Love Dislikes Nothing

Robert Herrick's Love Dislikes Nothing

Robert Herrick’s Love Dislikes Nothing is a striking celebration of love’s indiscriminate and all-encompassing nature. Written in the 17th century, the poem reflects both the Cavalier poets’ embrace of carpe diem hedonism and a deeper philosophical meditation on the subjectivity of beauty and desire. Unlike many love poems of the period, which idealize a singular, often unattainable beloved, Herrick’s work subverts conventional aesthetics, insisting that love—true love—transcends physical imperfections, social status, and even moral judgments. Through its playful yet profound assertions, the poem challenges the reader to reconsider the nature of attraction and the arbitrary boundaries society places on affection.

This analysis will explore the poem’s historical and literary context, its thematic preoccupations, and its use of poetic devices to convey its radical message. Additionally, we will consider how Herrick’s personal and philosophical inclinations inform the poem’s perspective, as well as its enduring relevance in contemporary discussions of love and beauty.

Historical and Literary Context

Robert Herrick (1591–1674) was a clergyman and poet associated with the Cavalier poets, a group of writers loyal to King Charles I who embraced themes of love, beauty, and the fleeting nature of life. Unlike his contemporaries such as John Donne, whose metaphysical poetry often grappled with spiritual and intellectual tensions, Herrick’s work is marked by a lighter, more sensual tone. His most famous collection, Hesperides (1648), from which Love Dislikes Nothing is drawn, is filled with celebrations of rustic life, eroticism, and classical allusions.

The 17th century was a period of immense social and political upheaval in England, culminating in the English Civil War (1642–1651). The Cavalier poets, including Herrick, often used their verse as an escape from—or a subtle commentary on—the turmoil of the era. In Love Dislikes Nothing, Herrick’s insistence on finding beauty in all things may be read as a rejection of Puritan austerity, which sought to regulate pleasure and desire. His poem becomes a manifesto for personal freedom, asserting that love should not be constrained by societal norms.

Themes and Interpretation

1. The Democratization of Beauty

The most striking aspect of Love Dislikes Nothing is its radical inclusivity. Herrick systematically dismantles conventional standards of beauty, declaring that every woman—regardless of her appearance or social standing—can be an object of affection. The poem’s opening lines establish this premise boldly:

Whatsoever thing I see,
Rich or poor although it be,
—’Tis a mistress unto me.

Here, Herrick refuses to discriminate based on wealth or class, a stance that would have been provocative in a highly stratified society. He extends this principle to physical attributes, listing opposites—fair or brown, rough or smooth, bald or with "locks incurl’d," fat or lean—only to dismiss their significance. His love is not conditional upon perfection; rather, it is an active choice to find beauty in all forms.

This egalitarian view of love aligns with Renaissance humanist ideals, which emphasized individual perception and the relativity of beauty. Philosophers like Michel de Montaigne had argued that beauty is not an absolute quality but a matter of personal taste, and Herrick’s poem embodies this philosophy.

2. The Power of the Male Gaze (and Its Subversion)

At first glance, the poem might appear to reinforce a traditionally masculine perspective—the speaker as an omnivorous admirer of women, judging them according to his fancy. However, a closer reading suggests a more nuanced stance. Herrick does not merely objectify women; he elevates them by insisting that their worth is not diminished by societal judgments.

Consider the lines:

Be she whole, or be she rent,
So my fancy be content,
She's to me most excellent.

The word "rent" (meaning torn or damaged) could refer to physical imperfections or even social disgrace (such as the loss of virginity). Yet Herrick dismisses such concerns—what matters is not the woman’s condition, but the speaker’s own perception ("So my fancy be content"). In this way, the poem subtly critiques the rigid moral and aesthetic standards imposed on women.

3. Love as an Act of Will

Unlike Petrarchan love poetry, which often portrays the lover as helplessly enslaved to an idealized beloved, Herrick’s speaker is in full control of his affections. He does not fall in love; he chooses it. The poem’s repetitive structure—each stanza presenting a dichotomy only to dissolve it—emphasizes this deliberate act of acceptance.

Be my girl or fair or brown,
Does she smile, or does she frown;
Still I write a sweet-heart down.

The verb "write" is particularly significant. It suggests that the speaker is not merely observing but actively inscribing his desire onto the world, shaping his own romantic narrative. This agency contrasts with the passive suffering of unrequited lovers in much of Renaissance poetry.

Literary Devices and Style

1. Antithesis and Paradox

Herrick employs antithesis throughout the poem, juxtaposing opposites to underscore his central argument: that love disregards contradictions. "Fair or brown," "rough or smooth," "fat or lean"—these binaries collapse under the force of the speaker’s affection. The effect is almost incantatory, reinforcing the idea that love is a transformative power that erases distinctions.

2. Direct Address and Conversational Tone

The poem’s tone is intimate and persuasive, as if the speaker is confiding in the reader. Unlike the elaborate conceits of metaphysical poetry, Herrick’s language is straightforward, even colloquial at times (e.g., "sluttish, be she clean"). This accessibility enhances the poem’s subversive quality—it is not an abstract meditation but a bold declaration meant to provoke.

3. Rhythm and Musicality

Though the poem does not adhere to a strict metrical pattern, its rhythmic flow contributes to its charm. The alternating line lengths create a lively, almost playful cadence, mirroring the speaker’s exuberant embrace of life’s variety.

Comparative Readings

Herrick’s poem invites comparison with other works that challenge conventional aesthetics. Shakespeare’s Sonnet 130 ("My mistress’ eyes are nothing like the sun") similarly mocks idealized beauty, though with a more satirical edge. Like Herrick, Shakespeare insists that real love does not depend on false comparisons.

Another fruitful comparison is with Andrew Marvell’s To His Coy Mistress, which shares the Cavalier preoccupation with seizing pleasure. However, where Marvell’s speaker uses carpe diem as a seductive tactic, Herrick’s embraces love as an ongoing, ever-adapting force.

Philosophical Underpinnings

The poem resonates with Epicurean philosophy, which advocates the pursuit of pleasure as the highest good. Yet Herrick’s pleasure is not reckless hedonism—it is a mindful appreciation of life’s diversity. There is also a Stoic element in his acceptance of all conditions, suggesting that love, when freely given, is a form of wisdom.

Conclusion: The Enduring Relevance of Love Dislikes Nothing

In an age obsessed with curated perfection—whether in Renaissance England or today’s social media era—Herrick’s poem remains a radical affirmation of love’s boundlessness. It challenges us to see beyond superficial judgments and to recognize that true affection is not about finding the "perfect" object but about cultivating the ability to love imperfect things deeply.

Ultimately, Love Dislikes Nothing is both a celebration and a challenge: a celebration of the infinite forms desire can take, and a challenge to the reader to expand their own capacity for love. In its joyous defiance of convention, the poem becomes not just a literary artifact but a timeless manifesto for the heart.