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Donne as a metaphysical poet
Donne as a metaphysical poet
Donne as a metaphysical poet
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In Donne’s poems, particularly his early love poems Donne explains how love involving the body aids the soul in gaining redemption from God. This perspective may be observed in Donne’s poem, To His Mistress Going to Bed, which is centered on the events leading up to a couple’s sexual union. More specifically, the speaker says, “unlace yourself, for that harmonious chime tells me from you, that now ‘tis your bed time” (10). In other words, the speaker aims to persuade his lover to join him in bed. Donne further conveys, through the speaker, that sexual union is the union of the souls, “as souls unbodied, bodies unclothed must be, to taste whole joys” (33). Though Donne too uses erotic, sexual language to describe love’s effect on an individual’s …show more content…
In this work, Donne states the necessity to join in physical union with another “else a prince in heaven lies” (67). In other words, Donne maintains that if one never strays from God, one’s intellect will not develop. The speaker describes how the souls of the two lovers leave their bodies during sexual union—”love these mix’d souls doth mix again, and makes both one, each this and that” (34-36). In other words, through the speaker, Donne shares that sex should not be viewed in a sexual framework; instead, Donne views sex as a joint framework of sharing the soul 's knowledge, and thus journey to God. Donne further argues that the power of sexual union “interinanimates two souls”, which bring them closer to God (42). Ultimately, as seen in both poems, Donne does not reject the human body as Augustine does. Instead, he embraces the body and love’ relationship and power on the …show more content…
Because Donne describes the connection between the body and union with God in the form of a poem, Donne is able to evoke his readers. Unlike Augustine 's readers who just read of Augustine’s anguish and experience, those who read Donne 's poems actually experience anguish, frustration, and ultimately the unavoidable reliance one has on God, which most Christian followers eventually experience on the road to redemption. Furthermore, writing in a Petrarchan sonnet form, Donne provides an alternate meaning to Augustine’s medieval concept of the souls’ journey to unity with God. In the examination of Donne’s language, which is permeated with many emotions, Donne introduces the new idea that the journey to redemption involves not only a movement away from loving sin but a movement towards loving oneself so that one is not afraid to be loved. In other words, Donne introduces—through his diction—that the process of redemption involves self-love, which will, in turn, allow one to accept God’s already existing
Donne, John. “Hymn to God, my God, in My Sickness.” Poems of John Donne. vol I. E. K. Chambers, ed. London: Lawrence & Bullen, 1896. 211-212.
John Donne uses poetry to explore his own identity, express his feelings, and most of all, he uses it to deal with the personal experiences occurring in his life. Donne's poetry is a confrontation or struggle to find a place in this world, or rather, a role to play in a society from which he often finds himself detached or withdrawn. This essay will discuss Donne's states of mind, his views on love, women, religion, his relationship with God; and finally how the use of poetic form plays a part in his exploration for an identity and salvation.
Donne’s argument is full of steps to seduce this woman. At first, he says, “Me it sucked first, and now sucks thee, and in this flea, or two bloods mingled be.” By this, he meant that their bodily fluids have already met together, so there is no harm in sleeping together. He continued to say, “Where we almost, nay more than married are.” He suggests that since their blood is already mixed, that they essentially have nothing to lose. Another step towards his attempt to convince her to sleep with him is when he says, “Let not that self-murder added be, and sacrilege, three sins in
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 ...
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’s poems are similar in their content. They usually point out at same topics like love, lust, sex and religion; only they are dissimilar in the feelings they express. These subjects reflect the different stages of his life: the lust of his youth, the love of his married middle age, and the piety of the latter part of his life. His poem,’ The Flea’ represents the restless feeling of lust during his youthful days but it comes together with a true respect for women through the metaphysical conceit of the flea as a church in the rhythm of the sexual act.
This poem showed the pure genius of John Donne. It is intriguing to look at, especially for the religious imagery and form. His analogy of killing a flea and having sex, allow him to simplify his argument, which makes this a work of genius. His word choice, form, and rhythm all coincided with his major theme. I cannot help but to find this poem hilarious, flirtatious, and less serious than his other works because love, lust, marriage, and conceiving children is nowhere in comparison to a flea or killing one. I think Donne knew this, but through his wit he managed to make the correlation.
...) 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.
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.
The poem opens with two lines that lay the groundwork for the analogy and that have a sexual implication. The word “digged'; and the image of “love’s mine';, obviously allow for the comparison between the Platonist’s and the alchemists. Donne explains that some have experienced more love than he has, and, in having done so, have penetrated “deeper'; into “love’s hidden mystery,'; that is, they have reached a point beyond sensual love where they have found it’s true “centric'; or essential happiness. This would be analogous to alchemists, who, after many attempts, have been able to extract gold from other metals. Due to the diction that Donne uses and the manner in which he expresses himself in these two lines, it is possible to extract their sexual meaning that serves to ridicule the claims and means of the Platonists as well as the alchemists. The words “digged love’s mine'; can be interpreted as...
"Let mans Soule be a Spheare, and then, in this,/ The intelligence that moves, devotion is"1. John Dunne begins his poem in a very strange way dividing the activities of man, and the soul, into "spheares", but in the progression of the poem this analogy works. In short, the first twelve lines are the set up, where Dunne separates the two major activities of man: those internal and spiritual and then those external like pleasure of business. In the next sixteen lines he develops the theme into a discussion of how the Cross moves our souls in a way similar to the forces of Nature. In the last fourteen lines Donne finishes by uniting both thoughts into a Theological exercise of surrendering ourselves to God.
Granted that Donne's personification of God reduces the deity from an almighty force to a human archetype, divinity is not undermined. The metaphoric figures of inventor, ruler, and lover, each retain specific skills and purpose, but can not compare to the Christian suggestion of God's role and strength. However, the presentation of striking, violent imagery charges the poem with a sense of power and complete domination, and allows the image of God to transcend his designated human forms. Through the projection of life's frailty, powerlessness in captivity, and sexual
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
No poem of John Donne's is more widely read or more directly associated with Donne than the tenth of the Holy Sonnets,"Death, be not proud." Donne's reputation as a morbid preacher was well-known. He had a portrait of himself made while posed in a winding-sheet so that he could contemplate a personalized memento of death. Donne draws upon a popular subject in medieval and Renaissance art, Le roi mort or King Death. His fascination with death reaches another plateau with this poem. He almost welcomes it and denounces the process as being neither horrifying nor the "end-all be-all." In a contextual point of view, he works to rupture habitual thinking and bring attention to the intensity and depth of a situation by creating doubt or offering a new aspect of his subject. Donne takes this poem and pours forth an array of visions that directly connects to the contextualist in a look at death, the pa...