Donne displays his conviction and personal hardships very clearly in this poem. What do I mean by human fallen nature? Here he conjures up the image of his deathbed and supports it with comparisons and then begins to pray. Donne uses bold imagery throughout the poem as a way of showing his utter desperation. It is not bookish but is rooted in his personal experiences. The nature of true love is that it makes demands, establishes principles, and expresses the totality which man is striving for. From the ordinary activities of breast-feeding and heavy sleeping, Donne passes to the exotic activities of explorers, geographers and philosophers.
It gives the implication that it would take all three to accomplish the task. In his later years, he began to forsake poetry that illustrated carnal love and desire in favor of poetry that praised God. No doubt her arrival has interrupted his dream, but in a way it will continue, for now the pleasures he dreamed of have been converted into reality. In numerous scenarios, love is portrayed as a positive asset to life. Her arrival is giving him the same pleasure as he was enjoying in his dream.
That the law is sin? Continuing in the same hyperbolic vein, the poet compares the brightness of her eyes to the light of a candle or to lighting. In The Anniversarie, and particularly in The Good Morrow, Donne is constantly striving to display his learning by extending his frame of reference over many different subjects. He is wanting God to transform him in this rough, not so sweet way. The speaker is quite aware that he is powerless on his own. Thus like a clever lawyer, Donne has given arguments after arguments to establish the point that his beloved is a goddess in human form. The entire poem is driven by this desperate longing for renewal.
He requests to have his heart battered. But it is possible that she is leaving him not from a fear of loss of reputation, but from other considerations. The chief advantage of the conceits Donne uses in this sonnet is the quality of inclusiveness they make possible. It was to the endings of his sonnets, however, that Donne attached particular importance. Donne uses graphic and violent imagery throughout the poem as a way of showing his utter desperation. The first eight lines of the poem he is essentially asking God to come in his heart, but not in a way most Christians nowadays would.
Even then he had doubts as to what was the one true Church, and this is reflected in some of his religious poetry. This does not necessarily mean that some of his poetry is insincere — not if the imagined feeling is well created. This love is always exempt from time, e. The words paint perfectly the horrible images of being imprisoned, broken, or ravished. This is not a request for a loving intercession. The entire poem is driven by this desperate longing for renewal. The Good Morrow has always impressed modern critics by the range and variety of his references, as well as by its avoidance of ornamental language.
With these characteristics in mind one is better able to appreciate the technique Donne employs in his sonnets. There is as much of drama, imagination, feeling, sensation, experience as of intellect and logic, and this sensational or experimental element is conveyed, not by a choice of words rich in association, but by speech-rhythm, inflexion, cadence. Some such works may arouse the interest of historians and scholars once the writings are sufficiently dated. There is the same personal approach; no address to love, but directly to his wife — the intimacy and immediacy of the metaphysical poet. It is true to say, therefore, that the major image suggested by The Anniversarie is royal and heraldic: groups of words appear in each stanza which relate to kings, princes and courtly life.
By line eleven he has professed his deep-rooted love for his God and his. Abigail Williams utters these words in an Act I conversation with John Proctor, clueing the audience in to her past affair with him. The repetition of these opposing concepts makes the tone of desperation in the speaker's words easily detectable. This desperation drives the entire poem from the very first word to the last. An imagery that touches the reader's sense of feeling, both physically and emotionally, is illustrated predominantly throughout the verse. Yet if it had not been for the law, I would not have known sin. The greatest single characteristic of this poem is its profound tone of sincerity, as the poet confesses at length his own sinfulness.
Although he wrote most of his works during the early seventeenth century, his poems were not eagerly read or appreciated until the late nineteenth century Smith. His metaphors are few but apt: he has opened the door to sin for other people while wallowing in his own sinfulness. In fact the desperation voiced suggests a state far from apathy! They are everything that matters in the world, therefore they are the world, e. The greatest concentration of language is confined to the second stanza. His qualification, second thoughts and new twists to an idea are perhaps a portrayal of his confusion.