To My Excellent Lucasia, on Our Friendship by Katherine Philips

Context

• To My Excellent Lucasia, on Our Friendship by Katherine Philips was written in the mid-17th century, during a time when female poets were rare, and the expression of intimate friendship between women was often shrouded in ambiguity.
• Katherine Philips, also known by her pen name "Orinda", was part of a literary circle that celebrated platonic friendships, particularly between women. The poem is addressed to Anne Owen, referred to as "Lucasia", who was Philips's close friend and confidante.
• The poem reflects the ideals of Platonic love, focusing on a deep, spiritual connection rather than romantic or physical love. It is part of Philips's broader body of work that explores the theme of idealised friendship.

Structure and Form

Form, Meter, and Rhyme

• The poem is composed of three stanzas, each consisting of eight lines.
• It follows an ABABCDCD rhyme scheme, which gives the poem a harmonious and balanced structure, reinforcing the theme of a stable and equal friendship.
• The meter is primarily iambic pentameter, providing a steady rhythm that reflects the constancy and depth of the speaker's feelings.

Speaker and Setting

• The speaker is likely Katherine Philips herself, addressing her close friend Lucasia (Anne Owen). The tone is intimate and sincere, celebrating the virtues of their friendship.
• The setting is not explicitly described, as the poem focuses more on the abstract and emotional connection between the two women rather than a physical location.

Poetic Devices

Metaphor:

• Philips uses metaphors to convey the depth and purity of her friendship with Lucasia. For example, she describes their friendship as a "union" of souls, suggesting a bond that transcends physical or worldly concerns.
• "Our souls sit close and silently within, / And their own web from their own entrails spin."

Personification:

• The poem personifies their souls, depicting them as weaving a web of connection from within themselves, which emphasizes the idea that their bond is self-sustaining and independent of external influences.

Allusion:

• Philips alludes to the Platonic ideal of friendship, which was considered the highest form of love during the Renaissance and early modern periods. This allusion aligns the poem with the philosophical traditions that celebrate intellectual and spiritual connections over physical ones.

Imagery:

• The poem employs subtle imagery, such as the "web" woven by their souls, to illustrate the intricacy and strength of their friendship.
• The image of souls spinning their web suggests that their bond is both delicate and resilient, crafted with care and mutual understanding.

Key Themes

Platonic Friendship

• The poem explores the theme of Platonic friendship, presenting it as a pure and spiritual connection that surpasses physical or romantic love.
• Philips celebrates the idea that their friendship is based on mutual respect and intellectual kinship, rather than physical attraction or societal expectations.

The Union of Souls

• A central theme of the poem is the union of souls, where the friendship between the speaker and Lucasia is portrayed as a merging of spirits.
• "But we by a love so much refined, / That ourselves know not what it is." This suggests that their connection is so profound that it transcends ordinary understanding.

Constancy and Loyalty

• The poem also highlights the themes of constancy and loyalty, emphasizing that their friendship is enduring and unchanging, despite any external circumstances.
  • Philips implies that their bond is immune to the fluctuations of time or the world around them.

Similar Poems

• "A Dialogue of Friendship Multiplied" by Katherine Philips: This poem also explores the theme of deep friendship between women, reflecting on the shared experiences and mutual support that define such relationships.
• "The Good Morrow" by John Donne: Donne's poem, which celebrates the unity of souls in love, echoes the Platonic ideals found in Philips's exploration of friendship, albeit in a romantic context.
• "A Valediction of Weeping" by John Donne: Though focused on romantic love, this poem similarly explores the idea of a deep, emotional connection that transcends physical presence, akin to the spiritual bond in Philips's poem.

Line by Line Analysis

Stanza 1

I did not live until this time Crowned my felicity, When I could say without a crime, I am not thine, but thee.

"I did not live until this time / Crowned my felicity,"

• The speaker reflects that she did not truly begin to live until she experienced the joy and fulfilment ("felicity") that her friendship with Lucasia has brought.
• The word "Crowned" suggests that this friendship has completed or perfected her happiness, elevating her life to its highest point.

"When I could say without a crime, / I am not thine, but thee."

• The speaker celebrates the deep connection she shares with Lucasia, expressing that their bond allows her to say, "I am not thine, but thee", meaning their identities and souls are so intertwined that they are indistinguishable.
• The phrase "without a crime" suggests that this deep unity transcends conventional notions of individuality, without being sinful or improper.

Stanza 2

This carcass breathed, and walked, and slept, So that the world believed There was a soul the motions kept; But they were all deceived.

"This carcass breathed, and walked, and slept, / So that the world believed"

• The speaker describes her life before meeting Lucasia as merely existing; her body ("carcass") went through the motions of life—breathing, walking, and sleeping—without true vitality or purpose.
• The "world believed" that she was truly living, but this was merely a facade.

"There was a soul the motions kept; / But they were all deceived."

• The speaker explains that, although it appeared as if her body was animated by a soul, this was an illusion; she was not truly alive in a spiritual or emotional sense.
• The word "deceived" highlights the contrast between the appearance of life and the reality of her previous emptiness before the deep friendship with Lucasia.

Stanza 3

For as a watch by art is wound To motion, such was mine: But never had Orinda found A soul till she found thine;

"For as a watch by art is wound / To motion, such was mine:"

• The speaker compares herself to a watch that is mechanically wound to keep time, suggesting that her life moved forward out of habit or external forces, rather than true inner vitality.
• This metaphor emphasizes the mechanical and lifeless nature of her existence before her friendship with Lucasia.

"But never had Orinda found / A soul till she found thine;"

• The speaker, who refers to herself as "Orinda", expresses that she only discovered a true soul—her own—when she found Lucasia's.
• This line encapsulates the central theme of the poem: the idea that her deep, soulful connection with Lucasia has brought her to life in a way that nothing else could, making her feel truly alive and complete.

Stanza 4

Which now inspires, cures and supplies, And guides my darkened breast: For thou art all that I can prize, My joy, my life, my rest.

"Which now inspires, cures and supplies, / And guides my darkened breast:"

• The speaker describes how the friendship with Lucasia now "inspires, cures and supplies" her, offering emotional and spiritual support.
• The phrase "guides my darkened breast" suggests that Lucasia's influence brings light and direction to the speaker's heart, dispelling any confusion or sorrow.

"For thou art all that I can prize, / My joy, my life, my rest."

• The speaker declares that Lucasia embodies everything she values ("all that I can prize"), representing her source of happiness ("my joy"), vitality ("my life"), and peace ("my rest").
• This line encapsulates the deep significance of the friendship, portraying Lucasia as central to the speaker's well-being.

Stanza 5

No bridegroom's nor crown-conqueror's mirth To mine compared can be: They have but pieces of the earth, I've all the world in thee.

"No bridegroom's nor crown-conqueror's mirth / To mine compared can be:"

• The speaker compares her happiness to that of a bridegroom or a victorious conqueror, suggesting that even these traditionally joyous occasions cannot match the joy she finds in her friendship with Lucasia.
• This line emphasizes the unparalleled fulfilment and contentment the speaker experiences through this bond.

"They have but pieces of the earth, / I've all the world in thee."

• The speaker contrasts the worldly successes of others, which are limited to "pieces of the earth", with her own, more profound happiness, which encompasses "all the world" in her connection with Lucasia.
• This line highlights the completeness and all-encompassing nature of their friendship, which the speaker values above any material or worldly achievement.

Stanza 6

Then let our flames still light and shine, And no false fear control, As innocent as our design, Immortal as our soul.

"Then let our flames still light and shine, / And no false fear control,"

• The speaker encourages the continuation of their friendship ("flames") with undiminished intensity and brightness, free from "false fear" or doubt.
• This line suggests a determination to maintain the purity and strength of their bond, untainted by outside influences or insecurities.

"As innocent as our design, / Immortal as our soul."

• The speaker asserts that their friendship is as "innocent" in intention as it is pure, and as "immortal" as their souls, implying that their bond is eternal and transcendent.
• This final line emphasizes the spiritual and enduring nature of their connection, portraying it as a union that will last beyond the earthly realm.