Stanza 1: The poet substitutes different metrical feet in place of iambs in the iambic tetrameter of the poem. Iambs consist of one unstressed syllable and one stressed syllable, like the words intent or engrosse. First, Come, my Lucadia, since we see uses a trochee, a stressed then unstressed syllable for the words Come, my. Then again, in the line to the dull, angry world let's prove, the first foot is a pirrus or two unstressed syllables and the second foot is two stressed syllables, or a spondee.

This poem also follows an ABABC rhyme scheme, where the rhymes of B and C are either eye-rhymes (like prove and love) or slant rhymes (like choice and Joys). The rhyme, paired with the sing-song tempo of iambic tetrameter, establishes a very contained and predictable structure with the exception of the slightly altered B / C rhyme in the last two lines of each stanza.


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.            5

For though we were design'd t'agree,
    That fate no liberty destroys,
But our election is as free
    As Angells, who with greedy choice
    Are yet determin'd to their Joys.         10

Our hearts are doubled by their loss,
    Here mixture is addition grown;
We both diffuse and both engross:
    And we, whose minds are so much one,
    Never, yet ever, are alone.

We court our own captivity,
    Then Thrones more great and innocent:
`Twere banishment to be set free,
    Since we weare fetters whose intent
    Not bondage is, but Ornament.           20

Divided Joys are tedious found,
    And griefs united easyer grow:
We are our selves but by rebound,
    And all our titles shuffled so,
    Both Princes, and both subjects too.

Our hearts are mutuall victims lay'd,
    While they (such power in friendship ly's)
Are Altars, Priests, and off'rings made,
And each heart which thus kindly dy's,
Grows deathless by the sacrifise.            30