John Donne's "The Canonization" : Love Non-peril



"For God's sake hold your tongue and let me love."

The Canonization of Love in John Donne's "The Canonization": Unparalleled Devotion

John Donne's Unique Blend of Physicality and Spirituality in Love Poetry

Even more than Petrarch and Spenser, John Donne is a poet of Love. The poem, "The Canonization" embodies all those qualities which make Donne’s poetry of love non-peril. Although he conceives of love as one of the most invigorating and vigorous aspects of life and sometimes even raises it to the position of supreme importance’ his is no mere echo of the Petrarchian love –worship of the beloved. On the other hand  "The Canonization," is a mire situation of love . Donne is at once physical and spiritual, for he does not separate the two into exclusive categories. Farther, "The Canonization," also speaks of love not in the deliquescing and meting rhythm of the poets of yore but in the vigorous and colloquially dramatic tone that is possible only to Donne. The poem unites the abstract and the near, sublime with the commonplace.

The Poet's Defiant Response: Love's Resistance against Societal Conventions

The poem begins dramatically with a statement which almost prevail a shock to the complacent reader. Expecting with a mellifluous beginning : “FOR God's sake hold your tongue, and let me love” ;The poet is distressed of by the fact that a person has objected to the speaker’s love affair ,The person who criticizes the poet ‘s love represents  the practical world which regards love as a trivial assize in man’s life and no more than a frittering away of time .The poet ‘answer' is that even if the external world considers Love to be a disease it should  restrict itself to the outer infirmities like ‘palsy’, approaching old age and the poet’s ironical forties .The unknown speaker might cure these ,but he would certainly fill in poring the poet of this particular obsession . Farther the poet mockingly entreats the other person to look to his own welfare by pursuing wealth and honor for himself. Disgusted, the poet detests him to log him alone with his love:

"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."

The Conflict of Love: Conventional Imagery and its Impact on the External World

The next stanza is a catalogue of the conflict between the real world and the world of love . The trails of love dominates: “What merchant's ships have my sighs drown'd?/ Who says my tears have overflow'd his ground?” The poet continues in this vein saying that the colds engendered by the constant weeping of loves does not prevent the world from moving forward and that the parlous heat which is so natural love does not add to the epidemic of plague . It is only noteworthy that many of images are conventional and belong to the Petrarchian tradition. Indeed, the poet himself might be ridiculing the hyperbolic and therefore unreal figures and metaphors used by poet like Petrarch reinvested. Yet Donne also emphasizes at the same time that these exaggerated versions do not harm to the external world and that the practical friend need not have any fear for we will still be able to indulge in warfare and lawsuits:
"Alas ! alas ! who's injured by my love?
    What merchant's ships have my sighs drown'd?
    Who says my tears have overflow'd 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.
"

The Paradoxical Union: Love's Transformative Power

John Donne
Somewhat in a daft of raillery, Donne addicts his own metaphors and hyperboles. Sincerity rings through his axe of the metaphors for he also makes the  simple declaration that ‘we are made such by love.’ Donne’s is a compendium of a series of opposing images .The lovers air flies ,for they keep flying around each tapers, the fires to which this flies are inescapably attracted only to perish .The axe of the word ‘died’ is not only a synonym for death ,for it has also been aced as a pan in the sanitarian customary sense of the sexual consummation of love .On the other hand, the word ‘taper’ adds another diminution: the love errs as fervent and as bright as a flame .The opposing groups of words gain dissipated symbol of peace and amity .The two lovers together unifies as the phoenix ,the myth - Egyptian bird of riddle ,a bird which barns itself only to find new vigor and new yowl: we die and rise the same and prove mystic riots by his love:

"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."        

The Phoenix's Flame: Love's Emancipation and Transcendence

Although the comparison to the phoenix seems outlandish; it is the fantastic and calmative image which best describes lovers unification and their emancipation. The phoenix is not two but one and the lovers are fused into this unity. Further, it burns not like the taper at its own cost but live again. Its' death is life. There love does not end with the mere satisfaction of sexual love. But it becomes regenerated with it. The tone of ridicule has been gradually discarded and the poet now proceeds in all seriousness to compare love to the most sublime aspects of life. He is aware that even if his love is unfit for the magnifying scene of tombs his tale will be fit at least to be celebrated in sonnets. Further, the well wrought urn which can become the container for the ass of the greatest of kings, is in no way inferior to the “half-acre tombs”. Indeed, the grossness of the half-acre tombs has been contrasted with the exquisiteness of the urn:

"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."

Love's Divine Temple: Embracing the World in Love's Embrace

The poet has already declared the lovers are canonized for love and this concept finds its consummation in the final stanza. Donne concludes with a defiant and triumphant tone. The speaker addresses those who question their love, challenging them to find something more worthy of their attention. He asserts that their love is not only legitimate but deserving of canonization, elevating it to a status of divine approval.The poet speaks of amorous love in terms of the divinity for love which is almost a temple:
"You, whom reverend love
    Made one another's hermitage …”
Such love does not share the fever and the fret of mortal love, but partakes of ‘place’ which is the blessing of divine. The lover becomes the epitome of the entire world, for instead of being a part of the world, the lovers include the entire world in their love. In the process of love they become the abiding pattern of love.

Conclusion

In a nutshell, John Donne's "The Canonization" explores the power and significance of love. Through vivid imagery, paradoxes, and strong metaphors, Donne portrays love as an extraordinary force that transcends societal norms. The poem celebrates the intensity of love, its enduring nature, and its ability to transform ordinary individuals into extraordinary beings.

  Ardhendu De

References

The poems of John Donne : Donne, John, 1572-1631 : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/poemsofjohndonne01donn

William Shakespeare's "SONNET NO. 116" (Let me not to the marriage of true minds): Analysis of Rhetoric


SONNET 116
Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:

O no! it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth's unknown, although his height be taken.

Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come:
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.

If this be error and upon me proved,
I never writ, nor no man ever loved.

"Let me not to the marriage of true minds  

Rhetoric:
1. This is a case  of  Hyperbaton which is a form of inversion of word order, since the normal word order should have been "Do not let me admit impediments to the marriage of true minds"  
.
2.This is also a case of synecdoche (abstract for the cocrety ) since the abstract ‘ true minds’ stands for the concrete  lovers who are faithful to 'each other ’
3. It is also a case of Alliteration  since the sound /m/ occurs at the beginning of words.
4. This opening line also employs the figure of speech called "litotes," which is a form of understatement that emphasizes a point by using a negative statement to assert the opposite. By saying "Let me not admit impediments," the speaker actually means "Let there be no impediments." The speaker declares that true love should not be hindered by any obstacles or difficulties.

Power and Suffering is one of the Themes of Christopher Marlowe's "Edward-II"



Power and Agony as Themes in Christopher Marlowe's "Edward II"

The Tragic Consequences of Self-Assertion and Power in "Edward II"

Some critics are of the view that Christopher Marlowe's "Edward-II"  is a play of  “power and suffering.” This theme, in a very large manner is visible in the play. The root cause in the working of this theme is the common flaw of self assertion or the exercise of power by the characters who are responsible for the inevitable tragedy of the play. The play explores the tragic downfall of King Edward II of England, focusing on the conflicts arising from the abuse and pursuit of power. 

Abuse of Power

"Edward-II" highlights the destructive consequences of misusing power. King Edward II prioritizes his personal desires, particularly his infatuation with his favorite, Piers Gaveston, over the responsibilities of his position. This abuse of power angers the nobles and the Queen, leading to rebellion and political unrest.

Suffering of the Monarch

As a consequence of his reckless behavior, Edward II experiences immense suffering. He faces rebellion from his own nobles, who seek to limit his authority and remove Gaveston from his side. This suffering intensifies when Edward is eventually overthrown, imprisoned, and ultimately murdered. Marlowe portrays the downfall of Edward II as a direct result of his misuse of power.

Personal Suffering and Sacrifice

 The play also explores the suffering endured by individuals who are caught up in the power struggles. Queen Isabella, Edward's wife, undergoes emotional turmoil as she witnesses her husband's infidelity and neglect. She eventually aligns herself with the nobles to protect her own interests, leading to her active involvement in Edward's downfall. Additionally, other characters like Mortimer, Edward's former ally turned adversary, also endure personal suffering as they navigate the complex dynamics of power.

Corrupting Influence of Power

Marlowe portrays power as a corrupting force throughout the play. Characters like Gaveston and the ambitious Mortimer become consumed by their pursuit of power, leading to their own downfall. The desire for power transforms relationships, provokes violence, and contributes to the overall suffering experienced by the characters.

The Consequences of Power and Betrayal

In the play the final impression is of Edward’s suffering. It is bound up with power – the power that Edward loses, the power that Mortimer wins. If a man had no power over other, there could be no suffering such as Edward knew. King Edward was too desperate for the power and just of friendship that he can not foresee the future consequences. He even deserts his wife and deprive her in his love. Here starts cropping up the seeds in infidelity in her heart. The king gives vent to his sufferings fanning the fire of hostility. He is robbed of his friendship for barons murder Gravestone. When he was defeated  and is imprisoned he is made in undergo all sorts of physical and mental tortures like a mean prisoner is inflicted with . But till his imprisonment he keeps on boasting and never pays any heed to the fact that a king cannot continue to be in power until he cares for the advice of hi9s subordinates and threat tyrant faces defeat at the hands  of his own subjects where all his pride of power is nullified.

Gaveston's Arrogance and Abuse

Christopher Marlowe
Gaveston is such a man who always gloats. He enjoys the riches and puts an airs of vanity. He along with king lays his hands on the Bishop of Coventry . He treats the poor extravagantly and servilely . He is an opportunist and thinks to give punishment who were keen to banish him or exile him. He thinks Mortimer was a traitor and wishes death way overtook him and feels happy when Edward gives good account of himself by asserting his authority in his favour . He in his intoxication of power asserts:
"What should a priest do with so fair a house? A prison may best beseem his holiness.”. He degrades the barons and puts in king’s mind the ill feeling against his wife. But at last he is captured by them and the wheel of his suffering starts rotating at a great pace showing explicitly his inevitable end. Thus Gaveston meets his miserable end parenting to his own pride.

Mortimer's Deception and Downfall

Mortimer though at first appears as a true patriot ,but when the character is fathomed if becomes clear that his patriotism was a mere show off . He cleverly wins the favour of the queen and putting into her brain that the king deserted her. He himself  with the barons raises a revolt against the king with a pretension of patriotism. When the king is taken to prison he tortured him and became blind in the exercise of power. But Mortimer himself also falls in the jaws of sufferings. When the prince at the last part of the drama understood his father’s murder he exercises his power in the truest sense of the word and orders the execution of young Mortimer and Mortimer cougronts the evil consequences of his evil doing.

Queen Isabella's Transformation

Queen Isabella though at the first part of the play appears as tender hearted affectionate wife became very much a false hearted queen not to hesitate to join with Mortimer in the murder of king Edward –II. When the king is sentenced to imprisonment she takes the authority in her hand to lead her son. In spite assurance that she would protect her son from all the foes ,the realization of the prince concerning his father’s death made her to be sent to the tower as a prisoner.

Conclusion

In "Edward II," Marlowe presents power as both a source of conflict and suffering. The play explores the consequences of abusing power, depicting the downfall of a monarch and the personal sacrifices made in the pursuit of power. It highlights the destructive nature of power when it is wielded irresponsibly, ultimately leading to tragedy and suffering for the characters involved. Thus in this play who starts flying with power is likely to face the fate of Icarus. Therefore, boundless power is ought to end in suffering. Marlowe focuses attention on the suffering , still consequential on the exercise  and the dream of power and it is the major fact.


References

Raman, S. (1997, March). Desire and Violence in Renaissance England Christopher Marlowe’s Edward II. Deutsche Vierteljahrsschrift Für Literaturwissenschaft Und Geistesgeschichte, 71(1), 39–69. https://doi.org/10.1007/bf03374596

British Library. (n.d.). British Library. https://www.bl.uk/collection-items/marlowes-edward-ii-1612

Full text of “Marlowe’s Edward II.” (n.d.). Full Text of “Marlowe’s Edward II.” https://archive.org/stream/marlowesedwardii00marluoft/marlowesedwardii00marluoft_djvu.txt

Eliot, T. S., Dickey, F., Formichelli, J., & Schuchard, R. (n.d.). Project MUSE - A Study of Marlowe. An unsigned review of Christopher Marlowe, by U. M. Ellis-Fermor. Project MUSE - a Study of Marlowe. An Unsigned Review of Christopher Marlowe, by U. M. Ellis-Fermor. https://muse.jhu.edu/document/305

John Donne's "The Good Morrow": Rhetorical Construction


The Good-Morrow
BY JOHN DONNE
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?
’Twas so; but this, all pleasures fancies be.
If ever any beauty I did see,
Which I desired, and got, ’twas but a dream of thee.

And now good-morrow to our waking souls,
Which watch not one another out of fear;
For love, all love of other sights controls,
And makes one little room an everywhere.
Let sea-discoverers to new worlds have gone,
Let maps to other, worlds on worlds have shown,
Let us possess one world, each hath one, and is one.

My face in thine eye, thine in mine appears,
And true plain hearts do in the faces rest;
Where can we find two better hemispheres,
Without sharp north, without declining west?
Whatever dies, was not mixed equally;
If our two loves be one, or, thou and I
Love so alike, that none do slacken, none can die.

 I wonder by my trouth , what thou , and  I Did , till we Lov’d? 
were we not wean’d till then ? 
But suck’d on country pleasures , childishly ?

Rhetorical Construction:  
1. This is a case of Metaphor .The  lovers, prior to their experience of true loves , have been compared to children  who have not yet given up their mothers’ milk.The speaker compares their previous experiences of pleasure to a child sucking on simple, unsophisticated delights found in the countryside. This highlights the innocence and immaturity of their past lives.The  comparison is no made explicity.
2. Interrogation: The speaker begins with a rhetorical question, expressing wonderment about the nature of their relationship and what life was like before they fell in love.
3. Hypophora: The speaker anticipates the reader's question and provides the answer within the same line. The rhetorical question emphasizes that their lives lacked fulfillment and maturity before they found love.



    Or snorted we in the seaven  sleepers den ?

Rhetorical Construction: 
1.This is a case of allusion .The poet here refers to the Christian tale of the seven young christions who spent centuries sleeping in a cave in  order to escape the persecution of king deacius .
2. This is also  a case of Metaphor.The speaker metaphorically suggests that before love, they were in a state of unconsciousness or unawareness.The lovers prior to their experience of true love have been compared to people who were sleeping [ snorted ] The  comparison is not made explicit.

’Twas so; but this, all pleasures fancies be.
If ever any beauty I did see,
Which I desired, and got, ’twas but a dream of thee.

 ’Twas so; but this, all pleasures fancies be."
Rhetorical Construction: Antithesis
Explanation: The line contrasts their past experiences of pleasure, which were transient and illusory, with the present reality of their love. It asserts that love is the only true pleasure.
 "If ever any beauty I did see,"
Rhetorical Construction: Hyperbaton
Explanation: The inversion of word order emphasizes the importance of the speaker's experience of beauty. It sets up the idea that all the beauty they have encountered in the past pales in comparison to the beloved.
It is a case of Synecdoche. The abstract has been used for the concrete. Beauty has been used in place of ‘beautiful woman’.
 "Which I desired, and got, ’twas but a dream of thee."
Rhetorical Construction: Metaphor
Explanation: The speaker compares all their previous desires and fulfillments of beauty to a mere dream in comparison to the reality of their love for the beloved.

And now good-morrow to our waking souls,
Which watch not one another out of fear;
For love, all love of other sights controls,
And makes one little room an everywhere.

    ‘And now good morrow to our waking souls’
Rhetorical Construction:
1. This is a case of Metaphor. The lovers, prior to their realization of true love, have been compared to sleeping people, while the realization of true love has been compared to the state of being awake.
2.  Metonymy: "Good-morrow" is a greeting used to say "good morning." Here, it represents the awakening of their souls to the transformative power of love.

 "Which watch not one another out of fear;"
Rhetorical Construction: Personification
Explanation: The souls are personified, given the ability to watch. It signifies that their souls are no longer in a state of fear or unease in each other's presence.

 "For love, all love of other sights controls,"
 Hyperbole: The speaker exaggerates the power of love by claiming that it dominates and controls all other forms of affection or attraction.

"And makes one little room an everywhere."
1. Hyperbole: Love expands their shared space into a metaphorical "everywhere," suggesting that their love transcends physical boundaries and limitations.
2. This is a case of  Epigram . At first thought , the statement seems absurd because one little room’ can not be ‘ an every where’ But on thinking more deeply one realizes that if one stay with one’s beloved are will find in her all the pleasure that the world can give him .

    Let sea- discoverers to new worlds have gone. 
Let Maps to other, worlds on worlds have showne  
Let us possess one world, each hath one and is one.

"Let sea-discoverers to new worlds have gone,"
Rhetorical Construction: 
1. Allusion: The speaker refers to the explorers who sailed the seas in search of new lands and draws a comparison to emphasize that their love is a greater discovery than any geographical expedition. The poet refers to the contemporary see-voyages and discoveries.
2. It is also a case of epigram since each of the lover’s  has  been compared to a world, comparison .Yet on twinking more deeply ,  we nature that one things all the joys of the world in one’s beloved .
 
"Let maps to other, worlds on worlds have shown,"
Hyperbole: The speaker exaggerates the expansive nature of their love by suggesting that it surpasses the discoveries made by maps, which reveal an endless number of worlds.

"Let us possess one world, each hath one, and is one."
  Paradox: The paradox here lies in the simultaneous possession of one world by both individuals. It conveys the idea that their love unites them so intimately that they share a single world, yet they remain distinct as individuals.

    My face in thine eye , thine in mine appears,
 And true plaine hearts die in the faces rest,

Rhetorical Construction:
 1. Hyperbaton: The inversion of word order emphasizes the mutual reflection of their faces in each other's eyes. It signifies the deep connection and mutual reflection they experience through their love.

2. Metonymy: "Faces" represents the essence of their true and honest hearts. It suggests that their genuine love and affection are clearly visible in their expressions and demeanor.

3. This is a case of Chiasmus . The first part of the statement ‘my face in thine eye’ has been repeated immediately in an inverted manner.

4. It is also a case of Epigram . At first the concept of the heart resting in the face appears absurd .But on thinking more deeply, one realizes that the nature of the characters always leaves its imprint on the face .

    Where can we finde two better hemispheres
 Without Sharpe North, without declining West ?

"Where can we find two better hemispheres,"
Rhetorical Construction:
 1. Metaphor: The speaker compares themselves to hemispheres, emphasizing the completeness and harmony they find in each other. It suggests that they are perfectly suited and complementary.
2. Antithesis: The contrasting images of "sharp north" and "declining west" represent discord and decline. The absence of these negative elements further emphasizes the harmony and stability of their love.
3. It is a case of synecdoche since the ‘North’ abstract and the abstract ‘west’ stand for the concrete north pole and western regions respectively.
4. It is also a case of Transferred epithet . The epithet ‘sharp’ is actually ‘ the weather’ and not ‘North’ similarly it is not ‘west’ which declines but the sun.

    ‘What ever dyes, was not mixt equally ;’

    Rhetorical Construction:
1. This is a case of Metaphor. The lover’s love for each other has been compared to a metallurgical process according to which if the elements making up a particular metal were not mixed in equal proportion, it would disintegrate, Similarly  unless the lovers loved each other in equal measure, their love would not last .
 2. Paradox: This paradoxical statement suggests that anything that fades or perishes was not blended in perfect unity, unlike their love, which remains strong and enduring.

If our two loves be one, or, thou and I
Love so alike, that none do slacken, none can die.

Rhetorical Construction: 
1. Hypophora: The speaker poses a rhetorical question, then answers it within the same line. It raises the possibility that their love is so unified and indivisible that it forms a single entity.
2. Epistrophe: The repetition of the word "none" at the end of both clauses emphasizes the idea that their love is so alike that neither partner weakens or diminishes it, and it cannot be extinguished or destroyed.

Shakespeare's "SONNET NO. 73" (That time of year thou mayst in me behold) : Analysis of Rhetoric



SONNET  NO. 73
That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin'd choirs, where late the sweet birds sang. 
 In me thou see'st the twilight of such day
As after sunset fadeth in the west;
Which by and by black night doth take away,
Death's second self, that seals up all in rest.  
 In me thou see'st the glowing of such fire,
That on the ashes of his youth doth lie,
As the death-bed, whereon it must expire,
Consum'd with that which it was nourish'd by. 
 This thou perceiv'st, which makes thy love more strong,
To love that well, which thou must leave ere long.

That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin'd choirs, where late the sweet birds sang. 

Rhetoric: 
1.It is a case of Hyperbaton because the normal order of words has been changed.
2. Metaphor: The speaker compares himself to a particular season, implying that he is in the later stages of his life, like the autumn of the year. The word "behold" suggests that the speaker is inviting the reader to observe or perceive his condition.
3. ("When yellow leaves, or none, or few, do hang")
 Anaphora: The repetition of the phrase "or none, or few" emphasizes the diminishing number of leaves on the trees. This imagery symbolizes the aging process and the approaching end of life.
4. Line 3:"Upon those boughs which shake against the cold"
Personification: The boughs, or branches, of the trees are given human qualities by suggesting that they "shake against the cold." This personification enhances the sense of vulnerability and the transitory nature of life.
 4. Line 4:
"Bare ruin'd choirs, where late the sweet birds sang"
This is also a metaphor in another sense because the ‘sweet birds’ not only refer to the literal birds but also to the ,choir singers in the church.
Explanation: The "bare ruin'd choirs" metaphorically represents the skeletal remnants of what were once lively and melodious places. The absence of birdsong further emphasizes the passage of time and the loss of vitality.

In me thou see'st the twilight of such day
As after sunset fadeth in the west;
Which by and by black night doth take away,
Death's second self, that seals up all in rest.  

Line 5:
"In me thou see'st the twilight of such day"
Rhetoric: Metaphor
Explanation: The speaker compares himself to the twilight, the period between daylight and darkness. This metaphor suggests that he is in the later stages of life, where the light of youth is fading.
 It may also be a case of simile because the comparison between the poet and the condition after the fading of the sun is stated explicitly by the use of the word ‘as’.
Line 6:
"As after sunset fadeth in the west"
Rhetoric: Simile
Explanation: The simile compares the fading of light after sunset to the waning vitality of the speaker. It reinforces the idea of the speaker's imminent decline and eventual passing.
Line 7:
"Which by and by black night doth take away"
Rhetoric: Metaphor
Explanation: The metaphor of "black night" represents death, which takes away the remaining light and signifies the end of life. This line underscores the theme of mortality.
Line 8:
"Death's second self, that seals up all in rest"
Rhetoric: Metaphor
Explanation: Death is personified as "Death's second self," suggesting that death is a natural and inevitable part of life. The phrase "seals up all in rest" implies that death brings eternal peace and rest.

 In me thou see'st the glowing of such fire,
That on the ashes of his youth doth lie,
As the death-bed, whereon it must expire,
Consum'd with that which it was nourish'd by. 

Line 9:
"In me thou see'st the glowing of such fire"
Rhetoric: Metaphor
Explanation: The speaker compares himself to a dying fire, symbolizing the fading passion and energy of youth. The fire imagery emphasizes the transient nature of life and the imminent end.
Line 10:
"That on the ashes of his youth doth lie"
Rhetoric: Personification
Explanation: The phrase "ashes of his youth" personifies the speaker's past, suggesting that his youthful energy and vigor have now diminished to mere remnants or ashes.
Line 11:
"As the death-bed, whereon it must expire"
Rhetoric: Simile
Explanation: The speaker compares himself to a deathbed, implying that his remaining vitality will soon be extinguished. This simile heightens the awareness of mortality and impending death.
Line 12:
"Consum'd with that which it was nourish'd by"
Rhetoric: Metaphor
Explanation: The speaker metaphorically states that the fire of his youth is being consumed and diminished by the very things that once nourished and sustained it. This line suggests that the speaker's past experiences, desires, and ambitions have contributed to his eventual decline.

 This thou perceiv'st, which makes thy love more strong,
  To love that well, which thou must leave ere long.

Line 13:
"This thou perceiv'st, which makes thy love more strong"
Rhetoric: Rhetorical question
Explanation: Although not explicitly stated as a question, this line functions as a rhetorical question, prompting the reader to consider whether they perceive the speaker's aging and mortality. It implies that the recognition of the speaker's transience strengthens the reader's love and appreciation for them.
Line 14:
"To love that well, which thou must leave ere long"
Rhetoric: Paradox
Explanation: The speaker presents a paradox by asserting that the reader should love the speaker deeply, even though they will inevitably have to leave them soon. This paradox highlights the bittersweet nature of love in the face of mortality and the impermanence of human relationships.

John Donne's "Go and catch a falling star": Analysis of Rhetoric


Go and catch a falling star
 by John Donne

 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.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.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.

"Go and catch a falling star": This line employs an imperative tone, Hyperbolic. commanding the reader to undertake a seemingly impossible task. It sets up the tone of the poem as one of skepticism and irony.

"Get with child a mandrake root": This line presents a fantastical and mythical scenario, urging the reader to accomplish something that is considered impossible or unnatural.

"Tell me where all past years are
Or who cleft the Devil's foot": This is a case  of allusion. It refers to the medieval belief that an unknown power has cleaved the foot of the devil. This line poses a questiontoo that is impossible to answer, emphasizing the theme of impossibility and the exploration of unattainable knowledge.

This line presents another impossible task, questioning the origin or cause of a supernatural entity, the Devil. It further emphasizes the theme of impossibility and the unanswerable.

"Teach me to hear mermaids singing": This is a case  of allusion. This line expresses a desire for knowledge or ability that goes beyond human capabilities, again emphasizing the theme of the unattainable.

"Or to keep off envy's stinging": This line suggests the desire to acquire a skill or knowledge that can protect oneself from negative emotions such as envy. It highlights the longing for a power that is beyond reach.

"And find
 What wind
Serves to advance an honest mind": These lines form a triplet, using a rhetorical device known as anaphora (repetition at the beginning of successive clauses). They express the desire to discover the force or influence that can propel an honest mind forward. The use of repetition adds emphasis to the plea for this knowledge.

It is a case of Synecdoche . The abstract phrase ‘honest mind’ stands for the concrete honest person.

It is also a case of Innuendo . The poet implies that in present society an honest person will  never rise in the social scale. Because that is reserved only for the  dishonest person .   

"If thou be'st born to strange sights": This line introduces a conditional statement, suggesting that if the reader is destined to witness extraordinary phenomena, then they should undertake a journey.
This is also  a case of Hyperbaton. The normal order of words ---‘go and see invisible things’ has been  inverted.

"Things invisible to see": This line presents a paradox by describing things that are invisible yet capable of being seen. It further reinforces the theme of the unattainable and the exploration of the unknown.

"Ride ten thousand days and nights": This line employs hyperbole to exaggerate the duration of the journey, emphasizing its arduous and lengthy nature.

"Till age snow white hairs on thee": This line uses imagery to depict the passing of time, suggesting that the reader must travel until they are old and aged.

"Thou, when thou return'st, wilt tell me
 All strange wonders that befell thee": These lines express the expectation that the reader, upon completing the journey, will share their experiences of encountering extraordinary phenomena. It establishes a sense of anticipation and curiosity.

"And swear
No where 
Lives a woman true, and fair": These lines again form a triplet using anaphora. They express the cynical belief that there is no place where a woman can be found who is both honest and beautiful. The repetition adds emphasis and reinforces the skepticism and irony found throughout the poem.

"If thou find'st one, let me know
"Such a pilgrimage were sweet":
This line presents another conditional statement, urging the reader to inform the speaker if they happen to find a woman who possesses the described qualities.

 This line acknowledges the desirability of embarking on such a journey, using the metaphor of a pilgrimage to evoke a sense of spiritual and personal growth.

"Yet do not, I would not go": These lines express a contradictory sentiment, with the speaker stating that they do not want to undertake the journey despite acknowledging its potential rewards. It adds a touch of irony and complexity to the speaker's perspective.

"Though at next door we might meet": This line suggests that the woman the speaker seeks may be close by, metaphorically speaking, highlighting the idea that true qualities are hard to find even in proximity.

"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."

These lines express the speaker's cynicism and doubt regarding the fidelity of the woman they seek. Even if she initially appears to be true and faithful, the speaker believes she will eventually be unfaithful to two or three other individuals before the speaker's arrival. The repetition and parallel structure of the lines emphasize the speaker's skepticism and reinforce the theme of untrustworthiness in relationships.

This is a case of Metaphor  because a woman who is both faithful and beautiful has been  compared to a deity , her residence to a shrine and the journey to a pilgrimage .

This is a case of Hyperbole too. The poet exaggerates the possibility of faithlessness in so short a span of time.


Thomas Wyatt's "They Flee From Me That Sometime Did Me Seek": Rhetorical Analysis


 'They flee from me that sometime did me seek,
With naked foot stalking in my chamber.
'

          This  is a case  of Metaphor .The women have been  here  compared to predatory animals  through their  prey is not ordinary food but sexual flood.

   --It is also a case of Hyperbaton since the word order in ‘did me seek’ has been changed from the usual one .

    'That sometime they put themselves in danger
To take bread at my hand; and now they range
Busily seeking with a continual change.
'
    --- This is a case of Metaphor since the amorous women have been here compared to birds while the poet himself  has been compared to the feeder . The comparisons are left in explicit .

Andrew Marvell's "TO HIS COY MISTRESS": Analysis of Rhetoric


 "Had we but world enough and time, 
This coyness, lady, were no crime." 

Here, the speaker uses the rhetorical device of conditional statement to suggest that if they had endless time, there would be no reason for the mistress to be coy. However, the speaker quickly acknowledges the limitations of time and the brevity of human life.

     “ Thou by the Indian Ganges' side
  Shouldst rubies find; I by the tide
  Of Humber would complain. I would
  Love you ten years before the Flood;
  And you should, if you please, refuse
    Till the conversion of the Jews.

This is a case of Hyperbole. The poet exaggerates the extant of physical distance between the two lovers .
He also exaggerates the length of time for which they would love each other .
 This is also a case of Allusion since flood refers to here alludes to the Biblical flood in which  none but No an  and his family was left alone .

    'My vegetable love should grow
Vaster than empires, and more slow.'

This is a case of Metaphor. The maturation of non-physical platonic love has been compared to the slow and insensible growth of vegetable love .
This is also a case of Irony. Although he seems, to praise vegetable love, -- the poet actually criticizer its lack of  intelligence and vitality .

A TO Z Literary Principles from History of English Literature: Note 13



A Set of 26 Objective Questions & Answers

A.  In poetry, a tercet is a unit of three lines that usually contain end rhyme; a couplet is a two-line unit that usually contains end rhyme. Shelley wrote the tercets in a verse form called terza rima, invented by Dante Alighieri. exp: P.B. Shelley ‘s Ode to the West WindRead More A to Z (Objective Questions)
                              
B. “A man may have many moods; he has but one spirit; and this spirit he communicates in some subtle, unconscious way to all his work. It waxes and wanes with the currents of his vitality, but no more alter than a chestnut changes into an oak.” Read More A to Z (Objective Questions) FROM The Inn of Tranquility JOHN GALSWORTHY

C. Macaulay's "History of England" contains a vast amount of information, but it is not its stores of information which have attracted to it millions of readers; it is the fascinating style in which the information is conveyed, making the narrative as pleasing as a novel, and giving some passages a power of exciting the emotions which not many poems possess. Read More A to Z (Objective Questions)

D. The “Faerie Queen" was intended to have extended to twelve books, but only six books and two cantos were written at least that is all which has survived.

E. Coleridge’s Kubla Khan went unfinished because the call of a friend broke the thread of the reverie in which it was composed.

Sophocles' "Ajax" : Earning Deeper Sympathy, Consequences of Honour and The Tragic Journey of Ajax




The Agony of Ajax: Exploring Sympathy, Honor's Consequences, and a Tragic End

A Fallen Hero's Wrath: Ajax's Quest for Revenge and Tragic Consequences

"Ajax" is a Greek tragedy written by the renowned playwright Sophocles. It tells the story of the Greek hero Ajax, who is a key figure in the Trojan War. The play explores themes of honor, pride, and the consequences of one's actions. 

It is generally agreed that Ajax and The Antigone are the two earliest extant plays by Sophocles; which of the two was produced first it is difficult to say. Perhaps an important feature of technique settles this—both tragedies need three actors, but the Ajax in this respect is more tentative than the Antigone. The scene is laid before the tent of Ajax on the plain of Troy. Enraged by the action of the Greeks in awarding to Odysseus instead of to himself the arms of the dead Achilles, Ajax sought to slay Agamemnon, Menelaus, and others in their sleep. 

The goddess Athena sent madness upon him so that he slaughtered cattle in their stead. Coming to himself he realizes his shame, and eluding his friends—the chorus of Salaminian sailors and the Trojan captive, Tecmessa (who has borne him a son),—he retires to a lonely spot by the sea and falls upon his sword. His brother Teucer returns too late to save him, but in time to confront and defy Agamemnon and Menelaus, who have decreed that Ajax' body shall be left unburied. At length Agamemnon is induced by Odysseus to forgo his purpose.

A Deadly Quest for Vengeance: Ajax's Descent into Madness and Tragic Redemption

The plot of "Ajax" centers around the aftermath of the Trojan War. Ajax feels deeply wronged after the armor of the slain warrior Achilles is awarded to his rival, Odysseus, instead of him. Consumed by anger and humiliation, Ajax becomes intent on seeking revenge against the Greek leaders who betrayed him.

In his rage, Ajax plans to kill the Greek generals, including Agamemnon and Menelaus, as well as Odysseus. However, the goddess Athena intervenes and clouds Ajax's mind, causing him to mistake a group of livestock for his intended targets. In his deluded state, Ajax slaughters the innocent animals, believing he has exacted his revenge.

When Ajax regains his senses and realizes what he has done, he experiences immense shame and guilt. He also faces the scorn and judgment of his fellow Greeks, who see his actions as madness and sacrilege. Despite his remorse, Ajax decides that suicide is the only way to cleanse his honor and escape the shame he has brought upon himself and his family.

The Tragic Heroism of Ajax: A Profound Exploration of Pride, Madness, and Redemption

The play raises profound questions about the nature of heroism, the consequences of pride and hubris, and the ethical complexities of war. It examines the psychological toll that warfare takes on individuals and explores the boundaries between sanity and madness.

Sophocles is considered by many modern scholars the greatest of the Greek tragedians and the perfect mean between the titanic symbolism of Aeschylus and the rhetorical realism of Euripides. Sophocles also effected a transformation in the spirit and significance of a tragedy; thereafter, although problems of religion and morality still provided the themes, the nature of man, his problems, and his struggles became the chief interest of Greek tragedy.

No Greek play gains so much by re-reading as the Ajax. Ajax, in Greek mythology, mighty warrior who fought in the Trojan War. He was the son of Telamon, king of Salamís, and led the Salaminian forces to Troy. An enormous man, slow in speech but unshakable in battle, Ajax was called “bulwark of the Achaeans” by Homer. Angered because he was not awarded the armor of the dead Achilles, Ajax resolved to kill the Greek leaders Agamemnon and Menelaus. To prevent this, the goddess Athena struck him with madness. In his delirium, Ajax committed suicide by falling on his sword.

The character of the hero steadily grows on us; it is not that we admire him more, but that we feel a deeper sympathy. As he gains in clearness, he lifts the other characters into the light. Ajax is a man dowered with nobility, sensitiveness, and self-reliance, but ruined by the excess of those qualities. His nobility has become ambition, his sensitiveness morbidity, and his self-reliance pride. He offends Heaven by his haughtiness, and is humbled; then, rather than accept this lesson, he shuns disgrace by suicide. This resolution is strong enough to overbear the appeals of Tecmessa and the silent sway of his little son; he faces death calmly and even thoughtfully.

 Grouped round the central figure are first Tecmessa and Teucer, and on a lower plane Odysseus, Menelaus, Agamemnon, and the chorus. Athena stands apart. Tecmessa is one of the loveliest creations of Sophocles; there clings about her a silvery charm which is strangely refreshing amid the turbid grandeur of the play. Tenderness, patience, courage—these are commonplace enough upon the stage; yet Sophocles has made of them something frail but indestructible, and touched her with his own greatest charm—an unearthly eloquence of which we shall speak later: — When Ajax is dead, it is she, not Teucer (as Ajaxhad hoped) who finds the body, and this marvel of quiet tenderness gleams forth again. She hardly laments at all; the choruses who accompany her are more moved. 

Conclusion

Sophocles' "Ajax" is a powerful and thought-provoking tragedy that delves into the human condition, showcasing the tragic downfall of a once-great hero. It continues to be studied and performed today, demonstrating the enduring impact of Sophocles' work on the world of drama and literature.

Ref:

References

The Ajax : Sophocles : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/ajaxsoph00soph

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