Twickenham, and "A Fever," to some time when Ann was seriously ill (perhaps at childbirth). But if we discard a biographical interpretation for the first--and that is not impossible--then the poems can be viewed as lyrics presenting an I who takes differing stances toward a nonspecific You, each poem being another serious excursion into another aspect of love. Since immediately preceding this group are "The Triple Fool" and "Love's Infiniteness" and immediately following are "Air and Angels" and "Break of Day" (where the speaker is a woman), this latter view appears cogent. Of course, all of this is speculative and built upon the assumption that the poems were ordered in this way purposefully and that they interrelate on the same level. At least one can say that these poems read together in their place in 1633, 1635, and the manuscripts (as well as other such fairly assured groupings) will lead to this kind of reader-response, that is, will produce a reader in the poems who is different from the reader in the same poems differently arranged.
|Hero and Leander||Disinherited|
|Pyramus and Thisbe||Mercurius Gallo-Belgicus [repositioned|
|Niobe||on the basis of the manuscripts]|
|A Burnt Ship||Phryne|
|Fall of a Wall||An Obscure Writer|
|A Lame Beggar||Klockius|
|A Licentious Person||Ralphius|
"Fond woman which would'st have thy husband die" ("Jealousy")
"Marry, and love thy Flavia, for, she" ("The Anagram")
"Although thy hand and faith, and good works too" ("Change")
"Once, and but once found in thy company" ("The Perfume")
"Here take my Picture, though I bid farewell" ("His Picture")
["Sorrow, who to this house scarce knew the way"]
"Oh, let me not serve so, as those men serve"
"Nature's lay idiot, I taught thee to love"