To his Coy Mistress by Andrew Marvell and The Flea by John Donne

As the girl threatens to kill the flea, the speaker begs her to stop. He states that all three of their lives are in this flea, and that through the blood of the flea he and her are already married. If the girl were to kill the flea, he feels that it would be the equivalent of murdering all three of them. The speaker is desperately trying to manipulate the girls actions too his advantage. Donne uses more metaphors too twist his words into a more convincing argument.

The words in the poem that surround what will happen if they don’t have sex are that she will be eaten by the worms and they will ultimately try to take her “virginity” while he holds the idea of her remaining a virgin forever in disdain, but on the other hand there will be repercussions for him as well, in the sense that all his sexual fantasies, desires, and wants will burn up, “And into ashes my lust” (Line 30). In the poem “The Flea” by John Donne has powerful imagery in it as well, such as the blood representing life experiences in and of itself, but in the story when it says “It sucked me first, and now sucks thee, /And in this flea our two bloods mingled be;” is basically telling us that a flea had bitten and drawn blood from the male and female and that these two bloods have intermingled, so in the speakers convincing argument to the woman was that their bloods are intermingled, thus persuading the woman that they are as one now as the poem states “This flea is you and I, and this/Our marriage bed”(Lines12-13) and should become sexually involved with each other since they are “married” within the flea. Therefore, the two poems contain vivid sexually charged imagery.

As in the other stanzas, this arranges its four supporting arguments into three couplets and a triplet by rhyme. However, whereas the first stanza loosely held the ideas to couplets, the second shows more organization in thought. This further structure is necessary to support the conceit of the flea as a holy church. The support for this idea is arranged into the following four sub-argument: one, do not kill the flea, because we have conceived within it; two, thus, the flea is like a “marriage bed,” and by extension, a “marriage temple”; three, despite your parents’ and your concerns, that’s the way it is; and four, if you kill the flea, you commit three sins – killing me, killing yourself, and sacrilege by violating the sanctity of the marriage temple. Note that Donne does present an argument to seduce his beloved in this stanza. His words are filled solely with reverence and concern for the flea. Through this, we can see the earnestness and seriousness of the passion he has for his beloved: the sanctity of their relationship – even their surrogate relationship within the flea – is sacred to him.

He uses the flea as an excuse for marriage and that they are now permitted to have sex. Out of desperation Donne shifts to a more religiously point of view by saying, “And sacrilege, three sinnes in killing three.” (Line 18) This means that if the woman kills the flea, she is killing the flea, him, herself, and God. However, the women squashes the flea along with his argument and Donne is left with one final go at convincing the woman. The final stanza of the poem expresses his sheer desperation to have sex with the woman as he deviates to using a lenient approach. He blames her not for killing the flea, but says that her act did not damage her honour in any way, and that she should still “yeeld’st to mee” (Line 26), or should still sleep with him. The content of The Flea demonstrates the exact sexist attitude that John Donne possessed when he wrote his early love poems. Likewise, the same desire for physical pleasure can be seen in the poem The Sunne Rising. This poem encompasses Donne’s ignorance of his surroundings and his obsession for sexual pleasure. Throughout the poem he attacks and challenges the sun with contempt, and does so by personifying it. He is obviously disturbed and troubled by the “unruly Sunne” (Line 1) and tells

The metaphor is further enforced in lines 8 and 9 when Donne illustrates the image of the swollen flea "pampered swells with one blood made of two" (line 8) introducing the image of a baby, and the idea of pregnancy. With the possible allusion of a pregnancy Donne is emphasizing that he is attempting to sleep with the woman. Thus, Donne continues to use the image of a flea to unconventionally simplify lovemaking. The absurdity of the poem is portrayed through the use of a flea to convince a woman into bed, when a flea would typically connote repulsiveness, dependency, and something ugly and simple, which mooches off of others. In the second stanza of the poem, the speaker continues to emphasize his conceit, although it has become clear that the woman wants to remove the flea from her body, and consequentially the relationship with the speaker. "Oh stay, three lives in one flea spare" (line 10), the speaker is now relying on guilt, persuading the woman to spare not only the life of the flea, however he goes as far as mentioning the lives of himself and the woman. Drawing a comparison once again to the act of love, the speaker mentions marriage, portraying that the flea has joined them eternally much like a marriage would. Marriage is a significant motif in the second stanza, which also relates to

Donne however, wrote “The Flea” in the first person giving the writing a comical twist as the speaker portrayed the aggressor, who metaphorically used the bite of the flea to defend his case to promote promiscuity. John Donne applied a consistent rhyme scheme using frequent assonance in each stanza which consisted of an iambic tetrameter followed by an iambic pentameter projecting the free willing mindset of the aggressor (Lorcher 2012). The speaker’s repeated use of ‘mark’ and ‘suck’ rhetorically reinforced the strength of his persuasiveness (Lorcher

The theme of this poem was easily determined after reading through the poem. The poet has a certain desire of the woman he’s trying to get into his bed, making sex seem like no big deal, “How little that which thou deniest me is” (Donne); sex wasn’t taken lightly in the 17th century for unmarried woman and he attempts to make it seem as small as a flea. He is straightforward with his offer; rather than attempting to arouse the woman, he attempted to appeal to her sense of reason. Donne is in belief that she was tempted, so he attempts to coerce her into the deed. Marriage is a reoccurring theme and use of persuasion go get the woman to have sex with him, “O stay, three lives in one flea spare. Where we almost, yeah more than married are” (Donne). He uses the second stanza to focus on marriage.

He takes it a step further by stating that in the flea they “yea more than married are” (2.1). It is one thing to note that a flea contains two individuals’ blood, but to say that this union is greater than marriage is very extreme. Yet Donne executes this unlikely comparison with the utmost confidence, creating a surprisingly poignant argument. When the speaker says “though parents grudge,” he acknowledges that the woman’s parents (and society in general) would show great disapproval for such behavior (2.5). However, he replies that they are “cloistered in these walls of jet” (2.6). He describes their blood as secluded within the flea to remind his lady that they are also far away from any condemning parents. When the lady threatens to kill the flea, the speaker shows his opposition when he states “And sacrilege, three sins in killing three” (2.9). Once again, it seems strange to jump to the defense of a bothersome insect, but when we consider the flea as two lovers and the chamber that houses them it becomes more rational.

The first stage is saying if we had enough time, I could spend all the

He goes on to suggest that, when she has killed the flea that holds blood, which in this case is considered as ?life?, from both him and her, that the blood lost had not weakened them (?Find?st not thyself, nor me the weaker now?) and she had not lost any honour. Therefore, with these points considered, the blood she would lose to him would not make her weaker and she would not lose any honour, ?Just so much honour, when thou yield?st to me/ Will waste, as this flea?s death took life from thee?. To some extent, both poets express a way in which they will consummate or have consummated their mistress. Marvell suggests that they should ?roll all their strength and all/ Their sweetness into one ball? and ?tear? their pleasures ?with rough strife/ Through the iron gates of life.? Whereas Marvell explains the consummation as aggressive, sensual and romantic, Donne uses the flea, a very insignificant, unromantic creature, to imply sexual intercourse, ?and in this flee, our two bloods mingled be.?

has sucked his blood and hers and he is now using this flea as an

The notion of time is used as the basis for the argument in 'To his

The title of the poem “My mistress eyes are nothing like the sun” suggests that the speaker is not in love with his ‘mistress’. However, this is not the case. Shakespeare uses figurative language by using criticizing hyperboles to mock the traditional love sonnet. Thus, showing not only that the ideal woman is not always a ‘goddess’, but mocking the way others write about love. Shakespeare proves that love can be written about and accomplished without the artificial and exuberant. The speaker’s tone is ironic, sarcastic, and comical turning the traditional conceit around using satire. The traditional iambic pentameter rhyming scheme of the sonnet makes the diction fall into place as relaxed, truthful, and with elegance in the easy flowing verse. In turn, making this sonnet one of parody and real love.

happens to one of them or if one of them dies. He says he wants them

John Donne was one of the most influential poets of the seventeenth century. His often comical poems contain intricate dual meanings and his religious (divine) poetry is convincing and beautiful. Andrew Marvell also wrote during the same period as John Donne and the two worked on similar important matters concerning humanity throughout their careers. Both are classified as metaphysical poets, meaning the poetry employs paradoxes, and is “highly intellectualized, marked by bold and ingenious conceits,” according to the Merriam-Webster dictionary. Donne’s “The Sun Rising” and Marvell’s “To His Coy Mistress” are both based on a similar metaphysical principle and achieve a coherent response from the reader. However, the underlying meanings of Donne’s and Marvell’s poems are vastly different. Donne implies that perfect love is not at all perfect and, while both poets have a sentiment of carpe diem within these poems, Marvell’s subject is lacking something in his romantic relationship, unlike Donne’s subject. The two poets challenge the authority of the time and imply that, although love transcends authority, it is necessary for there to be an imbalance of power in relationships, suggesting that perfect love is idealized and unrealistic.