer . A c c ord i ng t o h i s

pa s t e xperie nc e , h e k now s tha t l o ve ca n g ive l o ve r s o n l y "a w i nt e r -

 27

s e e m ing s ummer n i gh t " o f th e s h o rt p l e a s ure o f l u s t , e v e n th o ug h t h e y

a lwa y s dre a m to g e t " a r i c h a nd l o ng de l i g ht " ( " Love s A l c h e m i e , " l . l l -1 2 )

from t h e i r lo ve .

T h e s pe a ker c h a ng e s h i s to ne a nd s ee m s to s a y mournfu l l y , " le t m e

pre pa re to g o tow a rd her , a nd l e t m e ca l l th i s h o ur her V ig il , a nd h e r

E ve , s inc e m y b e l o ve d i s e nj o y i ng h e r l o ng nigh t ' s fe s tiva l i n h e a v e n

a f t e r b e c o m i ng a s a int fo l low i ng h e r de a th . " We ca n s e e tha t he s ti l l

wo r s h i p s a nd love s h i s dea d l a d y a s i f s he were a s a int ide ntified w ith

S t . Lu c y , w i t h o u t fac ing t h e fa c t of her h um a n m u ta b il i ty .

T h u s , h i s love , u nlike th a t o f th e s pea ker i n " H o l y S o nnet XVII , "

do e s n ' t l e a d him to righteo u s love to a s ce nd tow a rd God . He doe s n ' t

e ve n t ry to s e e k s o m e th i ng mor e e terna l tha n h is form e r e a r t h l y love .

S in c e h e loved h i s b e loved in a wrong w a y , h i s love i s s i nfu l earth l y

lo ve w h ich ma ke s h i m no th i ng a nd l e a d s h i m to fa ce th e lo s s of h i s

know l e d g e o f G o d .

" T he E x ta s ie " b e g ins w ith the s pe a ker ' s re c o l l e c t io n a b o ut wha t

ha p p e ne d one da y to h im a nd h i s be love d . T h e s pe a ke r s a y s tha t th e ir

s ou l s we nt out fro m t h e ir bodie s , a nd a ccord i ng l y , t h e y expe rie nc e d a n

e c s ta s y o f t h e ir s o u l s , w h i c h i s very rare for s u c h h u m a n be i ng s a s th e m .

For , h u m a n s o u l s c a n ha rd l y a b a ndo n th e ir bod ie s d u r i ng the i r e a rth ly

l i ve s . How e ve r , e c s ta s y , the t e m p o ra r y s e pa ra t io n o f the S ou l fro m

the bo d y , o c c u r re d to the s e two l o ve r s e ve n o n e a r t n , s im p l y b e c a u s e

 28

the ir love , a c c o rd i ng to t h e s p e a ke r , wa s very s p ir i tu a l .

B e fore t h e y expe r i e n c e d t h e e c s ta s y , t h e s p e a ke r s a y s , t h e y s a t

o n a r i ve r ba n k w h e re a vio l e t re s ted its rec l in i ng h e a d . T '-le ir ha nd s

were J o i ne d f irm l y a nd t h e y w e re loo king a t e a c h othe r with mu tua l

a ffe c tio n . T h e y l o ve d e a c h oth e r , a nd c o n s e q u e nt l y , they were " o ne

a no t h e r ' s b e s t . " T h i s de s c ri p ti o n m ig h t g ive u s a n im pre s s io n t h a t

t h e s e two h a ppy l o v e r s w e r e u nited thu s c o m p lete ly i n s u c h a pa s to ra l

s e t ting . Ye t , the rea d e r s o f the poe m c a n ' t overloo k the fa c t th a t t h e re

a re pro f a n e s exua l image s from t h e b e g i nn i ng of th e poe m . Accord i ng ly ,

th e y m ig h t s ta rt to wonder w h a t k i nd of re l a t io ns h i p th e s e love r s a c tua l ly

had . T h e river ba nk w h e re the y s a t s ee m e d to th e s pe a ker to be " swe l led

u p " a nd " pre g na nt " l i k e " a p i l low o n a bed . " O bvio u s l y , t h e s e word s

h a ve s e x u a l i m p l ica t io n s . T h e ir h a nd s were " firm ly c e m e nted " w i t h a

fa s t b a l m o u t of th e ir p e r s p ira t io n , wh ich s ugge s ts their inte nse a nd

l u s tfu l e m o t io n . T h e ir e ye -be a m s were " tw i s te d " a nd " th re a ded " their

eye s " u po n o ne dou b l e s tring . " This im p l i e s not o n ly th e c lo s e re l a t i o n ­

sh ip a nd o ne ne s s o f the s e two lovers , but a l s o the inte ns e a nd immodera te

e m o t io n of the ir love .

Although th e ir love s ee m e d to be th u s i nte n s e a nd l u s tful , the s pe a k e r

pre te nd s t h a t th e y h a d b e e n ve ry innoce nt , pure , a nd s p iritua l , s o tha t

j o i ning the ir ha nd s a nd re fl e c t i ng th e ir ima g e s i n e a c r-i oth er ' s e y e s

w e re t he ir o n l y m e a n s fo r m a k i ng t h e m o ne a nd for p ro p a g a t i n g th e m s e lve s .
 29

T h e de s ire fo r o ne ne s s a nd for pro pa g a t io n are t h e b a s i c e le m e nt s of

th e N e o p la to nic th eory of l o ve , w h ic h a re s o m e how pe rverted by Do nne

i n t h i s poe m •

F i c i no e x p l a i n s t h a t rnu tua l a ffe c tio n ca u s e s th e mut u a l e xc ha ng e

o f l o v e r s ' id e n t i t ie s , i n wh i c h " e a c h g ive s h i m s e l f u p for the other ,

a nd h a s t he o t h er , y e t do e s no t c e a s e to h a ve h im s e l f " (C omme nta ry ,

p . 1 4 5 ) , a n d f i na l l y t h e two lover s become o ne . O f cours e , F i c i no

ta l k s a bo ut th i s o ne ne s s of th e l o ve r s o n a s p i r i tua l leve l i n wh i c h

t h e ir s o u l s a re unite d . Moreover , h e s a y s , " Lo ve ha s e n j o ym e n t o f

B e a u t y a s i t s e nd , 11
a nd d e fine s three k i nd s of b e a u t y : the b e a u ty o f

th e S o u l , tha t o f t h e bod y , a nd t h a t o f S o u nd . E a ch be a u t y i s perce ived

o n l y thro u gh th e m ind , the e ye s , or the e a r s . The b e a uty of the S o u l

i s th e h ig h e s t be a uty , b e c a u s e it i s farthe s t from th e c orpore a l . F i c i no

c o n s iders the s e ns e s of touc h , ta s te , a nd s m e l l , a s lower s e ns e s w h i c h

ca n perc e ive , no t love , b u t l u s t . I n th i s p o e m , tou c h a nd s ig h t were

co nta i ne d i n th e l o ve of th e s p e a k e r a nd h i s b e l o ve d . As in l i n e s l l - 1 2 ,

the l o v e r s m ig h t perc e i ve a nd love the b e a uty of th e ir bo d i e s w i th s i g h t

a lo ne . H ow e ve r , we s e e th e m ho l d i ng the ir h a nd s f i rm l y . T h e ir o ne ­

ne s s t h u s invo l ve d the de s i re to touch , wh ich F ic i no c a l l s m e re l y

" lu s t " or " m a d n e s s " (C o m m e ntary , p . 1 3 0) .

Ac cord i n g t o Ficino , the So u l h a s two pow e r s : t h e pow e r o f c o n ­

te m p l a t io n , a nd th a t o f pro pa g a t io n . T h e s e two pow e r s i n t h e h u m a n

s o u l re s u l t fro m t h e dua l na t u re o f Ve n u s . H e ca l l s t h e fo rr:1 e r p ow e r ,

 30

C e l e s t ia \ V e, nu �; a nd t h e: l a t t e r , T e rrc- s lna l Ve nu s . B o t h Ve nu s e s a nd

b o th po'th' r �; o f Soul a re h o nora b l e , be c c:i u s e - .'i f:' t h e very a s p e c t s

o f h urn u n love . C o ns C' c1 u e nt ly , numa n d e s i re of pro ::.: �1 �; 01 t i o n can be

j u s t if i e d a s lo ng a s r::: a n do e s n ' t g i ve u p t h a t of c o n te m p l a Uo n a nd

, no t as a m t> a n s

t o s a ti s fy b o d i l y n e e d , b u t a s a s e lf le s s m e a n s to h a ve o f f s p r i n g , s i nc e

a l l me n d e s ire the e t e r n a l b y g e n e r a t i o n (C omme nta_� , pp . 2 0 2 -2 0 3) .

S .i :·n 1 l a rl y , t h e s p e a k e r o f t h e poe m ha s a de s tre for pro pa g a t i o n .

Y.Je e a s i l y a s s o c i a te t h e word , " p ro p a g a t i o n , " w ith the word s , " p reg na nt , "

a nd " a p i l low o n a b e d , " a t the b e g i nn i ng o f the poe m . A l l the word s

o b v i_o u s ly h a ve s e xu a l c o nnota t io n s . T h e r e for e , the to ne of t h e s p e a k e r ' s

vo i c e s o u n d s reg re t f u l a nd d i s c o ntented , beca u s e t h e ir o n l y w a y fo r

pro pa ga t i o n wa s re f l e c t i ng the ir ow n image s i n e a ch other ' s e ye s , a nd

thl' Y h a d no t ye t fu lly s a ti s fi e d th e ir s trong de s ire fo r p ro p a g a t io n thro u g h

a c tua l s e x u a l l o ve .

Li. 1K' S 9 - 1 2 , w h i c h I have d i s c u s s e d a bo ve , c o nta i n t h e m o s t i m po r -

ta n t cl u e for unders ta nd i ng the c o nc l u s io n o f th e poe m . T h e tru e n a ture

of t h 0 s e l o ve r s fir s t r e ve a l_ s it s e l f to us in t h e s e 1- L� E :.:; . T b e ir o n e 1'!.e s s

i m p l i e s not o n l y s p i ritua l u ni o n o f th e ir s o u l s b y F lc J. no ' s de f i n i t io n ,

b u t t '1e i r ph y s i c a l u n i o n . L i ke F ic i no ' s N e o p l a to r u c iovers , t h e y ye a rne d

for pro p a g a t i o n of be a u ty , but i. t s e ern e d to us t h d t t �-, :> y w e re: , i n fa c t ,

 31

ve r y a nx io u s to expe r i e nc e s e x u a l l. o v e as the ir e nd , ra t h e r t r1 a n to

p ro pa g a te b e a uty t h roug h s e >: a s its mea ns . By e m p l o :i· i r:cJ a :-: :: s o me how

p e r ve r t i ng th e N eo p l a to n i c t h eory of l o ve a c cord i ng to ':t i s pre f e re nc e ,

D o nne t h u s c re a te s a s p e a k e r w ho fa l s e l y ra tio na l i z e s p h y s i c: a l love

a nd s t i l l be l ie ve s in l o v e ' s s p i r i t u a l i t y t h ro u g h o u t the poem .

T h e l o vers w e re now l y i ng mo tio n l e s s w i tho ut s a y 1 nq a n y t:l i ng ,

b e c a u s e t h e ir s o u l s had g o ne o u t fro m t h e ir bod ie s , tha t is , they ha d

g o ne to the ir h ig h e r s ta te of b e i ng , s o tha t they were mere ly s o u l - le s s

bodie s , l i ke '' s e pu l c h e ra l s ta tue s . " T he y r e m a i ne d i n the s a m e p o s ture

a l l day . As F a te s u s pe nd s u n c e rta i n vic tory b e twee n e q u a l a r m i e s , s o

the souls o f t h e love r s hung , s u s pe nd e d b e twe e n them , a nd ne gotiated

t h e ir l o ve o u t s i d e o f th e ir bod ie s . From now o n , the po e m pre s e nt s us

t h e d ia l o g u e a nd c o nve r s a tio n o f t h e ir s o u l s fro m out s ide th e ir b o d i e s .

T h e s pe a k e r s a y s , if a nyo ne , w ho wa s s o refined by love , a nd who

h a d g row n into pure l y m ind by good love , c o u ld under s ta nd s o u l ' s

la ng u a g e , he m ig h t rum ina te o n the co nve r s a t io n o f the p ure s o u l s o f

the l o ve r s a nd would b e fa r p ure r t h a n h e c a m e , s im p l y b e c a u s e h e h a d

h e a rd t h e i r s p ir i t ua l co nve r s a tio n e ve n thoug h h e c o u l d no t k now w h ic h

s o u l s po k e . H e re , a g a i n , t h e re i s a re f l e c t io n o f F ic J. no ' s i d e a of a

l o ve r s ' union , in wh ic h e a c h love r tra n s fo r m s h im s e l f r n h i s be loved ,

a nd e a c h g i ve s h i m s e l f to h i s b e l o ve d in ord e r to rn a k 'O: t h e r:-. o :1 e .

T h e re fore , h e a nd h i s b e l o ve d a re a l m o s t ide n t i c a l (C o.nn e nt a r y , p . 14 1) .

 32

T h e s pe a k e r i n th i s p o e m , b y u s i ng th i s N e o p la to n i c fo e o r y , pre s e nt s

ti1c co m p l e tP o n e ne s s o f tr1 e: i r s ou l s i n w h i c h o ne c a n h a rd l y d i s t i ng u i s h

th e s o u l o f t h e s pe a k e r fro m th a t o f h i s b e l o ve d .

U p t il l li ne 2 8 , the po e m i s w r i t t e n in the pa s t t e n s e , a nd fro m ti ne

2 9 to t h e e nd , th e s pe a k e r ta l k s in th e pre s e nt te n s e to d e s c r ibe t h i s

d 1 a. lo q u e of th e u n ited s o u l s . H e s a y s tha t th i s e c s t a s y u n p e r p lexe s

a nd te ll s th e m w h a t th e y rea ll y lo ve . S i nc e th e ir lo ve wa s s p iritua l

a nd th e o b j e c t o f the i r l o ve w a s d ivi ne , th e u n ited s o u l s , w h e n th e y

s ti l l re s i d ed i n the i r bod ie s , c o u l d n o t k no w e xa c tl y w h a t t h e y l o ve d ,

b e ca u s e o f th e ex i s te nc e o f t h e b o d ie s . B ut now , becaus e o f th e

e c s ta s y , t h e s o u l s , b e i ng awa y fro m the b o nd a ge of the ir bod ie s , c a n

p e r c e i ve the s p iritua l e s s e nc e o f the ir love . It w a s no t s ex , the sou l s

s a y , b u t t h e s p ir it ua l be a u t y o f th e ir s o u l s w h i c h m o v e d th e m to love

each other . Although th e y t h u s f i nd out tha t th e y h a ve loved e a c h

o th e r ' s s p i r i tua l b e a u ty , th e y s t i l l do n ' t k now exa c t l y wh a t th e y a r e

c o m p o s e d o f , s i nc e th e s o u l c o nta i n s a m ixture o f th ing s . I n th e s e

l i ne s , we s e e F ic i no ' s i d e a of the e a rth l y love r : a m o r t a l l o v e r c a nno t

k now w h a t h e l o ve s a nd de s ire s , s inc e the ob j e c t o f h i s lo ve is d ivine .

T h e m o rta l l o ve r c a n not perc e ive i t w i t h h i s mor ta l s e n s e s (C o m m e nta r y ,

p. 140) .

Hovv e ve r , s inc e l o ve m ixe d t h e s e tvvo m ixe d s o u l s a g a i n a nd m a d e

the m o ne , t h e s o u l s now k now w h a t t h e y are co m po s e d o f . T h e i r l o ve

 33

c o ns is t s o f two a to m s o f s o u l s . S i nce t h e s ou l i s s p i ritua l a nd

i m rr.orta l , th e ir l o ve m ade of th e tw o s o u l s i s a l s o u nc h a ng e a b l e a nd

e te r na l .

T h e u ni t e d s o u l s s a y tha t th e y b e c o m e o ne a b l e r s o u l t h ro u g h the

powe r o f love , e x p l a i n i ng its tre m e nd o u s power by u s i ng the m eta p h o r

of a tra n s p l a n t e d vio le t . Wh e n o ne tra ns p l a nts a v io l e t , i t redo u b l e s

a nd m u l t i p l i e s i t s s tre ng t h , co lor , a nd s i ze , even though i t wa s poor

a nd s ca nt , a nd though its h e a d w a s re c l i ning before (l . 3 ) . L i kew i s e ,

b e fore the s o u l s o f the lovers w e re u n ite d , t h e y yea rned for e a c h other ,

b u t the y h a d not a tta ined th e ir goa l y e t . T h ere fo re , th e y we re l o n e l y ,

poor , a nd fru s tra ted . Now , love thu s unite s a nd i nte ra n ima te s t h e m ,

a nd , a s a re s u l t , t h e y fina l l y b e c o me o ne a b le r s o u l , w h i c h c a n o ve r -

come the d e fe c t of l o ne l ine s s t h a t the y s u ffered b e fore .

F i c ino a ls o e x p l a i n s th i s b y a d o p ti ng a mytho l o g ica l interpre ta tio n

o f h u m a n na ture . H e s a y s tha t t h e re were three k i nd s o f huma n be i ng s :

m a le fro m the s u n , fe m a l e fro m the ea rth , a nd b i - s exua l fro m t h e moon .

T h e b i - s exua l were proud of s p irit a nd ro bu s t of body a nd tr ied to f i g h t

w it h the gods . T h e re fore , Ju p i t e r c u t the m l e ng t hw i s e a nd s p l it them

i nto h a l f .

Afte r the na ture o f m a n wa s d ivided , e a c h p a r t d e s ire d

i t s o th e r ha lf , s o th e y ra n to e a c h o t h e r . . . try i ng to
recover the ir o r ig ina l form . Moreove r , th e y v:o u l d h a ve
peri s h e d of priva tio n a nd i na c t i vity if G o d h a d no t f u r ni s h e d
t h e m a mea ns o f i ntercours e .
 34

H e n c e m utua l l o ve , U2 ' re s tore r of the i r o r i g i na l

na ture , i s i nna te i n a l l men , s tr i v i n9 to m a k e t h e t1.v o
o ne a g a i n , a nd to he a l t h e na ture o f m e n .

(C o mme nta ry , p . 1 5 4)

T h u s , a ny h u m a n be i ng i s i nco m p l e t e a nd only a ha l f o f h i s o r i g i na l

form . So ma n c o n s ta nt l y fe e l s lo ne l y a nd d e s ire s to re s to re the who le .

F ic ino de fine s th i s d e s ire a nd forc e to re s tore the w h o l e a s lo v e

(C o m m e nta ry , p p . 1 5 4 - 1 5 5 ) . L i k ew i s e , th e s o u l s in th e poe m pra i s e

t h e powe r o f m u t ua l love w h i c h ma ke s t h e m o ne to r e s t o re th e wh o le

a nd c o ns e qu e n t l y co ntro l s th e ir l o ne l i ne s s .

M u tua l love not o nl y re s tore s m a n ' s orig i na l na t u r e , but a l s o re i n -

forc e s a n d re doub l e s the lover s ' u n io n . F ic l no exp l a i n s i t s m ira c u lo u s

pow e r a s fo l low s :

0 , i n e s tim a b l e g a in , w h e n two s o become o ne ,

th a t e a c h o f th e two , i ns t e a d of o ne a lo ne , b e c o m e s
two , a nd a s tho u g h doub led , h e w h o h a d o ne l ife
be fore , w i th a d e a th interve ning , h a s now two . . . .
(C o m m e nta ry , p . 1 4 5 . )

S im i la rly , the s pe a k e r o f t h e poe m pra i s e s the wondrou s pow e r of t h e

united s o u l s , b y c a l l ing it o ne a b l e r s o u l , wh ich , like th e tra ns p l a nted

vio l e t , redoub l e s a nd m u l t i p l i e s the ir s p iritua l u n lo :-i . Do nne th u s

e m p lo y s a n idea s i m i la r t o F l c i no to p re s e nt h ow th e s o u l s o f th e l o v e r s

c re a te t h e co m p l e te s piritu a l u nio n through the ir mutu a l lo ve a n d e nj o y

i.t w i th e t erna l de l igh t .

Howe ve r , i n l i ne 47 , th e to ne o f t h e u nit e d s ou l s s ud d e n l y c h a n ge s

fro m d e l i g h t to l a m e nta t io n . T he y a s k t h e m s e l ve s \\· �: v th e / s h ou ld b e

so for f ro m the ir ow n bod i e s s o lo ng a no w h y th e y c u. n d o w 1 ':h. o u t t h e i r

own bodie s . T h e y s a y th at t h e ir b o d i e s a r c no t e qua l to t h e :n s e l v e �; ,

but a re the i r be long ing s , s i nc e t h e h u E> d n s o u l c1 o ve r n s a n d c o ntro L

t h e bo dy as i t s s ph e re .

H e re , t h e u n i t e d s o u l s m a k e us e o f th e N e o p la to n i c th e o r y o f th e

interde pe nde nce o f body a nd s o u l to c o nvi nc e us th a t it i s na tura l fo r

t h e m t o turn th e ir a tte n t i o n to th e ir b od i e s a s w e l l a s t o t h e ir s o u l s .

Ac c o r d i ng to F ic i no , s inc e h u m a n b e i ng s o n e a rth h a ve bo t h b o d y a nd

s o u l , a nd s i nce t h e h u m a n s o u l h a s a na tura l a p pe t i te tow a r d t h e b o d y ,

wh i c h i s c o m p l e t e l y fre e fro m mora l re p ro a c h , it i s very na tura l fo r

th e m to love both •

. . . It i s co ntra ry to the u n i v e r s a l a s w e l l a s to i t s
ow n na t u re th a t the S o u l re m a i n s e p a r a t e d fro m th e
body . . S i nc e tha t w h ich i s c o nt r a ry to na ture
• .

c a nno t b e e te rna l , it re s u l t s tha t the S o u l w i l l a g a i n

re ce ive the ir bod ie s a t s o m e t i m e T h e individ u a l
• • • •

S o u l s a re na t ura l ly i nc l i ne d to a n i m a t e a nd to g u id e
th e i ndividua l b o d ie s C o n s e q u e n t l y , th e S o u l s
• . • .

s e pa ra te d fro m the bodie s w i l l a lw a y s b e na t u r a l l y

i nc l i ne d toward t h e m . ( Kri s te l le r , p . 1 9 5 ) .

T h u s , the S o u l a nd t h e body a re i ns e pa ra b l e a nd i nt i r:·: a te l y r nt e rd e pe nd -

e nt . T h e r e fo re , t h e u n i t e d s o u l s y e a r n for the ir b o d i e s s i rr. p l y b e c a u s e

o f t h e i r natura l a p pet ite , i n F i c i n o ' s d e f i nit io n .

Fe c i no a l so d e f i n e s t h e mo s t i m p o rta nt func t i o n of the S oul a s

i nte l l i g e nce , t h ro u g h w h i c h m a n can u nd e r s ta nd t h r:· i ::-: c o q:: c, � P a l . Cn

th e o t h e r h a nd , t h ro u g h th e fu n c t i o n o f t h e bo d / , t cJ, .::-: e n s c: s , m a r: c a n
und e r s ta nd o n l y th e c or p o re a l . B o th U1 r o u q h 1 nt: e l l i �; Ec::-1 c e a ::-,c.i s e n s e ,::; ,

m cin c a n c o m p l ete ly p e rc e iv e b o t h i n c o r po r e a l a nd c o r p o re a l t :-: ing s in

b UITl cJ .n K;_g mm e nta_ry , p . 1 5 7 ) . Althou g h t h e love- r s o f t n. e po e r:1

d e liq h t in th e i m m u ta b l e s p i ritua l o n e ne s s of t b c s o u l s , t h e c o m p l e t e

u n io n of t h e ir l o ve on earth can no t b e r e a l i z e d u n t i l th e y w i l l expe rie nce

. "l 11 b .
eca u s e l ove c o m p o s c a, of bo th
.
p n. y s 1 c a o ne ne s s ,
' .
t n e ir h uma n i. s

s p i r i tu a l a nd p h y s i c a l th i n g s . T h ere fo r e , t h e u n i t e d s o u l s i n s i s t t h a t

i t i s n o t pro p e r fo r t h e m t o a ba nd o n t h e ir l o v e of t h e bo d y , fo r i t i s

a ga i n s t th e i r ow n na ture . I n o rd e r to e s ta b li s h th e i r more co m p l e t e

uni o n , t h e y co n t i nue , th e y mu s t rega i n t h e a p p e t i t e tow ard th e i r bo d i e s

a t some time . Thus , th e y b e g i n to ra tiona l i z e t h e i r p h y s i c a l l o ve by

u s i ng N eo p l a to nic ide a s .

F i c i no a l s o s a y s tha t th e S o u l go verns th e b o d y t h ro u g h i t s i n t e l l i -

g e nc e . T h i s S o u l ' s pow e r ca n b e e x p l a i ned i n h i s h i e r a rc h y o f b e i ng .

. . . G o d b e ne vo l e nt l y g o ve r n s t h e Ange li e �- !. i nd , t '.-i e
Ang e l i c M i nd a nd G o d tog e th e r govern t h e S o u l ; and
t h e S o u l , a lo ng w i t h the s e tw o , ru l e s a nd g o ve r n s
bo die s w ith a ce rta i n na tura l a ffe c t io n .
(C o m m e ntar}' , p . 1 -,; s . ) .

T h e m e ta p h o r o f th e i nte l l ig e nc e a nd i t s s p h e r e i n t ': e p o e rr: can be

Q X p l a i ne d b y th i s pa s s a ge , too . N a m e l y , G o d e ndov: s A r. g e l s w i t h

i nte l l i ge nc e , th ro u g h wh ic h th e y , a c c ord ing t o P to l e r:- a i. c a s t ro no m y ,

g o v e rn t h e s ph e re s . A l th o u g h th e bo d y a n d th e S o d a r c d e ::: e nd e n t o n

e a c h o t h er , th e S o u l can e x i s t b y it s e l f w it h o u t t h e ;� o c: y . -=: :-i u s , h e

 ·, ;.. . l i c .: , - --· ;

u. i � '-

e nc e o r : i o d y a nd s o u l , th. e u n i te d s o u l s s d y t h u t trh:=' \' a re \'e r y g rn t c:f u l

tc; the 1r

e a c h o t '1 e r , a nd y i e ld e d th e ir forc e s (s e ns e' :> ) to t i: c r: . T h e i r bod i l y

s e n s e �� iH C no t " dro s s " b u t " a l lo y " tu the united s o Ll :. s . b o th " d ro s s "

a nd " a l l o 1/ " a re i m p u r e a nd ba s e b e c a u s e t h e y arc c o m p o s e d o f two o r

r:·1 o r e t' c ta. l :=: b y b e i n q m i x e d i n e a c h e t h e r w h e n t h e �· are :. . o l t e n .

" l) ro s s " i s w a s te , a w o r th l e s s pro d u c t f o r m C' rl o n th >' s u r f ::i. c e o f rc o l te n

m e t a l. O n t h e o t h e r h a nd , " a l lo y , " a c c o rd i ng to E rr p s o n , i s " a les s

va l u cJ '.J l e s ub s ta nc e p u t i nto • . . gold to s tr e n r.-; �h c' n l '.. fo r p r il c t i c a l

use . �l :�
T h o u g h a l lo y l s l e s s p u r e a nd b a s e r t ha n g o l d , i t i s s t ro n q c' r
I I

b a n p re c io u s g o ld , a nd t h e re f o re , it is s t i ll ·;:il :J ;· • ;'. :J n � :' _rJ r ''" � :-- ,> c t l c c. l .

S i m i l M l v , t h e c o m po u nd o f s p i r i t a nd s e n s E. (of :� o u . a nd :.· :J d y ) 13 le s s

p u r e <LlG ti u s e r tha n the p u r e l y s p ir i t u a l S o u l , . ut r · con ;. o '-l nd is

of t h e s o u l s . T h u s , b y a d o p t i ng t h e ::i. na l o o '.r . , 1 ,,·; , . " " " :- .-o l a t w :� s h i p

o f a l lo '/ to g o l d to d e s c r i b e t h a t o f t :i ,::· c o : : . ;_; . .. ; · · �� u ·.: 1. to

 38

sou l s p rr s c n t t h e re l a t io ns h i p o f t h e h e a ve n l y a n d t h r:? e a r t h l y , o f t h e

h ig h e r a nd t h e l ow e r . T h e y s a y t h a t th e ir bod i e s a re :D t u n ne c e s s a r y

l c o rn po u n d m a te r i a l s o f s p i r i t find s c, n s e , wh i c h

f ir s t b ro u q t1 t th e m to g e t h e r a nd s tre ng t h e n e d th e i r p h y s i c a l u n io n . In

thi s ca se , i t i s t h e l ow e r a nd e a r t h l y (b o d ie s ) t h a t f ir s t a c te d u p o n

th e h i g he r a nd h e a ve n ly ( s o u l s } .

In c o n t ra s t , h e a ve n d oe s n ' t w or k th i s w a y . H e a ve n f i r s t m o l d s

th e a ir to m a ke t h e s o u l - s u b s ta nc e i n w h ic h t h e pure s o u l ca n b e v ia b l e ,

vv h e n i t f l ow s i t s p ow e r o f s p i r i t u a l e t h e re a l f l u i d i n to m e n o n e a r t h .

I n t h i s c a s e , i t i s t h e h i g h e r a nd h e a ve n l y (h e a ve n) t h a t f i r s t f l ow s

i n to a nd wo r k s u p o n t h e low e r a nd e a r th l y (m e n) . I n o t h er wo rd s , i n

o rd e r to m a k e p o s s ib l e t h e c o m m u n i c a tio n b e tw e e n h ea ve n (e x tre m e l y

s p i ri t u a l ) a nd e a r t h ( e x t r e m e l y ph y s i c a l ) , h e a ve n m u s t ta k e t h e a ir a s

a m e d ia to r , w h i c h i s l e s s p ure t h a n h e a ve n , y e t p u r e r t h u n e a rt h .

f,fo r e o ve r , t h e s p i r i tu a l p ow e r of t h e p ure s o u l (t h e s p i ri t u a l ) m a y

s tr e a m fo r t h i nto th e h u m a n s o u l o n e a r t h (th e p h y s i c ::d ) , w h e n t h e

p ure soui as a i r bo d y f ir s t g o e s t o t h P e a rt h l y bo d 1 , rn w n 1 c ri th e p u re

s o u l fi r s t b e c o m e s vi a b l e a nd e m bod i e s i t s s p ir i U a !. �>Y.v c r .

T �u s , b y p re s e nti ng th e tw o o p po s i t e rt' l d ti.o n s !L ; : :; '; r < ·.-.'C' t.:• n t r H'

 39

h e a ve n l y a nd t h e e a rt h l y , th e u n i t e d s o u l s w a n t to S EJ / th i:1 t b o t h t h e

h e a ve n l y a nd the e a rt h l y are i nte rde p e n d e n t a nd i n t e rre l a te d a nd t h a t

e a c h work s u po n t h e o th e r a nd vic e ve r s a . S i m i l a r l y , t h e s o u l a nd

the bo d y a re c o m p l e m e n t s , ea c h of t h e o the r . T h e united so u l s co nti nue

deve l o p i ng t h i s i d e a t i l l t h e e nd o f t h e poe m .

T\ e x t , t h e u n it e d s o u l s bring u p t h e p h y s io lo g i c a l e x p l a na t io n o f

th e na ture o f huma n b e ing s , to ra tio na l i ze the ir love o f t h e bo dy .

Re na i s s a nc e m a n b e l i e v e d th a t t h e b o d y a nd th e s o u l w e re j o i ne d

tog e t h e r b y s p irit , th e va po r o f b lood • F ic i no a l s o e x p l a i n s th i s a s

fo l low s :

. . . s o u l s , s li p p i ng down o u t o f t h e m i lk y wa y throug h
C a ncer i nto a bod y , are dra p e d i n a c e rta i n h e a ve nly
a nd c l e a r wra p , c lo th e d in w h ic h , th e y are t h e n e n ­
c l o s e d i n e a rth l y bo d ie s . F o r t h e ord e r o f na ture
r e q u ire s t h a t th e p erfe c t l y pure s o u l ca nno t d e s c e nd
i nto the more imp ure body u n t i l i t rec e i ve s a c e rta i n
m e d i a n a nd p ure g a rme nt , w h ich s i nc e i t i s ba s e r
t h a n the s o u l , b u t p ure r a nd finer th a n th i s body , i s
j ud g e d b y t h e P l a to ni s t s to b e t h e mo s t fitti ng c o p u l a
of the s o u l w i th the ea rt h l y bod y . (Co m m e nta ry , p . 1 8 6) .

As Ja y ne s ugge s t s i n th e footnote s , th i s m e d ia n a nd pure g a rm e nt is

t h e s p ir i t (C o m m e nta r y , p . 1 86 , n . 2 3 ) . T he s o u l can s e :1d i t s s p i r i t u a l

pow e r o f l o v e to t h e bod y a nd a n i m a t e i t th rou gh t h e m e d i a :i s p i r i t i n

the b l o o d .

Ac cord i ng ly , th e u n i t e d souls , b y a d o p ting t h i s ? <" na i s s a nce

ph y s i o l o g i c a l theory , say th a t t h e ir b lo o d (th e p u r e l ·_,: p h y s i c a l) t r i e s to

be g e t s p i r i t s , w h ich a re a s s p i r it u a l l y li k e t h e s o u l ::.' s t h e· ·/ can te .

 40

'u.' t , the s pirits a n: l e s s s p i r J. t u d l a nd l.J u s c r t h a n t r1 c S ;) u. l , '..· u t p urt' r

p h \i '.> i c a 1 . T h e r e fo r e ,. tt1 c· united souls say t h a t s u c i1 £ i ng c r s o f t h e

s p ir i t s a re nece s s a ry to " k nit th a t s ub t il e k no t " w h i c h m a k e s t h e m

As we h a ve s e e n a bo ve , th e s e e xp l a na t io n �; ( l l . 5 7 - 6 4 ) a rc u s ed

a s a m e a n s to pre s e n t t h e i nte rd e p e nde nc e of bod y a nd s o u l . Ac c o r d i n g

to F ic i no , th e h ig h e r a nd t h e lower , the s p iritua l a nd t h e p h y s ic a l , a nd

t h e s o u l a n d t h e bo d y , a lw a y s y e a rn for e a c h o t h e r . H ow e ve r, th e r e .

mu s t b e a c e rta i n m e d i a t o r b e tw e e n t h e s e two e x t re m e s (C o m m e nta ry ,

p . lR 6 , p . 1 8 9) . A m e d i a to r m a ke s i t po s s ib l e fo r t h e s e tw o extre m e s

to c o n: nw nic a te a nd t o l o v e e a c h o t h e r . S uc h m e d ia to r s a s t h e a i r

be twe e n t h e h e a ve n a nd t h e e a rth , a nd t h e s p ir i t s b e tw e e n t h e s o u l 1

a nd th e b o d y , p l a y very i m po rta nt ro le s i n F i c i no ' s p h i l o s o p h y . Like ­

wise , th e u n it e d s o u l s s a y tha t the y m u s t take se ns 0 a s t h e m e d i a tor

o f t h ei r s p i r i t u a l l o ve in ord e r to w o r k upon th e ir b o ci l e s . T n e re fo r e ,

they d c· c l a re t h a t t h e y m u s t d e s c e nd tow a rd th e a ffe c ti o n s e: :- d fa c u l t i e s

o f t h e i r b o d i e s , " w h i c h s e n s e s m a y re a c h a nd a p pre '-: c nd . " I f s p i r l t w1 l

lo v e d o e s n ' t t a k e h u m a n s e n s e as i t s m e d i c:i to r , it c a :; n o t E' ':c a l i t s c: l f

to m e r; . I n th i s c a s e , " a g re a t P r i nc e , " s p in t u ci l o f F: •::: s o u l , li e s

i. n p r i s 0 n . I n o rde r to s et fr e e trl i s i rn p ri s o m' J P r il:. > -i f s ;: 1 :- E 'cE ll l o ve ,

uni ted soul s say , they mus t ta ke s e n s e ::, a nd r r · c ·. :- :-, to : � 1 c:, i r : J o d i <:' s .
 41

H 0' rC' , D o nne uses t h e N t.' o p la to m c lde a i n a c o r�; p l e te l y o p p o s i t E.�

1N a y . for , in N eo p l a to n i s rn , t h e b o d y i. s c o n s i d e re d t h e p r i s o n h o u s e

t ll e t , b e c a u s e t h e b o d y pre ve n t s t h e S o u l on e a r t h f ro m a t ta i n i ng

k now l e d g e of G o d . H o v-; c• vc r , the u n i t e d s o u l s i n th e p o e m r e v e r s e l y

say t h a t t h e bo d y a nd p h y s i c a l lo ve h e l p to s e t free the im p r i s o ne d

s o u l a nd s p i r i tu a l love , w h i c h we do n ' t fi nd i n F ic i no .

T h e u l ti m a t e e nd o f th e N e o p l a to n i s t s i s to s o l ve t h e prob l e m o f

t b e h u m a n s o u l , a nd to f i nd o u t h ow t h e h u ma n s o u l c a n a s c e nd tow a rd

God e v e n o n e a rt h . F i c i no s tr o n g l y r e c o m m e nd s th a t t h e S o u l m u s t

a b a ndo n th e bo d y (C o m m e nta ry , p . 1 8 9) , in orde r to a tta i n i t s h i g h e s t

g oa l . F o r , t h e b o d y a lo ng w i t h i t s s e n s e s a nd p h y s ic a l love , o f te n

m i s g u i d e s t h e h u m a n s o u l a nd d o e s n ' t l e a d m e n to a n a s c e n t tow ard

G o d ( Kr i s t e l l e r , p . 9 4) . T h e for m o f th e b o d y is m e r e l y the s h a d o w o f

t h e true t h i n g , th a t i s , t h e S o u l , a nd c o n s e q u e n t l y , t h e b o d y d o e s n ' t

re p r e s e n t t h e tru e na t u r e o f t h e d i v i n e (C o m m e nta ry , p. 1 4 0) . F i c i no

e x p l a i n s t h e re l a tio n s h i p be tw e e n t he b o d y a nd th e S o u l :

T h e more t h e m i nd (t h e S o u i ) i s p l u ng e d i n t o t h i s
!::J o d y , t h e more d e fi c ie nt i t i s . And t h e fa rth e r
be h i nd it l e a v e s the b o d y , t h e m o r e p e rfe c t i t is .
(Kri s t e ll e r , p . 3 3 5 ) .

H ow e ve r , t h e u ni t e d s o u l s b l i n d ly pra i s e t h e pow e r of s e n s e s a nd p h y s i c a l

lo v e . T h i s i s o ne o f D o nne 1 s p e rve r s io n s o f t h e" N e o ::i l a to n i c t h e o r y o f

love in " T h e E x ta s i e . "

i.; o t o n l y do t h e y ra t i o na l i z e t h e ir de s i r e o f p h 'f S : :: a l l o v e , b u t a l s o
 42

the y a rro c1 a n t l y t h i nk tha t t h e i r de s c e n t tow a rd th e ir ��, ::> d i c: s i s u s e fu l

fo r o t h 12r rn e n o n earth . T h e ir lo ve i s to o s piritu a l fo r m orta l m e n to

a p pre b e nd . But now , s i nce th e ir s p iritua l love b e g e ::.s th e ph y s ica l

expre s s io n , it be c om e s le s s s p iritua l tha n b e fo r0 , a r.d t h e r e for e , it

m a y b e perc t.:' iva b l e e ve n for " w e a k m e n , " who h a ve o n ly the ir morta l

pow er , t h e s e n s e s . A ltho ug h s p i r i tlii:ll a nd ab stra c t m y s te ri e s o f love ,

o f c o u rs e , g row i n th e s o u l , the body i s lo ve ' s b ook in w h ich love i s

e x pr e s s e d m ore c o m p l e t e l y a nd i s a c ce s s ib l e t o m o rta l s .

Thus , b e ing co nvi nc e d o f the truth of t h e ir re a s o ni ng , t h e u n ited

s o u l s conc l ude t h e p o e m , b y s a y i ng tha t if s o me pure lover h a s heard

th i s d i a lo g u e of th e u n ited s o u l s , he s h a l l s ee o n l y " s ma l l c h a nge " i n

th e m , e ve n wh e n th e y retur n t o the ir bod ie s a fter the s p ir i tua l e c s ta s y .

For , t h e i r lo ve i s s o s p iritu a l a nd e terna l that no th ing c a n inva d e o r

cha ng e i t ( l . 4 7 ) .

Th is may be derived fro m F ic i no , too . Ac cord i ng to h im , o nc e th e

S o u l h a s a tta ined the u lt i m a te v i s io n of Go d , i t d o e s no t l e a ve i t a ny

more , but re ma i n s u n i t e d with i t fore ve r ( Kri s t e l le r , p. 1 9 1) . S i nc e t h e

u n i ted s o u l s h a ve h a d the ra re experie nce o f t h e e c s ta s y , i n w h i c h t h e y

s a w t h e s p iritua l a nd d iv i ne e s s e nc e of lo ve , t h e y re r:; a i n u n i te d w i th

it e te rna l ly . T h ere fore , the u nite d s o u l s c o nf id e nt l y s a y t h a t th e ir

re turn to the ir b o d i e s m a ke s no d i f fe re n c e to t h e i r s p i!' i t ua l lo ve .

T h ro u gh o u t th e po e m , th e s pe a ke r ' s a t t it u d e a nd to ne i n d e fe nd i ng
 43

p h y s ic a l love s e e m to be b a s e d o n F ic i no ' s N e o p la to n ic i d e a i n wh ic h

bo t h s p iri tua l a nd ph y s ic a l lo ve a re e q u a l l y j u s tifie d u nde r ce rta i n

co nd i t io n s . F ic i no s a y s th a t love o f the be a u ty o f f r1 e body i s i nferior

to tha t o f t h e be a u ty o f the S o u l , bu t through i t , " a ma n w ho pro perly

re s pe c ts love . . . c o nte m p la t e s the more exce l le nt b e a uty of th e S o u l ,

th e M i nd , a nd G o d , a nd a d m ire s a nd l o ve s t h i s m o re t h a n the o ther . 11

(C o m m e nt a ry , p . 1 4 3 ) . S ta nd i ng on th e ground o f t h e N e o p la to nic

the ory of th e la dde r of l o ve , in wh ich lower lo ve ca n c l i m b up h ie r ­

arc h ic a l l y t o a tta i n t h e h ig h er , h e j u s ti fie s ph y s ica l lo ve o n the

c o nd i t io n tha t i t i s d irec ted o n l y towa rd the co nte m p lation of G o d .

I f p h y s ica l love i s u s ed , no t a s a m e a n s to a s c e nd towa rd G o d , but

as th e f i na l e nd to s a t i s fy bod i l y ne e d , it ca n no t be l o ve , b u t l u s t .

I n h i s d e f i n i tio n o f l o ve , the lower a nd p h y s i c a l ca n a s c e nd tow a rd

the h i g h e r a nd s p ir i tua l a nd , a s a re s u l t , s p iritua l a nd s e l f le s s lo ve

le a d s ma n to a n a s ce nt tow a rd G o d , j u s t a s in " Ho l y S o nnet XVI I . 11

H ow e ve r , i n " T h e E x ta s ie , 11
we d o n ' t s e e th i s r., o ve m e nt of l o ve

fro m t h e lower to t h e h ig her . I n s te a d , a fter swe a r i n g t h a t the ir love

is very s p iritua l , t h e united s o u l s de s ce nd tow a r d t h e l owe r , na me ly ,

ph y s i c a l love . T h u s , w e do n ' t s e e tha t t h e ir love l e a d s t h e m to ward

the co nte m p l a t i o n of God in the N eo p la tonic s e ns e . Ra ther , like the

s i nfu l ea rth l y l o ve r i n "A noc turna l l , 11

w h o fa l l s i n t o v i c e a :-id lo ve s

t h e e a rth l y i no rd i na te ly , i n s te a d of lovi ng th e d iv i r:<:? i m a g e i n h i s

 44

know l e dg e o f I n tt1 i s ca s e , a c co rd l nq to :r <C: i no , t :1 e y a re

l s no t s e r i o u s o r d a r k , b u t ra t h c' r l i g h t - h e a r te d . C o ns e q u e nt i y , we

g e t t h e i m pre s s io n fro m th i s po e m t h a t t h e s pe a k e r j ;J s t ma k e s u s e o f

t h e I'J e o p l a to n i c t h e o ry o f l o v e pa r t ia l l y , i n orde r to ra t w na l i z e th e ir

d e s i r e of ph y s i c a l l o ve . D u r i n g t h i s pro c e dure , Donne s e e m s to m a ke

h i s s p e a k e r p e rvert F i c i no ' s N e o p la to nic th eory o f l o ve .

I n " T h e goo d - m o rrow " a nd " A Va l e d ic tio n : forb i d d i ng m o ur n i n g , "

D o n ne pre s e n t s a n i d e a l r i g h te o u s e a rt h l y l o ve i n w h i c h l o v e rs a r e

u n i t e d b y l o v i n g e a c h o th er ' s i nh e r e n t d i v i n e b e a u t y , w h ic h re fl e c t s

F i c i no ' s N e o p l a to ni s m . C o n s e q u e n t l y , t h e ir love no t o n l y g i ve s them

s p i r i t u a l s a t i s fa c t i o n a nd i m m u ta b l e h a p p i n e s s , b u t l e a d s t h e m tow a rd

God . " H o l y S o n n e t XVI I , " a l s o p r e s e n t i n g s u c h a r i g h te o u s e a r t h l y

lo v e r , a l m o s t p erfe c t l y p a r a ll e l s F i c i no ' s i d e a th a t t h e• S o u l c a n c o n -

t e m p i. a t e a nd lo ve G o d s i nc e re l y b e c a u s e o f i t s r i g h : e o u s e a r t h l y l o ve ,

e ve n t h o u g h t h e l o v e r i s f o r c e d to fa c e h i s be love d ' s dea th . In

c o n t ra s t , t h e s o u l o f t h e s p e a ke r i n " A no c turna l l " i s a n e x a m p l e o f

t h e S o u l w h i c h , a c c o rd i n g t o F ic i no , h a s to c o n f ro r; : t:-, e e t e rna l l o s s

o i t h e k now l ed g e o f G o d as t h e re s u l t o f it s s i nfo l c0 ;J r U1 l y l o ve . Thus ,

t h f' S (' fo u r po e m s a l mo s t p a ra ll e l Fic i no ' s t h e o ry '. C-' '-' ' . 1�J t no u g h we

also s e e a re f l e c t i o n o f a N eo p l a to n i s m such as t h i.: t iE Fi c l :1o ' s

 45

prc s e n t i n q th e l o v e r vvh o i s i1 '1x i o u s to d e fr· r.d h i s p h y s i c a l lo ve ,

a f te r r a t i o na li z i ng th a t h i s lo vE' is p Llr e l y s µ i r 1 t u a l . Vie do n ' t f i nd

t h i s i n f i c i. no ' s N e o p l c:1 to ni s rn . T h u s , D o nne , in h i s p o e m s , e m p lo y s

th e N e o p l a to n ic c o nc e p t s o f l o ve i n v a r io u s ways .
 F O OT NOTE S

Mars i lio Fic i no, Mars i lio F ic i no ' s Comme ntary 2.£1 P lato' s Sympos ium,
1
ed . a nd tran s . Sears Reynold s Jayne . U nivers ity o f !vHs s ouri S tudies,
XLX , vo l . l (C o lumbia : U ni v . o f M i s s o uri , 1 9 4 4) , p . 1 2 9 . H ereafter
abbreviated as C ommentary .

2 p a u l O s kar Kris te l ler, The Ph ilo s o p h y of Mars ilio Fic ino , trans .
V ir g i nia C o na t (G louc e s ter : P e te r S m ith , 1 9 6 4) , p . 1 7 8 . Hereafter
a bbre via t e d a s Kri s te l le r .

3 11 The good -morrow, 11 " A Valed iction: forbidd i ng mourning, " "A
nocturnall , " and " The Exta s ie " are ba s ed on Griers on ' s text and "Holy
Sonnet XVII " is bas ed on Shawcro s s • text. Hereafter Shawcros s 1 text
is abbreviated as Shawcro s s .

4 Donne uses the s ame cliche in " The C anonization, " l. 3 9 -4 4 .

SN . J . C. Andreas en, John Donne; Con servative Revolutionary

Princeton: Princeton Univ. Pre s s , 1 9 6 7) , p . 2 2 6. H ereafter abbreviated
a s Andrea s e n .

6 c . S . Lew i s , The Allegory of ,1ove : A. Study in M e dieval Trad ition

(O xfo rd : Oxford U niv . Pre s s , 193 6 ) , p . S .

7 Mars ilio F lcino, " F ive Ques tions Concerning the Mi nd, 1 1 trans.
Jo s eph ine L . Burrough s, in The Renais s ance Philos ophy of Man, ed.
E rn s t C as sirer, Paul O s kar Kris te l ler, and John Herma n Ra nda l l , Jr .
(C hicago : Univ. of Chicago Pres s , 1948) , p . 207.

8 Jo s e ph i ne Burrough s , " Introduction " to F i c i no's " F ive Q u e s tions

C o nc e rni ng th e M i nd, " in The Rena i s s a nce ,?h ilo s ophy of M a n , p . 1 9 2 .

9 John Donne, T he C om lete Poetr� of John Do nne , ed . Jo h n J .

p
S hawc ros s (N ew York: New York Univ. Pre s s, 1 9 6 8) , p 3 4 9 , n . 2.

ir
· J G o a t s are often as s ociated w ith lec hery . D o nne s ays " le c herou s
goats " in " Holy S onnet IX . "

46
 47

1 c harles Monroe C offi n, John Donne and The New Philos ophy
l
(N ew York: T he Humanities Pre s s, 1958) , p. 2 0 .

1 2w n
uam E mp s on, Some Ver s ions of P a stora l (N orfolk: A New
Direction B ook, 196 7) , pp. 1 3 3 -1 3 4.
 A LIS T O F B O O KS C ITE D

P r i m ar y S o u r c e s

Donne , Joh n . Donne : Poetical Works . ed . H e rb e r t Grierso n. Lond o n :

O xford U n i v . Pre s s , 1 9 3 3 .

___ . P o e t ry of John Do nne .

T h e C o m p l e te e d . Jo h n J . S hawc ro s s .
New York: N ew York U niv . Pre s s, 1 9 6 8 .

F ic ino , M a r s i l io . M ar s i lio F i c ino ' s C o m me ntary Q!!. P l a to ' s S y m po s i um .

ed. and trans . Se ars Rayno ld Jayne . Univ . o f M is s o u r i St ud y XIX,
Vol . l . C o lumbia : U niv. of Mis s ouri Pres s , 1 9 5 1 .

---
. " F ive Q ue s t ions C oncerning th e M ind . " t ra n s . Jo s e ph i ne
L . B urro u g hs. The Re na i s s anc e Ph i lo s ophy o f M a n . e d . E rn s t
C as s irer, Paul O s kar Kr i s te l le r , a nd Joh n Herm a n Ra nda l l , Jr .
C h ica g o : Univ . of C h icago Pres s , 1 9 4 8 .

Kr is tel l er, Pau l O s kar . The P h i l o s o ptiY o f Mars i l io F i c ino . tra ns .

V irg inia C onat . G louc e s ter : P e t e r S m ith , 1 9 6 4 .

S ec ond ary S ources

Andrea s e n , N. J . C . Jo hn Donne : C ons e rvative Revo lutio n a ry . P r i nc e to n :

Prince ton U niv . 1967 .
Pre s s ,

C offi n , C h arle s M onro e . Joh n Donne and the Ne w P h i lo s o p h y . New York :

T he Humanitie s Pres s , 1 9 5 8 .

E m p s o n , W i l l iam . Som e Vers ions of Pas tora l. Norfo l k : A N ew D ire c tion

Book , 1 9 5 0 .

Lew i s , C . S . T he Al l e g ory of Lo ve : A S tudy in M e d i e va l Trad itio n .

O xford : O x fo rd U niv. Pres s , 1 9 3 6.

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