136. The Suspicion upon His Over-Much Familiarity with a Gentlewoman

Robert Herrick (1591–1674) · 1648

iambic tetrameter · octosyllabic couplets · 36 lines · from Hesperides

And must we part, because some sayLoud is our love, and loose our play,And more than well becomes the day?Alas for pity! and for usMost innocent, and injured thus!Had we kept close, or played within,Suspicion now had been the sin,And shame had followed long ere this,T' have plagued what now unpunished is.But we, as fearless of the sun,As faultless, will not wish undoneWhat now is done, since where no sinUnbolts the door, no shame comes in.Then, comely and most fragrant maid,Be you more wary than afraidOf these reports, because you seeThe fairest most suspected be.The common forms have no one eyeOr ear of burning jealousyTo follow them: but chiefly whereLove makes the cheek and chin a sphereTo dance and play in, trust me, thereSuspicion questions every hair.Come, you are fair, and should be seenWhile you are in your sprightful green:And what though you had been embracedBy me--were you for that unchaste?No, no! no more than is yond' moonWhich, shining in her perfect noon,In all that great and glorious light,Continues cold as is the night.Then, beauteous maid, you may retire;And as for me, my chaste desireShall move towards you, although I seeYour face no more. So live you freeFrom fame's black lips, as you from me.

Words in this poem

faultless a.
Without fault; not defective or imperfect; free from blemish; free from incorrectness, vice, or offense; perfect; as, a faultless poem.
undone a.
Not done or performed; neglected. [Pref. un- not + done.]
sprightful a.
Full of spirit or of life; earnest; vivacious; lively; brisk; nimble; gay. -- Spright"ful*ly, adv. [Spright sprite + full.]
glorious a.
Exhibiting attributes, qualities, or acts that are worthy of or receive glory; noble; praiseworthy; excellent; splendid; illustrious; inspiring admiration; as, glorious deeds. [OF. glorios, glorious, F. glorieux, fr. L. gloriosus. See Glory, n.]
beauteous a.
Full of beauty; beautiful; very handsome. [Mostly poetic] -- Beau"te*ous*ly, adv. --
shall v. i.
To owe; to be under obligation for. [OE. shal, schal, imp. sholde, scholde, AS. scal, sceal, I am obliged, imp. scolde, sceolde, inf. sculan; akin to OS. skulan, pres. skal, imp. skolda, D. zullen,]

Definitions and etymologies from Webster's Unabridged Dictionary, 1913.

About this text

136. The Suspicion upon His Over-Much Familiarity with a Gentlewoman is in the public domain. This text is taken from The Hesperides & Noble Numbers: Vol. 1 and 2, Project Gutenberg ebook #22421; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.

Cite as: Robert Herrick, 136. The Suspicion upon His Over-Much Familiarity with a Gentlewoman, in Hesperides (1648), text of Project Gutenberg ebook #22421, Laurel, https://laurelpoetry.com/poem/herrick-hesperides/136-the-suspicion-upon-his-over-much-familiarity-with-a-gent.html, id L05190.

Form and metre

136. The Suspicion upon His Over-Much Familiarity with a Gentlewoman is 36 lines in a single stanza. It is in rhyming couplets, 78% of the lines: octosyllabic couplets. The metre is iambic tetrameter, measured from the stress the words themselves fix (confidence 89%). 93% of its stressed syllables fall where the metre puts the beat. The lines average 8.4 syllables. 3 lines end on an unstressed syllable, a feminine ending. 47% of the lines run on without a stop at the line end.

See other poems in octosyllabic couplets, other poems in iambic tetrameter.

Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.

Rhyme words, stanza by stanza

The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.

  1. 1 AAABBCC--DDDDEEFFF-GGGGHHIIJJKK--LLL sayA · playA · dayA · usB · thusB · withinC · sinC · this · is · sunD · undoneD · sinD · inD · maidE · afraidE · seeF · beF · eyeF · jealousy · whereG · sphereG · thereG · hairG · seenH · greenH · embracedI · unchasteI · moonJ · noonJ · lightK · nightK · retire · desire · seeL · freeL · meL
Scansion, line by line

Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic tetrameter. How this is done.

LineSyl.Stress
And must we part, because some say8········
Loud is our love, and loose our play,10··/˘···/˘·
And more than well becomes the day?8····˘/··
Alas for pity! and for us8˘/·/˘···
Most innocent, and injured thus!9·/˘˘·/˘˘·
Had we kept close, or played within,9······˘··
Suspicion now had been the sin,8˘/˘·····
And shame had followed long ere this,9···/˘˘···
T' have plagued what now unpunished is.10···˘··˘/˘·
But we, as fearless of the sun,8···/˘···
As faultless, will not wish undone8·/˘···˘/
What now is done, since where no sin8········
Unbolts the door, no shame comes in.8/·······
Then, comely and most fragrant maid,8·/˘··/˘·
Be you more wary than afraid8···/˘·˘/
Of these reports, because you see8··˘/····
The fairest most suspected be.8·/˘·˘/˘·
The common forms have no one eye8·/˘·····
Or ear of burning jealousy8···/˘/˘˘
To follow them: but chiefly where8·/˘··/˘·
Love makes the cheek and chin a sphere8········
To dance and play in, trust me, there8········
Suspicion questions every hair.9˘/˘/˘/˘˘·
Come, you are fair, and should be seen8········
While you are in your sprightful green:8·····/˘·
And what though you had been embraced9······˘/˘
By me--were you for that unchaste?8······˘/
No, no! no more than is yond' moon8········
Which, shining in her perfect noon,8·/˘··/··
In all that great and glorious light,9·····/˘˘·
Continues cold as is the night.8˘/˘·····
Then, beauteous maid, you may retire;9·/˘˘···˘/
And as for me, my chaste desire9······˘/˘
Shall move towards you, although I see9·········
Your face no more. So live you free8········
From fame's black lips, as you from me.8········

The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.

More by Robert Herrick