The Good-Morrow" is written from the point of view of an awaking lover and describes the lover's thoughts as he wakes next to his partner. The lover's musings move from discussing sensual love to spiritual love as he realises that, with spiritual love, the couple are liberated from fear and the need to seek adventure. The poem makes use of biblical and Catholic writings, indirectly referencing the legend of the Seven Sleepers and Paul the Apostle's description of divine, agapic love - two concepts with which, as a practising Catholic, Donne would have been familiar. Donne's cartographic references in the third stanza have been the subject of much analysis, although academics have differed in their interpretation of their meaning and what the lines reference. Robert L. Sharp argues that these references can be logically interpreted as yet another reference to love; the maps Donne with which would have been familiar were not theMercator-style maps that are common in the modern era, but instead cordiform maps, which appear in the shape of a heart and allow for the display of multiple worlds, which Donne alludes to in lines 11 to 18. Julia M. Walker, while noting that Sharp's work is "essential to an intelligent discussion of this extended image", disagrees with his conclusions and argues that Donne is actually referring to a map showing one world.
As a selfappointed investigator, he examined love from every conceivable angle, tested its hypotheses, experienced its joys, and embraced its sorrows. As Joan Bennett said, Donne’s poetry is “the work of one who has tasted every fruit in love’s orchard. . .” (134).
Combining his love for love and his love for ideas, Donne became love’s philosopher/poet or poet/philosopher. In the context of his poetry, both profane and sacred, Donne presents his experience and experiments, his...