“The Canonization” by John Donne Essay

Therefore I'll none of it. Honour is a mere scutcheon. And so ends my catechism." (5.1.129-140)

The poem is separated into two parts, each with sixteen lines, and is loosely based on an iambic pentameter metre. The rhyme scheme is ABAB throughout the poem, with the noticeable exception of the last four lines of part II, in which it changes to

In the beginning of the story, the readers can understand that is Ashes talking about her parents. Her mom is a practical person and always ready for anything, extra batteries for flashlights during a blackout or extra coins for laundry and her dad on the other hand, is an easygoing, carefree and willingness to help. In the story it says,“... All I can give you is dreams, Ashes. But one good dream is worth a thousand flashlight batteries.” This provides an explanation of how her dad can only give her dreams and nothing else. He called her a name that made her feel special, something her mom did not do, and her mom did not promise things she could not fulfill.

King us the appeal to ethos to let the clergymen know that he is not an “outsider” who is coming in stirring up trouble. The clergymen do not

There is alliteration in the stanzas of 3 and 6 “blade beak” and claws clutching”. This poem also has a rhythm to it; the stanzas are not constructed in that unbalanced way in which it’s hard to keep flowing feel to the literature.

A text is essentially a product of its context, as its prevailing values are inherently derived by the author from society. However, the emergence of post-modern theories allows for audience interpretation, thus it must be recognised that meaning in texts can be shaped and reshaped. Significantly, this may occur as connections between texts are explored. These notions are reflected in the compostion of Edson’s W;t and Donne’s poetry as their relationship is established through intertextual references, corresponding values and ideas and the use of language features. Edson particularly portrays key values surrounding the notions of the importance of loved based relationships, and death and resurrection: central themes of Donne’s Holy Sonnets

Statement # 1(From The Cradle, The Cross, and The Crown Chapter 8, Loc 10638 of 28382, 1st Paragraph) “There are several significant human agents, but there is one, and only one, major divine agent underlying the entire plot of the book of Acts: the Holy Spirit. For this reason, rather than identifying the book as presenting the “Acts of the Apostles,” it may be more accurate to say that at its heart are the “Acts of the Holy Spirit.” I believe that the book of Acts is a great depiction of how the Holy Spirit can and will move through dedicated people. Without the Holy Spirit, Paul and all the great men in the book of Acts are just great men.

Additionally, Petrach uses rhyming words encompassing a rhyme scheme with the pattern abbaabbacdefgh. Evidently, the rhyme scheme is regular in the first two stanzas but is absent in the last two stanzas. It is

The poem, “Po’ Boy Blues” uses rhyme in the fourth and sixth lines of each stanza.

The fourth line uses two verbs, which have internal rhyme to make the line flow

To this day John Donne is still considered to be one of the greatest love poets from England. He was born to a Elizabeth Heywood and John Donne, some time between January 24th and June 19th in 1572. His mother Elizabeth Heywood was the youngest of her siblings and the grand-niece to the Catholic Martyr Thomas More. His father John Donne was a prosperous London merchant, but his actual father died when Donne was only four and was believed to be a descendant from an ancient family in Wales. The family was Roman Catholic and this was a very anti-catholic period in England and this would greatly affect Donne in many ways throughout his life.

remembrance, and to feel close with the saint even if they are at a great distance to the

The ideas that are received from the poems of John Donne and George Herbert present us with a very distinct view on God, and more generally, religion. Both were writing in the late 1500s and early 1600s; however the methodologies used by each are very distinct.

The speaker returns to the prayer structure in the second stanza when he begins his confession, “the dreary part” (2.1). He considers his confession to be dismal, because much of it focuses on his desperate attempts to work within the constructs of the expectations of his audience. He cannot figure out why deer are beautiful, because he thinks “they’re like enormous rats on stilts” (2.3), and he recalls trying to shoot and kill rats when he was twelve.

The speaker in the poem does not hold accusations back for even a moment igniting the thirteen-stanza imploration with the lines, “Do ye hear the children weeping, O my brothers, / Ere the sorrow comes with years?” (1-2).