Thus begins the metaphysical conceit for which Donne was famous. The first three stanzas feature a setting reminiscent of a funeral with the presence of clergy (“virtuous men”) and “laymen” or laity (Donne). Seemingly silent, they all lament the loss of a beautiful creature - her love for him was real enough to have a body of its own or her loss was tragic enough for a funeral to be held - which is taken with varying degrees of seriousness. The speaker feels great pain for the loss of his relationship given the circumstances, but respects the "gentle" nature of the clergy. By the way, they do not become hysterical as the laity do, but “whisper to their souls to leave” (Donne). This may seem callous to anyone lamenting a loss, but these holy men know that a better life awaits him beyond the defective and defiled human life – in Heaven. Furthermore, the speaker wishes to lament his loss as they do: without "noise, without floods of tears, nor sighs-storms stir" because these expressions of grief were antithetical or "desecration of [their] joys" (Donne) . A calm mourning is therefore entirely appropriate, a mourning of the body which is not there because the speaker treats the body - love - as so "refined" that they do not know what it is, inter-assured of the mind, don't care, of the eyes. , lips and hands to be missed” (Donne). Regarding the sentence quoted above, physical attraction can only appeal to the other body.