So I’m doing a self-study, fake English degree so that by the time I’m 50 in 7 years, I’ll have read and studied the English literature I have missed out on. The idea came to me because one of the auditors in my King Arthur course was drawing great connections between, say, Pearl and Wordsworth. I can do the medieval history and theology and context bit, but not the long tradition of English literature bit.
Anyway, one of the big themes of my work on King Arthur lately has been how “Courtly Love” motifs can be redeemed and transfigured in light of the Gospel and Christ’s self-sacrifice. An example is Lancelot in The Knight of the Cart by Chretien de Troyes choosing to ride in the cart despite the fact that it will bring him shame and ignominy (riding in a cart only something done by criminals on the way to the gallows) because it is the surest way to rescue his love. So also, in a higher mode, did Christ not scorn the cross and its shame because it was the surest way to rescue his love.
Anyway, obviously one needs to find other things in English literature, but this sort of thing is everywhere, and I can’t help myself. So allow me to get the Eros – Agape thing out of my system here, using not medieval romance but John Donne’s poem “The Good-Morrow” instead. Follow the link in the last sentence and read it.
This poem is addressed to his beloved and sees their love as, if not the “real” beginning of life, the “real” beginning of adulthood, and the consummation and fulfilment of all goods before her. Life before this was but childhood or sleep. My tendency to see all love fulfilled in divine love kicked in in lines 6-7:
If ever any beauty I did see,
Which I desir’d, and got, t’was but a dreame of thee.
Are these two lines not as easily turned upward to the divine as sideways to a lady? All beauty, all pleasure, all good in this world is just a taste of heaven, isn’t it? A foretaste of God. A dream of Him and his love divine, all loves excelling. This is what lies behind the rapture of the great mystics of the Church, that they found out that whatever beauty was elsewhere was, in fact, a preparation for them to encounter God in mystic rapture, seized like St Teresa in Ecstasy.
And that word “desir’d” — here is what the divine transfigures. We all enjoy compartmentalizing our Greek words for love and doing a little C. S. Lewis The Four Loves, but the truth is that in real life — which includes their usage in Greek — these loves bleed into each other. And so, Eros, which can be translated desire is not entirely distant or closed off from agape, that powerful love that, as caritas, is typified in St. Bernard by the choice of the will to do and to seek and to will the good of the other, regardless of eros or affection.
And that agape, as we were all taught in Sunday school, is the kind of love that God is as stated in 1 John.
What John Donne provides us with here in “The Good-Morrow” is a transfiguration of desire from the pursuit of lesser things and objects to the pursuit of the beloved. All the other beauties are, in fact, dreams. Ephemeral. Passing fancies. Indeed, just before the lines I quoted, he says, “all pleasures fancies bee.”
And so his desire, his eros, finds its fulfilment in her.
The next verse looks more closely at the transfigured desire now turned to love. Lines 10-11:
For love, all love of other sights controules,
And makes one little roome, an every where.
Love such as he has for his beloved transfigures all other loves. Everything comes back around to here and to her. And this love makes their chamber into a universe. The two together are all the world. In a sense, this is that experience of “falling in love”, where the beloved becomes the whole universe for the lover.
And in God, is this not actually the case? Transfixed by love of Him, is it not the real fulfilment of this moment, that each room does become an everywhere because is everywhere yet equally present in each place? And so your little room, filled with your beloved, is itself a place where everything that matters in the universe may be found.
And so the lovers behold one another, “My face in thine eye.” They are together a world. But both are essential, are they not? The second-last line draws us into this mystery of love:
If our two loves be one…
Love, in the famous description made by St. Augustine in On the Trinity, is itself composed of lover, beloved, and love itself. Two people in love have two loves, but those two loves are, in truth, a single love. All of our loves are, therefore, a window into the divine, a gateway to God.
Donne continues:
… or, thou and I
Love so alike, that none doe slacken, none can die.
And thus the poem ends. Here is power that shows us how it is that when we rightly order our loves, we are transfigured into the image of Christ our God. “thou and I / Love so alike” — the lovers become like one another through force and power of their love. This is a reality. We become like whom and what we love. And so when our desire for beauty, our eros, finds its true fulfilment in the agape that is God, that love begins to transfigure us and make us like Him.
That is simply how love works.
That is simply how desiring God works. All the beauty that we desire is but a dream of Him. And when we are united to Him, we find a single little room becomes the whole world, and we find that we are united to Him and become like Him through the power of love.
What John Donne gives us is an image of the power of true, earthly love. And in so doing, he has also given us a dream of heavenly love.












