Orinda to Lucasia by Katherine Philips

Context

• Orinda to Lucasia by Katherine Philips was written in the mid-17th century, a period when female poets were emerging within literary circles. Katherine Philips, who wrote under the pseudonym "Orinda," is celebrated for her poems on platonic friendship, particularly those dedicated to her close friend Anne Owen, whom she calls "Lucasia."
• The poem reflects the intense emotional bond between the two women, a relationship rooted in mutual respect and intellectual companionship. During this period, friendships, especially between women, were often idealized and seen as spiritual unions that transcended mere physical connections.

Structure and Form

Form, Meter, and Rhyme

• The poem is composed of five stanzas, each consisting of four lines.
• It follows an ABAB rhyme scheme, which lends a musical and harmonious quality to the poem, reflecting the balance and harmony Philips finds in her friendship with Lucasia.
• The meter is primarily iambic pentameter, giving the poem a steady, reflective rhythm that mirrors the contemplative nature of the speaker's thoughts on friendship.

Speaker and Setting

• The speaker is Orinda (Katherine Philips herself), addressing Lucasia (Anne Owen). The tone is intimate and deeply affectionate, celebrating the virtues of their friendship.
• The setting is not explicitly detailed, as the poem focuses on the emotional and spiritual connection between the two women, rather than a specific physical location.

Poetic Devices

Metaphor:

• Philips uses metaphors to express the depth of her feelings and the strength of her bond with Lucasia. For example, she refers to their friendship as a "union" of souls, which suggests a connection that is both deep and transcendent.
• "For as a watch by art is wound / To motion, such was mine." Here, the metaphor of a watch conveys the idea of her soul being set into motion by Lucasia's influence.

Personification:

• The poem personifies their souls, suggesting that they are active participants in the creation and maintenance of their bond.
• This personification emphasizes the spiritual and autonomous nature of their relationship, which is based on mutual recognition and respect.

Allusion:

• Philips alludes to the classical and Renaissance ideal of friendship, which was often viewed as a perfect union of minds and spirits, superior to romantic love.
• This allusion places their friendship within a broader philosophical tradition that celebrates intellectual and emotional companionship.

Imagery:

• The poem employs subtle imagery to convey the warmth and light of their friendship, such as references to "light" and "motion," which suggest vitality and clarity brought about by their connection.
• "Thou art my life, my love, my heart, / The very eyes of me," uses vivid imagery to express the essential role Lucasia plays in Orinda's life.

Key Themes

Platonic Friendship

• The poem explores the theme of platonic friendship, presenting it as a pure, spiritual bond that surpasses physical love. Philips celebrates the idea that their friendship is rooted in mutual respect and intellectual affinity.
• The speaker's expressions of deep affection highlight the importance of emotional and spiritual connections that transcend the physical.

Union of Souls

• A central theme is the union of souls, where the friendship between Orinda and Lucasia is depicted as a merging of spirits that enhances their individual lives.
• "Thou hast my soul so full possess'd" suggests a profound and complete intertwining of their beings, emphasizing the depth of their connection.

Constancy and Loyalty

• The poem emphasizes constancy and loyalty as fundamental aspects of their friendship, portraying their bond as unchanging and enduring despite external circumstances.
  • The speaker's commitment to Lucasia is unwavering, highlighting the idea that true friendship remains steadfast over time.

Similar Poems

• "To My Excellent Lucasia, on Our Friendship" by Katherine Philips: This poem similarly explores the theme of deep, platonic friendship between women, focusing on the spiritual and intellectual connection that defines their relationship.
• "The Good Morrow" by John Donne: This poem celebrates the unity of souls in love, which echoes the Platonic ideals of friendship and spiritual connection found in Philips's poetry.
• "A Valediction of Weeping" by John Donne: While centred on romantic love, Donne's poem explores the idea of deep emotional connections that transcend physical presence, similar to the spiritual bond in Philips's work.

Line by Line Analysis

Stanza 1

Lines 1-6

OBSERVE the weary birds ere night be done, How they would fain call up the tardy sun, With feathers hung with dew, And trembling voices too. They court their glorious planet to appear, That they may find recruits of spirits there.

"OBSERVE the weary birds ere night be done,"

• The speaker invites Lucasia to observe the "weary birds" before night ends, noting how they long for the sun to rise.

"How they would fain call up the tardy sun,"

• The birds' desire to "call up the tardy sun" symbolizes the yearning for light and renewal after the darkness of night, reflecting a broader theme of hope and anticipation.

"With feathers hung with dew, / And trembling voices too."

• The birds, described as having "feathers hung with dew" and "trembling voices," appear delicate and vulnerable, emphasizing their exhaustion and need for the sun's warmth.
• This imagery conveys a sense of fragility and the dependence of all living things on the natural cycles of light and darkness.

"They court their glorious planet to appear,"

• The birds "court" the sun, their "glorious planet," imploring it to rise so that they can restore their spirits.

"That they may find recruits of spirits there."

• The phrase "recruits of spirits" suggests that the sun's appearance will rejuvenate the birds, providing them with the energy and vitality they need to continue.

Lines 7-12

The drooping flowers hang their heads, And languish down into their beds: While brooks more bold and fierce than they Wanting those beams, from whence All things drink influence, Openly murmur and demand the day.

"The drooping flowers hang their heads, / And languish down into their beds:"

• The speaker observes that the flowers, like the birds, are affected by the absence of the sun, "drooping" and "languishing" as they retreat into their beds.
• This imagery of wilting flowers symbolizes a loss of vitality and the natural world's dependence on the sun for life and energy.

"While brooks more bold and fierce than they / Wanting those beams, from whence"

• In contrast to the delicate flowers, the brooks are described as "bold and fierce," yet they too are diminished by the absence of the sun's beams, from which all life derives its sustenance.

"All things drink influence,"

• The phrase "drink influence" highlights the essential role of sunlight in nurturing and sustaining all living things, including the more robust elements of nature.

"Openly murmur and demand the day."

• The brooks, now deprived of sunlight, "murmur and demand the day," expressing a longing for the return of light and warmth.
• This personification of the brooks underscores the universal need for the sun's life-giving energy, uniting all elements of nature in a shared desire for the dawn.

Stanza 2

Lines 13-18

Thou my Lucasia are far more to me, Than he to all the under-world can be; From thee I've heat and light, Thy absence makes my night. But ah! my friend, it now grows very long, The sadness weighty, and the darkness strong:

"Thou my Lucasia are far more to me, / Than he to all the under-world can be;"

• The speaker declares that Lucasia holds a significance in her life far greater than the sun ("he") does for the entire world beneath it.
• This comparison elevates Lucasia's importance, suggesting that her presence is essential and irreplaceable to the speaker, even more so than the sun is to the Earth.

"From thee I've heat and light, / Thy absence makes my night."

• The speaker emphasizes that Lucasia provides both "heat and light," symbolizing warmth, energy, and guidance in the speaker's life.
• Conversely, when Lucasia is absent, the speaker experiences a metaphorical "night," marked by coldness and darkness, indicating loneliness and despair.

"But ah! my friend, it now grows very long, / The sadness weighty, and the darkness strong:"

• The speaker laments that the period of separation from Lucasia has become prolonged, causing her sadness to deepen ("weighty") and the darkness to intensify.
• This line conveys a sense of growing emotional burden and the increasing difficulty of enduring the absence of her dear friend.

Lines 19-24

My tears (its dew) dwell on my cheeks, And still my heart thy dawning seeks, And to thee mournfully it cries, That if too long I wait, Ev'n thou may'st come too late, And not restore my life, but close my eyes.

"My tears (its dew) dwell on my cheeks, / And still my heart thy dawning seeks,"

• The speaker likens her tears to "dew," a natural manifestation of the emotional darkness she feels, which now "dwell on my cheeks."
• Despite her tears, the speaker's heart continues to long for Lucasia's return, referred to as the "dawning," which would bring light back into her life.

"And to thee mournfully it cries, / That if too long I wait,"

• The speaker expresses her heart's sorrowful cry to Lucasia, fearing that if she must wait much longer, the sadness will become unbearable.
• This line highlights the speaker's deep sense of urgency and the fear that the separation may extend beyond her emotional endurance.

"Ev'n thou may'st come too late, / And not restore my life, but close my eyes."

• The speaker fears that Lucasia's return might come "too late," at a time when the speaker's despair has grown so profound that it can no longer be alleviated.
• Instead of restoring her vitality ("restore my life"), Lucasia's arrival might only serve to close her eyes, a metaphor for death, indicating that the speaker's longing has reached a point of existential significance.