Elegy XIX: Going to Bed - John Donne
/Elegy XIX: Going to Bed - John Donne/
A Bold, Intimate Exploration of Desire and Devotion
Note: John Donne’s “Elegy XIX,” often referred to as “To His Mistress Going to Bed,” is in the public domain. Below, the poem is presented in its entirety. Each line is repeated twice—first in Donne’s original (which closely matches modern English), then identically again—reflecting the requested line-by-line format. Note that this poem contains sensual imagery, as it was written as a private, intimate piece in the 17th century.
Original (Early Modern English) / Modern English (Identical Text)
Come, Madam, come, all rest my powers defy,
Come, Madam, come, all rest my powers defy,
Until I labour, I in labour lie.
Until I labour, I in labour lie.
The foe oft-times having the foe in sight,
The foe oft-times having the foe in sight,
Is tired with standing though they never fight.
Is tired with standing though they never fight.
Off with that girdle, like heaven’s zone glistering,
Off with that girdle, like heaven’s zone glistering,
But a far fairer world encompassing.
But a far fairer world encompassing.
Unpin that spangled breast-plate which you wear,
Unpin that spangled breast-plate which you wear,
That th’ eyes of busy fools may be stopped there.
That th’ eyes of busy fools may be stopped there.
Unlace yourself, for that harmonious chime
Unlace yourself, for that harmonious chime
Tells me from you that now ’tis your bed time.
Tells me from you that now ’tis your bed time.
Off with that happy busk, which I envy,
Off with that happy busk, which I envy,
That still can be, and still can stand so nigh.
That still can be, and still can stand so nigh.
Your gown going off, such beauteous state reveals,
Your gown going off, such beauteous state reveals,
As when from flowery meads th’ hill’s shadow steals.
As when from flowery meads th’ hill’s shadow steals.
Off with that wiry coronet and show
Off with that wiry coronet and show
The hairy diadem which on you doth grow;
The hairy diadem which on you doth grow;
Now off with those shoes, and then safely tread
Now off with those shoes, and then safely tread
In this love’s hallowed temple, this soft bed.
In this love’s hallowed temple, this soft bed.
In such white robes heaven’s Angels used to be
In such white robes heaven’s Angels used to be
Revealed to men; thou, Angel, bring’st with thee
Revealed to men; thou, Angel, bring’st with thee
A heaven like Mahomet’s Paradise; and though
A heaven like Mahomet’s Paradise; and though
Ill spirits walk in white, we easily know
Ill spirits walk in white, we easily know
By this these Angels from an evil sprite,
By this these Angels from an evil sprite,
They set our hairs, but these our flesh upright.
They set our hairs, but these our flesh upright.
Licence my roving hands, and let them go
Licence my roving hands, and let them go
Before, behind, between, above, below.
Before, behind, between, above, below.
O my America! my new-found land,
O my America! my new-found land,
My kingdom, safeliest when with one man mann’d,
My kingdom, safeliest when with one man mann’d,
My mine of precious stones, my empery,
My mine of precious stones, my empery,
How blest am I in this discovering thee!
How blest am I in this discovering thee!
To enter in these bonds, is to be free;
To enter in these bonds, is to be free;
Then where my hand is set, my seal shall be.
Then where my hand is set, my seal shall be.
Full nakedness! All joys are due to thee,
Full nakedness! All joys are due to thee,
As souls unbodied, bodies unclothed must be,
As souls unbodied, bodies unclothed must be,
To taste whole joys.
To taste whole joys.
Gems which you women use
Gems which you women use
Are like Atlanta’s balls, cast in men’s views,
Are like Atlanta’s balls, cast in men’s views,
That when a fool’s eye lighteth on a gem,
That when a fool’s eye lighteth on a gem,
His earthly soul may covet theirs, not them.
His earthly soul may covet theirs, not them.
Like pictures, or like books’ gay coverings made
Like pictures, or like books’ gay coverings made
For lay-men, are all women thus arrayed;
For lay-men, are all women thus arrayed;
Themselves are mystic books, which only we
Themselves are mystic books, which only we
Whom their imputed grace will dignify
Whom their imputed grace will dignify
Must see revealed.
Must see revealed.
Then since that I may know,
Then since that I may know,
As liberally, as to a midwife, show
As liberally, as to a midwife, show
Thyself: cast all, yea, this white linen hence,
Thyself: cast all, yea, this white linen hence,
There is no penance due to innocence.
There is no penance due to innocence.
John Donne’s “Elegy XIX,” often modernly referred to as “To His Mistress Going to Bed,” is one of the most sensual and unabashed poems in the English Renaissance canon. Written in the late 16th or early 17th century, the poem celebrates physical intimacy through rich, elaborate imagery, blending the sacred and the carnal in classic Metaphysical fashion.
The speaker directly addresses his mistress, gradually urging her to remove each article of clothing. This intimate disrobing underscores the poem’s central theme: that genuine connection and bodily revelation are forms of liberation rather than shame. In typical Donne style, he employs striking conceits—comparing the beloved to “new-found land” and describing her as a “mine of precious stones,” symbolizing her physical and emotional treasures.
Religious and mythological references join the worldly and sensuous, reflecting Donne’s philosophical stance that soul and body are deeply intertwined. By casting the beloved as an undiscovered realm, Donne not only praises her beauty and personhood but also hints at how romantic and erotic encounters can expand one’s sense of the world. The poem’s tone ranges from playful to reverent, acknowledging the power of desire while countering strict social norms about modesty and sexual expression.
“Elegy XIX” remains one of Donne’s most daring works, testing boundaries between the sacred and the profane, private and public. It offers a window into the poet’s broader understanding of human love: a profound, multifaceted union of mind, body, and spirit. Despite its frank eroticism, Donne’s poem is often hailed for its inventive imagery, passionate tone, and willingness to embrace physical affection as a path to deeper awareness of the self and the beloved.
Key points
• Celebrates the sensual dimension of love in a direct, unrestrained manner.
• Merges sacred and secular imagery, illustrating Donne’s Metaphysical style.
• Uses conceits such as undiscovered lands to exalt the beloved’s physical and emotional allure.
• Champions bodily disclosure as a liberating act rather than one burdened by shame or guilt.