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The poems of john donne
The poems of john donne
The poems of john donne
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In this close reading, I will be analyzing “The Flea” by John Donne. “The Flea” is a love sonnet that uses a flea as a reason for the writer and the woman to get together. The poem interchanges rhythmically between iambic tetrameter and iambic pentameter, ending with two pentameter lines at the close of each stanza. Each stanza consists of nine lines. The rhyme scheme is in couplets rhyming, AABBCCDDD.
In the first stanza, Donne uses extended metaphors to get his point across about the flea. The first stanza speaks of how the writer and the woman become one after being bitten by the flea. This stanza begins with “Mark but this flea, and mark in this,” punish the flea, and punish only the flea. “How little that which thou deniest me is,” she denies his sexual advances which means little to her. “It sucked me first, and now sucks thee, And in this flea, our two bloods mingled be,” the flea bites them both causing their blood to mix together inside the flea. The mixing of the blood cannot be a sin, or shame, or lose of virginity therefore; neither should it be for their other bodily to mix together, “A sin, nor shame, nor loss of maidenhead.”
“Yet this enjoys before it woo,” the flea enjoys life before it cries or grieves on an exclamation of grief or a distressful incident of affliction. “Woo” is a condition of misery and misfortune, the “woo” of the flea may reference the pains of getting bit by the flea. “And pampered swells with one blood made of two,” the flea is lucky to be filled with their blood. This flea becomes larger in size with blood from both subjects. The flea has joined them together already by mixing their blood together which is more than he is asking of the woman, “And this, alas, is more than we would...
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...f sex.
The writer speaks to the woman through rhetorical questions, “Purpled thy nail, in blood of innocence,” has she sinned by spilling the blood of the innocent? Has she damned herself to hell by persecuting the flea? “Wherein could this flea guilty be, except in that drop which it sucked from thee?” What could the flea have done so badly, except sucking a little drop of blood from them?
“Yet thou triumph’st and say'st that thou/ Find’st not thy self, nor me the weaker now." The woman retaliates, celebrating her success in killing the flea, makes neither him, nor her any less noble. The writer responds, “Tis true, then learn how false, fears be;” it is true, and learn how false your fears are. The writer closes with, “Just so much honor, when you yield’st to me. Will waste, as this flea’s death took life from thee.” When she surrenders to him, she will lose no
John Donne's view of love deviated greatly from the Medieval philosophy of courtly love, which had been expressed in poetry handed down from the sonnets of such poetic giants as Sidney and Petrarch. The general verse until then had focused greatly on the unrivalled importance of love in the context of the life of the poet (or his creation's voice). Until then, "love" had consisted mostly of an obsession with one woman, and an exploration of the feelings and situations that this caused in the narrator.
A little later on she was at her house and it was her and her husband’s anniversary. Flowers were delivered to her. When she went to read who the card was from she almost passes out. The flowers were sent by her husband, but he was dead. She called the florist in disbelief and they told her that “Flea had “Love insurance”’ (31). This was for people who tend to forget something easily such as anniversaries for birthdays. The widow did not know how to feel about receiving the roses. She claimed that it had her a little “spooked” (31). So she ended up going for a
In the poem “The Flea” by John Donne, the speaker uses clever sexual innuendo and metaphors in an attempt to manipulate a certain girl into losing her virginity to him. The poem begins with the speaker explaining that a flea has bit both him and her, and now both of their blood mixes inside it. He continues to try and ...
In line 5, “The mouse and which once hath broken out of trap, Is seldom ‘ticed with the trustless bait” shows the reader what the speaker sees of himself. The speaker is to afraid that if he is tempted it could lead into a huge trap. On lines 9 and 10, “The scorched fly which once hath ‘scaped the flame, Will hardly come to lay again with fire” the speaker is describing that he doesn't want to get burned by a woman of such beauty. Each metaphor give a tone of fear and despair of not being able to get what you truly
A mouse became trapped in a mouse trap when attempting to receive food but managed to escape. However, he “lies aloof for fear of more mishap” and believes that he will become trapped once again if he retrieves food again. The mouse and food can symbolize the speaker and women, for he was hurt once by a woman he loved and fears that to approach and become involved with another would lead to heartbreak; he now avoids love altogether. He also mentions a “scorched fly which once hath ‘scaped a flame” which it had been attracted to and now stays away from. This fly, which was physically damaged permanently, represents the author, as he was metaphorically hurt by the woman he loved and can never fully recover from the
Although the love has killed the flea he is still persistent in his pursuit of the lover. Donne creatively has the flea even in its demised form become an additional symbol. Now that the lover has killed the flea he explains that nothing major has come to change. He goes back to original point that sex is not a major concern or sinful. “Tis true; then learn how false, fears be:/Just so much honor, when thou yield’st to me/Will waste, as this flea’s death took life from thee” (Donne 25-27). The honor she believes that she will lose is equivalent to the life that the flea had. He equates that to a minor aspect in their time together. The lover will felt no less authoritative after killing the flea, she will not be any less of a woman if she has sex with him. Perrine supports this statement when she states that the narrator turned his downfall into a positive once again. “But the young man is not for a moment discountenanced. Nimbly, he turns his defeat into a further argument for his original design. Because his fears proved false, he contends, all fears are false, including hers that she will lose honor in yielding to him. She will lose no more honor in submitting to his desires, he claims, than she lost life in killing the flea” (Perrine). The original point comes back to play and Donne demonstrates his creative intelligence within these last three stanzas. The intelligence displayed in the narrator can be shown in the persistent pleading with the lover. The narrator spun everything that the lover could have done and turned it into a way where the two can still reach his end goal. He never faltered from his desire and yet never pushed the lover into an uncomfortable position. She seemly gave the impression to always possess the power within her fingers with the flea whereas he truly held the power within his
Which as claimed by the speaker, represents his union with the maiden in matrimony, since the flea has taken blood from them both."It suck'd me first and now sucks thee/And in this flea our two bloods mingled be"(lines 3-4). And, since their bloods have already mingled together, intercourse with him wouldn't be a sin and no honor would be lost if she yields to him."Though know'st that this cannot be said/A sin nor shame nor loss of maidenhood:" (lines 5-6) Though however similar the gist of the poems might be, the art of seduction used by each speaker is quite different. The speaker in "To His Coy Mistress" seems to change his tone of persuasion rapidly from stanza to stanza. At first he is sweet, comming across as a gentleman and overstating how many ages he would spent on a single part of her anatomy "A hundred years should go to praise/Thine Eyes.
Since the 17th-century idea was of sex as a "mingling of the blood", he realises that by mixing their bloods together in its body, the flea has done what she didn't dare to do. Then, he argues, since the fleas have done it, why shouldn't they? To back up his argument, he refers to the marriage ceremony, which states that "man and woman shall be one flesh". He argues that since they have mingled their bloods and are therefore "one blood", they are practically "one flesh" and are therefore married! Not only does that reinforce his seduction argument, but it also provides ammunition for him to defend himself when the female does the next logical thing and moves to kill the flea.
bed and then tells of how the woman still kills the flea but how the
The two poems The Flea and The Sunne Rising capture John Donne’s primary motive to get in bed with women. Donne wrote these poems at an early age, and at that time he was seeking nothing more than a sexual relationship. His poetry depicted clearly how sexist he was at the time and how he used to perceive women as a medium of pleasure. The content of his early poems express an immature and desperate image of Donne, who is dominated by his fixation on the sensuality of women. In The Flea, Donne shows his desperation to have sex by addressing a flea that has sucked the blood of both him and the woman he is persuading. It is quite awkward how the poet uses this obscure image of the flea as a symbol of love and sex to convince the woman that...
...e feminine population. In this poem the speaker does not seem to be very respectful of the female he is pursuing. Of course that is conducive to the time but it also says something about the validity of the message of the poem. In synopsis the flea, blood and death of the flea are all used as metaphors for sex, the exchange of life force (a very important thing) within the act of sex (represented as something as insignificant as a flea) and then orgasm, which can feel important and significant for a period of time but is really only as important as the death of a flea. The speaker in this poem hopes to convince his lady to sleep with him by trivializing sex and comparing it to something as insignificant as a flea. Meanwhile I say lady, screw the speaker and the flea you would get more of a commitment from a machine than a guy as afraid of human contact as this one.
There is a similar theme running through both of the poems, in which both mistresses are refusing to partake in sexual intercourse with both of the poets. The way in which both poets present their argument is quite different as Marvell is writing from a perspective from which he is depicting his mistress as being 'coy', and essentially, mean, in refusing him sex, and Donne is comparing the blood lost by a flea bite to the blood that would be united during sex. Marvell immediately makes clear his thoughts in the poem when he says, "Had we but world enough, and time/ This coyness, Lady were no crime", he is conveying the 'carpe diem' idea that there is not enough time for her to be 'coy' and refuse him sexual intercourse and he justifies this thought when he suggests when she is dead, in ?thy marble vault?, and ?worms shall try that long preserved virginity?. He is using the idea of worms crawling all over and in her corpse as a way of saying that the worms are going to take her virginity if she waits until death. Donne justifies his bid for her virginity in a much longer and more methodical way, he uses the idea of the flea taking her blood and mixing it with his, ?It suck?d me first, and now sucks thee?, and then...
...elps us to see just how determined Donne is. Another way in which Donne accentuates his meaning is through the poetic devices, rhythm and rhyme. The poem has irregular lines of iambic tetrameter and pentameter. Through the poem Donne varies the rhythm to highlight particular words or phrases, “mark but this flea, and mark in this” instead of opening with an unstressed syllable as in iambic form; Donne strains the word, “mark”. This is important in accentuating his argument. The poem follows the aabbbccddd rhyme scheme. This constant pattern mirrors the speaker’s persistence as he proceeds with his demands for intimacy throughout the poem. The dramatic movement and specific poetic devices in this poem successfully help to shape Donne’s meanings and altering arguments.
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
“Ah, Grief, I should not treat you like a homeless dog.” In stanza one, the narrator is explaining that she should treat the dog like one of her own. One that she knows,