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Recommended: Analysis of poems
According to Ezra Pound, great literature is “simply language charged with meaning to the utmost possible degree,” (Pound 28) and “news that stays news” (29). In his book, ABC of Reading, Pound explains that one can “charge words with meaning mainly in three ways, called phanopoeia, melopoeia, logopoeia” (37). The way he wrote his book is analogous to the way any writing should be: clear rather than abstract and very concise. The poetry appended to the volume, too, tends toward the clean, precise and concise. John Donne’s, “The Ecstasy” is one of many that Pound classifies as “great literature” and therefore part of the canon of great literature.
In “The Ecstasy,” John Donne manages to express what he means without “hunting for sentiments that fit his vocabulary,” (140) according to Pound. Pound indicates that Donne’s choice of words is merely a vehicle, which he uses to convey his message or meaning to the reader. When he writes, “we like sepulchral statues lay,” (Donne18) Donne particularly chooses the word “sepulchral” (18) for several reasons. Sepulchral refers to a tomb so this describes the physical state of the statues. In addition to that, sepulchral can be used to express a gloomy tone, and here, Donne personifies the statues by giving them a feeling of emotion. Although one among many, this example perfectly testifies to how Donne uses single words to represent multiple ideas. Pound classifies this as one way of “charging words with meaning,” (Pound 37) known as logopoeia. Furthermore, this poem meets Pound’s requirement of being a “concentrated form of verbal expression” (36) because, the sepulchral statues can also refer to monuments. In writing this poem, Donne attempts to build a monument out of words rather than m...
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...ucture, one endangers the entire structure of falling apart. Likewise, when one omits even a single word from Donne’s poem, the poem crumbles and loses its meaning.
The above mentioned ideas prove that Donne successfully conveyed his meaning to the reader in a concise manner where every word was loaded with profound ideas. Pound includes this particular poem as an example of great literature because it follows his logic—one has to be very well read to understand the poem its full extent. Furthermore, it satisfies all the criteria to be classified ‘great literature’ by Pound, but the reader is left with the task of understanding why Pound believes what he does.
Works Cited
Donne, John. "The Ecstasy." ABC of Reading. By Ezra Pound. New York: New Directions Pub., 2010. 137-40. Print.
Pound, Ezra. ABC of Reading. New York: New Directions Pub., 2010. Print.
Updike, John. "A & P." Literature: Fiction, Poetry, Drama, and the Essay. Ed. Robert DiYanni. 5th ed. New York: McGraw, 1998. 27-31.
Each literary work portrays something different, leaving a unique impression on all who read that piece of writing. Some poems or stories make one feel happy, while others are more solemn. This has very much to do with what the author is talking about in his or her writing, leaving a bit of their heart and soul in the work. F. Scott Fitzgerald, when writing The Great Gatsby, wrote about the real world, yet he didn’t paint a rosy picture for the reader. The same can be said about T.S. Eliot, whose poem “The Lovesong of J. Alfred Prufrock,” presents his interpretation of hell. Both pieces of writing have many similarities, but the most similar of them all is the tone of each one.
Based on her reaction, the speaker states, "Tis true...Just so much honor, when they yield'st to me, Will waste, as this flea's death took life from thee." In other words, he twists his argument to make the point that the woman will lose as much giving herself to him as she lost killing the flea - NOTHING! Secondly, Donne's use of rhythm aids in shaping the poem's meaning. The poem has alternating lines of iambic tetrameter and pentameter. However, Donne varies this rhythm to create emphasis on particular words or phrases. For instance, in the first stanza he states, "Mark but this flea, and mark in this." Instead of beginning with an unstressed word or syllable as in iambic, Donne stresses the word "Mark." This is important in accentuating his argument.
In order to better understand Philip's critique of Donne within the lines of her poetry, a reading
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.
[8-16] Donne, John. “From Meditation 17”. Excerpt from McDougal Litell’s “The Language of Literature”, Page 455. McDougal Litell Inc., 2000.
...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.
In arguing against mourning and emotional confusion, Donne uses a series of bold and unexpected comparisons for the love between himself and his lady. Donne makes his first surprising analogy in the first stanza when he compares the approaching separation of the lovers to death. "he speaker compares his parting from his lover to the parting of the soul from a virtuous man at death. According to the speaker, "virtuous men pass mildly away" (line 1) because the virtue in their lives has assured them of glory and happiness in the afterlife; therefore, they die in peace without fear and emotion. By this he suggests that the separation of the lovers is parrallel to the separation caused by death.
In 'Twickernham Garden ' Donne cleverly uses a spider as the conceit of the poem to comment on the nature of love, to emphasise that just like a spider love traps you insidiously and leaves you helpless. As well as that there is religious connotations to transubstantiation and manna and serpents. By doing this Donne finds another way to create an effective poem in emphasising his meaning and thoughts. The Major conceit in 'A Valediction Forbidding Mourning ' is that of a compass. Samuel Johnson a fellow poet, who coined the term metaphysical poetry criticised Donne by stating that 'the poem 's compass analogy highlights the violence used by metaphysical poets to force the most heterogeneous ideas together. Disagreeing with this statement, Donne 's use of the compass to reinforce the idea that their souls are like the legs of the compass, even though they will physically separate he will always come back as they create something perfect 'Thy firmness makes my circle just and make me end where I begun '. The conceit reassures his lover that it is inevitable that he will return because they are joined spiritually, mentally and physically, and their love is strong because he will always come back to
...) 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 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.
...ne exclusively on himself and his lover. By doing so he says the sun will be shining on the entire world. It is apparent in both poems the tone and language is dramatic, as this is typical of Donne’s writing style. His use of imagery and symbolism effectively present his experience of love. However it is the structure that builds up the emotion throughout the poems as Donne starts in each poem to refer to a seductive love, then in conclusion realises the importance of true love. ‘The Good Morrow’ clearly shows evidence of this when at the beginning Donne states he ‘suck’d on country pleasures childishly’ and in the end understands that a ‘Love so alike that none can slacken, none can die’.
In John Donne’s sonnet “Death, Be Not Proud” death is closely examined and Donne writes about his views on death and his belief that people should not live in fear of death, but embrace it. “Death, Be Not Proud” is a Shakespearean sonnet that consists of three quatrains and one concluding couplet, of which I individually analyzed each quatrain and the couplet to elucidate Donne’s arguments with death. Donne converses with death, and argues that death is not the universal destroyer of life. He elaborates on the conflict with death in each quatrain through the use of imagery, figurative language, and structure. These elements not only increase the power of Donne’s message, but also symbolize the meaning of hope of eternal life as the ultimate escape to death.
John Donne lived in an era when the lyric was at its pinnacle. Poets were writing well-rounded, almost musical poetry on subjects that ranged from all kinds of love to enchantment with nature. Donne could not help but revolt against this excess of fluency and melody. John Donne's style stands in such sharp contrast to the accepted Elizabethan lyrical style that it becomes difficult to accept the fact that his works date from the same era. To highlight this statement, one has to compare a typical Elizabethan lyric to one of Donne's works.
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.