This does not mean it is just a philosophical poem. Far from it. The word ‘ecstasy’ means a very heightened experience so that you feel almost out-of-body, which is presumably why the name was given to the drug. True ecstasy does not need to be drug-induced, however, and Donne describes fully the ecstatic state he experienced through true love, just as another metaphysical poet, Richard Crashaw, describes spiritual or religious ecstasy in his Hymn to St Teresa.
The ecstasy of love is clearly the major theme of The Extasie. Donne looks at the outward manifestations of it and its inner meaning. In fact, the understanding he gains is that
We see, we saw not what did move
In other words, a revelation has come of what true love is, which is quite different from his perception before. There is a place for sex and the physical, but only as an expression of a union of souls.
Union
This idea of union also runs throughout the poem, and suggests also The nature and completeness of the lovers' world. People may come by and look and learn, but the lovers don't need others. Their ecstatic union leaves no room for anyone or anything else. But the world has to include their bodies, else a ‘Prince’ lies in prison. The ‘prince’ idea is found in other poems by Donne on this theme, as The Sunne Rising.
Investigating The Extasie
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Try to define Donne's idealism in The Extasie
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How does it express itself in the poem?
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Do you feel idealistic about love and the possibilities of it?
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Do you take heart from Donne's poem?
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or does it seem irrelevant to your own experience?
The two main strands of imagery are horticultural and military, with some sexual images also.
Horticulture
The horticultural imagery is most important in the discussion on transplanting and also in ‘to' entregraft our hands’ (l.8). Both processes suggest union:
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the plant to new soil
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the graft, to a new stock.
We actually talk, too, of ‘propagation’ in horticulture, as the poet does in l.12. The word is ambiguous here, for ‘propagation’ is also used to mean ‘making pregnant’.
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Pregnancy is suggested directly in l.2, and ‘pillow’ could suggest that, as well as the more general association with sexual activity (l.1).
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Conversely, ‘The violets reclining head’ (l.3) would suggest modesty, as violets symbolise modesty.
Military
Military imagery comes with the idea of two armies negotiating a truce (l.13-17), quite an extended simile. The image suggests not so much former hostility, as great strength on both sides. This is an equal match. The military imagery is picked up in ll.54,55; and l.68.
Scientific references
As is typical of Donne, there are many scientific references too:
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‘concoction’(l.27)
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‘mixture of things’(l.34)
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‘Atomies’(l.47)
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‘drosse… alloy’(l.56)
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‘blood’(l.61).
Behind much of this is the same question: what fusion can be made which will result in an unchangeable final state (‘whom no change can invade’)?
Investigating The Extasie
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Read through the first ten lines of The Extasie
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These lines contain a riot of images
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What others can you see besides those mentioned already?
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There is also an imagery of language in the poem
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Can you trace this through, and say what its significance is?
The argument of the poem
The argument of the poem falls into three sections:
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The physical signs of the lovers' ecstacy (ll.1-20)
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Its philosophical meaning (ll.21-48)
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An invitation to return to the body: the need for incarnation (ll.49-76)
Lines 1-20
The lovers have reached a state where they feel their souls have, as it were, left their bodies:
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‘our soules....hung 'twixt her and mee’
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while their bodies ‘like sepulchrall statues lay’.
There was a union, but it was a soul-union, not physical union, apart from
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‘Our hands were firmly cimented’
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and ‘did thred/ Our eyes, upon one double string.’
Their only ‘propagation’ was seeing each reflected in the other's eyes.
Lines 21-48
Donne imagines what some bystander would make of them. Certainly it would be a purifying experience for such a person. And for them, too, it has answered some questions about love and sex. In the first place, the ecstasy has been a union of souls, not of bodies.
Like a transplant
It is like transplanting. Donne was writing before organ transplants were even dreamed of, but plants were regularly transplanted to get better and better plants. The net result of their two souls being transplanted into one another is a single new soul which ‘Defects of lonelinesse controules’. It is fulfilled, where ‘no change can invade’.
Lines 49-76
So how are they to understand their bodies and physical sexuality?
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Firstly, we cannot be defined by our bodies: ‘They are ours, though they are not wee’.
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Yet we must be thankful to them. Donne refuses to belittle the part our bodies play.
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There always has to be an incarnation.
More on Incarnation?
Souls cannot exist without bodies:
Soe soule into the soule may flow,
Though it to body first repaire
(‘repaire’=travel).
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The body consists of ‘affections’ and ‘faculties’, emotions and senses, and this is the only way for even ‘pure lovers soules’ to manifest themelves,
Else a great Prince in prison lies
he simply says.
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So there is an ‘invitation to sex’ at the end, but it is almost for the benefit of others, not themselves. It is to be a revelation:
so
Weake men on love reveal'd may looke
like writing invisible thoughts down into a material and visible book. For the lovers themselves, it really will not make much difference ‘when we'are to bodies gone’.
The language of The Extasie is an amazing combination of emotionally charged and philosophic language, in which the poet undertakes a patient argument to analyse the lovers' state of being. So there are all sorts of markers that an argument is being conducted:
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‘If any...’(l.21)
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‘(We said)’ (l.30)
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‘We see by this’(l.31)
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‘Wee then’(l.45) etc.
The argument is quite technical:
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‘We are the intelligences, they the spheare’(l.52) (see Aire and Angels for a discussion of this);
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‘As our blood labours to beget/ Spirits, as like souls it can’ (11.61-2).
This technicality suggests the theory of the day, which, whilst outdated to us, nevertheless still works as imagery, even if not science!
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