IB DP ENGLISH A: LANGUAGE AND LITERATURE SL/HL

YEAR 1/ TERM 1/ UNIT 1

LITERARY TEXT 1: BoW “Poetry of John Donne”
IB DP English A teacher: Marharyta Alsultan

I was clever enough to know that John Donne was offering something that was awfully
enjoyable. I just wasn’t clever enough to actually enjoy it. – Wallace Shawn
 The following 15 poems will be considered in class in the order listed below. Full texts of
the poems are available in Poetry of John Donne. It is best that you have a hard copy of
each poem with you for making marginal notes/annotation in class. Remember that the
Individual Oral in December may be based in large part on Donne; it is possible that any
of the poems below may be the focus of your IO —half of them will be chosen for
random selection—so know them well!

This unit introduces you to John Donne, the pioneer of the metaphysical movement in
English literature in the first half of the 17th century. His poetry is expressive of intense
personal emotions in a conversational idiom with detachment. But critics of the school of
Samuel Johnson look askance at Donne's poetry whereas his poetry has received
approbation from such modernists as T.S. Eliot and F.R. Leavis. You have already learnt
about social, intellectual and religious aspects that form the groundswell of the kind of
poetry that Donne writes. In this unit you will read about Donne the man and also about
the salient features of his poetry. This unit also undertakes a close textual reading of 15
major poems of John Donne.
About John Donne
Donne’s love poems cover a wide range of feelings from extreme physical passion to
spiritual love, and express varied moods ranging from a mood of cynicism and contempt
to one of faith and acceptance. Hence, it is difficult to classify them with any exactness.
Donne’s love poetry covers a wider range of emotions than that of any previous poet, and
that it is not bookish but is rooted in his personal experiences. He had very wide and
varied experiences in love-making; therefore, you find a variety of emotions in his
poetry. He is notorious for having love affairs with many women. Some of his lover’s
affairs lasted for long and almost remained permanent, whereas others lasted only for a
very short period.

1. A Valediction: Forbidding Mourning

1 As virtuous men pass mildly away,
2 And whisper to their souls to go,
3 Whilst some of their sad friends do say
4 The breath goes now, and some say, No:
5 So let us melt, and make no noise,
6 No tear-floods, nor sigh-tempests move;
7 'Twere profanation of our joys
8 To tell the laity our love.
9 Moving of th' earth brings harms and fears,
10 Men reckon what it did, and meant;
11 But trepidation of the spheres,
12 Though greater far, is innocent.
13 Dull sublunary lovers' love
14 (Whose soul is sense) cannot admit
15 Absence, because it doth remove
16 Those things which elemented it.
17 But we by a love so much refined,
18 That our selves know not what it is,
19 Inter-assured of the mind,
20 Care less, eyes, lips, and hands to miss.
21 Our two souls therefore, which are one,
22 Though I must go, endure not yet
23 A breach, but an expansion,
24 Like gold to airy thinness beat.
25 If they be two, they are two so
26 As stiff twin compasses are two;
27 Thy soul, the fixed foot, makes no show
28 To move, but doth, if the other do.
29 And though it in the center sit,
30 Yet when the other far doth roam,
31 It leans and hearkens after it,
32 And grows erect, as that comes home.
33 Such wilt thou be to me, who must,
34 Like th' other foot, obliquely run;
35 Thy firmness makes my circle just,
36 And makes me end where I begun.
Understanding the poem
 The poem appreciates the beauty of spiritual love. Donne has painted a vivid picture of his
eternal bond that keeps him attached with his beloved even when they are apart. The
popularity of the poem lies in the fact that it represents love in its most pure form.
 “A Valediction: Forbidding Mourning “As a Representation of Spiritual Love”: The
poet, very artistically, draws a picture of this theme. He paints this picture through intense
emotions and pure feelings. He says that he is going to part with his beloved, but they should
not mourn this short gap. To him, mourning and crying will profane their sacred love.
According to the poet, earthly lovers fear the separation because it may affect their affection.
However, Donne and his beloved love each other spiritually as well as physically. They are
least bothered about the separation. Their two souls, being one, will always be united even
when their bodies are apart. Therefore, mourning is inappropriate when souls are attached for
good. However, what enchants the reader is the metaphorical comparison he draws to show
his unbound love for his beloved.
 Major Themes in “A Valediction: Forbidding Mourning”: Love, separation, and
acceptance are the significant themes given in the poem. The poem is primarily concerned
with the love of the speaker with his significant beloved one. Though they are going to part
due to circumstances, yet their love will remain pure and true. He develops these themes by
comparing his love with the legs of a mathematical compass to show that they are two
separate entities and yet connected and whole. He further supports his ideas by crafting many
metaphors to explain that their love is not limited to physical attraction. It rather rests in their
souls. Therefore, sadness, tears, and mourning are not appropriate for them.
Analysis of Literary Devices in “A Valediction: Forbidding Mourning”
Literary devices are used to bring richness and clarity to the texts. The writers and poets use
them to make their poem or prose texts appealing and meaningful. Donne has also used some
literary devices in this poem to show the exact nature of his love.
Alliteration: Alliteration is the repetition of consonant sounds in the same line such as the
sound of /f/ in “Thy soul, the fixed foot, makes no show” and /m/ sound in “And makes me
end where I begun”.
Metaphysical Conceit: Metaphysical conceit is a complex, and often a lofty literary device
that makes a far-stretched comparison between a spiritual aspect of a person and a physical
thing in the world. Donne has used a metaphysical conceit in stanzas seven to nine where he
compares his spiritual and holy love with the hands of a compass.
Simile: A simile is a device used to compare an object or a person with something else to
make the meanings clear to the readers. Donne has used simile in the last line of the sixth
stanza where it is stated as “Like gold to airy thinness beat.”
Consonance: Consonance is the repetition of consonant sounds in the middle or at the end of
the words in same line such as /s/ sound in “Care less, eyes, lips, and hands to miss.”
Imagery: Imagery is used to make the readers perceive things with their five senses. Donne
has used visual imagery to convey his idea of holy love such as, “As virtuous men pass
mildly away”,” Care less, eyes, lips, and hands to miss” and “As stiff twin compasses are
two.”
Symbolism: Symbolism is using symbols to signify ideas and qualities, giving them symbolic
meanings different from literal meanings. “The compass” and “the spheres” are the symbols
of love.
Metaphor: Donne has used extended metaphors in this poem to illustrate the nature of holy
love. The first is used in the first stanza where he compares separation from his wife with the
soul of a worthy man when he dies. The second example is given in the sixth line where it is
stated as, “No tear-floods, nor sigh-tempests move.” He compares tears and sighs to a
tempest. The third example is found in the sixth stanza where he compares his love with the
hands of the compass that work together and follow each other.
Paradox: A paradox is a statement that may seem contradictory yet can be true, or at least
makes sense. He has used this device by explaining that though their souls are one, they are
two separate beings. It means that their souls will always be together even when they are
apart.
The literary analysis shows that Donne has exercised his expertise to show the true nature of
his love and his intense feelings.
Analysis of Poetic Devices in “A Valediction: Forbidding Mourning”
Poetic and literary devices are the same, but a few are used only in poetry. Here is the
analysis of some of the poetic devices used in this poem.
 Stanza: A stanza is a poetic form of some lines. These are nine stanzas in this poem with four
lines in each stanza.
Quatrain: A quatrain is a four-lined stanza borrowed from Persian poetry.
Rhyme Scheme: The poem follows the ABAB rhyme scheme, and this pattern continues
throughout the poem.
Iambic Tetrameter (a line of poetry with four beats of one unstressed syllable and one
stressed syllable): Iambic tetrameter is a meter in which there are four iambs per line. The
poem comprises iambic tetrameter such as, “So let us melt and make no noise.”

2. Holy Sonnet 10: Death, be not proud

1 Death, be not proud, though some have called thee
2 Mighty and dreadful, for thou art not so;
3 For those whom thou think'st thou dost overthrow
4 Die not, poor Death, nor yet canst thou kill me.
5 From rest and sleep, which but thy pictures be,
6 Much pleasure; then from thee much more must flow,
7 And soonest our best men with thee do go,
8 Rest of their bones, and soul's delivery.
9 Thou art slave to fate, chance, kings, and desperate men,
10 And dost with poison, war, and sickness dwell,
11 And poppy or charms can make us sleep as well
12 And better than thy stroke; why swell'st thou then?
13 One short sleep past, we wake eternally
14 And death shall be no more; Death, thou shalt die.
Understanding the poem
 Also known as Holy Sonnet X, this sonnet was written by John Donne in 1633. John
Donne was a famous metaphysical poet. The popularity of this poem lies in its unique
subject, as it was a devotional as well as a warning to ‘personified’ death. Using the
metaphor of death, the poet argues that death is not permanent and it serves as an eternal
 pathway to life hereafter. He also has demonstrated the Christian doctrine of resurrection
and immortality of the soul, calling death as an inferior.
 “Death, be not Proud” a representative Poem of Logic: Donne has presented death as a
powerless figure. He denies the authority of death with logical reasoning, saying the
death does not kill people. Instead, it liberates their souls and directs them to eternal life.
He does not consider it man’s invincible conqueror. Instead, he calls it a poor fellow
without having free will. The arrival of death is also compared with a short rest and sleep
that recuperates a person for the upcoming journey. The poet’s denial to the conventional
approach of death gives the reader a new interpretation.
 Major Themes “Death, be not Proud”: the powerlessness of death. The poem comprises
the poet’s emotions, mocking the position of death and arguing that death is unworthy of
fear or awe. According to him, death gives birth to our souls. Therefore, it should not
consider itself mighty, or superior as ‘death’ is not invincible. The poet also considers
death an immense pleasure similar to sleep and rest. For him, the drugs can also provide
the same experience. The poem foreshadows the realistic presentation of death and also
firmly believes in eternal life after death.
Analysis of the Literary Devices in “Death, be not Proud”
Personification: Personification means to attribute human features to non-human things. Donne
has personified death throughout the poem, stating it should not be proud. Being proud is a
human quality. Hence, death is given a human quality of having feelings and emotions.
Metaphor: There are three metaphors in this poem. The first is used in the opening line “Death,
be not proud.” Here death is compared to a proud man. The second is used in the ninth line,
“Thou art slave to fate.” In the last line in an extended metaphor where death is compared to the
non-existent or unrealistic object.
Alliteration: Alliteration is the repetition of the same consonant sounds in the same lines of the
poetry such as the use of /th/ in “And better than thy stroke; why swell’st thou then” and /m/
sound in “Much pleasure; then from thee much more must flow.”
Metonymy: Metonymy is a type of metaphor in which an object is used to describe something
closely related to it. In this poem, “poppy” and “charm” are used to produce gentle sleep or
death.
Assonance: Assonance is the repetition of the vowel sounds in the same line of poetry such as
the sound of /a/ in “Thou art slave to fate, chance, kings, and desperate men,” and the sound of
/e/ in “And soonest our best men with thee do go.”
Irony: Irony means a statement that may mean something different from, or the opposite of, what
is written. Irony often expresses something other than their literal intention, often in a humorous
way. For example: “Death, thou shalt die.”
Analysis of the Poetic Devices in “Death, be not Proud”
Sonnet: A sonnet is a fourteen-line poem in which the same idea runs throughout the poem. In
this sonnet, John Donne has combined the Shakespearian and Petrarchan style. The division of
the sonnet reflects the Shakespearian structure, whereas the rhyme scheme shows the structure of
Petrarchan sonnet.
Rhyme Scheme: In first, second and third quatrains the poem follows the ABBA rhyme scheme,
and in couplet the rhyme scheme is AA.
Meter: Most of the verses of this poem are written in iambic pentameter in which unstressed
syllable is followed by a stressed syllable, as it is stated, “from rest,” “and ”. However, the meter
fluctuates, as the poem progresses.
The analysis of these poetic devices shows this sonnet as a unique representative poem for
mixing Shakespearean and Petrarchan style in its structure and meter.

3. The Good-Morrow

1 I wonder, by my troth, what thou and I

2 Did, till we loved? Were we not weaned till then?
3 But sucked on country pleasures, childishly?
4 Or snorted we in the Seven Sleepers’ den?
5 ’Twas so; but this, all pleasures fancies be.
6 If ever any beauty I did see,
7 Which I desired, and got, ’twas but a dream of thee.
8 And now good-morrow to our waking souls,
9 Which watch not one another out of fear;
10 For love, all love of other sights controls,
11 And makes one little room an everywhere.
12 Let sea-discoverers to new worlds have gone,
13 Let maps to other, worlds on worlds have shown,
14 Let us possess one world, each hath one, and is one.
15 My face in thine eye, thine in mine appears,
16 And true plain hearts do in the faces rest;
17 Where can we find two better hemispheres,
18 Without sharp north, without declining west?
19 Whatever dies, was not mixed equally;
20 If our two loves be one, or, thou and I
21 Love so alike, that none do slacken, none can die.
Understanding the poem
 Popularity of “The Good-Morrow”: This beautiful poem which is also called aubade, or a
morning love poem, was written by John Donne, a metaphysical English poet of the
seventeenth century. He is the most popular metaphysical poet today who prompted T. S.
Eliot to revive the metaphysical movement in English poetic tradition. The poem first
appeared in his collection of Song and Sonnets in 1633 and became an instant hit at that
time when Donne was still at Lincoln’s Inn, studying law.
 The poem argues that even erotic love is equal to spiritual love. “The Good-Morrow” As
a Representative of Sensual Love: The speaker poses several rhetorical questions about
where, how, and what they were doing before they got involved in love with each other
and responds that he always dreamed about her. His argument starts from this point, at
which he presents a premise that now their souls have woken up to the reality of love and
that they always look at each other not out of fear but that they do not require it. This is
how they create a room of their own where they have their own world for the explorers.
He builds his argument that both are now in unison and that both seem like two globes in
one place. Therefore, they would continue to be a complex love example as they would
never die.
 Major Themes in “The Good-Morrow”: Awakening of love, love of the souls, and love
as an exploration are three major thematic strands of this poem. The poet after posing
several questions, suddenly realizes that he has come to the point where he and his
 beloved experience the awakening of their souls. Now they see that they have started
loving each other and their love is entirely different from others in that their souls are
engaged in each other. This moment of love epiphany that both realize that they appear in
each other’s eyes and that they are truly in love with each other in such a way that they
seem to be two globes, presenting a perfect model to the adventurers and explorers. The
main thematic strand that they will be one appears at the end when Donne says that if
they love each other and that they are alike and their love is alike, they will never die.
Analysis of Literary Devices Used in The Good-Morrow
Anaphora: It means to repeat a word or a phrase in consecutive verses for impacts. For example,
the poet used “Let” as an anaphora in the second stanza.
Allusion: It is a reference to a literary, historical, and social event, incident, or figure to show its
importance in the existing context. The poet referred to Seven Sleeper’s den as well as the globe
and hemispheres. These are religious and geographical allusions.
Assonance: Assonance is the repetition of vowel sounds in the same line such as the sound of /o/
and /i/ in “I wonder, by my troth, what thou and I” and the sound of /o/ in “And now good-
morrow to our waking souls.”
Alliteration: Alliteration is the repetition of consonant sounds in the same line in quick
succession, such as the sound of /w/ in “were we” or /s/ in “Seven Sleepers.”
Conceit: It is a literary device that shows the use of a highly uncommon or unusual metaphor.
The poem shows the use of union in love as a globe and two persons as hemispheres. This is a
good use of conceit.
Consonance: Consonance is the repetition of consonant sounds in the same line, such as the
sound of /l/ in “For love, all love of other sights controls” and the sound of /m/ in “And makes
one little room an everywhere.”
Hyperbole: It means to exaggerate things whether in ironic remarks or reality. The poem shows
the use of hyperbole such as the sea discoverers would explorer their world of love which is a
hyperbole used to show their love.
Imagery: Imagery is used to make readers perceive things involving their five senses. John
Donne uses imagery in this poem, such as “My face in thine eye, thine in mine appears”, “And
true plain hearts do in the faces rest” and “Where can we find two better hemispheres.”
Metaphor: It is a figure of speech in which an implied comparison is made between objects that
are different in nature. The poet used different metaphors, such as winds and waves comparing
them to musicians and singers.
Parallelism: It means to use parallel sentences or phrases or clauses. The poem shows the use of
parallelism, such as “My face in thine eye, thine in mine appears.”
Personifications: It means to attribute human traits to inanimate objects and ideas. The poem
shows the use of personifications, such as winds, waves, leafy trees and hearts, have some
human traits.
Rhetorical Question: It means to use questions not to get answers but to stress upon the main
theme. The poem shows the use of rhetorical questions, such as;
I wonder, by my troth, what thou and I
Did, till we loved? Were we not weaned till then?
But sucked on country pleasures, childishly?
Or snorted we in the Seven Sleepers’ den?
Symbolism: Symbolism is using symbols to signify ideas and qualities, giving them symbolic
meanings that are different from the literal meanings. The poem shows symbols, such as flowers,
bowers, birds, moons, and stars to show the blessings of God.
Analysis of Poetic Devices Used in The Good-Morrow
Diction: It means the type of language. The poem shows very good use of formal and poetic,
ironic and loving diction.
End Rhyme: End rhyme is used to make the stanza melodious. John Donne has used end rhyme
in this poem such as then/den, be/see/thee, and souls/controls.
Rhyme Scheme: The poem follows ABABCCC and this continues in all three stanzas.
Stanza: A stanza is a poetic form of some lines. There are three stanzas in this poem with each
comprising seven verses such as given below.
Tone: It means the voice of the text. The poem shows a loving, religious and emotional tone.
4. No Man Is an Island / “For Whom the Bell Tolls”:
1 No man is an island, entire of itself; every man is a
2 piece of the continent, a part of the main; if a clod
3 be washed away by the sea, Europe is the less, as well
4 as if a promontory were, as well as if a manor of thy
5 friend's or of thine own were; any man's death
6 diminishes me, because I am involved in mankind, and
7 therefore never send to know for whom the bell tolls;
8 it tolls for thee.
Understanding the poem
 Popularity of “For Whom the Bell Tolls”: This poem is actually an excerpt. It is borrowed
from Donne’s “Devotions Upon Emergent Occasions” published back in 1624.
 This work covers death, rebirth, and the Elizabethan concept of illness as God’s
handiwork. This concise piece presents the poet’s opinion about the wholeness of
mankind or unity of mankind. The main thrust of his argument of the unity of mankind
has made this poem worth reading, and therefore, popular.
 “For Whom the Bell Tolls” As a Representative of Reality: John Donne states his opinion
about mankind. Taking it as an entity, he states that like a man who is not an island but
part of a continent, mankind is a whole continent and all men are its parts. He is of the
view that Europe is an entity equal to a clod (lump/part of) washed away from the sea. It
is the same case as a peninsula or a manor (estate/property) of some of his friends that are
all part of the land. Similarly, when such a man dies, the poet feels that it has taken away
some of his parts due to its being a part of mankind. Therefore, the tolling of bells means
they are tolling for you and not for some anonymous person.
 Major Themes in “For Whom the Bell Tolls”: Life, death, and the unity of mankind are
three important themes of this excerpt. The poet first uses a metaphor of a continent for
mankind, saying that not everyone is an island and that they are part of this continent
which could be a small clod like that of Europe. Then he compares the same with a simile
like that of a peninsula or a farmhouse, saying when the bells ring, they ring for a man
and not for any anonymous person. Therefore, this shows the arrival of death, which
impacts the life of the poet. In this death lies the unity of mankind.
Analysis of Literary Devices Used in For Whom the Bell Tolls
Assonance: Assonance is the repetition of vowel sounds in the same line, such as the sound of /a/
in “No man is an island” and the sound of /o/ in “Therefore, send not to know.”
Alliteration: Alliteration is the repetition of consonant sounds in the same line in quick
succession, such as the sound of /d/ in “death diminishes.”
Consonance: Consonance is the repetition of consonant sounds in the same line, such as the
sound of /m/ in “Each man’s death diminishes me” and the sound of /l/ in “For whom the bell
tolls.”
Enjambment: It is defined as a thought in verse that does not come to an end at a line break;
rather, it rolls over to the next line. For example;
Therefore, send not to know
For whom the bell tolls,
It tolls for thee.
Irony: Irony is a figure of speech in which words are used in such a way that their intended
meaning is different from the actual meaning of the words. This poem is ironic in that tolling of
the bells is for mankind, and each is part of it, yet only a single person dies. This is an implicit
irony and not a direct one.
Imagery: Imagery is used to make readers perceive things involving their five senses. John
Donne has used imagery in this poem, such as “If a clod be washed away by the sea”, “As well
as if a promontory were” and “For whom the bell tolls.”
Metaphor: It is a figure of speech in which an implied comparison is made between objects that
are different in nature. The writer has used the metaphor of a continent for mankind and of an
island for a man.
Simile: It means to compare things directly to show their relationship. John Done has used a
promontory and a manor to show comparison with man.
Symbolism: Symbolism is using symbols to signify ideas and qualities, giving them symbolic
meanings that are different from the literal meanings. The poem shows symbols such as an
island, continent, promontory, and manor to show the collectivity of mankind and the death of a
person.
Analysis of Poetic Devices Used in For Whom the Bell Tolls
Diction: It means the language and style of the language. This poem shows simple and formal
diction at use in poetry.
Free Verse: It means having no rhyme scheme or fixed metrical pattern. This excerpt, as it occurs
in a prose piece, shows the use of free verse.
Repetition: It means to repeat some words or phrases for impact. This poem or excerpt shows the
use of repetition, such as of tolls in the last two verses.
Stanza: A stanza is a poetic form of some lines. This excerpt is a single stanza of fourteen verses.

5. The Sun Rising

1 Busy old fool, unruly sun,
2 Why dost thou thus,
3 Through windows, and through curtains call on us?
4 Must to thy motions lovers' seasons run?
5 Saucy pedantic wretch, go chide
6 Late school boys and sour prentices,
7 Go tell court huntsmen that the king will ride,
8 Call country ants to harvest offices,
9 Love, all alike, no season knows nor clime,
10 Nor hours, days, months, which are the rags of time.
11 Thy beams, so reverend and strong
12 Why shouldst thou think?
13 I could eclipse and cloud them with a wink,
14 But that I would not lose her sight so long;
15 If her eyes have not blinded thine,
16 Look, and tomorrow late, tell me,
17 Whether both th' Indias of spice and mine
18 Be where thou leftst them, or lie here with me.
19 Ask for those kings whom thou saw'st yesterday,
20 And thou shalt hear, All here in one bed lay.
21 She's all states, and all princes, I,
22 Nothing else is.
23 Princes do but play us; compared to this,
24 All honor's mimic, all wealth alchemy.
25 Thou, sun, art half as happy as we,
26 In that the world's contracted thus.
27 Thine age asks ease, and since thy duties be
28 To warm the world, that's done in warming us.
29 Shine here to us, and thou art everywhere;
30 This bed thy center is, these walls, thy sphere.
Understanding the poem
 John Donne, a great English poet, wrote ‘The Sun Rising’ also known as ‘The Sunne
Rising’. It was first published in 1633. The poem speaks about two lovers who are
disturbed by the rising sun. It illustrates that the speaker does not want anyone to bother
him while they are together.
 “The Sun Rising” As a Representative of Love: The poem reflects the speaker’s
boundless adoration for his lover. The poem begins when the speaker, lying in bed with
his lady. He scolds the rising sun, asking why it is irritating them through curtains and
windows. He asks the sun to go and bother those who start their work early in the
morning. To him, it should not interfere with the speaker’s time with his lover. He also
challenges the strong sparkling sunbeams by saying that he could eclipse them merely by
closing his eyes. He compares his beloved to every country in the world as if she means a
whole world to him. Thus, his whole world is compressed in that bedroom. Therefore, he
commands the sun to do its job by keeping them warm.
 Major Themes in “The Sun Rising”: Authority of love, nature, and God’s creation are the
major themes of this poem. Throughout the poem, the speaker develops this idea that his
love is grand that even the universe itself exists within their pure relationship. He
considers himself as the ruler of the universe, and in doing so, he beautifully portrays the
entire world into his small bedroom. He challenges the authority of the sun by claiming
that it cannot exercise its power in the lover’s domain. To him, it should go away and
disturb others. In the end, he commands the sun to warm them in their bed.
Analysis of Literary Devices Used in “The Sun Rising”
 literary devices are tools that the writers use to enhance the intended impact of their
writing. They also enable the readers to interpret the writer’s message. Donne has also
used some literary devices in this poem to make it superb.
Assonance: Assonance is the repetition of vowel sounds in the same line. For example, the sound
of /oo / in ‘Busy old fool, unruly sun’ and the sound of /o/ in ‘Love, all alike, no season knows
nor clime’.
Alliteration: Alliteration is the repetition of consonant sounds in the same line in quick
successions. For example, the sound of /th/ in ‘Go tell court huntsmen that the king will ride’.
Apostrophe: An apostrophe is a device used to call somebody or something from afar. Here, the
poet has used an apostrophe to call the sun to express his feelings. For example, “Busy old fool,
unruly sun.”
Consonance: Consonance is the repetition of consonant sounds in the same line. For example, the
sound of /t/ in “In that the worlds contracted thus” and the sound of /l/ in “Busy old fool, unruly
sun.”
Enjambment: It is defined as a thought in verse that does not come to an end at a line break;
instead, it continues to the next line. For example,
“Whether both th’Indias of spice and mine
Be where thou leftst them, or lie here with me.”
Imagery: Imagery is used to make readers perceive things involving their five senses. For
example, “Busy old fool, unruly sun”, “Through windows, and through curtains call on us” and
“This bed thy center is, these walls, thy sphere.”
Personification: Personification is to give human qualities to non-human things. The poet has
personified the sun throughout the poem.
Rhetorical Question: Rhetorical question is a sentence that is posed to make the point clear. For
example, “Why shouldst thou think?”, “Must to thy motions lovers’ seasons run?” and “Through
windows, and through curtains call on us?”
Symbolism: Symbolism is a use of symbols to signify ideas and qualities by giving them
symbolic meanings different from their literal meanings. Sun symbolizes powerlessness, whereas
the room is the symbol of the universe.
Analysis of Poetic Devices Used in “The Sun Rising”
End Rhyme: End Rhyme is used to make the stanza melodious. For example, “sun/run”,
“clime/time”, “thus/us” and “think/wink.”
Rhyme Scheme: The poem follows the ABBACDCDEE rhyme scheme.
Stanza: A stanza is a poetic form of some lines. There are three stanzas in this poem, with each
having ten lines.

6. The Canonization
1 For God's sake hold your tongue, and let me love,
2 Or chide my palsy, or my gout,
3 My five gray hairs, or ruined fortune, flout,
4 With wealth your state, your mind with arts improve,
5 Take you a course, get you a place,
6 Observe His Honor, or His Grace,
7 Or the King's real, or his stampèd face
8 Contemplate; what you will, approve,
9 So you will let me love.
10 Alas, alas, who's injured by my love?
11 What merchant's ships have my sighs drowned?
12 Who says my tears have overflowed his ground?
13 When did my colds a forward spring remove?
14 When did the heats which my veins fill
15 Add one more to the plaguy bill?
16 Soldiers find wars, and lawyers find out still
17 Litigious men, which quarrels move,
18 Though she and I do love.
19 Call us what you will, we are made such by love;
20 Call her one, me another fly,
21 We're tapers too, and at our own cost die,
22 And we in us find the eagle and the dove.
23 The phoenix riddle hath more wit
24 By us: we two being one, are it.
25 So, to one neutral thing both sexes fit.
26 We die and rise the same, and prove
27 Mysterious by this love.
28 We can die by it, if not live by love,
29 And if unfit for tombs and hearse
30 Our legend be, it will be fit for verse;
31 And if no piece of chronicle we prove,
32 We'll build in sonnets pretty rooms;
33 As well a well-wrought urn becomes
34 The greatest ashes, as half-acre tombs,
35 And by these hymns, all shall approve
36 Us canonized for love:
37 And thus invoke us: You, whom reverend love
38 Made one another's hermitage;
39 You, to whom love was peace, that now is rage;
40 Who did the whole world's soul contract, and drove
41 Into the glasses of your eyes
42 (So made such mirrors, and such spies,
43 That they did all to you epitomize)
44 Countries, towns, courts: Beg from above
45 A pattern of your love!
Analysis of poetic devices
‘The Canonization’ by John Donne was first published in 1633 in Donne’s posthumous
collection Songs and Sonnets. It is a five stanza poem that is separated into sets of nine lines.
The lines rhyme in the pattern of abbacccaa, alternating as the poet saw fit from stanza to stanza.
In regards to the meter, Donne was less consistent. There are moments in the text in which he
uses iambic pentameter. This means that the lines are divided into five sets of two lines. The first
of these is unstressed and the second stressed.
There are other times in which Donne uses iambic tetrameter, meaning the lines contain
four sets of two beats rather than five. Finally, a reader should take note of the last line of every
stanza. Here Donne uses iambic trimeter, or a line with three sets of two beats.
One of the most important elements of ‘The Canonization’ is the use of an extended
metaphor, known as conceit. This type of metaphor is often unusual and challenging. In the
final stanzas, the speaker introduces a metaphor comparing himself and his lover to a phoenix. In
this form, they are able to live, die in a blaze of passion, and then live again even more
beautifully.
Understanding the poem:
  ‘The Canonization’ by John Donne describes a transcendent love that
eventually evolves into the idealized baseline for all other aspiring lovers.
 The poem begins with the speaker telling a listener that they need to be
quiet and let him “love.” One will soon discover that love is the most important thing to
the listener. He values this above all else. The speaker goes on to tell the listener to do
anything but bother him about his love. This person could make fun of his quirks, get a
job, go to school, or meditate on the face of the king.
 The speaker goes on to describe, in what sounds like a rant, how his love
has not hurt anyone. It has not sunk ships, flooded fields, frozen out the spring, or given
anyone the plague. It is harmless to all except the speaker and his lover for whom it is
deeply beneficial. The speaker compares himself and his lover to a phoenix which lives
and dies and lives again. They could get through anything and be remade.
 He also tells the listener that if they are unable to live as they want on
earth then they’ll happily die. Once they’ve ascended to heaven they’ll become saints of
“Love.” Their position might not afford them grand tombs or a place in history but their
story will be told in sonnets and love songs. They will have the ability to look down on
earth and see all the lovers praying to them.
 In conclusion, the speaker states that he knows they will be unhappy with
what they see. The lovers on earth will not be “loving” in the correct way. This will
enrage the couple.

Analysis of The Canonization

Stanza One
For God’s sake hold your tongue, and let me love,
Or chide my palsy, or my gout,
My five gray hairs, or ruined fortune flout,
With wealth your state, your mind with arts improve,
Take you a course, get you a place,
Observe his honor, or his grace,
Or the king’s real, or his stampèd face
Contemplate; what you will, approve,
 So you will let me love.
In the first line of ‘The Canonization’, the speaker begins by telling an unknown,
unnamed listener to be quiet. He expresses annoyance over the interaction he’s having with this
person and states that the only thing he wants to do is love. Something the listener is doing is
keeping him from being able to do. He goes on to gives them a number of options they should
pursue rather than distracting him from his love.
First, they could move on to making fun of the speaker’s “palsy” or involuntary tremors
or his “gout.” An affliction was uncommon in contemporary society that makes one’s joints
swell. Or, the listener might want to direct their attention to the speaker’s “gray hairs” or take
some pleasure from making fun of his lost fortune.
Other options the listener might pursue include bettering their own state of affairs. This
might mean improving their mind with art or making money of their own. Additionally, this
person could get a “place,” or a job or take some kind of class. Another option that might appeal
more to the listener is contemplating the face of the king, either in real life or “stampèd” such as
on a coin. The speaker doesn’t care what this person does as long as he is left alone to love as he
will.

Stanza Two
Alas, alas, who’s injured by my love?
What merchant’s ships have my sighs drowned?
Who says my tears have overflowed his ground?
When did my colds a forward spring remove?
When did the heats which my veins fill
Add one more to the plaguy bill?
Soldiers find wars, and lawyers find out still
Litigious men, which quarrels move,
Though she and I do love.
In the next stanza of ‘The Canonization’, the speaker begins with a rhetorical
question regarding his own love and what it’s injuring. He knows the answer to be “nothing” but
hopes the posing of the question will remind the listener and inform the reader that there is no
reason he should be kept from loving. This first question is followed by four more.
 He poses possible, but unreal scenarios that his love was not involved in. The first of
these is the drowning of merchant ships, the second the overflowing of land with water. It is
clearly outrageous that “love” could ever cause such disasters as sunken ships and flooded land.
Just in case the listener still has misplaced ideas about the speaker’s love he gives two more
examples.
His relationship has not given anyone the plague nor the “cold” inflicted on his body by
his love caused spring to recede early. The world is still turning as it always has. There are the
soldiers fighting in battles and the lawyers still live for lawsuits. Everything is going on just as it
is supposed to while “she” and the speaker “do love.”
Stanza Three
Call us what you will, we are made such by love;
Call her one, me another fly,
We’re tapers too, and at our own cost die,
And we in us find the eagle and the dove.
The phœnix riddle hath more wit
By us; we two being one, are it.
So, to one neutral thing both sexes fit.
We die and rise the same, and prove
Mysterious by this love.
In stanza three of ‘The Canonization’, he tells the listener that they can say anything they
want about the love between the two but it does not bother him. The speaker is confident in who
he is and how he is living because he is directed by love, it made the couple into who they are.
He compares himself and his lover to “tapers” or candles. The burning of their flame causes their
own demise, and he knows it.
No matter what the listener thinks of them, they compare themselves to a phoenix. They
are not doves or eagles, but something grander and perhaps more magical. The “phoenix…has
more wit,” meaning it makes more sense and applies more aptly to their situation. Together they
are becoming one creature, “one neutral thing.” Just as the Phoenix is said to die and then be
reborn, they are able to overcome all obstacles and return to one another. All because of the
mysteries of love.
Stanza Four
 We can die by it, if not live by love,
And if unfit for tombs and hearse
Our legend be, it will be fit for verse;
And if no piece of chronicle we prove,
We’ll build in sonnets pretty rooms;
As well a well-wrought urn becomes
The greatest ashes, as half-acre tombs,
And by these hymns, all shall approve
Us canonized for Love.
If life proves to be too much of an obstacle for the couple they are willing to face death.
They can “die by it” if they are unable to “live by love” They would rather die than survive in a
world without one another. The speaker is setting out a world in which their lives are unfit for
traditional remembrance, via a tomb or marker. Instead, they will be known through “verse” or
song, just like this one.
In the next lines, he states that they might not make their way into a “chronicle,” likely a
reference to a history book. That’s okay with him thought as they will end up in a sonnet. This is
a much more appropriate place anyway as it will contain their “pretty rooms.” They do not fit the
description of the great ones who end up in “well-wrought urn[s]” and in “half-acre tombs.”
Their lives are not so grand.
The sonnets they will end up in will allow them exposure to a larger audience. This way
their story will be heard by many and perhaps finally accepted. The couple will become so
popular they will be “canonized” or made into saints for “Love.” From then on out anyone who
needs help in love will pray to them.
Stanza Five
And thus invoke us: “You, whom reverend love
Made one another’s hermitage;
You, to whom love was peace, that now is rage;
Who did the whole world’s soul contract, and drove
Into the glasses of your eyes
(So made such mirrors, and such spies,
That they did all to you epitomize)
 Countries, towns, courts: beg from above
A pattern of your love!”
The fifth stanza of ‘The Canonization’ solidifies this future position of the lovers as
saints of love. Donne’s seeker turns again to the listener and tells them that everyone will
“invoke” the saints. When they do this, the audience will speak on the “hermitage” the lovers
created. It will be a place of safety for any in love.
Now that the lovers, in this fantasy created by the speaker, are in heaven, they are able to
look down on earth. They hear prayers for and from everyone. All is not as they would have it
though. The love shared amongst the people of earth is incorrect. Their “pattern of…love” is not
the ideal one. The love that once gave them pleasure on earth has turned into a “rage” in heaven.
The couple is upset by the fact that everyone on earth seems unable to live up to their standard.

7. A Valediction: Of Weeping
1 Let me pour forth
2 My tears before thy face whilst I stay here,
3 For thy face coins them, and thy stamp they bear,
4 And by this mintage they are something worth,
5 For thus they be
6 Pregnant of thee;
7 Fruits of much grief they are, emblems of more,
8 When a tear falls, that thou falls which it bore,
9 So thou and I are nothing then, when on a diverse shore.
10 On a round ball
11 A workman that hath copies by can lay
12 An Europe, Afric, and an Asia,
13 And quickly make that, which was nothing, all;
14 So doth each tear
15 Which thee doth wear,
16 A globe, yea world, by that impression grow,
17 Till thy tears mixed with mine do overflow
18 This world; by waters sent from thee, my heaven dissolvèd so.
19 O more than moon,
20 Draw not up seas to drown me in thy sphere;
21 Weep me not dead in thine arms, but forbear
22 To teach the sea what it may do too soon.
23 Let not the wind
24 Example find,
25 To do me more harm than it purposeth;
26 Since thou and I sigh one another's breath,
27 Whoe'er sighs most is cruellest, and hastes the other's death.

Understanding the poem:

‘Valediction of Weeping’ by John Donne describes the troubled parting, and powerful emotions,
of the speaker and his current lover.
The poem begins with the speaker asking that he be allowed to cry for a moment before he parts
from the listener. He wants her to see his grief and understand that he does feel very upset over
their separation. In fact, his tears come from her own essence. They are created with her image in
mind. The tears also represent the grief that will come in the future and the spiritual connection
the two share. There is a great deal more on this topic in the next two stanzas.
In the first stanza’s final lines, he tells his listener that although crying might feel like the right
thing to do, tears are not helping their situation. He thinks that when tears fall, they make the
emotion “nothing.”
He continues on to describe the power and danger of the listener’s grief and how together their
tears will bring about heaven and then its dissolution. In the final lines, he tells his listener not to
drown him in her grief. She should keep from sending out the forces of her love to try to reach
him as they will certainly cause his death. The poem concludes with the speaker describing how
the grief of one will condemn the other to certain death unless they can keep their emotions in
check.

Themes
The primary themes at work in ‘Valediction of Weeping’ are separation and unity. Throughout
the poem, the speaker discussing the upcoming separation he and his lover are going to have to
go through. He wants her to know and see his grief so that she might understand how he feels.
They’re so intertwined that he describes his tears as originating from her essence. His thought
process on what grief is and how it should be expressed evolves in the next lines as he suggests
that tears actually make the emotion worth nothing. Rather than showing their emotions, the two
should keep them under control. Otherwise, something terrible could happen to their
relationship.
Structure and Form
‘Valediction of Weeping’ by John Donne is a three-stanza metaphysical poem that is separated
into sets of nine lines. The lines vary greatly in length and but do follow a specific syllabic
pattern. The first, fifth, and sixth lines have four syllables, and the second, third, fourth, seventh,
and eighth have ten. The final line of every stanza stretches out to fourteen lines as if combining
the previous lengths. The rhyme scheme is less complex. It conforms to a pattern of
ABBACCDDD, alternating end sounds, and the poet saw fit.
Literary Devices
Valediction of Weeping’ makes use of several literary devices, some of which are crucial to its
categorization as a metaphysical poem. It is clever, makes use of extended
complicated metaphors, and investigates important worldly questions. These pieces of poetry
also had the goal of surprising a reader with the comparison drawn by the poet. Usually, these are
between two very unlikely things that initially seem to have no connection.
As was common in Donne’s poetry, there are a number of these extended metaphors present. In
this case, due to their complexity, they are known as conceits. The most prominent of these
describes tears in powerful, worldly terms. They are spoken of in relation to the “round ball” of
the earth and the seas. They are also imbued (filled/strongly influenced) with a number of powers
and features. The speaker’s own hold of his listener’s image and his listener’s tears have the
power to drown him.
Donne’s speaker is completely consumed by the use of tears and their effect on the world. At
first, he wants to cry and wants his listener to see him doing it. This way, she will know he is
grieving for their separation. Soon though, he asks that all the tears stop. They are so packed with
the listener’s image and essence that their falling degrades her, and therefore, their love as the
poem progresses, the stakes increase. By the time Donne gets to the last lines, the couple’s tears
have the ability to “hasten”(move fast, hurry) the other’s death. If one person cries, the other will
surely be caught up in the wake of those emotions and be drowned.
Analysis of The Title
Before beginning this piece, it is important to understand the title. This piece is not the only one
of Donne’s, which utilized the word “Valediction.” One of his most famous and well-studied
works, ‘Valediction Forbidding Mourning,’ is just one example. The word “valediction” is used
to describe a text bidding farewell to a specific listener. In this case, the poem is addressed to a
current lover from whom the speaker is soon to part.
It is thought by some that this piece was written after Donne’s secret marriage, during a period of
separation. His marriage was a topic that came up frequently within his poetry, especially due to
the repercussions it had on his career and subsequent short imprisonment in Fleet Prison.

Analysis of Valediction of Weeping

Stanza One
Let me pour forth
My tears before thy face, whilst I stay here,
For thy face coins them, and thy stamp they bear,
And by this mintage they are something worth,
For thus they be
Pregnant of thee;
Fruits of much grief they are, emblems of more,
When a tear falls, that thou falls which it bore,
So thou and I are nothing then, when on a diverse shore.
In the first stanza of this piece, the speaker begins by asking his listener to allow him some tears.
As is evident through the title of the poem, a parting is soon to occur. The listener is the
speaker’s lover, and this entire piece is directed at her. She does not have a voice in the three
stanzas, although the speaker does spend a great deal of time explaining the power she has over
him. From these lines, mostly present in the second stanza, one can imagine the role she had in
his life.
The couple has a very limited amount of time left together, and so the speaker asks that he be
allowed to cry “whilst” he is still there. He wants to make sure she sees his anguish. He refers to
his own tears as having their source in the listener’s own face. Her visage, heart, and spiritual
being “coins them” or creates them. When they roll down his cheeks, they bear the “stamp” of
the listener. She is the creator and subject matter of his grief. This is an example of one of the
clever metaphysical conceits Donne is known for employing. He adds that it is only due to their
origin, the listener’s face, that they are “something worth.” The “worth” the tears posses soon
falls into question.
He continues on, speaking about the coin-tears as being “pregnant” with the listener. They are
filled with her being as if they are true spawns of her own being. The metaphor of production
continues and expands. Now though, the tears are now more like fruit than they are coins. They
are representative of the speaker’s current grief and are a signal that there’s a great deal more
grief beneath the surface.
The listener is so much a part of the speaker’s tears that when they fall down his face, she falls
too. At the same time, the tears are separating from the speaker. This changes their essence,
making them worthless. They are no longer a part of him. Their future is playing out in the
worthless nature of the fallen tears. Soon enough, the two will be on “diverse shore[s],” separate,
and therefore “nothing.”

Stanza Two
On a round ball
A workman that hath copies by, can lay
An Europe, Afric, and an Asia,
And quickly make that, which was nothing, all;
So doth each tear
Which thee doth wear,
A globe, yea world, by that impression grow,
Till thy tears mix’d with mine do overflow
This world; by waters sent from thee, my heaven dissolved so.
The second stanza is the most complex of the three. Here, the speaker begins by referring to “a
round ball.” This is a reference to the earth, in particular, a globe created by a “workman.” It is
on a smaller scale, and therefore, it is easy for him to “lay / An Europe, Afric, and an Asia” on its
surface. The ability to create, discover, and explore these places turn “nothing” into “all.” With
what seems like a detour from the main point of the poem, the speaker compares the globe
without the continents to the globe. When the landmasses are present on the surface, the sphere
has meaning. But, before they are placed, or if they are removed, they are “nothing.” This is
exactly how the speaker sees his and the listener’s tears.
Just as the craftsman can build up his world with the additions of lands, the tears increase on the
listener’s face. They, too, are like a “world” or “globe.” When they are numerous enough, they
combine with the speaker’s and “overflow.” They become too much for either of them to bear,
leading to disastrous consequences for them both. The unification of their mutual tears has a
greater impact than the speaker’s lone grief. They mix and then dissolve again. Donne’s
speaker’s happiness is always on the verge of being created and destroyed.
Stanza Three
O more than moon,
Draw not up seas to drown me in thy sphere,
Weep me not dead, in thine arms, but forbear
To teach the sea what it may do too soon;
Let not the wind
Example find,
To do me more harm than it purposeth;
Since thou and I sigh one another’s breath,
Whoe’er sighs most is cruellest, and hastes the other’s death.
The final stanza of the poem begins with a reference to another globe, the moon. He states that
his lover is “more than the moon” to him. At the same time, she has powers similar to those the
moon possesses. He is somewhat afraid of what she, or his love for her, will do to him. He asks
her not to “Draw…up seas to drown [him] in [her] sphere.” The speaker knows that he will not
survive if he is consumed by the seas or the listener’s own tears. They are too powerful.
The speaker is very much against crying by this point in the poem. He asks the listener to try not
to cry as well as it will only do him harm. They should keep their tears in, and she should not
accidentally, or on purpose, teach the sea and wind to seek him out. These elements would also
bring about his end as he travels.
It is interesting to analyze the amount of power he bequeaths the listener with. She has the ability
to destroy him with a simple word to “the sea” or “the wind.” As stated above, lines such as these
are the only information the reader receives about the listener as a person. Donne’s speaker’s
monologue does not allow for any other voices, so one must make do with what he chose to
reveal about her, and they’re dynamic.
In the final lines, the speaker summarizes the main point of the previous lines. He does not
believe that grief, or the expression of grief, will do either of them any good. In fact, he thinks
that if one of them gives in to grieving, it will hasten the “other’s death.”

8. The Apparition
1 When by thy scorn, O murd'ress, I am dead
2 And that thou think'st thee free
3 From all solicitation from me,
4 Then shall my ghost come to thy bed,
5 And thee, feign'd vestal, in worse arms shall see;
6 Then thy sick taper will begin to wink,
7 And he, whose thou art then, being tir'd before,
8 Will, if thou stir, or pinch to wake him, think
9 Thou call'st for more,
10 And in false sleep will from thee shrink;
11 And then, poor aspen wretch, neglected thou
12 Bath'd in a cold quicksilver sweat wilt lie
13 A verier ghost than I.
14 What I will say, I will not tell thee now,
15 Lest that preserve thee; and since my love is spent,
16 I'had rather thou shouldst painfully repent,
17 Than by my threat'nings rest still innocent.
Understanding the poem
The poem, ‘The Apparition’, by John Donne is one of those lyrics wherein the mood of the poet
has been shown cynical and bitter, almost savage. He has been disappointed in love, for his
beloved has scornfully spurned his advances under the plea of her virginity. The poet tried his
best to woe her, but did not succeed. The result is that his love gets turned into hatred, and he is
determined to cause her harm. He is not one of those conventional Petrarchan lovers who
continue to go on loving even when their beloved is, “a forbidding tree”, cruel and
unapproachable.
In this dramatic lyric, the speaker is the poet-lover who addresses through this lyric his scornful
mistress. The lover tells her when he is killed by her scorn and rejection; his ghost would appear
to her in her bedroom. It would find her sleeping with another man, who would be much worse
than the poet.
He will not awake, and then she would tremble with fear like an aspen leaf. But his ghost would
not take any pity on her. The lover is merciless and does not tell her what his ghost would tell her
or do to her. His love for her is spent, and, therefore, he would not spare her. He wants that she
should suffer terribly and repent. This would be his revenge for all the sufferings she has caused
him in his life.
Analysis of The Apparition
Lines 1-4
When by thy scorn, O murd’ress, I am dead
And that thou think’st thee free
From all solicitation from me,
Then shall my ghost come to thy bed,
In the poem, ‘The Apparition’, (which means ghost) the poet is shown angry with his beloved
and says that she is no better than a murderess. When he is killed by her scornful rejection of his
advances, she would consider herself free. She would then think that she would not be troubled
ever again with his love-making. But she would soon realize her mistake, for his ghost will visit
her in her bedroom.

Lines 5-10
And thee, feign’d vestal, in worse arms shall see;
Then thy sick taper will begin to wink,
And he, whose thou art then, being tir’d before,
Will, if thou stir, or pinch to wake him, think
Thou call’st for more,
And in false sleep will from thee shrink;
The poet, through this extract, imagines that his ghost would find her in the arms of another man,
much worse than he. She had always been putting him off pleading virginity, but all her claims to
virginity would prove to be false when she would be discovered sleeping with another man. The
meaning of the phrase ‘Feign’d Vestall’ refers to the one who falsely pleaded her virginity in
order to put him off. At the time, the candle in her room would be burning with a weak,
flickering light.
Lines 11-13
And then, poor aspen wretch, neglected thou
Bath’d in a cold quicksilver sweat wilt lie
A verier ghost than I.
The poet further says when she would find another man asleep and shrinking away from her, she
would be left trembling miserably, like an aspen leaf (i.e., the poor, miserable woman, who
trembles with fear like a leaf of the Aspen tree. The leave of the aspen is so thin that it shakes
even when there seems to be no wind). Then she would look more like a ghost than he himself.

Lines 14-17
What I will say, I will not tell thee now,
Lest that preserve thee; and since my love is spent,
I’had rather thou shouldst painfully repent,
Than by my threat’nings rest still innocent.
In this last stanza of ‘The Apparition’ what the poet would tell to her then, he cruelly keeps a
secret. He will not tell it to her now, because fore-knowledge would lessen her fear and protect
her from harm. He no longer loves her and, therefore, does not pity her. He wishes that she
should suffer deep anguish and repent, rather than that he should merely hold out empty,
harmless threats. The meaning of the terms ‘painfully repent’ is to suffer deep anguish and then
repent of her sins, while by ‘Rest still innocent’, he means ‘fail to cause her any harm; that is;
remaining harmless.
Thus, the poem, ‘The Apparition”, is characterized by an intensity of passion and simplicity. The
lover’s disappointment and frustration towards her beloved have been adequately conveyed. The
language is simple.
 9. Holy Sonnet 14: Batter my heart, three-person'd God, for you
1 Batter my heart, three-person'd God, for you
2 As yet but knock, breathe, shine, and seek to mend;
3 That I may rise and stand, o'erthrow me, and bend
4 Your force to break, blow, burn, and make me new.
5 I, like an usurp'd town to another due,
6 Labor to admit you, but oh, to no end;
7 Reason, your viceroy in me, me should defend,
8 But is captiv'd, and proves weak or untrue.
9 Yet dearly I love you, and would be lov'd fain,
10 But am betroth'd unto your enemy;
11 Divorce me, untie or break that knot again,
12 Take me to you, imprison me, for I,
13 Except you enthrall me, never shall be free,
14 Nor ever chaste, except you ravish me.

Understanding the poem:

 This poem is part of a series of nineteen poems, which are most commonly referred
as Divine Meditations, Divine Sonnets, or Holy Sonnets. ‘Batter my Heart’ was published
two years after Donne’s death. John Donne wrote Holy Sonnet XIV in 1609, and it is
found in the Westmoreland Manuscript and, later, in Divine Meditations (1935). Holy
Sonnets focus on religious matters, and, particularly, on themes such as mortality, divine
love, and divine judgment.
 In Holy Sonnets, John Donne writes his poems in the traditional Italian sonnet form. This
traditional form and style, introduced by Petrarch, consists of an octet and a sestet.
Nevertheless, there are certain modifications, such as rhythm and structural patterns that
are a consequence of the influence of the Shakespearean sonnet form.
Consequently, Holy Sonnet XIV has an ABBAABBACDCDEE rhyme scheme and iambic
pentameter. Although it is written in one big block, the poem follows, as previously
mentioned, the form and style of the Italian sonnet.
  ‘Batter my Heart‘ expresses the lyrical voice’s call upon God to take hold of him, while
using deeply spiritual and physical arresting images. The main themes of the poem are
love, religion, and violence.
Lines 1-8
Batter my heart, three-personed God, for you
As yet but knock, breathe, shine, and seek to mend;
That I may rise, and stand, o’erthrow me, and bend
Your force to break, blow, burn, and make me new.
I, like an usurped town, to another due,
Labour to admit you, but Oh, to no end.
Reason, your viceroy in me, me should defend,
But is captived, and proves weak or untrue.
The octet of ‘Batter my Heart’ depicts the lyrical voice’s demands towards God. The poem starts
with the lyrical voice asking the “three-personed God” (God, Jesus, and the Holy Ghost) to
attack his/heart, as it were gates belonging to a fortress (“batter” comes from “battering ram” the
element used in medieval times to break down the door of a fortress). The lyrical voice asks for
this, as previously God had “knock, breathe, shine, and seek to mend”. This follows the
scriptural idea that God “knocks” on a person’s door and he/she must let him in. Nevertheless,
this isn’t working for the lyrical voice, as he/she wants to be taken by God’s force: “That I may
rise, and stand, o’erthrow me, and bend/Your force to break, blow, burn”. Notice
the alliteration on line 4 and the emphasis on these strong and violent verbs. The lyrical voice
wants to go through all of this because he/she wants to be made “new”. His/her soul is probably
badly damaged, and, in order to take all the sin out of it, it must be recreated.
The lyrical voice is, again, compared with a town; a town that is “usurped”. He/she wants to let
God in, but he/she has been unsuccessful: “Labour to admit you, but Oh, to no end”. The lyrical
voice is having trouble showing his/her faith because his/her thoughts, reason, have turned on
God (“Reason, your viceroy in me, me should defend,/But is captived, and proves weak or
untrue”).
Lines 9-14
Yet dearly I love you, and would be loved fain,
But am betrothed unto your enemy:
Divorce me, untie or break that knot again,
Take me to you, imprison me, for I,
Except you enthrall me, never shall be free,
Nor ever chaste, except you ravish me.
The sestet presets the volta, turn, and the tone of the poem shifts. The lyrical voice gets more
sentimental and calm. The simile of the fortress ends, and the lyrical voice talks about his/ her
feelings towards God: “Yet dearly I love you, and would be loved fain”. Nevertheless, the lyrical
voice feels engaged to Satan, “But am betrothed unto your enemy”, and asks God to take him out
of their arrangement, “Divorce me, untie or break that knot again”. The word “again” makes
direct reference to Genesis and the fall of men. Once again, the lyrical voice asks God to take
him/her: “Take me to you, imprison me, for I,/Except you enthrall me, never shall be free,/Nor
ever chaste, except you ravish me”. Notice the emphasis and the intensity in the lyrical voice’s
wish. He/she asks to be taken over by using violent verbs, such as “imprision” and “ravish”.
These final lines depict the paradox of the faith.

10. A Hymn to God the Father

1 Wilt thou forgive that sin where I begun,
2 Which was my sin, though it were done before?
3 Wilt thou forgive that sin, through which I run,
4 And do run still, though still I do deplore?
5 When thou hast done, thou hast not done,
6 For I have more.
7 Wilt thou forgive that sin which I have won
8 Others to sin, and made my sin their door?
9 Wilt thou forgive that sin which I did shun
10 A year or two, but wallow'd in, a score?
11 When thou hast done, thou hast not done,
12 For I have more.
13 I have a sin of fear, that when I have spun
14 My last thread, I shall perish on the shore;
15 But swear by thyself, that at my death thy Son
16 Shall shine as he shines now, and heretofore;
17 And, having done that, thou hast done;
18 I fear no more

Understanding the poem:

Central Message: A plea for forgiveness and divine mercy

Themes: Death, Desire, Immortality, Religion, Spirituality

Speaker: Likely John Donne himself (or a religious person praying)

Emotions Evoked: Faith, Guilt, Hope, Optimism, Remorse

Poetic Form: Hymn

Time Period: 17th Century

This is a three-stanza poem that is divided into sets of six lines, or sestets. From the title, ‘A
Hymn to God the Father,’ it is clear that Donne intended this piece as a hymn. It has a light,
musical quality to it which can be found in most of Donne’s work. The perception is in part
caused by the rhyme scheme.
The lines follow a consistent pattern of ABABAB, without any alteration in end sounds between
the stanzas. Line one of all three stanzas rhymes, and so on through all six lines. Additionally,
there is a great deal of repetition in the text. This too adds to the feeling that this is a song
with verses and, most importantly in regards to repetition, refrains.
In regards to meter, this piece is mostly structured in iambic pentameter. This means that the
majority of the lines contain five sets of two beats. The first of these is unstressed and the second
stressed. There are some exceptions though, such as in the last two lines of each stanza. These
lines contain, respectively, four and then two sets of two beats per line, known
as tetrameter and dimeter. This change makes the parting words of the speaker all the more
impactful.

Summary of A Hymn to God the Father

‘A Hymn to God the Father’ by John Donne contains a speaker’s prayer to God that he be
forgiven for all of the terrible sins he committed.
The poem begins with the speaker describing how the world is filled with sin. He might not be
responsible for all of humanity’s troubles but he has more than enough of his own to account for.
The speaker tells of how he spends most of his life in sin. He runs through it, enjoying almost
every moment spent there. This is all part of a confession and the plea to God. The speaker hopes
that God will look down on him fondly and take away all the guilt he feels about his life.
If God were to do so, and make the speaker feel as if Jesus is with him all the time, he could live
a happy life. He needs God to resolve all of his troubles.
Analysis of A Hymn to God the Father
Stanza One
Wilt thou forgive that sin where I begun,
Which was my sin, though it were done before?
Wilt thou forgive that sin, through which I run,
And do run still, though still I do deplore?
When thou hast done, thou hast not done,
For I have more.
In the first stanza of ‘A Hymn to God the Father’, the speaker begins by asking God an important
question. He needs to know whether God is going to be able to “forgive” the sins of the world.
These are the things for which all of humanity suffers but which he was not a part of. The
speaker makes sure to add that they were “done” before he was born but unfortunately because
he’s on earth, he’s a part of it.
The next lines describe how the speaker is not without sin himself. He might be separate from
the larger sins of the world but that doesn’t mean he is pure. In fact, he states that over and over
he is running “though” sin. His inability to escape his own humanity is reflected in the repetitive
lines of verse. The use of the same words at the beginning of lines, such as “Wilt though forgive
that sin” in lines one and three is known as anaphora. It is used to unify the text as well as
enhance its song-like qualities. The repetition is also reminiscent of the structure of a prayer.
The speaker makes sure that God knows his run through sin is not done because he wants to be a
sinner. He “deplore[s]” his own actions but is unable to stop. The last two lines of each stanza are
mostly the same. Here, he tells God that when he finishes helping and forgiving sins there will be
“more” to do. His sins, and those of the world, go on indefinitely.
Stanza Two
Wilt thou forgive that sin which I have won
Others to sin, and made my sin their door?
Wilt thou forgive that sin which I did shun
A year or two, but wallow’d in, a score?
When thou hast done, thou hast not done,
For I have more.
In the next set of six lines, the speaker begins with the same phrase, “Wilt thou forgive that
sin…” This time the question ends with the revelation that the speaker has forced others into sin.
It is unclear what kind of sin he means but it was made “their door.” He created the opportunity,
or the door, for them to walk through. Making it easier for them to go against God than it had
been previously.
The speaker states that he didn’t mean to do harm to anyone’s life by leading them to sin, and the
that he’d like to be forgiven for it. Although he is asking to be forgiven, and making himself
seem like an okay person, he can’t help admitting the lengths he went to in order to enjoy his
own sins. He tells God how he “wallow’d” in the sin for “a score.” This vastly overshadows the
meager “year or two” he spent “shun[ing]” his sin.
The stanza concludes with the same two-line refrain informing God that he isn’t finished
forgiving sins yet. There are still many more to come.
Stanza Three
I have a sin of fear, that when I have spun
My last thread, I shall perish on the shore;
But swear by thyself, that at my death thy Son
Shall shine as he shines now, and heretofore;
And, having done that, thou hast done;
I fear no more.
The final stanza of ‘A Hymn to God the Father’ tells God of one of the speaker’s most prominent
sins. It is that of fear. Specifically, he is afraid that he is going to die before all of his sins are
forgiven. They are so numerous that he may “perish on the shore” before God gets to them all.
The reference to the “shore” is an important one. He does not end up in heaven or hell but in the
space between limbo. This is the worst-case scenario in his mind.
In the next lines the speaker asks God if Jesus, his “Son,” will be able to “shine” on him “now”
as he has done “heretofore,” or up until now. Jesus’ presence is a symbol of God’s complete
forgiveness. It would allow the speaker to take in some of his shine and stop sinning. The final
lines are a bit different from those of the previous two refrains. This time the stanza ends with the
speaker stating that he does not fear anymore. With Jesus there to reassure and improve him, his
sins are no longer increasing. He is forgiven.

11. The Triple Fool

1 I am two fools, I know,
2 For loving, and for saying so
3 In whining poetry;
4 But where's that wiseman, that would not be I,
5 If she would not deny?
6 Then, as the earth's inward, narrow, crooked lanes
7 Do purge sea-water's fretful salt away,
8 I thought, if I could draw my pains
9 Through rhyme's vexation, I should them allay:
10 Grief brought to numbers cannot be so fierce;
11 For he tames it, that fetters it in verse.
12 But when I have done so,
13 Some man, his art and voice to show,
14 Doth set and sing my pain,
15 And, by delighting many, frees again
16 Grief, which verse did restrain.
17 To love and grief tribute of verse belongs,
18 But not of such as pleases when 'tis read;
19 Both are increasèd by such songs:
20 For both their triumphs so are publishèd,
21 And I, which was two fools, do so grow three;
22 Who are a little wise, the best fools be.
Understanding the poem
Published in 1633, ‘The Triple Fool‘ by John Donne describes the pain of unrequited love. Just
as the speaker thought he was healing, his heartbreak is broadcasted, and the grieving
process repeats.
Summary
‘The Triple Fool‘ explores the speaker’s pain due to unrequited love. To cope with heartbreak, he
writes poetry. Published two years after Donne’s death, ‘The Triple Fool‘ delves into heartbreak
and the process of grieving. Just as the speaker is thought to be getting better, his emotions get
publicized, and he has to start the healing process again. Donne concludes that ultimately grief
will prevail.

Structure, Form, and Rhyme Scheme

Structure and Form
‘The Triple Fool‘ is a 22-line poem separated into two 11-line stanzas. The separation is
deliberate: the first stanza talks about the beginning of healing, whereas the second describes the
descent back into grief.
Rhyme Scheme and Meter
‘The Triple Fool‘ follows the AABCCDEDEFF rhyme scheme in the first stanza and
GGHHHIJIKLL in the second. Additionally, the poem is written in iambic trimeter, a poetic
meter consisting of 3 iambs per line.
Themes
‘The Triple Fool‘ explores the themes of heartbreak, healing, and the cycle of grief. Donne
reflects on the dangers of making art about pain, as it has the potential to be picked up by other
artists and either used as inspiration or broadcasted as it is, therefore making it impossible to find
solace and heal.
Literary Devices and Punctuation
Literary and Poetic Devices
 Irony is a poetic device that uses language to convey the opposite of what is being said.
Donne uses irony when describing that art is cathartic, but when broadcasted, the speaker
returns to the first stage of grief.
 Personification is a poetic technique in which inanimate objects are given human
characteristics. Donne personifies his emotions while trying to tidy them away.
  Donne makes self-deprecating comments throughout the poem, partly to shield himself
from criticism and partly to berate himself for allowing someone to restart his healing
journey.
 A metaphor is a literary device that creates a comparison without using prepositions.
Donne uses a metaphor when describing the path that his feelings take.
 Pathetic fallacy is a poetic technique that uses weather and natural imagery to add to
and personify the poem’s context. Donne uses pathetic fallacy when talking about the sea
and earth and comparing the salt in the water to his grief.

Punctuation
 Caesura is the use of punctuation in the middle one the line for purposes of repetition,
emphasis, or rhythm break.
 Enjambment is the continuation of a sentence across multiple lines for fluidity and
compelling storytelling.

Speaker
‘The Triple Fool‘ is written in a singular first-person narrative. The speaker is heartbroken and
decides to write poetry to cope. Once the poem is out, he can no longer control how his art is
used.

Detailed Analysis
Stanza One
I am two fools, I know,
For loving, and for saying so
In whining poetry;
But where’s that wiseman, that would not be I,
If she would not deny?
Then as th’ earth’s inward narrow crooked lanes
Do purge sea water’s fretful salt away,
I thought, if I could draw my pains
Through rhyme’s vexation, I should them allay.
Grief brought to numbers cannot be so fierce,
For he tames it, that fetters it in verse.
The first stanza of ‘The Triple Fool‘ begins with a self-deprecating comment. The speaker
describes himself as two fools, which intrigues the reader: how could one person divide into
two?
The punctuation in the stanza is simple: a combination of enjambment and caesura create a
storytelling tone. The stanza is set out in iambic trimeter.
The tone of the stanza is relatively informal: the poem reads like a soliloquy. The speaker is
evaluating his decisions and how he is handling the heartbreak. He separates himself into two
fools: one is a fool for loving, and the other is a fool for documenting it. The speaker is writing
‘whining’ poetry as a coping mechanism, taking time to wallow. Moreover, he asks a rhetorical
question: what man wouldn’t be a fool if he were loved?
Pathetic Fallacy and Imagery
The middle lines of the stanza feature pathetic fallacy and natural imagery. Donne compares his
pain to salt in seawater and his emotional processing to paths carved in the earth. He feels as
though by writing poetry, he could draw the ‘salt’ of heartbreak from his soul, just like saltwater
exits the soil and becomes fresh. The use of imagery is compelling: by comparing his pain to salt,
Donne reflects on the fact that an overabundance of something pleasant could turn displeasing
and vexatious. Just as having salt adds flavor to a meal, but oversalting makes one ill, so too
could love to turn into pain.
Poetry to Cope
The final lines of the first stanza of ‘The Triple Fool’ describe the speaker’s coping mechanism.
He pours his pain and turns it into poetry: hence instead of an incomprehensible mess, he now
has an organized verse, easy to decipher and make sense of. He can begin to understand and
process his pain by connecting and rhyming words. Moreover, if his heartbreak is tangible, it
seems less daunting.

Stanza Two
But when I have done so,
Some man, his art and voice to show,
Doth set and sing my pain;
And, by delighting many, frees again
Grief, which verse did restrain.
To love and grief tribute of verse belongs,
But not of such as pleases when ’tis read.
Both are increased by such songs,
For both their triumphs so are published,
And I, which was two fools, do so grow three;
Who are a little wise, the best fools be.
The second stanza of ‘The Triple Fool‘ describes the unfortunate incidence of the speaker’s pain
being broadcasted in the form of a song. The tone is urgent and anxious as Donne has just begun
healing: must he really go through the turmoil again?
Tone and Team
By beginning the stanza with a conjunction (but), Donne creates an apprehensive atmosphere. He
has just made sense of his pain, and now someone else has taken hold of the poetry and turned it
into song. The use of ‘some man’ effectively reiterates the angry and confused tone of the
speaker- someone Donne doesn’t even know has made his pain public. It is important to
distinguish the audience size that both art forms amass.
The creation of music is inherently a team activity: it involves the use of multiple musical
instruments and a singer, whereas a poet only needs themselves to create.
Donne is agitated and disappointed, which is clear through his frequent punctuation. Caesura is
used effectively in this stanza as it breaks up the rhythm of the line to create jagged phrases that
reflect the breathless, ragged breathing of someone in extreme pain.
Irony
Donne reflects on the irony of the situation: the speaker created poetry to cope with heartbreak,
and writing helped, but not completed, the healing process. The singer took the poetry and turned
it into music, publicizing the speaker’s pain and making it a subject for debate and discussion. It
is ironic that the pain of one can bring joy to another.
Donne berates himself for allowing this to happen and decides that poetry is a better way of
expressing his emotions: a song’s lyrics and inherent romanticism are inappropriate when talking
about the heartbreak of unrequited love.
To conclude, Donne deems himself three fools: one for loving, the second for documenting the
love, and the third for allowing it to become a topic of public discussion, letting an exorbitant
amount of people into his public life.
The poem’s last line reflects that the wisest people are the biggest fools.

12. Song: Go and catch a falling star

1 Go and catch a falling star,
2 Get with child a mandrake root,
3 Tell me where all past years are,
4 Or who cleft the devil's foot,
5 Teach me to hear mermaids singing,
6 Or to keep off envy's stinging,
7 And find
8 What wind
9 Serves to advance an honest mind.
10 If thou be'st born to strange sights,
11 Things invisible to see,
12 Ride ten thousand days and nights,
13 Till age snow white hairs on thee,
14 Thou, when thou return'st, wilt tell me,
15 All strange wonders that befell thee,
16 And swear,
17 No where
18 Lives a woman true, and fair.
19 If thou find'st one, let me know,
20 Such a pilgrimage were sweet;
21 Yet do not, I would not go,
22 Though at next door we might meet;
23 Though she were true, when you met her,
24 And last, till you write your letter,
25 Yet she
26 Will be
27 False, ere I come, to two, or three.
Understanding the poem:
 ‘Song: Go and catch a falling star’ by John Donne is a three-stanza poem that is
separated into sets of nine lines. The lines follow a consistent rhyme scheme, conforming
to the pattern of ABABCCDDD. The lines also stick to a syllable pattern that changes
within the different sets of rhyme. For example, the first four lines are the same, with
seven syllables. The next two contain eight, then there are two two syllable lines. Finally
the stanza ends with a seven syllable line. This is a very unusual pattern that works best if
read aloud. The fact that Donne titled this piece ‘Song…’ makes it clear that it was meant
to be read, or sung.
 Throughout the poem, Donne employs a light and sometimes humorous tone. He is
annoyed by the general theme of the poem, the inconstancy of women, but seems to have
come to terms with it. He speaks as though this is just how things are, and one must make
the best of a constantly bad situation.
 While this piece does not feature the characteristics of metaphysical conceit found
in other Donne works, there is an interesting comparison presented between the stanzas.
He compares the impossibility of something like catching a star to finding an honest and
beautiful woman. While a clear exaggeration, it appears to be the speaker’s own true
belief that he’ll never come upon a woman who will treat him fairly and not run off with
someone else.
Summary of Song: Go and catch a falling star
‘Song: Go and catch a falling star’ by John Donne tells of a speaker’s belief that there are no
women in the world who are to him both beautiful and faithful.
In the first lines of this piece, the speaker begins by giving the reader a number of impossible
tasks. These include catching a “falling star” and teaching him how to “hear mermaids singing.”
It is not until the second stanza that one comes to realize that Donne is comparing these
impossibilities to the locating of a beautiful and faithful woman. He believes that one is just as
likely to figure how why the devil’s foot is cleft as find a woman who has both of these traits.
The speaker goes on to tell the listener that if one were to venture into the strange unknown, they
would come across endless wonders, but not a woman who would please him in totality. In the
last stanza, he explains how if he thought that such a woman did exist that he’s suffered to find
her. He’d go on a pilgrimage and do anything he had to. The speaker does not believe it is really
possible though. In fact, he states that one might think they’ve found a woman of his liking but
she would eventually turn out to be “False.”
Analysis of Song: Go and catch a falling star
Stanza One
Go and catch a falling star,
Get with child a mandrake root,
Tell me where all past years are,
Or who cleft the devil’s foot,
Teach me to hear mermaids singing,
Or to keep off envy’s stinging,
And find
What wind
Serves to advance an honest mind.
In the first stanza of this piece the speaker begins by telling the listener to “Go and catch a falling
star.” It is for this line that the poem is best known and is only the first representative of the
outlandish tasks the speaker sets out. The next is to “Get with child,” or impregnate, a “mandrake
root.” Both of these statements have a magical mood about them. The mandrake root is
commonly associated with witchcraft or hallucinogens.
He goes on to ask the listener to “Tell” him facts about the past, an impossibility as no one can
truly know the history. The next statement refers to the “cleft” in the devil’s foot. He wants to
know how it got there, or more simply, how it was decided which form the devil was to take.
In the next section of the first stanza, he asks the listener to teach him to “hear mermaids
singing” or alternatively how to “keep off envy’s stinging.” There is an interesting contrast in
these requests between personal need and personal interest. In the final tercet of rhyming lines,
he adds that he wants to know what makes people honest. What “wind” or for what reason is
some people honest and some deceitful.
Stanza Two
If thou be’st born to strange sights,
Things invisible to see,
Ride ten thousand days and nights,
Till age snow white hairs on thee,
Thou, when thou return’st, wilt tell me,
All strange wonders that befell thee,
And swear,
No where
Lives a woman true, and fair.
In the second stanza, he reveals the true purpose of this piece, to complain about the unfair way
he has been treated by women. He expresses his belief that there are no women who are “true,
and fair” or honest and beautiful, in the world. In the first lines, he tells the listener that maybe if
“thou be’st born to strange sight.” Or more simply, if you are used to seeing unbelievable things,
then you should “Ride ten thousand days and nights” and seek as many “strange wonders” as can
be found.
He believes that anyone who attempted this would have to ride until their hair turned white and
still they would not come upon a woman “true, and fair.” It is interesting to consider how the
speaker came to this conclusion. It is not clear why he believes this to be the case, but obviously,
something in his past tuned his mind in this direction. He is having trouble finding love, or
perhaps he doesn’t believe in love at all.
Stanza Three
If thou find’st one, let me know,
Such a pilgrimage were sweet;
Yet do not, I would not go,
Though at next door we might meet;
Though she were true, when you met her,
And last, till you write your letter,
Yet she
Will be
False, ere I come, to two, or three.
In the final nine lines of ‘Song: Go and catch a falling star’ the speaker states that if “thou
find’st” a woman who is both of these things, true and fair, then he will go on a “pilgrimage” to
find her. He would suffer if there was a chance he could find the perfect partner. He knows that
this isn’t going to be the case though so he does not go.
The speaker states that there is always the possibility that a woman who seems true and fair
comes to him, but he thinks more than likely that “she / Will be / False” eventually. There might
be a period of time before the realization comes to pass, but he knows that it eventually will.
These lines are clearly problematic from a contemporary perspective. Donne does not explain
what flaws these women have nor does he include women who are not to him beautiful. He,
therefore, separates women into two categories, those who are beautiful and faithless and those
who are ugly and not worth considering.

13. At the round earth's imagined corners

1 At the round earth's imagined corners, blow
2 Your trumpets, angels; and arise, arise
3 From death, you numberless infinities
4 Of souls, and to your scattered bodies go:
5 All whom the flood did, and fire shall, o'erthrow,
6 All whom war, dearth, age, agues, tyrannies,
7 Despair, law, chance hath slain, and you whose eyes
8 Shall behold God, and never taste death's woe.
9 But let them sleep, Lord, and me mourn a space,
10 For, if above all these, my sins abound,
11 'Tis late to ask abundance of thy grace
12 When we are there. Here on this lowly ground,
13 Teach me how to repent; for that's as good
14 As if thou hadst sealed my pardon with thy blood.
Understanding the poem:
‘At the round earth’s imagin’d corners’ (Holly Sonnet VII) by John Donne is a twelve-
line Petrarchan sonnet that is contained within one block of text. A Petrarchan sonnet is also
often referred to as an Italian sonnet and can be divided into one set of eight lines, or octet, and
one set of six, known as a sestet. As is traditional within sonnets, Donne’s ‘At the round earth’s
imagin’d corners, blow’ contains a turn or volta between these two sections. In the case of this
piece, the turn is marked by the word “But.” It signals a return to the present and the speaker’s
desire rest, repent, and seek God’s pardon.
Donne’s poem is also structured with a consistent rhyme scheme that is common
within Petrarchan sonnets. It follows a pattern of ABBA ABBA CDCD EE. Additionally, the
text is written in iambic pentameter. This means that almost every line contains five sets of two
beats. The first of these is unstressed and the second stressed. There are moments in which the
pattern diverges though. Donne sometimes uses two stressed or unstressed beats in a row to vary
the sounds and make them more interesting.
Summary of At the round earth’s imagin’d corners, blow
‘At the round earth’s imagin’d corners, blow’ by John Donne contains a speaker’s description of
Judgment Day and an appeal to God to forgive him his sins.
The poem begins with the speaker directing angels at the corners of the earth to blow their
trumpets and wake the dead. With this action, all those who have passed away, in all their
“numberless infinites” will return to earth and seek out their bodies. From the first lines, it is
clear this is a slightly altered description of the Christian apocalypse. The speaker describes how
everyone will be able to take back their bodies.
By the time a reader gets to the second half of the poem, lines nine through 12, a turn has
occurred. Although the speaker seemed prepared for the end of the world in the first section, he
changes his mind. He realizes he hasn’t adequately repented for his own sins and begs God to
teach him how to do it. The speaker states that if he were able to confess everything he has done
to God, then it would be like receiving a blood pardon.

Analysis of Holy Sonnet VII: At the round earth’s imagin’d corners, blow
Lines 1-4
At the round earth’s imagin’d corners, blow
Your trumpets, angels, and arise, arise
From death, you numberless infinities
Of souls, and to your scatter’d bodies go;
In the first lines of this piece, the speaker directs his words to the angels. He tells them that they
should “blow” their “trumpets” at the “round earth’s imagin’d corners.” Or more clearly, they
should blow their horns and make sure the sounds ring out over great distances.
It is unclear who this person is, or why he is able to give this order. The context on the other hand
is easier to understand. He is referring to four angels stationed on the imagined corners of the
world. This brings to mind images of antique maps, perhaps from Donne’s own time (the mid-
1700s) that were drawn with angels at the corners. These figures were often playing trumpets,
therefore completing Donne’s speaker’s order.
These lines also reference the Book of Revelation in the Bible. The connection to the Christian
end-times becomes clearer as the poem progresses. At this point, a reader can refer to the line in
Revelation 7 in which four angels are described at the corners of the earth. They hold back the
“winds of earth.” There is even a later reference to angels playing trumpets in Revelation 8.
In the next two lines, the speaker describes how the trumpets are played in order to make the
listeners “arise, and arise.” It is time for everyone who has died to return to the earth and find
their bodies. It is Judgement Day and Donne’s speaker has crafted a slightly different version of
events from the Biblical account.
Lines 5-8
All whom the flood did, and fire shall o’erthrow,
All whom war, dearth, age, agues, tyrannies,
Despair, law, chance hath slain, and you whose eyes
Shall behold God and never taste death’s woe.
In the next four lines, the speaker goes on to describe what kind of people the angels wake up.
There is no distinction between one person and another. Those who died in “the flood,” a
reference to the Biblical flood, are included as well as those who died from every other cause. It
doesn’t matter if you died from “Despair” or at the hand of the law, from old age or in war,
everyone “Shall behold God.”
Donne chose to list out all these various possible deaths in order to include everyone. Those who
have lived good and bad likes alike shall return to their bodies. In the last line the speaker
references “you whose eyes, / Shall behold God, and never taste death’s woe.” These people are
those who were too good to die at all. They never had to deal with the trauma of death but are
still included in this return to their physical bodies.
Lines 9-14
But let them sleep, Lord, and me mourn a space,
For if above all these my sins abound,
‘Tis late to ask abundance of thy grace
When we are there; here on this lowly ground
Teach me how to repent; for that’s as good
As if thou’hadst seal’d my pardon with thy blood.
Between the first and second half of ‘Holy Sonnet 7: At the round earth’s imagin’d corners‘ there
is a turn, or important change in the text. Often the turn represents a shift in topics,
narrative perspectives, or tone. In this instance, the speaker turns his words to God. He speaks
directly to the “Lord” and asks that the angels hold back from blowing their horns. He isn’t quite
ready for everything he spoke on in the first stanza to happen.
The speaker tells God the reason for his change of mind is that he needs “space” to “mourn”
everyone who has died. He goes on to makes clear that in reality, he is more worried about his
own sins than the lives of the deceased. He isn’t ready for the end times yet because his “sins
abound.” Perhaps, he is thinking, they are greater than any who have come before him.
The speaker recognizes the fact that it is “late” for him to ask for God’s forgiveness, or even for
more time. He asks God to teach him “here on this lowly ground,” in the present, how to
“repent.” The speaker’s sins are not explained, nor is the reason why exactly he sees himself as
so much worse than any other person. These feelings of self-doubt are a perfect representation of
the mindset needed to admit one’s sins. He is fearful and concerned that God will not have a
place for him after Judgement Day.
To the speaker, a pardon from God would absolve him of everything he has done. If he can only
receive God’s blessing then he will be able to confront the end of the world with a full heart and
faith. The speaker will be good enough to stand amongst the other living dead.

14. Holy Sonnet 6: This is my play's last scene

1 This is my play's last scene; here heavens appoint
2 My pilgrimage's last mile; and my race,
3 Idly, yet quickly run, hath this last pace,
4 My span's last inch, my minute's latest point;
5 And gluttonous death will instantly unjoint
6 My body and my soul, and I shall sleep a space;
7 But my'ever-waking part shall see that face
8 Whose fear already shakes my every joint.
9 Then, as my soul to'heaven, her first seat, takes flight,
10 And earth-born body in the earth shall dwell,
11 So fall my sins, that all may have their right,
12 To where they'are bred, and would press me, to hell.
13 Impute me righteous, thus purg'd of evil,
14 For thus I leave the world, the flesh, the devil.
Understanding the poem:
‘This is my play’s last scene’ by John Donne is number VI of his Holy Sonnets. These works
were written from the perspective of a man who is continually growing closer to God. This piece
in particular draws the man’s narrative close to the end. He is about to reach an inevitable death.
The poem conforms to the pattern of a traditional, fourteen-line, Petrarchan sonnet. The text is
contained within one block, but can be separated into two sections. One containing eight lines,
also known as an octave, and one with six known as a sestet. The rhyme scheme follows a
pattern of ABBAABBACDCDEE, also characteristically Petrarchan.
An important feature of Petrarchan sonnets which occurs within Donne’s ‘This is my play’s last
scene’ is a turn between the first eight lines and the following six. In the octave,
the speaker discusses the remainder of his life on earth and how “gluttonous death” is going to
come for him. After his soul and his body are separated, the second half of the poem begins. The
sestet is dedicated to what happens to his soul immediately after death. It will rise away from the
earth, and his sins will fall back to hell. They are going to remain there, with the devil, no longer
able to tempt him.
The clearest and most prominent theme in the text is that of death. At this point in the speaker’s
life death has become an ever-present companion. It is something he is always having to deal
with. But, as the poem make clear, he has found a way to manage his journey towards the end.
His religious faith has allowed him to take an optimistic perspective on what is going to happen
to his body and his soul.
Summary of This is my play’s last scene
‘This is my play’s last scene’ by John Donne contains the thoughts of a speaker who is nearing
death and is ready to ascend to God’s side.
The poem begins with the speaker stating that he is in the last mile of his life He knows that God
has declared the beginning and end of his life and he’s happy to accept those limitations. He
speaks on how death is going to come for him and separate his “earth-born” body from his soul.
After this happens, his sins will fall back to the earth and he will be made clean. In this new
version of himself, he knows he’ll ask that God make him “righteous.” He will have been purged
of everything bad and be on his way to Heaven.
Analysis of This is my play’s last scene
Lines 1-4
This is my play’s last scene; here heavens appoint
My pilgrimage’s last mile; and my race,
Idly, yet quickly run, hath this last pace,
My span’s last inch, my minute’s latest point;
In the first lines of this piece, the speaker begins by utilizing the line for which the sonnet would
later become known. He states that this is the “last scene” of his play, or his life. It becomes clear
immediately that this last leg of his journey is not something he is dreading. He knows that
Heaven appointed it as his “last mile.”
The speaker describes his life as a “pilgrimage” from birth to death. At this point, he has reached
his “minute’s vastest point.” Throughout his days, he has run “Idly” and “yet quickly.” There
were times in his life that he idled, and perhaps wasted but, all in all, it went by fast. Time has
passed, he has moved forward, and now all that’s left is his “span’s last inch.” The speaker
knows, and takes comfort from the fact, that he doesn’t have any control over his life. He lives
and dies by God’s hand and that’s okay with him.

Lines 4-8
And gluttonous death will instantly unjoint
My body and my soul, and I shall sleep a space;
But my’ever-waking part shall see that face
Whose fear already shakes my every joint.
In the second quatrain, or set of four lines that make up the octave, the speaker refers to death as
“gluttonous.” This suggests that death has an agency all its own. It can choose, via God’s
direction, when to consume him. It is “gluttonous” meaning that it will never get enough and
after the speaker is consumed it will move on to the next meal.
Death is going to separate the speaker’s body from his soul and then send him into a sleep for a
time. This is a kind liminal space that happens before his soul enters into Heaven. Even while he
is in the process of moving away from his physical form, his soul will be able to “see that face,”
meaning God. Additionally, he will still feel the “fear,” (meaning awe or dedication), that he
always felt. God’s presence, even now that he has separated from his body will still have power.

Lines 9-14
Then, as my soul to’heaven, her first seat, takes flight,
And earth-born body in the earth shall dwell,
So fall my sins, that all may have their right,
To where they’are bred, and would press me, to hell.
Impute me righteous, thus purg’d of evil,
For thus I leave the world, the flesh, the devil.
In the sestet of ‘This is my play’s last scene’ the speaker begins by describing how his body is
going to remain on earth after his soul departs. It is “earth-born” and must stay there. This
process will also force out his sins, from both his soul and his physical body. The sins will
continue to have power, just not over the speaker. They are no longer going to be able to “press
[him], to hell.”
Th last two lines are directed at God. He asks that God “Impute” or assign him a new
righteousness. He is now “purg’d,” or purged, “of evil.” It is in this new, clean, sinless state that
he leaves the earth behind. At the same time, he throws off all temptation fuelled by the devil and
the “flesh” he spent his “earth-born” life in.

15. Sonnet 1: Thou hast made me, and shall thy work decay?
1 Thou hast made me, and shall thy work decay?
2 Repair me now, for now mine end doth haste,
3 I run to death, and death meets me as fast,
4 And all my pleasures are like yesterday;
5 I dare not move my dim eyes any way,
6 Despair behind, and death before doth cast
7 Such terror, and my feebled flesh doth waste
8 By sin in it, which it towards hell doth weigh.
9 Only thou art above, and when towards thee
10 By thy leave I can look, I rise again;
11 But our old subtle foe so tempteth me,
12 That not one hour I can myself sustain;
13 Thy grace may wing me to prevent his art,
14 And thou like adamant draw mine iron heart.
Understanding the poem:
‘Thou hast made me, and shall thy work decay?’ by John Donne is a fourteen-line sonnet that is
contained within one block of text. The lines follow a consistent pattern of rhyme that conforms
to the traditional Petrarchan, or Italian, sonnet form.
Summary
‘Thou hast made me, and shall thy work decay?’ by John Donne describes a speaker’s battle
against returning to his sinful previous life.
The poem begins with the speaker asking God if he’s going to allow his creation, the speaker, to
fall into “decay.” He has lived a bad life and now all his sins are catching up with him. The
speaker can feel his body falling apart around him and he needs God to fix him as soon as
possible. If he cannot get back some control over himself he knows that he will walk straight to
death, and perhaps enter into Hell.
The poem concludes with the speaker comparing his own “iron heart” to God’s strong, metal-like
presence in his life. God acts as a magnet, drawing the speaker in closer and closer and winging
him away from his sins and the Devil.
The Petrarchan Sonnet Form
In this particular instance, the sonnet follows a rhyme scheme of ABBAABBA
CDCDEE. Petrarchan sonnets are most easily recognized by the first eight lines, or octave. These
lines are divided into sets of four, or quatrains, and usually follow the pattern of ABBA ABBA.
The final six lines can explore any number of patterns with three new end rhymes. Donne’s
choice of CDCDEE is a common one.
Another element of the Petrarchan sonnet is the metrical pattern. The lines follow a scheme
of iambic pentameter. This means that each is made up of five sets of two beats. The first of
these is unstressed and the second stressed.
Additionally, this kind of sonnet often presents a problem and a solution. The problem is
contained within the first eight lines, and the solution in the concluding sestet. This is most
certainly the case in ‘Thou hast made me, and shall thy work decay?’ The octave presents the
speaker’s problem of constant temptation by the sins of his earlier years, and the sestet provides
God’s attraction as the solution.

Analysis of Thou hast made me, and shall thy work decay?
Lines 1-4
Thou hast made me, and shall thy work decay?
Repair me now, for now mine end doth haste,
I run to death, and death meets me as fast,
And all my pleasures are like yesterday;
It is clear from the first line of ‘Thou hast made me, and shall thy work decay?’ that Donne’s
speaker is addressing God. He asks his creator if it is his will that his creation “shall…decay.”
Donne’s speaker, who is generally considered to be a poet himself, is worried about his own life.
Something is happening to him that makes him feel like his life is falling apart. Just the fact that
he’s questioning God shows that there is really something wrong.
The next line depicts a bit of the frustration this speaker feels. He tells God that now he must
“Repair” him and return him to the state he was in before things started to go bad. He knows God
must have this ability. His impatience comes from the fact that his “end doth haste.” The speaker
does not want to spend any more time on the earth in this incarnation of himself. In fact, he wills
death to come for him.
Donne’s speaker states that he is running towards death, and it is coming “fast” to “meet” him. It
is a very simple thing for the speaker to toss his life away at this point. All the pleasures he used
to have “yesterday” have shown themselves to sin. Their return is something he greatly fears.
Instead, he is looking for something new to live for.
Lines 5-8
I dare not move my dim eyes any way,
Despair behind, and death before doth cast
Such terror, and my feebled flesh doth waste
By sin in it, which it towards hell doth weigh.
In the second quatrain of ‘Thou hast made me, and shall thy work decay?’, the speaker expresses
his everyday fear. He does not want to “move” his eyes from where they rest because there are
only reminders of the past around him. He knows he’s going to see “Such terror.” It will remind
him of all the mistakes he’s made.
These lines also clear up a bit about the speaker’s own situation. He has lived a life that he is
ashamed of. Now his choices are taking their toll on his “feebled flesh.” The speaker is wasting
away, all because of how he chose to live. He sinned, and now those sins are sending him down
to hell.
Lines 9-12
Only thou art above, and when towards thee
By thy leave I can look, I rise again;
But our old subtle foe so tempteth me,
That not one hour I can myself sustain;
The next four lines are somewhat more hopeful. It turns out the speaker does have one source of
happiness in his life, God. When he looks towards “thee” in the sky, he feels as if he is rising
again. The hope that is intrinsic to his understanding of God improves him.
While God’s light might shine on, and sustain him for a time, he is soon tempted back down to
earth. He has an “old subtle foe” which is always there, luring him back to sin. This “foe” is
the embodiment of his sin, which is likely the taking of too much pleasure. This would relate
directly to Donne’s own life. He turned from his own patterns of pleasure to one in the church,
dedicated to God.
Lines 13-14
Thy grace may wing me to prevent his art,
And thou like adamant draw mine iron heart.
The speaker re-emphasizes the fact that only God is able to keep him away from the devil. Satan
is always calling to him, through his own desire to please himself once more. The speaker tells
God that he is his only hope. He believes in God’s ability to “wing” him away from his current
life and keep his attention on goodness and faith.
God is the “adamant,” or metal, to the speaker’s “iron heart.” He is drawn, like a magnet up to
God’s grace. This final line is a great example of the metaphysical conceits for which Donne is
so well-known. This kind of clever comparison seeks to be original and relates two strangely
opposite things in an interesting way.