Explication Of John Donne's Holy Sonnet 14

Delving into the awareness of sin, Sonnet 142 sums up the poet's whole fatuous and insatiable passion. He supports the woman's rejection of his love because he deems his love for her unworthy of him: "Love is my sin and thy dear virtue hate, / Hate of my sin, grounded on sinful loving." He cannot help loving her, but he despises himself for doing so. Note that in lines 1 and 2, the poet compares himself to the woman using opposite qualities: The poet's "Love" opposes the woman's "hate," and "my sin" contrasts to the cynical "thy dear virtue." He believes that he deserves her contempt because of her damnable behavior, not because of his. Yet the poet feels that he deserves the woman's pity because he shares her vice. Hurt by her rejection of

Elizabeth Bishop’s poem, ‘Sonnet’ bears little resemblance to its namesake at first glance. Bishop plays with our expectations, molding the well-known sonnet form into something new. She transforms the meter and rhyme scheme of the sonnet to the point of metamorphosis, but she retains the skeletal structure of the form; fourteen lines broken down into the customary octave and sestet. Her invocation and subsequent subversion of the anticipated poetic form provide her with a baseline to branch off from and without that context, the structure would not have the same effect on the poem’s meaning.

A dull routine can always cause artificial stimulants that can lead to not more than fake results. In Unholy Sonnet 14 by Mark Jarman, he illustrates how the congregation is becoming more of a social organization than a faith-based community mainly because of the routine it follows. The poem reveals how the typical congregation seeks for sin to be forgiven. However, it also suggests that a congregation’s conventional dull routine cannot relive the pain of sin when it remains in the heart of the individual.

“Shall I compare thee to a summer’s day?” (“Sonnet 18”) is one of Shakespeare’s most famous poems. It is the model English, or Shakespearean sonnet: it contains three quatrains and a finishing couplet.. The poem follows the traditional English sonnet form by having the octet introduce an idea or set up the poem, and the sestet beginning with a volta, or turn in perspective. In the octet of Sonnet 18, Shakespeare poses the question “Shall I compare the to a summer’s day” and basically begins to describe all the bad qualities of summer. He says it’s too windy, too short, too hot, and too cloudy. Eventually fall is going to come and take away all the beauty because of the changes nature brings. In the sestet, however, his tone changes as he begins to talk about his beloved’s “eternal summer” (Shakespeare line 9). This is where the turn takes place in the poem. Unlike the summer, their beauty will never fade. Not even death can stop their beauty for, according to Shakespeare, as long as people can read this poem, his lover’s beauty will continue to live. Shakespeare believes that his art is more powerful than any season and that in it beauty can be permanent.

I see John Donne doing the same thing in this poem, the tone is somewhat straight forward and serious, with the narrator having a down speaking tone and somewhat apathetic to the things being conveyed in this poem. “And when she buries a man, that action concerns me” this is an indicator of the tone being used once again. It is clear that the line is speaking about death, it is pretty common that death is taking seriously and in which we would be serious when speaking on it. John Donne also uses alliterations throughout this poem along with repetition. “congregation to come”, “the church is catholic”, are examples of alliteration he used. “the action concerns me”, “for whom this bell tolls” are used as repetition. All of these examples are used to help remind the reader what exactly they are reading and gathering from the poem. I think that these all lighten the mood of the poem so it’s not total darkness.

our confession as well as the implications of a God who is three in one. In the following essay, I

There are three foundational points in this theological approach that provide comprehension for that which seems beyond understanding --- God in one being; God in three persons. First, the main idea is centered on joining with Christ in the continuing ministry that substantiates the

John Donne’s central theme for “Meditation 17” is that all Christians are United. Everyone is united and no one stands alone. John Donne is adamant that no one should feel left out or be ostracized by anyone. He wants everyone to realize that no one is alone and we all share the same experiences; he describes this idea as “no man is an island” (Donne 2). No man is left floating in the water, instead all men are linked as pieces of the continents.

John Donne’s diction, detail, point of view, metaphysical format, and tone used in “Holy Sonnet 10” convey both a feeling of cynical and domination, and also a sense of mockery of death. The effects on the reader include assurance and confidence in facing death.

John Donne authored poetry that relied on intelligent allusions and wordplay. He strung together paradoxical ideas that utilized more of a philosophical structure than his counterparts, in some ways making him an outlier in relation to the normative poetry of his time period. Donne’s poetry dealt outside of the physical realm. He conjured biblical allusions in secular poems and often reversed that formula to make secular connections in otherwise religious poems. He used extended metaphors to make unusual literary comparisons, but he did so with acumen. His “holy sonnets” are an excellent example of the multifarious way that Donne crammed his intellectual capacity into verse. In holy sonnet number 14, later titled Batter My Heart, Three-Personed God Donne employs a menacing tone throughout the sonnet, aggressively combining imagery and paradox to describe his anxiety towards his salvation and sinful nature. His poetry is often seen as unmatched in the category he falls into, but a contemporary of his surely gives him a run for his money. On the seemingly opposite spectrum we have a poet who utilizes a tranquil tone in his poetry: George Herbert. Herbert was characteristically different in diction and tone. A friend of Donne, Herbert’s poetry was often full of composure and confidence, in contrast with Donne who seemed to grapple with uncertainty. Although

Donne’s poem is written in the traditional 14-line format of a sonnet, “which was the vogue… in England at the end of the sixteenth century” according to authors Kennedy and Gioia in Literature: An Introduction to Fiction, Poetry , Drama and Writing ( 574). Donne lived from 1572-1631 (Kennedy 744). “The sonnet owes much of its prestige to Petrarch,” (Kennedy 574) an Italian poet. “English poets …(eventually) worked out their own rhyme scheme,” (Kennedy 574) which would explain why this isn’t a true Patrarchan sonnet. Donne’s penned work naturally breaks his thoughts and the poem into three quatrains and a couplet. His thoughts come to a conclusion after lines 4, 8 and 14 with the use of periods, as well as a question mark for line 12, noting the end-stops. The rhyme scheme in American English is abba, abba, cddc ae, but if spoken with an English accent, the final couplet could reasonably be interpreted as aa, which would appear to be more likely.

In “Holy Sonnet 14” by John Donne, dramatizes the conflict between contradictions and a relationship with God.

Donne even goes so far as to command God to destroy the person he has

By making many references to the Bible, John Donne's Holy Sonnets reveal his want to be accepted and forgiven by God. A fear of death without God's forgiveness of sins is conveyed in these sonnets. Donne expresses extreme anxiety and fright that Satan has taken over his soul and God won't forgive him for it or his sins. A central theme of healing and forgiveness imply that John Donne, however much he wrote about God and being holy, wasn't such a holy man all of the time and tried to make up for it in his writing.

Sonnet 6 is notable for the ingenious multiplying of conceits and especially for the concluding pun on a legal will in the final couplet: "Be not self-willed, for thou art much too fair / To be death's conquest and make worms thine heir." Here, as earlier in the sonnet, the poet juxtaposes the themes of narcissism and death, as well as procreation. "Self-willed" echoes line 4's "self-killed," and the worms that destroy the young man's dead body will be his only heirs should he die without begetting a child which shows the theme of death. The whole sonnet is about trying to persuade the man to have a baby hence the theme if procreation. And lastly, the man is being selfish in wanting to die without passing on his beauty.