To His Coy Mistress by Andrew Marvell

To His Coy Mistress by Andrew Marvell is a Metaphysical poem where the speaker passionately urges his love to seize the day and embrace his love before time runs out.

This study guide is written for students and teachers of English Literature, particularly those studying CCEA’s GCSE English Literature Relationships Anthology. For more study guides from this anthology, check out the Relationships page, or the list of poems in the series at the bottom of this guide. If you are studying one of the other anthologies in the CCEA Literature course, check them out here: IDENTITY Anthology or CONFLICT Anthology.

To His Coy Mistress

Had we but world enough, and time,
This coyness, Lady, were no crime.
We would sit down, and think which way
To walk, and pass our long love’s day.
Thou by the Indian Ganges’ side
Shouldst rubies find: I by the tide
Of Humber would complain. I would
Love you ten years before the flood:
And you should, if you please, refuse
Till the conversion of the Jews.
My vegetable love should grow
Vaster than empires, and more slow.
An hundreds years should go to praise
Thine eyes, and on thy forehead gaze.
Two hundred to adore each breast:
But thirty thousand to the rest.
An age at least to every part,
And the last age should show your heart:
For, Lady, you deserve this state;
Nor would I love at lower rate.
But at my back I always hear
Time’s wingèd chariot hurrying near:
And yonder all before us lie
Deserts of vast eternity.
Thy beauty shall no more be found;
Nor, in thy marble vault, shall sound
My echoing song: then worms shall try
That long-preserved virginity:
And your quaint honour turn to dust;
And into ashes all my lust.
The grave’s a fine and private place,
But none, I think, do there embrace.
Now, therefore, while the youthful glue
Sits on thy skin like morning dew,
And while thy willing soul transpires
At every pore with instant fires,
Now let us sport us while we may;
And now, like amorous birds of prey,
Rather at once our time devour,
Than languish in his slow-chapped power.
Let us roll all our strength, and all
Our sweetness, up into one ball:
And tear our pleasures with rough strife,
Through the iron grates of life.
Thus, though we cannot make our sun
Stand still, yet we will make him run.

What is 'To His Coy Mistress' all about?

Summary

The poem is divided into three sections.

In the first section, the speaker presents a hypothetical scenario where they have all the time in the world. He uses hyperbolic imagery to illustrate the idea of endless time, suggesting that he would spend centuries adoring each part of her body and waiting patiently for her to come around if they had time. This section is filled with grand and romantic gestures, such as loving her “ten years before the Flood” and continuing until “the conversion of the Jews.”

The second section shifts dramatically in tone as the speaker introduces the reality of their limited time. He personifies time as a relentless force, symbolised by “Time’s wingèd chariot hurrying near.” The imagery becomes darker and more urgent, as he describes deserts and the decay of beauty. The speaker emphasises the brevity of life and the approach of death, suggesting that they cannot afford to be coy because time will not wait for them.

In the final section, the speaker concludes with a passionate call to action. He urges his mistress to seize the day and embrace their love while they still can. The language is energetic as he tries to convince her that, although they cannot stop time, they can make the most of it by living fully and intensely.

Context of 'To His Coy Mistress'

Andrew Marvell's life, education and career

Andrew Marvell was born on March 31, 1621, in Winestead, Yorkshire, England. He attended Hull Grammar School before enrolling at Trinity College, Cambridge, at the very young age of 13! Marvell’s academic ability was clear early on, and he earned his Bachelor of Arts degree in 1639.

He travelled extensively across Europe, gaining exposure to various cultures and political ideas. When he returned to England, Marvell became involved in politics and served as a Member of Parliament for Hull from 1659 until his death in 1678. During his political career, he was closely associated with John Milton (English poet, author of ‘Paradise Lost’, and civil servant), acting as his assistant during Milton’s tenure as Latin Secretary under Oliver Cromwell.

Marvell’s literary works, particularly his poetry, reflect his keen intellect and wit, combining elements of love, politics, and metaphysical thought. While Marvell earned a good salary as a politician and civil servant during his life, he did not achieve fame for his poetry until after his death.

Context of 'To His Coy Mistress': Metaphysical Poetry

The rise of Metaphysical poetry in the 17th century occurred during a time of significant social, political, and intellectual upheaval in England. This period saw the English Civil War, the execution of Charles I, the Interregnum under Oliver Cromwell, and the eventual Restoration of the monarchy. It was a time of intense political and religious debate, prompting poets to explore complex themes with a different approach.

Metaphysical poetry is characterised by its intellectual precision, elaborate metaphors (conceits), and philosophical exploration. It was also a reaction against the smooth, classical style of earlier Renaissance poets such as William Shakespeare, Ben Jonson, Philip Sydney, etc. Metaphysical poets sought to capture the complexities of human experience, often blending the sacred and the profane, the physical and the spiritual.

Line-by-line analysis

Had we but world enough, and time,

The opening hypothetical phrase introduces the central argument of the poem by implying infinite time is unlikely to be a luxury they have. The syntax, opening with ‘Had we’, suggests a conditional situation, setting the stage for the subsequent argument.
The commas separate the two concepts introduced: space and time, and allow for brief pauses in the line, establishing a slow and reflective pace.

This coyness, Lady, were no crime.

Litotes (understatement) minimises her reluctance, making it seem acceptable only under ideal conditions.
The rhyme of “time” and “crime” adds to the poetic flow and emphasises the link between time and her coyness.

We would sit down, and think which way

The speaker uses a conditional verb (‘would’) to suggest leisurely contemplation if time were unlimited.
The punctuation with a comma creates a caesura (pause), enhancing the reflective tone.

To walk, and pass our long love’s day.

The speaker uses imagery to depict a timeless and leisurely relationship.
The alliteration of the long /l/ sound in “long love’s” emphasises the enduring nature of their hypothetical love.
This idea comes to a close with an end-stop, allowing the reader a moment to consider the image created in the opening four lines.

Thou by the Indian Ganges’ side

The speaker uses exotic imagery of the River Ganges, which is a holy site in India. In this image, he places her in this holy, exotic place which contrasts with the mundane ‘Humber’ (Hull, England) where he would be.
The specific reference to “Indian Ganges” introduces an element of distance and fantasy, or it could refer to Britain’s relationship with India at this time. When Marvell was writing, Queen Elizabeth’s East India Company had been established and Britons back home perhaps imagined exotic conquests as a result. You can read more about Britain’s relationship with India during the 17th and 18th centuries in this helpful Bitesize article.

Shouldst rubies find: I by the tide

The speaker uses symbolism where rubies represent rare and precious love.
The colon indicates a separation between these imagined activities, emphasising the contrast between her beauty and his humble state.
Enjambment is used to run this line into the next, continuing the image and creating a conversational tone.

Of Humber would complain. I would

The speaker uses juxtaposition between the exotic Ganges and the local Humber, highlighting distance. There is humour here in selecting two such opposite locations for these images.

Love you ten years before the flood:

The speaker uses a biblical allusion to the Flood and the story of Noah’s ark of Genesis chapters 6 to 8, emphasising an ancient, timeless love. It also gives his request some weight as he sets his request within a Biblical context – a very persuasive attempt to woo a Christain girl!
The hyperbole of a time before the flood suggests an impossibly long duration.

And you should, if you please, refuse

The speaker uses polite diction to reinforce the (imagined) patience of the speaker.
The syntax here with the inserted phrase ‘if you please’ creates a formal tone, aligning with the courtly love tradition.

Till the conversion of the Jews.

The speaker uses hyperbole to suggest an impossibly long duration, indicating endless time.
The religious reference to the ‘conversion of the Jews’ refers to the idea that, at some point, Jewish people will eventually recognise Jesus Christ as the Son of God and convert to Christianity. This is still not the case in 2024, and so the reference underscores the extent of time he is willing to wait. Indeed, in this imagined situation, where they had all the time in the world, he would encourage her to wait and wait.

My vegetable love should grow

The speaker uses a metaphor comparing love to a plant, indicating slow and natural growth.
The use of the word “vegetable” evokes natural and organic imagery. In modern culture, it could even remind one of the aubergine emoji!

Vaster than empires, and more slow.

The speaker uses a simile that exaggerates the magnitude and patience of his love.
The comma before ‘and’ creates a pause, allowing the reader to consider the vastness described.

An hundreds years should go to praise

The hyperbole illustrates the length of time he would spend admiring her.
The long vowel sounds of ‘years’ and ‘praise’ stretches the description, mirroring the extensive time mentioned.

Thine eyes, and on thy forehead gaze.

The speaker focuses on physical beauty to highlight the intensity of his admiration.
The comma connects the admiration of her eyes and forehead, maintaining the flow of the line.

Two hundred to adore each breast:

The speaker uses hyperbole again in the sheer length of time he would spend on each breast! This emphasises the extent of his admiration.
The vowel sounds in “adore each” adds to the poetic musicality.
In deconstructing her body into individual parts, the reader is reminded of Shakespeare’s Sonnet 130 (‘My Mistress’ eyes are nothing like the sun…’) in which Shakespeare’s speaker mocks those who use hyperbolic language to describe a lover. Sonnet 130 also breaks the woman down into her component parts, however, in Shakespeare’s sonnet, unflattering and honest descriptions are used rather than hyperbolic flattery.

But thirty thousand to the rest.

The speaker uses exaggeration that highlights the infinite time of this vision. The reader gets the impression that at this point, there is more humour than sincerity in the sheer extent to the exaggeration.
Numerical hyperbole contrasts sharply with the human lifespan, underscoring the imagined scenario.

An age at least to every part,

Repetition of the ‘time’ hyperbole is used to stress the depth of his love.

And the last age should show your heart:

Repetition of ‘age’ emphasises the theme of time.
What the speaker means by ‘show your heart’ is open to interpretation – perhaps is suggests that by the time all of these centuries of waiting chaste are over, she will then be willing to be intimate with him, or simply that he will know her well by then.

For, Lady, you deserve this state;

The speaker uses imagery indicating that understanding her heart would be the ultimate achievement.
The syntax suggests a climax in the process of admiration, which is confirmed by the more intimate use of direct address (‘you’) and referring to her as ‘Lady’.

Nor would I love at lower rate.

The speaker uses an assertion that his love is immeasurable, heightening the flattery.
The rhyme “state” and “rate” ties the idea of her worthiness to his unwavering love.

But at my back I always hear

This line indicates the beginning of the second section of the poem, in which the speaker changes tack from using flattery and describing a hypothetical situation of endless time, to a more urgent tone and descriptions of death. This shift in tone supports the poem’s structure.
The speaker uses personification of time approaching from behind, creating a sense of urgency.
Urgency is intensified by the use of plosive alliteration of the /b/ sound in ‘but’ and ‘back’.

Time’s wingèd chariot hurrying near:

The speaker uses a metaphor of a chariot symbolising the relentless passage of time and conveys the image of speed and inevitability.
The verb ‘hurrying’ adds to the metaphor of time and increases the sense of urgnecy.

And yonder all before us lie

The speaker uses imagery of a vast, empty future.
The syntax places emphasis on “yonder” creating a sense of distance and emptiness.
‘Lie’ is often an interesting choice of diction in literature, as it means both to be spread out in front of you or to tell an untruth. Here, eternity may be lying to the potential lovers by making it seem like they have forever. The next line delivers the news that this is not the endless imagery of admiration in the first section but rather than eternity in a terrible place, evocative of hell.

Deserts of vast eternity.

The speaker uses a metaphor for the emptiness and desolation of endless time.
The sibilance in “Deserts of vast” enhances the desolate imagery.

Thy beauty shall no more be found;

The speaker uses a forewarning that beauty fades with time, hammering home his argument that she should commit to him now rather than wait.
Enjambment continues the thought into the next line, maintaining the flow of the argument.

Nor, in thy marble vault, shall sound

The speaker uses imagery of a tomb, reinforcing the inevitability of death and intensifying the level of threat if they wait.
The caesura (pause) after “Nor” heightens the sense of finality.
The very definite modal verb ‘shall’ is repeated here echoing the line above, and lends authority to the speaker’s argument. He speaks of these dangers with confidence.

My echoing song: then worms shall try

The speaker uses macabre imagery to tell her that she won’t be able to hear him sing when she is dead in a tomb, highlighting the decay of the body after death.
The colon introduces the grim conclusion to being buried (that worms eat the body), adding weight to the imagery.
This scare tactic is another facet of his argument.

That long-preserved virginity:

The speaker uses irony to suggest that death will consume her virginity if she does not act now.
The colon again sets up a grim outcome, reinforcing the urgency.

And your quaint honour turn to dust;

The speaker uses imagery of honour disintegrating, suggesting the futility of coyness.
The consonance in “quaint honour” adds a musical quality, juxtaposing the grimness of her imagery.
There is a dismissive, patronising tone in the adjective ‘quaint’ suggesting another way he attacked her chastity.

And into ashes all my lust.

Imagery of turning lust into ashes indicates the loss of passion after death.
Lust turned to ashes mirrors the Biblical idea of ‘ashes to ashes, dust to dust’; Marvell plays around with death imagery here.

The grave’s a fine and private place,

The speaker uses irony suggesting that privacy in death is meaningless.
The plosive alliteration of the /p/ sound in ‘private place’ creates a sombre, reflective tone where he hopes his argument is starting to take hold.

But none, I think, do there embrace.

The speaker uses irony that intimacy is impossible in death.
The caesura (pause) before “I think” adds a reflective, sarcastic touch.

Now, therefore, while the youthful glue

The speaker uses the imperative mood urging immediate action while they are still young.
The shift in tone to urgency is marked by the word “Now.” This line highlights the beginning of the third and final section of the poem.

Sits on thy skin like morning dew,

The next three lines use similes and metaphors to suggest the act of intercourse: ‘morning dew’ is sweat, ‘willing’ implies consent, ‘fires’ implies passion and ‘sport’ is the entire act being discussed!
Another interpretation of this line is a more surface level: the speaker uses a simile comparing youthful beauty to fresh dew.
The imagery evokes a sense of freshness and fleeting beauty.

And while thy willing soul transpires

The speaker uses imagery of her soul expressing itself, suggesting mutual desire.
The alliterative /w/ sound maintains the flow, linking physical and spiritual elements.

At every pore with instant fires,

The speaker uses emotive imagery of passionate intensity both in the climactic ‘instant fires’ but also in the detailed examination of ‘every pore’, reinforcing his urgent desire for her.
The assonance (internal rhyme of vowel sounds) in “pore” and “more” enhances the intensity.

Now let us sport us while we may;

The speaker uses an imperative verb in ‘let us’, urging her to seize the day.
The metaphor of ‘sport’ adds to the playful tone and the imagery of sex.

And now, like amorous birds of prey,

The speaker uses a simile comparing their potential passion to predatory birds using animal imagery to suggest a natural, instinctive drive.

Rather at once our time devour,

The metaphor suggests they should consume their time (and themselves) passionately. This metaphor reinforces the theme of time once more.
The syntax emphasises immediacy with “at once.”

Than languish in his slow-chapped power.

Personification of time as a slow devourer emphasises the need for action.
The harsh consonance in “slow-chapped” underscores the painful, dragging nature of time.
Juxtaposition of ‘amorous birds of prey’ and ‘slow-chapped power’ uses opposites to force the listener into a choice: passion or pain.

Let us roll all our strength, and all

The use of the inclusive pronoun ‘us’ suggests subtly to the listener that her decision should already be made, and that they now act as one.
The repetition of “all” underscores the totality of their commitment.

Our sweetness, up into one ball:

The metaphor ‘roll … up into one ball’ creates an image of the two people uniting passionately.
The enjambment from the previous line carries the thought forward, linking their collective effort.

And tear our pleasures with rough strife,

The imagery of vigorous, intense love is created in the verb ‘tear’ and the adjective ‘rough’.
The oxymoron in “rough strife” and “pleasures” suggests passionate but turbulent intimacy, supporting the imagery of the other vocabulary choices in the line.

Through the iron grates of life.

The speaker uses a metaphor for breaking through life’s barriers with passion. These barriers could be emotional (i.e. her choice to wait) or physical (suggestive of female iron belt of chastity, or other biological barriers that a young woman might have).
The end-stop brings this image to a close in order to set up the final, decisive argument and challenge of the poem in the final couplet.

Thus, though we cannot make our sun

The final ‘time’ metaphor of the sun standing still represents their limited control over time.
The sibilance of ‘sun stands still’ creates an elegant sound, urging her to consider the impact of time and waiting on their relationship.

Stand still, yet we will make him run.

The metaphor of making the sun run away suggests they can maximise their time through passionate living, making time, which continues to run, much more enjoyable.
The paradox of making the sun run suggests an intensity that defies time.

Analysis of form and structure

Verse structure

‘To His Coy Mistress‘ is one long verse composed of 46 lines of rhyming couplets (23 pairs of lines).

In some versions, the poem is divided into three verses which echo the structure we see in the poem’s argument:

1. Had we …
2. But …
3. Therefore …

This structure helps the speaker build his argument logically and persuasively.

Rhyme

The poem follows a rhymed couplet scheme, meaning each pair of lines rhymes (AA, BB, CC, etc.). This pattern contributes to the musical quality and enhances the persuasive argument of the speaker.

Rhythm

‘To His Coy Mistress‘ is written in iambic tetrameter. This means each line consists of four iambic feet, with each foot containing an unstressed syllable followed by a stressed syllable. Let’s look at the opening lines to see this rhythm. The backslash shows the division between the pairs of syllables, and the syllable in bold font is the stressed syllable:

Had we/ but world/ enough,/ and time,
This coy/ness, La/dy, were/ no crime./

A popular verse form in Marvell’s day was the heroic couplet, which uses iambic pentameter (5 stressed syllables per line) for rhyming couplets rather than Marvell’s iambic tetrameter (4 stressed syllables per line). Heroic couplets were used for epic poems about battles and heroic events. Marvell seems to be mocking the form in ‘To His Coy Mistress’, which is short one pair of syllables per line and is about convincing someone to have sex, a much less worthy topic!

Themes in 'To His Coy Mistress'

Carpe Diem (Seize the Day)

The central theme of the poem is carpe diem, which is Latin for “seize the day.” The speaker urges his mistress to make the most of their time together, emphasising the brevity of life and the need to embrace love and physical pleasures while they still can. This theme is particularly evident in the lines: ‘Now let us sport us while we may’.

The Passage of Time

The poem explores the transient nature of time and human life. The speaker laments the swift passage of time and the inevitability of aging and death, suggesting that time’s relentless march should prompt immediate action.

Mortality and Death

Death is a prominent theme, with the speaker using stark imagery to remind his mistress that their time is limited and that they will eventually succumb to death and decay. This is intended to persuade her to act on their desires now rather than waiting.

Love and Physical Desire

The poem explores the interplay between spiritual love and physical desire. The speaker’s argument is that true love includes physical expression and that they should not shy away from this aspect of their relationship. The language becomes more urgent and passionate as the poem progresses.

Persuasion

The poem itself is an exercise in persuasion, as the speaker employs various rhetorical strategies to convince his mistress to give in to his desires. This includes the use of flattery, vivid imagery, logical arguments, and emotional appeals. The persuasive nature of the poem highlights the speaker’s skills in rhetoric.

Quiz

‘To His Coy Mistress’ by Andrew Marvell

Test your knowledge of the poem 'To His Coy Mistress' by Andrew Marvell

Comprehension Questions

How does the speaker in “To His Coy Mistress” describe what he would do if he and his beloved had all the time in the world?
What imagery does the speaker use to symbolise the passage of time in the second section of the poem?
Explain the shift in tone from the first to the second section of the poem. What causes this shift?
How does the speaker persuade his mistress to abandon her coyness in the third section of the poem?
What does the phrase “Time’s wingèd chariot hurrying near” symbolise in the poem?
Discuss the significance of the poem’s structure in three distinct sections. How does each section contribute to the speaker’s argument?
Give an example of a metaphor and another example of hyperbole. For each example, explain the impact of the language device on the listener, the ‘coy mistress’.
What role does mortality (death) play in shaping the speaker’s argument throughout the poem?
Compare and contrast the idealised concept of time in the first section with the harsh reality presented in the second section.
What poem from your anthology would you pick to compare and contrast with ‘To his Coy Mistress’, and why?

Other poems from the CCEA Relationships Anthology to pair with 'To His Coy Mistress'

Sonnet 130 by William Shakespeare

Both poems address themes of love and attraction. Shakespeare’s speaker in “Sonnet 130” uses unconventional metaphors to describe his beloved, whereas Marvell’s poem uses a more direct approach. Both poems challenge perceived norms: for Sneet 130, the norm is for poets to exaggerate in unrealistic ways. For To His Coy Mistress, the norm is long, protracted, chaste courtships. Shakespeare’s sonnet celebrates the inner beauty of his mistress, while Marvell’s poem focuses on the urgency of physical intimacy. The poems are written in very different verse forms, giving students plenty to contrast, and the contexts of each poem provide useful links, with Marvell and the metaphysical poets seeking a different approach after the Renaissance poets of Shakespeare’s day.

How do I love thee? by Elizabeth Barrett Browning

Both poems explore the depth and intensity of romantic love. Barrett Browning’s speaker expresses love through a series of rhetorical questions and affirmations, whereas Marvell uses an argumentative style in “To His Coy Mistress.” The poems use different approaches to time and mortality in the context of love. Barrett Browning’s sonnet suggests eternal love that transcends time, whereas Marvell’s poem emphasises the fleeting nature of life and the need to seize the present moment. The poems use very different verse forms, giving students plenty of points of contrast.