Summary
Lines 1–4
The speaker in "Song: To Celia" begins by urging his beloved to show her affection by simply looking at him. His request is forceful, framed as a command for her to "drink to me only with thine eyes." He desires more than just a sign of her love; he seeks a commitment. This is clear in the second line when he promises to reciprocate her pledge with his own gaze. The mention of a cup, traditionally filled with wine, becomes a fitting metaphor for what he seeks from his beloved. Typically, one makes a toast or pledge when first sipping wine. The speaker wishes for his lady to make such a pledge with her eyes rather than with a cup of wine, making it a more personal and meaningful gesture.
By suggesting that his lady could convey this pledge through her gaze, he acknowledges the expressiveness of her eyes. He implies that their bond is so deep that they don't need words to communicate their feelings. This idea aligns with medieval love traditions, which suggest that love is conveyed through the eyes.
When the speaker offers his lady an alternative way to express her love, he hints that she might be hesitant. Leaving a kiss in the cup would allow her to respond more modestly. He assures her that this alternative would be equally satisfying to him. By stating that he will "not look for wine," he indicates that her kiss would intoxicate him more than any alcohol could. For him, wine is an inadequate substitute for her love.
Jonson skillfully intertwines the imagery of eyes, drinking, and wine in these initial lines, enhancing the speaker's expression of love and longing. Though the metaphor of drinking with one’s eyes might initially seem strained, eyes do produce liquid and can "brim over" with tears of various emotions. This natural liquidity becomes the speaker's preferred form of expression over wine. The image of the kiss also blends seamlessly with the others, as "kisses sweeter than wine" has become a classic expression of love.
Lines 5–8
The following four lines build on the metaphor established in the first four. The speaker asserts that if his lady were to leave a kiss for him in the cup, he would treasure it more than the nectar of the gods. He claims his soul "thirsts" for love and that only "a drink divine," surpassing even Jove's nectar, can satisfy it. "Jove" refers to Jupiter, the king of the classical gods and a frequent symbol of divinity in secular poetry. The gods consumed a heavenly nectar far superior to any wine known to mortals.
Marshall Van Deusen, in his essay "Criticism and Ben Jonson's 'To Celia,'" found in the book Essays in Criticism and referencing the Oxford English Dictionary, explains that the word "change" in line 8 means "to make an exchange." The speaker expresses that he would not trade Jove's nectar for his lady's kiss. By asserting that he cherishes his lady's kiss more than the divine nectar, he elevates her to, or even above, the status of a goddess. This form of extreme praise is known as "hyperbole."
There is some debate regarding the interpretation of lines 7 and 8. The most accepted explanation is the one mentioned above. However, some scholars argue that a literal reading suggests the speaker would not give up Jove's nectar for his lady's kiss.
In his essay, Van Deusen also notes that one of the examples given for the definition of "change" in the Oxford English Dictionary could imply that the lines mean "if I were...
(This entire section contains 966 words.)
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offered the chance to drink Jove's nectar, and if your wine were also available, I would not exchange it for yours." Van Deusen highlights that proponents of this interpretation cite Jonson's "antipathy to hyperbole" and claim that the lines are complimentary "because they precisely set the limits of legitimate praise and avoid excessive exaggeration." However, Van Deusen remarks that Jonson has used hyperbole in other works. He also references the poem's source, letters from the philosopher Philostratos, supporting the popular interpretation by translating a related passage from Philostratos as "when I am thirsty, I refuse the cup, and take thee."
Lines 9–12
In line 9, the speaker mentions that he recently ("late") sent his lady a wreath of roses, a flower traditionally symbolizing beauty. However, Jonson employs the rosy wreath in an unconventional manner. The speaker confesses that his main reason for sending it was not to honor her beauty, as typical lovers do with red roses, but for another purpose, reflecting her deeper allure. He does not disregard her beauty, noting that he is sending the wreath "not so much" for her honor, but emphasizes a greater intention. When he claims that the wreath would not wither in his lady's presence, he implies her power over it.
Lines 13–16
The final four lines of the poem highlight this power and his lady's active connection with nature. In traditional love lyrics, the lady's breath is always perfumed. When the speaker vows that his lady's breath transformed the wreath, he asserts that her fragrance surpassed that of the rose. Her power extends further, as she bestows immortality upon the wreath, which continues to thrive and emit a pleasant scent.
The imagery here not only portrays the resilience of love but also hints at the lady's fertility. When readers merge the visuals from the first stanza with those from the second, they perceive the speaker's lady transforming into a fertility goddess. Her divine allure imparts immortality as she influences and integrates with the objects around her.
By pressing forward resolutely toward his objective, the speaker skillfully avoids the implication that his lady is refusing his advances when she returns the wreath. Even without her physical presence, he possesses her essence, which has imbued the wreath.
