Katherine Philips speaks to her dearest friend Lucasia with the fervor of a believer. She feels their bond is so extraordinary that it should be shown to a skeptical world as proof that love itself can be a kind of faith. The poem is full of paradoxes that try to capture how completely two people can merge: they are never alone because they carry each other, yet always alone because their separate selves dissolve. Their voluntary captivity to one another feels more glorious than any throne, and the chains of affection become ornaments, not restraints. Grief shared becomes lighter, joy multiplied only when reflected back. The final image turns their hearts into mutual sacrifices—each is altar, priest, and offering—so that this little death of self gives way to something deathless. The mood is intimate and exalted, blending earthly devotion with a sense of the miraculous.
Friendships Mystery, To My Dearest Lucasia — Summary
Come, my Lucasia, since we see That miracles Men's Faith do move, By wonder and by prodigy To the dull angry World let's prove There's a Religion in our Love.
For Though we were design'd t'agree, That Fate no liberty destroys, But our Election is as free As Angels, who with greedy choice Are yet determin'd to their joys.
Our hearts are doubled by the loss, Here Mixture is Addition grown; We both diffuse, and both ingross: And we whose minds are so much one, Never, yet ever are alone.
We court our own Captivity Than Thrones more great and innocent: `Twere banishment to be set free, Since we wear fetters whose intent Not Bondage is but Ornament
Divided joys are tedious found, And griefs united easier grow: We are our selves but by rebound, And all our Titles shuffled so, Both Princes, and both Subjects too.
Our Hearts are mutual Victims laid, While they (such power in Friendship lies) Are Altars, Priests, and Off'rings made: And each Heart which thus kindly dies, Grows deathless by the Sacrifice.