THE CANONIZATION
by John Donne

FOR God's sake hold your tongue, and let me love ;
    Or chide my palsy, or my gout ;
    My five gray hairs, or ruin'd fortune flout ;
With wealth your state, your mind with arts improve ;
        Take you a course, get you a place,
        Observe his Honour, or his Grace ;
Or the king's real, or his stamp'd face
    Contemplate ; what you will, approve,
    So you will let me love.

Alas ! alas ! who's injured by my love?
    What merchant's ships have my sighs drown'd?
    Who says my tears have overflow'd his ground?
When did my colds a forward spring remove?
        When did the heats which my veins fill
        Add one more to the plaguy bill?
Soldiers find wars, and lawyers find out still
    Litigious men, which quarrels move,
    Though she and I do love.

Call's what you will, we are made such by love ;
    Call her one, me another fly,
    We're tapers too, and at our own cost die,
And we in us find th' eagle and the dove.
        The phoenix riddle hath more wit
        By us ; we two being one, are it ;
So, to one neutral thing both sexes fit.
    We die and rise the same, and prove
    Mysterious by this love.

We can die by it, if not live by love,
    And if unfit for tomb or hearse
    Our legend be, it will be fit for verse ;
And if no piece of chronicle we prove,
        We'll build in sonnets pretty rooms ;
        As well a well-wrought urn becomes
The greatest ashes, as half-acre tombs,
    And by these hymns, all shall approve
    Us canonized for love ;

And thus invoke us, "You, whom reverend love
    Made one another's hermitage ;
    You, to whom love was peace, that now is rage ;
Who did the whole world's soul contract, and drove
        Into the glasses of your eyes ;
        So made such mirrors, and such spies,
That they did all to you epitomize—
    Countries, towns, courts beg from above
    A pattern of your love."

Summary

The speaker asks his addressee to be quiet, and let him love. If the addressee cannot hold his tongue, the speaker tells him to criticize him for other shortcomings (other than his tendency to love): his palsy, his gout, his "five grey hairs," or his ruined fortune. He admonishes the addressee to look to his own mind and his own wealth and to think of his position and copy the other nobles ("Observe his Honour, or his Grace, / Or the King's real, or his stamped face / Contemplate.") The speaker does not care what the addressee says or does, as long as he lets him love.

The speaker asks rhetorically, "Who's injured by my love?" He says that his sighs have not drowned ships, his tears have not flooded land, his colds have not chilled spring, and the heat of his veins has not added to the list of those killed by the plague. Soldiers still find wars and lawyers still find litigious men, regardless of the emotions of the speaker and his lover.
 
The speaker tells his addressee to "Call us what you will," for it is love that makes them so. He says that the addressee can "Call her one, me another fly," and that they are also like candles ("tapers"), which burn by feeding upon their own selves ("and at our own cost die"). In each other, the lovers find the eagle and the dove, and together ("we two being one") they illuminate the riddle of the phoenix, for they "die and rise the same," just as the phoenix does--though unlike the phoenix, it is love that slays and resurrects them.
 
He says that they can die by love if they are not able to live by it, and if their legend is not fit "for tombs and hearse," it will be fit for poetry, and "We'll build in sonnets pretty rooms." A well-wrought urn does as much justice to a dead man's ashes as does a gigantic tomb; and by the same token, the poems about the speaker and his lover will cause them to be "canonized," admitted to the sainthood of love. All those who hear their story will invoke the lovers, saying that countries, towns, and courts "beg from above / A pattern of your love!"
 
Form
 
The five stanzas of "The Canonization" are metered in iambic lines ranging from trimeter to pentameter; in each of the nine-line stanzas, the first, third, fourth, and seventh lines are in pentameter, the second, fifth, sixth, and eighth in tetrameter, and the ninth in trimeter. (The stress pattern in each stanza is 545544543.) The rhyme scheme in each stanza is ABBACCCDD.
 
Commentary
 
This complicated poem, spoken ostensibly to someone who disapproves of the speaker's love affair, is written in the voice of a world-wise, sardonic courtier who is nevertheless utterly caught up in his love. The poem simultaneously parodies old notions of love and coins elaborate new ones, eventually concluding that even if the love affair is impossible in the real world, it can become legendary through poetry, and the speaker and his lover will be like saints to later generations of lovers. (Hence the title: "The Canonization" refers to the process by which people are inducted into the canon of saints).
 
In the first stanza, the speaker obliquely details his relationship to the world of politics, wealth, and nobility; by assuming that these are the concerns of his addressee, he indicates his own background amid such concerns, and he also indicates the extent to which he has moved beyond that background. He hopes that the listener will leave him alone and pursue a career in the court, toadying to aristocrats, preoccupied with favor (the King's real face) and money (the King's stamped face, as on a coin). In the second stanza, he parodies contemporary Petrarchan notions of love and continues to mock his addressee, making the point that his sighs have not drowned ships and his tears have not caused floods. (Petrarchan love-poems were full of claims like "My tears are rain, and my sighs storms.") He also mocks the operations of the everyday world, saying that his love will not keep soldiers from fighting wars or lawyers from finding court cases--as though war and legal wrangling were the sole concerns of world outside the confines of his love affair.
 
In the third stanza, the speaker begins spinning off metaphors that will help explain the intensity and uniqueness of his love. First, he says that he and his lover are like moths drawn to a candle ("her one, me another fly"), then that they are like the candle itself. They embody the elements of the eagle (strong and masculine) and the dove (peaceful and feminine) bound up in the image of the phoenix, dying and rising by love. In the fourth stanza, the speaker explores the possibility of canonization in verse, and in the final stanza, he explores his and his lover's roles as the saints of love, to whom generations of future lovers will appeal for help. Throughout, the tone of the poem is balanced between a kind of arch, sophisticated sensibility ("half-acre tombs") and passionate amorous abandon ("We die and rise the same, and prove / Mysterious by this love").
 
"The Canonization" is one of Donne's most famous and most written-about poems. Its criticism at the hands of Cleanth Brooks and others has made it a central topic in the argument between formalist critics and historicist critics; the former argue that the poem is what it seems to be, an anti-political love poem, while the latter argue, based on events in Donne's life at the time of the poem's composition, that it is actually a kind of coded, ironic rumination on the "ruined fortune" and dashed political hopes of the first stanza. The choice of which argument to follow is largely a matter of personal temperament. But unless one seeks a purely biographical understanding of Donne, it is probably best to understand the poem as the sort of droll, passionate speech-act it is, a highly sophisticated defense of love against the corrupting values of politics and privilege.
 
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The speaker is a sardonic, love-struck man addressing someone in opposition to his love. He is angry at first that anyone would attempt to get in the way of his love. His love has not harmed the audience nor has it, in any way harmed anyone. He cannot see any reason that anyone could be reasonably opposed to their love. He beseeches the audience to let him live. He does not care what others think of him so long as they let him love. As the poem shifts in tone he compares his love to the alchemical creation of the phoenix, but this phoenix is not brought life and destroyer by fire, rather by love. He demands that the love he shares shall is an apotheosis and that through it they shall be “canonized.” He finishes his dramatic monologue by telling how future generations will invoke them in the name of love. Through the use of the erotesis, one key metaphor and the antistrophe, Donne creates a complex puzzle of a poem that exemplifies the idea that love dominates all things.

The erotesis is used to emphasize the impact or lack thereof, that his love has had on the world. “Who's injured by my love? /What merchant's ships have my sighs drown'd? / Who says my tears have overflow'd his ground? / When did my colds a forward spring remove? / When did the heats which my veins fill / Add one more to the plaguy bill?” He is enraged that any should find fault with such a harmless thing. He lists examples of the going-ons of the world that have caused great harm to the people of the world. In this verse and the one previous to it he makes a pointed social commentary while still furthering the theme. How could someone be so opposed to his love when so many more destructive things are happening in the world. The speaker is angry, and rightfully so that anyone could be so petty as to concern himself with a lover’s relationship when people are dying of plague, lands are flooding, and lives are lost in other ways. Ultimately, the speaker has justified his love in that it needs no justification. His love has hurt no one and to try to stop in would be petty and without reason.
The key metaphor is an alchemical allusion to the phoenix, “The phoenix riddle hath more wit / By us ; we two being one, are it”, the mythical bird was one of the necessary reagents in order to transmute a common metal to gold. The theory of its creation was that one must combine the two polar opposites of an eagle which embodied strength and power, and the dove which embodied peace and hope. In this way they are the key to the greatest miracle alchemists sought to complete and are the alchemical vision of perfection. Not only does this make them a powerful image of perfection and mythical power—even godliness—but it also associates them with immortality and immunity to destruction. The phoenix cannot be killed, but rather, dies and is reborn in a never ending cycle.
In a literal sense they have become immune to a symbol of perfection but in a metaphorical sense this transformation goes much farther. They are permanently united and to divide is to kill them both. In their union they are together and it is said “to one
neutral thing both sexes fit.” This is important because it has made them more of a neutral entity, taken away some of the sexuality and purified their relationship. This purification takes them another step