John Donne’s A Valediction Forbidding Mourning ends with two lovers compared to the arms of a geometric compass over several stanzas:
Our two souls therefore, which are one,
Though I must go, endure not yet
A breach, but an expansion,
Like gold to airy thinness beat.
If they be two, they are two so
As stiff twin compasses are two;
Thy soul, the fixed foot, makes no show
To move, but doth, if the other do.
And though it in the center sit,
Yet when the other far doth roam,
It leans and hearkens after it,
And grows erect, as that comes home.
Such wilt thou be to me, who must,
Like th' other foot, obliquely run;
Thy firmness makes my circle just,
And makes me end where I begun.
I came across this in Stephanie Burt’s book Don’t Read Poetry. She writes:
Each lover “leans and hearkens” after the other, as if Donne and his intimate friend, lover, or wife heard each other across the sea. The balanced eight-syllable lines, with their alternating rhymes, depend on each other too. Their closure seems “just” both mathematically and morally; in their mutual response, one or both of the lovers stands up, or becomes “erect” (yes it’s a penis joke).
If you yourself have ever felt unique or confused or confusing to others, especially in matters of the heart; if you have ever felt that your connection to somebody else–whether or not it is romantic, or exclusive, or recognized by the law–requires some explanation of deserves a passionate defense; if you have friends in a stubborn long-distance relationship; if you have been in any such situation, you might see Donne’s elaborate, challenging metaphors not as barriers to sincerity but as ways to achieve it, ways that take advantage of the tools–metaphor, indirection, complex syntax, rhythm–that we can find in poems. You might even, at least if you are looking for them, see in Donne’s great love poems, this one among them, defenses of what we now call queer relationships, relationships not sanctioned by custom or law, relationships most people in your own society can’t quite understand.
That image at the top, by the way, is a set of compasses held by the British Library from Donne’s time, the 16th century.