To His Mistress Going to Bed Summary & Analysis

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The Full Text of “To His Mistress Going to Bed”

1Come, Madam, come, all rest my powers defy,

2Until I labour, I in labour lie.

3The foe oft-times having the foe in sight,

4Is tir’d with standing though he never fight.

5Off with that girdle, like heaven’s Zone glistering,

6But a far fairer world encompassing.

7Unpin that spangled breastplate which you wear,

8That th’eyes of busy fools may be stopped there.

9Unlace yourself, for that harmonious chime,

10Tells me from you, that now it is bed time.

11Off with that happy busk, which I envy,

12That still can be, and still can stand so nigh.

13Your gown going off, such beauteous state reveals,

14As when from flowery meads th’hill’s shadow steals.

15Off with that wiry Coronet and shew

16The hairy Diadem which on you doth grow:

17Now off with those shoes, and then safely tread

18In this love’s hallow’d temple, this soft bed.

19In such white robes, heaven’s Angels used to be

20Received by men; Thou Angel bringst with thee

21A heaven like Mahomet’s Paradise; and though

22Ill spirits walk in white, we easily know,

23By this these Angels from an evil sprite,

24Those set our hairs, but these our flesh upright.

25    Licence my roving hands, and let them go,

26Before, behind, between, above, below.

27O my America! my new-found-land,

28My kingdom, safeliest when with one man mann’d,

29My Mine of precious stones, My Empirie,

30How blest am I in this discovering thee!

31To enter in these bonds, is to be free;

32Then where my hand is set, my seal shall be.

33    Full nakedness! All joys are due to thee,

34As souls unbodied, bodies uncloth’d must be,

35To taste whole joys. Gems which you women use

36Are like Atlanta’s balls, cast in men’s views,

37That when a fool’s eye lighteth on a Gem,

38His earthly soul may covet theirs, not them.

39Like pictures, or like books’ gay coverings made

40For lay-men, are all women thus array’d;

41Themselves are mystic books, which only we

42(Whom their imputed grace will dignify)

43Must see reveal’d. Then since that I may know,

44As liberally, as to a Midwife, shew

45Thy self: cast all, yea, this white linen hence,

46There is no penance due to innocence.

47    To teach thee, I am naked first; why then

48What needst thou have more covering than a man.

The Full Text of “To His Mistress Going to Bed”

1Come, Madam, come, all rest my powers defy,

2Until I labour, I in labour lie.

3The foe oft-times having the foe in sight,

4Is tir’d with standing though he never fight.

5Off with that girdle, like heaven’s Zone glistering,

6But a far fairer world encompassing.

7Unpin that spangled breastplate which you wear,

8That th’eyes of busy fools may be stopped there.

9Unlace yourself, for that harmonious chime,

10Tells me from you, that now it is bed time.

11Off with that happy busk, which I envy,

12That still can be, and still can stand so nigh.

13Your gown going off, such beauteous state reveals,

14As when from flowery meads th’hill’s shadow steals.

15Off with that wiry Coronet and shew

16The hairy Diadem which on you doth grow:

17Now off with those shoes, and then safely tread

18In this love’s hallow’d temple, this soft bed.

19In such white robes, heaven’s Angels used to be

20Received by men; Thou Angel bringst with thee

21A heaven like Mahomet’s Paradise; and though

22Ill spirits walk in white, we easily know,

23By this these Angels from an evil sprite,

24Those set our hairs, but these our flesh upright.

25    Licence my roving hands, and let them go,

26Before, behind, between, above, below.

27O my America! my new-found-land,

28My kingdom, safeliest when with one man mann’d,

29My Mine of precious stones, My Empirie,

30How blest am I in this discovering thee!

31To enter in these bonds, is to be free;

32Then where my hand is set, my seal shall be.

33    Full nakedness! All joys are due to thee,

34As souls unbodied, bodies uncloth’d must be,

35To taste whole joys. Gems which you women use

36Are like Atlanta’s balls, cast in men’s views,

37That when a fool’s eye lighteth on a Gem,

38His earthly soul may covet theirs, not them.

39Like pictures, or like books’ gay coverings made

40For lay-men, are all women thus array’d;

41Themselves are mystic books, which only we

42(Whom their imputed grace will dignify)

43Must see reveal’d. Then since that I may know,

44As liberally, as to a Midwife, shew

45Thy self: cast all, yea, this white linen hence,

46There is no penance due to innocence.

47    To teach thee, I am naked first; why then

48What needst thou have more covering than a man.

  • “To His Mistress Going to Bed” Introduction

    • “To His Mistress Going to Bed” was written by the English poet John Donne, most likely between 1593 and 1596. The poem plays on the traditions of love poetry. The speaker offers elegant and elaborate compliments for his mistress, praising her beauty. But unlike other love poems of its era, “To His Mistress Going to Bed” doesn’t beat around the bush—the speaker wants to have sex with his mistress, preferably as soon as possible. As the speaker articulates his erotic desire, the poem exposes some dynamics between speaker and mistress: he not only wants to sleep with her, he also wants to possess and dominate her.

  • “To His Mistress Going to Bed” Summary

    • Come here, my lady, I can’t fall asleep. Until I have sex, I’m uncomfortable and I can’t sleep. Often, a soldier—seeing his enemy—gets tired just standing and waiting for the battle, even though the battle never comes. Take off that belt, which glimmers like the night sky, though it wraps around a world far more beautiful than our own. Take off your bodice, embroidered with stars—which you wear to keep the masses from seeing your body. Undo the laces: you hear your watch chime, telling us that it’s time for bed. Take off your corset. I’m jealous of it because it can be so close to you and yet remain still, unperturbed. When your dress comes off, it reveals a beautiful body. It’s like when the shadow of a cloud leaves a flowering meadow. Take off the wreath around your brows and show your beautiful crown of hair. Now take off your shoes and climb into bed, which is like a temple to love. The angels, wearing garments as white as our bed clothes, used to meet with human beings. You are an angel, and you bring me into a paradise full of beautiful women. It’s true that ghosts also wear white, but it’s easy to tell ghosts from angels: ghosts make our hair stand on end, but angels like you give us erections.

      Allow my hands to go wherever they want: front, back, between, up, down. Oh, you are like America: a newly discovered country. You are my kingdom—and you are safest when one man rules you. You are a mine of gems, gold, and silver. You are my empire. I am blessed to have discovered you. To be bound to you is to be free. So wherever I put my hand on you, think of it like a seal, that imprints my name on you.

      Total nudity! The most joyous state. Just like souls need to be without bodies in order to fully enjoy Heaven, so too bodies should be without clothes in order to fully enjoy sex. The gems that women wear are like the golden apples that Hippomenes threw in front of Atlanta to distract her: fools are distracted by them and want the gems that women wear, not their bodies. For the ordinary guy, all women dressed like that are like paintings or the bright cover of a book. But women are like religious books, which only the enlightened (those that women deem worthy) should see naked. So that I can read this religious book, let me see you as naked as you would be in front of a doctor. Throw off your underclothes and sheets: there is nothing to be ashamed of.

      You should follow my example: I’m already naked. Why would you need to be more covered up than a man?

  • “To His Mistress Going to Bed” Themes

    • Theme Love and Sex

      Love and Sex

      “To His Mistress Going to Bed” is a love poem, but it breaks from the traditions of love poetry in an important way. Most love poets beat around the bush, hiding what they really want behind elaborate euphemisms or clever puns. But the speaker of "To His Mistress Going to Bed" is straightforward and direct about his desire: he wants to have sex with his mistress, as soon as possible.

      Of course, “To His Mistress Going to Bed” does follow some of the traditions of love poetry. For instance, many Renaissance poets wrote poems called “blazons.” In a blazon, the speaker praises a woman’s body, comparing each part to some beautiful object. Her hair is like a golden net, her checks are like roses, etc. Donne’s poem contains a kind of blazon. But instead of praising his mistress’s body, the speaker focuses on her clothes, describing each item of clothing in turn—her “girdle,” her “breastplate,” her “busk,” etc. He compares these items of clothing to beautiful things: her girdle, for instance, is “like heaven’s Zone glistering.” In other words, with its embroidery shimmering in the candlelight, it looks like the night sky, full of brilliant stars.

      The speaker has a good reason for focusing on his mistress’s clothes, rather than her body itself—he can’t see her body! Or, anyway, he can’t see the parts of it he wants to see. As he makes clear early in the poem, his real goal is to get his mistress naked. Thus, even as he praises his mistress’s girdle, he also commands her to take it off. And, of course, he also wants to have sex with her: as he says in lines 25-26, he wants his “roving hands” to go all over his mistress’s body, “Before, behind, between, above, below.”

      This marks an important break with most Renaissance love poems. It’s safe to assume that other poets are as full of sexual desire as Donne—but they aren’t as upfront about it. They don’t just come right out and say that they want the women they're praising to get naked and have sex with them. But the speaker of “To His Mistress Going to Bed” has no compunctions about it: he says, directly, what he wants. He uses the traditions of Renaissance love poetry to do so, but he ends up discarding those traditions—with their coyness, their resistance to directly describing the sexual desire that courses through them—in favor of a frank, direct come-on.

      There is some evidence that the early readers of the poem found this a bit shocking. For instance, the printer of the first edition of Donne’s Songs and Sonnets (1633) refused to print “To His Mistress Going to Bed,” because he felt it was pornographic. The poem wasn’t printed until 1699. The poem is so direct and frank about sexual desire that it caused a small scandal among its early readers, used, as they were, to the coy and genteel traditions of Renaissance love poetry—traditions that “To His Mistress Going to Bed” gleefully discards.

    • Theme Nakedness and Truth

      Nakedness and Truth

      The speaker of “To His Mistress Going to Bed” spends most of the poem trying to convince his “mistress” to take off her clothes. As he does so, he makes some surprising claims about nakedness. Though he praises the beauty and elegance of his lover's clothing, he argues that such clothing is deceptive and misleading: it hides the deep secrets of her naked body. For the speaker, his mistress's naked body holds important truths that seem almost holy or sacred—and which, the speaker implies, only wise men deserve to see and understand.

      From the start, the speaker suggests that his mistress’s body is more than just a body. For instance, in lines 5-6, he compares her body to the “world” and the “girdle” that she wears to “heaven’s Zone glistering.” In other words, her body is a world unto itself and her clothing is like the starry sky above the world. The speaker is playing on Renaissance ideas about something called the microcosm. For many Renaissance thinkers, something small—like a person’s body—could stand in for the whole universe. Studying that microcosm would allow someone to discover essential truths about the universe. With his characteristic playfulness and perversity, Donne turns this doctrine upside down. If his mistress’s body is a microcosm for the universe, then the speaker should "study" it in detail to learn the essential truths. In other words, he makes it into an excuse to get his mistress naked.

      In later parts of the poem, the speaker uses a series of complicated references, metaphors, and similes to drive the point home. Clothes, he says, are like “Atlanta’s balls.” In Greek myth, the hero Hippomenes threw golden apples in front of the virgin Atlanta to distract her, so that he could beat her in a foot race and take her virginity. Reversing the roles in the myth, the speaker claims that the clothes and gems that women wear distract the “fool’s eye.” Fools, according to the speaker, lust after gems and clothing, rather than a woman's actual body.

      But wise men realize that women are “mystic books”—in other words, they are like religious texts: under their “gay coverings,” they contain essential, spiritual truths. Fools miss these truths, but “we”—the speaker and other wise men—“must see” them. This a surprising, even blasphemous, comparison: the speaker is saying that seeing a naked woman is like grasping a difficult religious document; he may even be comparing his mistress’s body to the Bible itself!

      Through these comparisons—shocking as they would have been to Donne's contemporaries—the speaker makes a point that would’ve been familiar to many Renaissance readers: the exterior of things is deceitful and superfluous; its interior is its essence, the thing that really matters. The speaker thus turns to ideas drawn from religion and philosophy, but he takes them out of their original context and instead uses them to seduce his mistress.

    • Theme Sex and Possession

      Sex and Possession

      “To His Mistress Going to Bed” is a poem of seduction. In it, the speaker tries to convince his “mistress” to undress, get in bed, and have sex with him. The poem is often funny; its tone is light and comic. But as the speaker makes his case, he makes some serious claims about sex itself. For the speaker, sex is about possession. He wants to control his “mistress” in the same way that an imperial power establishes its power over a colony.

      Though the speaker spends the first twenty-odd lines of the poem convincing his mistress to get undressed, that isn’t enough for him. As the poem’s second stanza opens, he demands “licence”—in other words, permission—to let his “roving hands … go” all over her body: “before, behind, between, above, below.” For the speaker, exploring his mistress’s body is like exploring a newly-discovered country. He calls her “my America! my new-found-land …” At the time the poem was written in the 1590s, America had been recently discovered by Europeans; countries like England, Spain, and France were rushing to colonize it and exploit its resources. The speaker thus compares himself to one of those European powers, eagerly exploring and exploiting a distant, newly discovered country—indeed, he even compares his mistress to a “Mine of precious stones.”

      This suggests something about the power relationships between the speaker and his mistress: he is the explorer, she is the explored; he is the miner, she is mined. The speaker therefore imagines taking possession over his mistress—ruling her, in much the same way as an empire rules its colonies. Indeed, the speaker even refers to his mistress as “My Empirie.” And he imagines his rule over her as a monarchy: she is his “kingdom” and she is best ruled by “one man.”

      Similarly, the speaker insists that his mistress’s naked body is like a “mystic book”: it contains deep truths that only the wise and enlightened should see. (For more on the speaker’s thinking here, see our coverage of the theme of “Nakedness and Truth” in the poem.) This comparison also imposes certain power dynamics on the mistress. He is the wise man; she is the thing that he knows. She is like a book; he is the one who reads it. In other words, by suggesting that her nakedness conceals essential truths, the speaker turns his mistress into an object—and gives himself power over her.

      The speaker’s argument—that nakedness contains a kind of spiritual truth—thus isn’t just an elaborate and silly conceit. It also conceals real discrepancies in power and agency between the speaker and his mistress—differences that the poem affirms. Similarly, his similes and metaphors comparing her to colonial lands and riches also suggest that she is an object, something to possess. The speaker isn’t just interested in seducing his mistress: he also wants to possess her. More precisely, for the speaker, seducing her involves possessing her. He doesn’t imagine sex as an interaction between equals: instead, for him, it’s about establishing and maintaining power over his mistress.

  • Line-by-Line Explanation & Analysis of “To His Mistress Going to Bed”

    • Lines 1-4

      Come, Madam, come, all rest my powers defy,
      Until I labour, I in labour lie.
      The foe oft-times having the foe in sight,
      Is tir’d with standing though he never fight.

      The first four lines of “To His Mistress Going to Bed” establish the poem's subject matter and hint at its themes. The speaker directly addresses a woman, whom he calls “Madam.” This is the “mistress” of the poem’s title. When Donne wrote the poem in the 1590s, the word “mistress” didn’t mean what it means now. For Donne, “mistress” was just another word for “woman”—he didn’t mean to suggest the speaker was having an extra-marital affair with this woman. However, it quickly becomes clear that the speaker does have an intimate relationship with his “mistress”—and that the poem itself is an elaborate attempt to seduce her.

      The speaker begins with a complaint—he can’t fall asleep. And in line 2, he explains why: he won’t be able to fall asleep until his mistress has sex with him. This is a bit shocking, especially for a Renaissance love poem. Donne’s peers probably had the same thing in mind when they sat down to write their love poems: they too wanted to seduce. But they tended to favor somewhat less explicit come-ons. They disguised their sexual desire with elaborate euphemisms and courtly compliments. Not Donne: from the poem’s second line, the speaker is frank and direct about what he wants.

      So, from the start, the reader has a good sense that this poem is not going to follow the rules and standards that all those other elegant Renaissance love poems follow. Which is not to say that “To His Mistress Going to Bed” is inelegant. The first line of the poem, for instance, is carefully divided by caesuras. And the second line—though explicit in its content—is rich with poetic devices. The line hinges on antanaclasis, in which the word “labour” is repeated but with different meanings. “Labour” usually means work or toil, especially physical work. It’s energetic, demanding—like sex. Thus, when the speaker first uses the word “labour”—“Until I labour”—he’s using it as a metaphor for sex. But he uses the word in a totally different sense in the second half of the line, “I in labour lie.” Here he’s drawing on the difficulty associated with “labour.” His mind his working like crazy, his body can’t relax. The uses of the word “labour” mean different things. The repetition of the word brings out that difference.

      In lines 3-4 the speaker employs another metaphor, this one designed to get his mistress to hurry up. He compares the two of them to soldiers on opposing armies—and notes that soldiers often end up exhausted from watching and waiting, without ever fighting. In other words, he might get tired waiting for her and lose interest in having sex. The speaker’s metaphor makes sex into a form of combat between opposing parties—a battle that the speaker wants to win. The metaphor suggests that for the speaker sex involves dominance, even violence. These suggestions will reappear, forcefully, later in the poem.

      The poem is written in heroic coupletsrhymed lines of iambic pentameter. This is a surprising choice. This is a light-hearted poem of seduction. Heroic couplets are traditionally used for the most serious subjects: to discuss war, politics, or philosophical disputes. Using this form, Donne creates a tension between his profane, bawdy poem and the traditions associated with its form.

      The speaker is in many ways forceful and confident: the strong end-stops in lines 1 and 2 certainly don’t leave any room for argument. But the poem’s form is often a bit off: the poem is full of metrical variations and questionable rhymes. (Indeed, the meter in Donne's poems is famously irregular.) For instance, the first line of the poem contains an extra stress—and ends up being eleven syllables long, creating a hiccup in the poem's rhythm. Perhaps the speaker’s sexual desire is so powerful that he can’t quite control his poem—or, for that matter, himself.

    • Lines 5-10

      Off with that girdle, like heaven’s Zone glistering,
      But a far fairer world encompassing.
      Unpin that spangled breastplate which you wear,
      That th’eyes of busy fools may be stopped there.
      Unlace yourself, for that harmonious chime,
      Tells me from you, that now it is bed time.

    • Lines 11-16

      Off with that happy busk, which I envy,
      That still can be, and still can stand so nigh.
      Your gown going off, such beauteous state reveals,
      As when from flowery meads th’hill’s shadow steals.
      Off with that wiry Coronet and shew
      The hairy Diadem which on you doth grow:

    • Lines 17-21

      Now off with those shoes, and then safely tread
      In this love’s hallow’d temple, this soft bed.
      In such white robes, heaven’s Angels used to be
      Received by men; Thou Angel bringst with thee
      A heaven like Mahomet’s Paradise;

    • Lines 21-24

      and though
      Ill spirits walk in white, we easily know,
      By this these Angels from an evil sprite,
      Those set our hairs, but these our flesh upright.

    • Lines 25-26

      Licence my roving hands, and let them go,
      Before, behind, between, above, below.

    • Lines 27-30

      O my America! my new-found-land,
      My kingdom, safeliest when with one man mann’d,
      My Mine of precious stones, My Empirie,
      How blest am I in this discovering thee!

    • Lines 31-32

      To enter in these bonds, is to be free;
      Then where my hand is set, my seal shall be.

    • Lines 33-35

      Full nakedness! All joys are due to thee,
      As souls unbodied, bodies uncloth’d must be,
      To taste whole joys.

    • Lines 35-38

      Gems which you women use
      Are like Atlanta’s balls, cast in men’s views,
      That when a fool’s eye lighteth on a Gem,
      His earthly soul may covet theirs, not them.

    • Lines 39-43

      Like pictures, or like books’ gay coverings made
      For lay-men, are all women thus array’d;
      Themselves are mystic books, which only we
      (Whom their imputed grace will dignify)
      Must see reveal’d.

    • Lines 43-48

      Then since that I may know,
      As liberally, as to a Midwife, shew
      Thy self: cast all, yea, this white linen hence,
      There is no penance due to innocence.
          To teach thee, I am naked first; why then
      What needst thou have more covering than a man.

  • “To His Mistress Going to Bed” Symbols

    • Symbol Heaven's Zone

      Heaven's Zone

      “Heaven’s Zone” is a symbol of hope and guidance. Literally, "heaven's Zone" is the night sky, filled with shining stars. In line 5, the speaker sees the embroidery on his mistress’s “girdle,” or belt, catch the candle light and glimmer. He thinks it looks like the night sky full of stars. This associates it with navigation: during the period the poem was written, sailors used the stars to help them navigate. Measuring their position against the stars, they could guide themselves through dark, uncharted waters.

      So, for the speaker, the mistress’s “girdle" guides and orients him, helping him get to where he’s going—or where he wants to go. In other words, it guides him toward his mistress’s naked body. As is often the case in John Donne's poetry, he takes a traditional symbol and pushes it to its limit, turning it into an elaborate, sexual joke.

    • Symbol Harmonious Chime

      Harmonious Chime

      The “harmonious chime” that the speaker and his mistress hear in line 9 is a symbol for time—and thus of death, mortality, and the limitations that shape human experience. The “harmonious chime” comes from a watch or clock striking the hour. It may be “harmonious”—a sweet sound, pleasant to hear—but it reminds the speaker (and maybe his mistress too) that time is passing: it’s getting late. And their time together is limited: soon it will be morning and they’ll have to return to their busy lives.

      More broadly, the chime reminds the speaker that he is mortal, that he will die—perhaps soon—and that therefore he shouldn’t wait around to enjoy things like sex. As a symbol for the passing of time, the “harmonious chime” helps the speaker convince his mistress to get undressed and have sex with him. He argues that she shouldn’t be coy, shouldn’t dally around, shouldn’t delay, since life is short and time is flying by.

    • Symbol Shadow

      Shadow

      The “shadow” that appears in line 15 serves as a complex symbol. It symbolizes ignorance and despair. It’s made all the more complex by the context in which it appears: as part of an elaborate simile. The speaker says that watching his mistress take off her “gown” is like watching the shadow of a cloud retreating from a beautiful meadow. So, the mistress’s body is like a meadow and the gown is like a shadow that covers it up, diminishing its brightness and beauty. When she takes off her gown, that’s like the moment when the sun comes out on a cloudy day and fills the meadow with light.

      The “shadow” is thus wrapped up with a bunch of other things, some of which the speaker only implicitly brings into the line. Light, for instance, is traditionally a symbol of hope and truth. The speaker doesn’t explicitly mention light, but the reader should imagine it bursting onto the meadow. The “shadow” should be understood in contrast with this implicit burst of light. In other words, whereas light symbolizes truth and hope, “shadow” symbolizes ignorance, error, and despair. As the mistress takes off her gown, she banishes these bad things and makes space for truth and hope.

      The symbol thus anticipates some of the speaker’s claims later in the poem—as in line 41, where he claims that women’s bodies are “mystic books” which conceal essential, semi-religious truths. And it contributes to the speaker’s (questionable) suggestion that his sexual desire is important and noble: it’s about pursuing truth, not just sex.

    • Symbol White Robes

      White Robes

      In line 19, the speaker imagines “Angels” wearing “white robes”—“white robes” that are like the sheets and blankets on the bed that the speaker shares with his mistress. These “white robes” are symbols of purity and innocence. Indeed, the color “white” has a long association with sexual purity. Imagining “Angels” wearing the color only deepens the association. Since “Angels” are the messengers and servants of God, the colors they wear are closely linked to God Himself.

      The speaker uses the symbol to help convince his mistress to climb in bed and have sex with him. By describing the bedclothes as angelic “white robes,” he suggests that the bed is a pure and innocent place—and that sex itself is innocent. It is not sinful, but sanctioned by God Himself. The symbol thus applies not only to the bed—which the speaker suggests is pure and holy—but to the act of sex itself, suggesting that it too is a blameless, innocent act.

    • Symbol Gems

      Gems

      “Gems”—which appear in lines 35 and 37—are symbols of deception. The speaker uses this symbol to describe how women dress in fancy, beautiful clothing to deceive and mislead foolish men. They may wear literal gems, like diamonds or rubies. But more broadly, the “gems” refer to beautiful, ornate items of clothing—beautiful dresses, corsets, and ruffs. They wear these “gems” so that men will “covet” them.

      In other words, foolish men will be overcome by the beauty of the clothes and jewels that women wear. They will desire those clothes and jewels, instead of trying to see what’s underneath them, the naked body beneath—which, for the speaker, is what really matters. In other words, women use “gems” to protect themselves from the prying eyes of men, to distract them, and to deceive them about what really matters, what’s really valuable. “Gems” thus symbolize this deception, and the means that women use to make it happen: the beautiful clothes and jewels they wear to distract and deceive.

  • “To His Mistress Going to Bed” Poetic Devices & Figurative Language

    • End-Stopped Line

      The speaker of “To His Mistress Going to Bed” is full of passion and desire, so it makes a certain kind of sense that the poem doesn’t follow a lot of rules—and the rules it does have, it follows sporadically. The speaker’s desire is so powerful that it overflows poetic customs. Much the same is true of the poem’s use of end-stop and enjambment: the speaker uses both frequently, but he doesn’t follow any pattern or plan. Instead, he follows the whims of his passion, using end-stop and enjambment where his desire indicates that he should.

      For example, the speaker uses end-stop in both of the poem’s first two lines:

      Come, Madam, come, all rest my powers defy,
      Until I labour, I in labour lie.

      These lines are definite, unequivocal, strong. The speaker doesn’t admit any doubt: there’s no suggestion that the mistress might talk him down. Instead, she has to pay attention to his demands—now. The use of end-stop thus helps communicate the force and power of the speaker’s desire.

      Elsewhere, the speaker uses end-stop to underline his argument. For instance, take a look at the end-stops in lines 9 and 10:

      Unlace yourself, for that harmonious chime,
      Tells me from you, that now it is bed time.

      The speaker is making an—apparently—simple point: he hears a clock chiming, so he knows it’s time to go to bed. But the “harmonious chime” is a symbol for time itself. It serves as a reminder that time is passing, that speaker and mistress are both mortal, and that they should therefore enjoy sexual pleasure while they still can. This simple detail carries a great deal of rhetorical force. And the end-stop at the end of line 10 reinforces it. It is sharp, definite—like death itself. It conveys the underlying seriousness of the speaker’s argument: that he and his mistress shouldn’t waste any time, because death is coming for them.

      The speaker’s irregular use of end-stop is thus often full of meaning: when it appears, it helps him underline the force of his desire; similarly, it reinforces his arguments for why his mistress should sleep with him.

    • Enjambment

    • Caesura

    • Alliteration

    • Assonance

    • Consonance

    • Simile

    • Metaphor

    • Repetition

    • Allusion

  • "To His Mistress Going to Bed" Vocabulary

    Select any word below to get its definition in the context of the poem. The words are listed in the order in which they appear in the poem.

    • Rest
    • Defy
    • Labour
    • Oft-times
    • Tir'd
    • Standing
    • Girdle
    • Heaven's Zone
    • Glistering
    • Unpin
    • Spangled Breastplate
    • Th'eyes
    • Harmonious Chime
    • Busk
    • Nigh
    • Beauteous
    • State
    • Meads
    • Th’Hill’s Shadow
    • Steals
    • Wiry Coronet
    • Shew
    • Hairy Diadem
    • Doth
    • Tread
    • Love’s Hallow’d Temple
    • Received
    • Thou
    • Bringst
    • Thee
    • Mahomet's Paradise
    • Ill spirits
    • Evil Sprite
    • Upright
    • Licence
    • Roving
    • America
    • Safeliest
    • Mann'd
    • Empirie
    • Blest
    • Bonds
    • Seal
    • Unbodied
    • Taste
    • Atlanta's Balls
    • Lighteth
    • Gay Coverings
    • Array'd
    • Mystic Books
    • Imputed Grace
    • Reveal'd
    • Liberally
    • Midwife
    • Thy
    • Yea
    • White Linen
    • Penance
    • Needst
    • Covering
    • Sleep. The speaker’s saying that, until he and his mistress have sex, he can’t fall asleep.

  • Form, Meter, & Rhyme Scheme of “To His Mistress Going to Bed”

    • Form

      “To His Mistress Going to Bed” is a 48-line poem, divided into 4 stanzas. The stanzas are uneven in length: the first is 24 lines long (meaning it makes up half the poem), the second is 8, the third is 14, and the final stanza is just 2 lines. The poem doesn’t follow a set arrangement for the number of lines in each stanza. Instead, it follows the speaker’s inclination—the stanzas swelling and subsiding in response to his passion and enthusiasm.

      However, the speaker does use some of the elements of formal verse. The poem is written in iambic pentameter—though its meter is often rough. And it is generally in rhyming couplets, though at times the speaker uses the same rhyme for several couplets in a row. The poem is thus written in heroic couplets, a form generally reserved for stately, important, and dignified topics. That Donne would use such a form for a poem like this—funny and seductive—is part of the joke. Using a form like this, the speaker suggests that his erotic desire is as important as a heroic deed or a great battle.

      “To His Mistress Going to Bed” is also sometimes titled “Elegy II.” This reflects a change in the meaning of the word “elegy” over the history of poetry. Nowadays, an elegy is a poem of mourning for someone who has died. But in Ancient Greek and Roman poetry, the “elegy” wasn’t associated with death or mourning. Instead, it was associated with a specific kind of meter: elegiac meter.

      In his elegies, Donne attempts to imitate that meter—and the classical poets who used it. This was a popular pursuit in the 1580s and 1590s, when Donne likely wrote the poem: poets and scholars like Edmund Spenser, Gabriel Harvey, and Thomas Campion expended considerable energy trying to adapt Greek and Roman meters to the English language. Here, though, Donne seems less interested in reviving classical meters and more interested in channeling the bawdy spirit of Roman poets like Catullus.

    • Meter

      “To His Mistress Going to Bed” is written in iambic pentameter. Iambic pentameter has a da DUM rhythm, with five stressed beats per line. Readers can hear this rhythm in line 9:

      Unlace | yourself, | for that | harmon- | ious chime

      Donne is famous for what some consider his bad meter. His contemporary, the poet and playwright Ben Jonson, complained, “Donne, for not keeping of accent, deserved hanging.” In other words, Jonson was so offended by Donne’s meter that he thought he should be executed!

      Jonson—who always had a flair for the dramatic—was probably just being hyperbolic. In fact, many readers have found something enticing about Donne's unusual use of meter. However one feels about it, “To His Mistress Going to Bed” contains plenty of examples of Donne's loose, rough meter. Its lines are full of unexpected and disruptive metrical substitutions. For example, the first line of the poem starts with a spondee (stressed-stressed) and ends with an anapest (unstressed-unstressed-stressed):

      Come, Mad- | am, come, | all rest | my pow- | ers defy.

      In other words, the line has an extra stress: there are six stressed syllables in the line, instead of the five a reader expects in a line of iambic pentameter. And the line has an extra syllable—it's eleven syllables long, not ten. Note, however, that some of this could be smoothed over by reading "powers" as one syllable:

      all rest | my powers | defy.

      This returns the line to 10 syllables.

      Donne's language can be frustrating to readers with strict expectations about meter. This is partly due to his syntax—his sentences can sound a bit contorted:

      Until | I la- | bour, I | in la- | bour lie.

      The line is a good line of iambic pentameter. Notice, however, how the meter emphasizes the second "I" but not the first. On one hand, this might throw a reader off balance. On the other, this is an elegant use of meter that captures what it feels like to lie awake at night—until he has sex ("labour") the speaker is painfully focused on himself, stressing the "I."

      Donne's meter can sometimes be distractingly unusual. But it also reflects the speaker’s state of mind—so passionate and excited that he can barely keep his poem in control.

    • Rhyme Scheme

      “To His Mistress Going to Bed” is written in rhyming iambic pentameter couplets—also known as heroic couplets. Its rhyme scheme is thus, generally:

      AABBCCDD …etc.

      Donne's poems can famously seem a bit sloppy in matters of meter and rhyme—though many readers interpret this as an enjoyable, roughhewn quality. Many of the rhymes in “To His Mistress Going to Bed” reflect that quality.

      Many of the poem's rhymes are strong and direct. But the poem also uses some rhymes that could be considered less effective—as in lines 5 and 6, where the speaker rhymes “glistering” and “encompassing.” That’s traditionally considered a weak rhyme: only the “-ing” at the end of each word rhymes; otherwise the words don’t rhyme at all.

      At one point, the speaker uses the same rhyme sound in back-to-back-to-back couplets, in lines 29-34. This creates an intense run-on effect, as if the speaker has gotten caught up in one particular line of argument.

      And some of the poem's rhymes can be considered slant rhymes, despite the differences between the pronunciations of Renaissance and modern English. This happens in lines 41-42, with their rhyme between "we" and "dignify." All of this reflects a kind of sloppiness with the rhyme: the speaker isn’t particularly interested in tightly controlling the poem’s rhymes. He’s focused on other things—like his intense erotic desire for his mistress. In other words, the poem’s rhyme scheme reflects the intensity and passion of the speaker’s desire: he’s so overpowered by it that he doesn’t worry about controlling the details of his poem.

  • “To His Mistress Going to Bed” Speaker

    • The speaker of “To His Mistress Going to Bed” is a man. He spends the poem speaking directly to a woman, his “mistress.” The speaker follows some of the conventions of Renaissance love poetry—he offers a series of elegant compliments to his mistress, praising her beauty and the elegance of her clothing. But it becomes clear pretty quickly that he has more on his mind than a few innocent compliments. In fact, he is unusually frank and direct about his desires: he wants his mistress to get undressed and have sex with him.

      At the center of the poem, then, is the speaker’s intense erotic longing and desire—which expresses itself in his urgent and inventive language. The speaker keeps finding new ways to try and convince his mistress to have sex with him, employing new poetic devices to make his case. As a result—regardless what the reader thinks of the speaker or the poem’s gender politics more broadly—the result is a dynamic, inventive, and engaging speaker. He always keeps the reader on their toes; the reader is never quite sure what will come next in the poem.

  • “To His Mistress Going to Bed” Setting

    • “To His Mistress Going to Bed” is set in a bedroom—a warm, intimate domestic space that the speaker and his “mistress” share. It’s a place where they get dressed and undressed, sleep, and have sex. The speaker doesn’t tell the reader much about the room—the reader never learns how it’s decorated or what kind of furniture they have. (Having a private room at all, however, was a considerable luxury during the period the poem was written, so the reader should imagine the speaker and his mistress as well-to-do, if not aristocratic).

      When the poem occurs, it’s nighttime and the lights are dim. The reader should imagine the space lit by candlelight, so the mistress’s garments, her “glistering” girdle and her “spangled breastplate” catch the light from the candles and glimmer in the half-dark. All of this contributes to a sense of intimacy. Though the speaker is full of jokes and specious arguments as to why his mistress should have sex with him, he makes these jokes in an intimate domestic space that they share. As a result, these jokes feel different than if he was making them in, say, a crowded tavern. The jokes are part of the dynamic of their relationship: the reader might imagine them as part of a steady back and forth between speaker and mistress.

  • Literary and Historical Context of “To His Mistress Going to Bed”

    • Literary Context

      “To His Mistress Going to Bed” was most likely written between 1593-1596, when John Donne was a young man. His early poems are often energetic and full of erotic desire, while his later poems focus on religious issues (though they too have plenty of sexual tension in them). At the time that Donne wrote “To His Mistress Going to Bed,” English poetry was in the midst of a fad for love poetry. Poets like Sir Philip Sidney, Edmund Spenser, and William Shakespeare were all writing long sequences of love sonnets.

      These poems had a lot of common features: they were all written by male poets and had male speakers; they were often about distant, inaccessible, and very beautiful women, whom the poets praised in excessive terms. For instance, these poets often wrote blazons: poems that praised individual parts of a woman’s body, comparing them to different beautiful things. (Her eyes are like sapphires, her teeth are like pearls, etc.) And, finally, these poets often drew on classical models—particularly the Roman poet Ovid and his epic poem, The Metamorphoses. These classical texts gave the poets myths to work with and adapt—and they also gave them models for writing poems about sexual desire.

      “To His Mistress Going to Bed” has a lot in common with the poems written by Spenser, Shakespeare, and Sidney. Like their poems, it performs a kind of blazon—albeit, one focused on the mistress’s clothing. The speaker describes each article of clothing in detail as he asks her to take it off. And the poem shares some of the gender dynamics of other Renaissance love poems: it too features a male speaker addressing a coy, inaccessible woman—after all, the speaker needs to convince her to take off her clothes! (And it also draws freely on Ovidian models: the reference to “Atlanta’s balls” in line 36 is likely derived from The Metamorphoses.)

      But the poem also diverges from its contemporaries in an important way: it is much more honest about the speaker’s sexual desire. While most Renaissance poems beat around the bush, using euphemisms to avoid saying directly what the speaker really wants, “To His Mistress Going to Bed” is direct and frank: the speaker is open and unguarded as he expresses his sexual desire. In turn, that reflects John Donne’s position as the leader of a group of poets called the metaphysical poets. The metaphysicals took existing tropes and clichés and extended and expanded them, sometimes to absurd degrees. Here, Donne takes the usual moves of the Renaissance love poet and exposes the intense sexual desire barely concealed beneath.

      Historical Context

      “To His Mistress Going to Bed” was written in England during the 1590s. The 1590s were a complicated time in English history and English literature. The decade is often considered the golden period of Elizabethan literature—with plays like Romeo and Juliet first performed and major poems like The Faerie Queene first published.

      Politically, it was also a time of relative peace and prosperity. In 1588, Queen Elizabeth defeated a huge Spanish fleet, the Spanish Armada. That gave the country some safety and security from foreign threats. But it also exposed the country to internal insecurities. After all, Queen Elizabeth was aging and unmarried: she had ruled the country successfully for many years, but she hadn’t produced an heir. So as the decade progressed, there were serious questions about who would rule England after her death.

      The reprieve after the Spanish Armada was defeated allowed poets to turn inward, to focus on matters of the heart. But the anxieties about what would happen after Queen Elizabeth’s death were never far from their minds—and created serious questions about female sexuality, independence, and political power. These questions often show up in the poetry of the period—even poems that are not directly related to English politics.

  • More “To His Mistress Going to Bed” Resources