Thus begins the metaphysical conceit for which Donne was famous. The first three stanzas set a scene reminiscent of a funeral with the presence of clergy (“virtuous men”) and “laity” or laity (Women). Seemingly silent, they are all lamenting the loss of some beautiful creature - was her love for him real enough to have a body of his own or was his loss tragic enough to allow for a funeral - which is taken with varying degrees of gravity. The speaker feels great pain over the loss of his relationship given the circumstances, but respects the “mild” nature of the clergy. As they pass they do not become hysterical like lay people, but "whisper to their souls to go" (Women). This may seem insensitive to anyone lamenting loss, but these holy men know that a better life awaits those who move beyond the flawed and tainted human life: in Heaven. Furthermore, the speaker wants to lament the loss as they do: with “no noise, no torrent of tears, nor sighs-storms move” since these expressions of grief were antithetical to or “profanation of [their] joys” (Donne). So very appropriate is a calm mourning, a mourning for the body that is not there because the speaker treats the body - love - so "refined" that [they] don't know what it is, sure of the mind, screwed, of the eyes , lips and hands to lose” (Women). Regarding the sentence quoted above, physical attraction can only appeal to the other bodily