Can you illustrate the "metaphysical" blend of passion and wit in John Donne's poem "The Good Morrow"?

John Donne’s poem “The Good Morrow” illustrates passion
and wit – two common features of “metaphysical” poetry – in various
ways.

“Wit,” for Donne and his contemporaries, meant not
simply intellectual or verbal cleverness but also the capacity to think seriously.
(“Wit” was often understood as a synonym for
“reason.”)

“The Good Morrow” illustrates all these meanings
of “wit” while also emphasizing passion, or deeply felt
emotion.

Several examples of wit or cleverness occur in the
first stanza of the poem. For instance, the speaker may be offering an erotic play on
words when he uses the term “country” pleasures (3). He is certainly being clever when
he compares the two lovers to the biblical “Seven Sleepers” (4), but he is also, by
using this biblical allusion, showing another kind of wit: intelligence and wide
reading, including familiarity with a very important
text.

Other examples of wit appear in stanza two,
particularly when the speaker declares that true love can make one “little room an
everywhere” (11). This phrase illustrates one of Donne’s favorite forms of wit: his use
of paradoxes (phrases which seem contradictory from one perspective but which seem true
from another).  Another example of a witty paradox appears in line 20, in which the
speaker suggests that two loves can somehow be “one”
love:

If our
two loves be one, or thou and I
Love so alike that none can
slacken

Passion – in the
sense of deep love, rather than uncontrolled emotion – is visible throughout the poem.
Thus, the speaker can be called passionate in his admiration of his beloved’s “beauty”
(6), but it is also clear that he values her for much more than mere physical
attractiveness.  This deeper love is implied when he exclaims “good morrow” to their
“waking souls” (8), not merely to their waking bodies.

The
poem’s tone might also be called passionate when the speaker breezily dismisses all the
other, implicitly unimportant activities in which he and his beloved might engage
(12-13).

However, perhaps the most tenderly passionate
moment in the poem occurs in lines 15-16, where the speaker says that “My face in thine
eye, thine in mine appears, / and true, plain hearts do in the faces rest.” These lines
suggest  physical, emotional, and even spiritual closeness between the speaker and the
woman he obviously loves.  By the end of the poem, the speaker has demonstrated both his
wit and his passion.

For an extremely well annotated
edition of Donne’s poetry, see
Robin Robbins, ed. The Complete Poems
of John Donne. New York: Pearson, 2010.