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Metaphysical features in john donne's poetry
Analysis of John donne holy sonnets
Metaphysical features in john donne's poetry
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Courtney Peters
Essay 1 Rough Draft
ENG 308
2/21/14
Donne: The Imprint Left Behind
Every writer leaves his mark, his imprint, in his writing; a thumb print left behind the ink if you know how to look for it, and Donne is no exception. The problem is extracting Donne’s imprint, and essence, from the poem, and understanding what that tells us about him. In one poem in particular this stands out, his Holy Sonnet IX, where Donne’s imprint lingers, giving another story behind the text, of his belief in God, but also his inner questioning, and confliction and doubt which come out as contradictions. Behind the text, Holy Sonnet IX, as Donne speaks through his speaker and poem, we come to understand that he is a religious man, though conflicted, which leads to doubt and contradictions, as he resents God in a way, while also just craving for his absolution and for him to forget and forgive his sins and wash them away, sins which weigh on him heavily and he believes taint him.
Looking at Donne’s Holy Sonnet IX, you can see where parts of his self are hidden under the text, if you only know how to look and how to interpret what you find. Donne repeats “I” throughout the poem three times, and while doing so he not only reflects parts of his inner self, but changes his stand point each time. In the first instance of “I”, Donne writes, “If lecherous goats, if serpents envious/Cannot be damn’d; Alas; why should I bee?” (3-4). Here he questions God, demanding to know why he should be damned when the lecherous goats, and serpents cannot not be condemned and damned for their sins. The second instance of “I” however writes, “But whou am I, that dare dispute with thee/O God? Oh! of thine onely worthy blood,” where he shifts from angrily questioning...
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...e forgotten and he is not damned by them. The illusion and imagery emphasize the severity of his desire for God to forget his sins, the sins which he emphasizes by referring to them as “black sins” utilizing severe language in calling them thus, to further darken the already negative connotation of his sins and their evilness. The allusion speaks of the greatness of Donne’s sorrow, in that he would cry a river, his wish in the end, more than anything, for his sins to be forgotten and him undammed, and his thoughts on sins, that they are black, his darkness, his taint, his embarrassment, indebting him to God who in turn damns him.
-- Create a conclusion, short, but sums up:
What I mean by Imprint
How his imprint shines throu, aka, what we learn of him from:
His usage of I
His pattern
His allusions, imagery, and language
Should be one per paragraph for most
Donne, John. “Holy Sonnet 5, Holy Sonnet 6, Holy Sonnet 10.” John Donne’s Poetry: A Norton Critical Edition. Ed. Donald R. Dickson. W.W. Norton & Company. New York, London. 2004. (Handout)
In order to better understand Philip's critique of Donne within the lines of her poetry, a reading
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:
One of Donne's famous poetic devices is diction. Again in line one and ten appear "Mark" and "Oh stay." These words are denotations of strong causative voice in order to obtain mistress' attention. In addition to diction, another outstanding part is his rhetoric skill. For example, "Me it sucked first, and now sucks thee," (line 3). His using different ...
Death is merely being controlled by things like fate, which is the only way he can act. He has no way to move on his own without these other forces. Like with war, death is the result, not the cause: death cannot physically make people fight. This comparison devalues death in its importance and therefore its necessity. John Donne’s use of metaphors and personifications in his poem emphasizes his belief that death is not as bad as people think it really is, but can actually be advantageous.
I found Donne’s “Holy Sonnet 10” and “Holy Sonnet 14” to be similar in style, but different in context. Obviously, it is logical that they are similar in style because they are written by the same author.
This is an enjoyable sonnet that uses nature imagery, found extensively in Petrarca, that Shakespeare uses to get his point across. Not much explication is needed, aside the sustained images of nature, to fully understand its intent, but I would like to point out a peculiar allusion. When reading line 3, "the violet past prime" has made me think of Venus and Adonis. In the end, Adonis melts into the earth and a violet sprouts where his body was, which Venus then places in her heart, signifying the love she has for him. Reading this into the poem makes the few following lines more significant. Having Adonis portrayed as the handsome youth, Shakespeare is alluding to the death of youth (in general and to the young man) through the sonnet. In the next line, it is not certain if "sable" is an adjective or a noun and if "curls" is a noun, referring to hair (which is plausible) or a verb modifying "sable." Invoking the allusion to Adonis here, Shakespeare portends that if Adonis did live longer, he too would have greying hair; thus, Shakespeare sees ["behold"] an Adonis figure, the young man, past his youth.
...) 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.
Donne does not write poetry in a traditional manner, he instead does things his own way. Woolf opens by describing Donne as one that "leaps into poetry in the shortest way" (20). This meaning he has a way to get the audiences attention immediately. He speaks to his audience in a direct manner and is not passive. In some of his poetry he is completely direct by telling his
Thus Donne links content to form throughout the "Holy Sonnet XIV." His aesthetic presentation of the relationships "implicit in the ancient theological conceit of the righteous soul's marriage to God"[3] is therefore doubly moving.
As A. Kent Hieatt did a great job in citing certain similarities in Sonnets to Spencer's Ruines of Rome: by Bellay, I was surprised enough not to dfind any parallels on sonnet 64 to that of Ruines of Rome. This sonnet delivers, moreso, the theme of Rome succumbing to time rather than textual correlations. I will provide a quatrain by quatrain explicaton that cites certain allusions to Spencer's text. In the first quatrain, time has destroyed Rome, the "buried age," having lived too long ("outworn") as a prosperous civilization. The "lofty towers" being "raz'd" echoes Rome being "Heapt hils on hils, to scale the starrie sky"; the first "hils" in Spencer refers to the Roman civilization and the physical buildings, whereas the latter "hils" refers to the mountains on which Rome was built. Thus, being "raz'd" are all of the monuments of Rome that are subject to mutability. Ambiguity in the second quatrain allows for two readings following the Roman theme. First, the "hungry ocean" is the sea itself which gains on Rome, "the kingdom of the shore," but if the ocean is rising against Rome, it is incongruous to say that the "firm soil" defeats the "watery main." A more appropriate alternate reading still refers to Rome as "the kingdom of the shore," but the "hungry ocean" refers to other civilizations that have tried to conquer Rome yet failed. 5-7: 'When I have seen usurping nations hostily advance towards Rome, and then steadfast Rome defeat the opposing navy,'. This latter reading more supports line 8, in which Rome 'increases [its] wealth through the gains of (Rome's) conquests [thus, "with loss"], and yet at the same time increases [its] loss "with store," (that is, time's store [of time])'.
Donne’s second quatrain uses figurative language to elaborate on his concept of victory over death. He contrasts death to “rest and sleep” by saying that they are mirrors of death (Donne 1100). Sleep and death are allied and one is the image of the oth...
Yet, a more in depth look at the poem reveals that this suitor is actually arguing a point to his prospective partner. With the use of conceit, the suitor begins his argument by condemning the act of intercourse, comparing it to sin outside a martial bond. He disparages the act further by claiming that it cannot hold tremendous importance if the same effects can be achieved within the flea’s body. This is exemplified in the following lines “And in this flea our two bloods mingled be;/ Thou know’st that this cannot be said/ A sin, or shame, or loss of maidenhead” (Lines 4-6). With the use of this technique, Donne is able to convey the general perception of premarital sex, in that it is a sin and signifies the loss of innocence, to begin his attempt at persuading his prospective lover.
Qualities of destruction and rebirth are evident in the first quatrain, as the speaker asks that God “Batter my heart”. We hear the suddenness of violence which is followed by strong verbs “knock, breathe, shine” ringing like blows of a hammer as Donne an impure metal yearns to be reshaped by God. Although Donne longs to be rescued from his sinfulness, he knows himself that minor inducements cannot cause spiritual reformation. Instead Donne’s use of strong language indicates his desperation for God’s force to “break, blow, burn and make me new again”, a conceit for what will destroy and cause his rebirth. The repeated use of three consecutive verbs allows the reader to hear the nature of the Holy Trinity. The initial sense of violence from the first quatrain is undercut by the speaker’s apologetic tone as he is unable to resist sin. The speaker refers to himself as “an usurped town to another due” as suggestion of his soul has been captured and that although the speaker may “may labour admit you” it is to “no end”. The image of the besieged further flows through the sonnet as it further demonstrates the state of the author. The desperation of Donne can be heard by the as the author begs that God “Reason, your viceroy in me, me should defend”. The viceroy is reference to the speaker’s rationality and intelligence that should save him, although does not, due to its feeble nature to give into
Among this being the first sonnet, it is the first of a sequence of procreation sonnets which are addressed to a man as an arguement for him to bear children. The image of flowers arises in this sonnet as we see beauty represented as a rose. 1-4: 'We want to reproduce with the most beatiful of people, so that beauty will remain [in life], but as the elder dies due to time, his child will quite possibly will remember him'. (Time can be read as personified as with the other sonnets). An idea of the offspring resembling the parents is present; therefore, it is of no wonder why we desire either the "increase" in aesthetic pleasure or the "increase" of heirs from the most beautiful. Line 7 gives the reader the notion that this man, since he has not produced children yet, is making barren the fruitful womb of his lover, thus making himself his own enemy. 11: 'bury your happiness in the bud (of the rose), [with the rose alluding to beauty], but beauty cannot bring forth happiness'. Shakespeare is chiding him for this as he is under the impression that he is making waste of the fruitful womb of his