Analysis Of John Donne 's The Good Morrow And Judith Wright 's Woman

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John Donne’s The Good Morrow and Judith Wright’s Woman to Man explore the key idea of passionate love through the appreciative tone of voice. In the opening stanza, Donne’s rhetorical question of ‘Were we not weaned till then?’ refers to how he is awaking with his lover by his side, which establishes the setting of their bedroom; whilst the hyperbole deliberately exaggerates how they were supposedly naïve and childlike before falling in love. The alliteration here serves a similar effect to emphasis the absurdity of his statement, hence illuminating the power of love. On the contrary, the first stanza of Woman to Man focuses on the idea of conception through the opening lines ‘the selfless, shapeless seed I hold’. Although similar in…show more content…
The attention is then drawn to the concept of the ‘Seven Sleepers Den’, a Christian story previously referred to, conveying the idea that when the lovers in the poem wake, they will not ‘watch one another out of fear’, contrasting with how fearful the children in the story would have been when awaking in the cave, as is told. This further emphasises Donne’s desirous and in-awe tone of voice for the intimate love present in the poem. Similarly, Wright focuses on the present moment between the parents of the unborn child, claiming ‘This is our hunter and our chase, the third who lay in our embrace’. Inclusive language allows this statement to highlight the connection between male and female, and what they have created together through love. The rhyme scheme here, although ever-present in the poem, significantly conveys the melodic simplicity of this creation, and how natural it is for the lovers to feel this way. A unique rhyme scheme is employed in The Good Morrow that divides each stanza into a quatrain, followed by a triplet. For example, in the second stanza Donne implies that love is a world within itself, and that the two lovers have ‘Let sea-discoverers to new worlds have gone / Let maps to other, world on worlds have shown’. This is deliberate in conveying how ironically-poetic love can be. This exclamation also demonstrates anaphora that continues in the following line ‘Let us possess one world, each hath one, and is one’. Symbolically, this further
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