Romantic Contradiction in the Poetry of John Donne
John Donne's poem "Elegy 19: To His Mistress Going to Bed" is closely related to "The Sun Rising" in its treatment of love, lust, and togetherness. Both discuss and argue different stances on the same topics, but are united by their language and development. The structure of "Elegy 19" and use of poetic techniques relate it directly and indirectly to "The Sun Rising".
In "Elegy 19", there are forty-eight lines of adoration of the mistress of the title; this poem is full of reverence, veneration, and respect for the female form. In passages such as
Your gown going off, such beauteous state reveals
As when from flowery meads th' hill's shadow steals
or perhaps
Full nakedness! All joys are due to thee.
As souls unbodied unclothed must be,
To taste whole joys. Gems which you women use
Are like Atalanta's balls, cast in men's views
Donne clearly has a high and lofty image of the human female form. Yet this deification is undermined by the lusty, bawdy qualities of the poem. For example, when Donne reaches the conclusion of the poem he does not summarize his mistress' physical beauty, but instead promises sexual adventure. This is seen in the final three lines,
Here is no penance, much less innocence.
To teach thee, I am naked first; why then
What need'st thou have more covering than a man?
which clearly negates (or at least portrays negatively) the earlier, more romantic aspects of the poem. Other words have double meanings, which furthers the bawdy aspects of the poem, making seemingly innocuous passages into ribald declarations. Examples of double usage of words include "labor", which means both ‘get to work s...
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...mplies sexual activity. Indeed, despite its romantic qualities, invoking the bed the lovers share as the center of the sun's orbits has a clear sensual tinge; it is as if the sexual activity of the lovers is the center of the world, for what else is a bed the symbol of, if not consummation of love?
So in these two Donne poems, "Elegy 19" and "The Sun Rising", various poetic structures are used to create a split atmosphere of both romantic love and sexual love, which coexist within the fabric of the poetry. Donne skillfully uses such forms as direct address, indirect address, both stanzaic forms conventional and unconventional, and adept language manipulation to convey two messages simultaneously, and in doing so he paints an accurate portrait of the reality of love: that there is always a mix of romantic and sexual sentiments in the relationships between lovers.
Whether Donne wrote his poem for his wife or just touched a universal theme for of us to learn from, the huge apparent differences bring the mortal love between the speaker and his lady to a level of perfection and no journey can ever break that.
John Donne?s poem connects flesh and spirit, worldly and religious ideas in a fascinating way between seemingly unrelated topics. He compares sexual intercourse to a bite of a flea and says that now their blood has mixed inside the flea. He also compares the inside of the tiny flea to the entire world, including the couple.
...al in lines one and two with enjambment between the words “digest” and “my soul.” He even goes so far as to conflate God the Father with depraved man through enjambent and the phrase “robbed man” in line 9. In fact, this line seems to actually serve as a kind of “volta” due to the ultimate extreme of conflation, thus following the traditional Italian sonnet form. This emphasizes the purity of the form as representative of the Trinity in this sonnet. Donne’s use of the form of the poem itself as an embodiment of the Trinity seems to further emphasize the perceived interrelatedness of all things, and therefore supports the mutual statement of love that opens the poem. So, the conflation rises to yet another level, where the poem itself is a resonation of God’s love as a manifestation of the trinity, and Donne takes the role of creator, thus acting in the image of God.
Verbs like 'melt ' imply a gentle parting. He does this to add to the sympathy that the poem reflects, thus reassuring his lover that he will come back to her when he leaves. The regular iambic tetrameter and the ABAB rhyme scheme echo 's the emotional strength that Donne feels his love has. Differently, 'Sonnet 73 ' creates a morbid tone due to the constant reference to degeneration. The ABAB rhyme scheme creates the sense of certainty that after time fades so does beauty, and thus this therefore leads to
The speaker in Donne's poetry is a theatrical character, constantly in different situations, and using different roles to suit the action. He can take on the role of the womanizer, as in "The Indifferent," or the faithful lover from "Lover's Infiniteness," but the speaker in each of these poems is always John Donne himself. Each poem contains a strong sense of Donne's own self-interest. According to Professor J. Crofts, Donne:
The first stanza shows a wide range of fantastical language with the intention of drawing the reader slowly and steadily into the hazy, dreamlike setting. Along with the words like ?fantasy?, ?fables? and ?dreams? come affectionate phrases that effectively show us that the poem is meant to be addressed to a lover, ?Dear love? being the most obvious example. Later on in the poem, the language shifts from drowsy and steady to more intense and complicated, yet less passionate and more doubtful. Donne?s choice in the last stanza to utilize fiery words like ?torches? and phrases ?light and put out? and ?thou cam?st to kindle? depict a sense of overwhelming passion, as uncontrollable as fire. Donne doubts that he can control his lover to continue loving him as fervently as in his dream, which is why his dream lover is ?an angel? while his lover in reality is compared to fire.
...) This is one of the most important claims that Donne makes because he indirectly inducts himself and Anne into the canon of saints, thus making them sacred. The poem ends with Donne calling upon all those who have suffered from similar criticisms; this further dignifies Donne as a saint-like figure. Therefore, both of Donne’s latter poems expose the transformation that Donne acquires when he meets Anne. His sexist attitude and views transcend to a more spiritual and emotional one.
The poets integrated ?metaphysical conceits? as focal parts of these poems. Along with these, they used effective language as a basis for their convincing arguments, they included subjects of periodical importance (e.g. ?courtship? and ?religion?), and use very clever structures that are manipulated in order to make the poem read in the desired way. The very clear indication of the theme in question was strongly aided by the way in which the personas portrayed the emotions they felt and the way they showed their attitudes towards the subject. Considering all these factors, the poets made critical arguments to the mistresses in order to alter their views, thus changing their minds, on denying the poets the sex that they desired so strongly.
He compares his relationship with his love as “stiff twin compasses” and other similar comparisons to describe their unity (Dunne 26). Like a compass, they always seem to be working cohesively as one unit. It could have the same theme as “The Passionate Shephard to His Love” by Christopher Marlowe, the theme of love conquering all. They both seem to have an idealistic view to the relationship as well, as the shephard in Marlowe’s poem insists that his love “will all the pleasures prove” if she were to go with him (Marlowe 2). Both poems aim for a perfect life with their love, and Donne’s poem manages to come up with a more realistic option out of the
The Theme of Love in the Poems First Love, To His Coy Mistress, Porphyria's Lover, My Last Duchess and Shall I Compare Thee?
In both ‘The Sun Rising’ and ‘The Good Morrow’ Donne presents the experience of love, in a typical Metaphysical style, to engage his reader through sharing his own experiences. These poems show distinctive characteristics of Metaphysical poems which involve colloquial diction, drawing inventive imagery from unconventional sources, passionately analysing relationships and examining feelings. Donne presents the experience of love through conceits, Metaphysical wit, language techniques and imagery, in a confident tone using logical argument. The impact of Donne’s use of direct and idiomatic language shows the reader how he feels about a woman and ultimately love.
It is quite feasible to state that poetry at its finest is a dazzling and expressive art of words. A poem not only can expose the diplomatic beliefs of societies, but can also articulate passions and sentiments of the author to whom the poem belongs. One of the many fine poems that have been prevalent among the study of literature that is irrefutably powerful is Meditation 17 by John Donne. This poetic essay exposes John Donne’s opinions and beliefs on humanity, and covers much cogitation from religion all the way to death. Of course, the poem has been written so profoundly that one may not grasp it completely at first glimpse, however John Donne does use explicit strategies to better convey his message to readers of all sorts. John Donne utilizes situation, structure, language, and musical devices to enhance the poem and to aid in delivering his message efficiently.
John Donne is known as being one of the most famous and influential metaphysical poets. The term “metaphysical," as applied to English and continental European poets of the seventeenth century, was used by Augustan poets John Dryden and Samuel Johnson to reprove those poets for their “unnaturalness.” As Johann Wolfgang von Goethe wrote, however, “The unnatural, that too is natural," and the metaphysical poets continue to be studied and revered for their intricacy and originality. Due to Donne’s personal experiences with spirituality and love, he is able to grasp the true meaning of metaphysical poetry (Brief Guide to Metaphysical Poets). Using all the aspects of metaphysical poetry, Donne creates a mysterious metaphoric poem titled, “The Flea.” Throughout this poem, the use of metaphors and breaks into the separate stanzas allow for the audiences to understand what The Flea is really about. At first glance, many read The Flea as a poem that compares sexual intimacy with an animal, but when broken down, it can be seen that the meaning is much deeper than intimacy, but it
Donne develops this idea through the symbolism of the flea and the twisted imagery of the Trinity. He uses slant rhyme to depict the man’s slanted argument and stretched logic, which highlights the man’s crooked idea of what physical love is. Donne’s use of slant rhyme and hyperbole mock other poems that praise women with flowery language in an attempt to charm them into bed. In contrast, the speaker here uses crude arguments meant to woo this woman to sex with him. Renaissance carpe diem poems speak about enjoying physical love within one’s short-lived youth.
In the first stanza of the poem, Donne tries to convince his lover to have sexual intercourse with him. At first one would not realize that this is his intention because he uses a flea to describe sex which is a very far-fetched description of the act hence this poem being metaphysical. Using a conceit he belittles the impact of sex and the power it has over him even though it may be untrue. Knowing that she has thought about it before, he assures her that by withholding sex from him is something so small that it does not give her power in the relationship.