Day: January 21, 2025

Introduction: “The Flea” by John Donne

“The Flea” by John Donne first appeared in 1633 as part of his posthumously published collection Songs and Sonnets. This witty and playful metaphysical poem uses the imagery of a flea to explore themes of love, physical union, and persuasion. Donne’s speaker argues that since the flea has already mingled the blood of both himself and his lover, their union should not be seen as a sin or dishonor. The poem is known for its clever logic, bold metaphors, and dramatic tone shifts, as seen in lines such as “Mark but this flea, and mark in this, / How little that which thou deniest me is.” Over time, “The Flea” has gained popularity as a textbook poem due to its rich use of conceits, its exploration of Renaissance attitudes toward love, and its ability to provoke discussion about the boundaries of poetic wit and persuasion. These elements make it a compelling study for students of literature, blending humor, argumentation, and profound insight into human relationships.

Text: “The Flea” by John Donne

Annotations: “The Flea” by John Donne

Line	Annotation
Mark but this flea, and mark in this,	The speaker draws attention to the flea, using it as a metaphor to start his argument about love and intimacy.
How little that which thou deniest me is;	He downplays the significance of his lover’s resistance, implying that what she denies him is trivial.
It sucked me first, and now sucks thee,	The flea has bitten both the speaker and the woman, symbolizing a mingling of their blood.
And in this flea our two bloods mingled be;	The mingling of their blood in the flea represents a union, akin to a physical or emotional connection.
Thou know’st that this cannot be said	He argues that the flea’s action is harmless and without sin, setting up his reasoning for why intimacy is natural.
A sin, nor shame, nor loss of maidenhead,	The speaker insists that the flea’s action does not involve sin, shame, or the loss of the woman’s chastity.
Yet this enjoys before it woo,	The flea enjoys the union of their blood without the need for courtship, contrasting with human relationships.
And pampered swells with one blood made of two,	The flea grows fat with the mingled blood, symbolizing the union between the speaker and the woman.
And this, alas, is more than we would do.	The speaker laments that the flea has achieved more unity than they have as lovers, subtly urging her to reconsider.
Oh stay, three lives in one flea spare,	He pleads with her to spare the flea, as it now contains their combined lives and its own life.
Where we almost, nay more than married are.	The speaker claims that their union through the flea surpasses the bonds of marriage.
This flea is you and I, and this	He equates the flea to their relationship, where their union is encapsulated.
Our marriage bed, and marriage temple is;	The flea becomes a metaphor for their marital and sacred union, elevating its symbolic role.
Though parents grudge, and you, w’are met,	The speaker acknowledges societal and parental objections but insists they are united within the flea.
And cloistered in these living walls of jet.	The flea’s dark, glossy body becomes their private sanctuary, free from external constraints.
Though use make you apt to kill me,	He accuses her of being accustomed to rejecting him, equating it to the act of killing the flea.
Let not to that, self-murder added be,	He warns her that killing the flea would be akin to harming herself, as it contains part of her.
And sacrilege, three sins in killing three.	He exaggerates, claiming that killing the flea would be a sacrilegious act, destroying their union and the flea itself.
Cruel and sudden, hast thou since	The speaker reacts to her killing the flea, accusing her of cruelty and impulsiveness.
Purpled thy nail, in blood of innocence?	He points out that her action has shed “innocent” blood, as the flea was harmless.
Wherein could this flea guilty be,	The speaker questions what crime the flea could have committed to justify its death.
Except in that drop which it sucked from thee?	He suggests the flea’s only “fault” was taking her blood, using it to emphasize the triviality of her action.
Yet thou triumph’st, and say’st that thou	He notes that she feels victorious, as though she has disproved his argument.
Find’st not thy self, nor me the weaker now;	He acknowledges her claim that killing the flea has had no real consequence.
‘Tis true; then learn how false, fears be:	He uses her admission to argue that her fears about intimacy are equally baseless.
Just so much honor, when thou yield’st to me,	He suggests that giving in to him would cost her no more honor than killing the flea did.
Will waste, as this flea’s death took life from thee.	He concludes that the impact of yielding to love is as insignificant as the flea’s death.

Literary And Poetic Devices: “The Flea” by John Donne

Line	Devices	Explanation
Mark but this flea, and mark in this,	Apostrophe	The speaker addresses his lover directly, creating an intimate and conversational tone.
	Imagery	A vivid picture of the flea is presented to draw attention to its symbolic role.
	Repetition	The repetition of “mark” emphasizes the importance of the flea in his argument.
How little that which thou deniest me is;	Hyperbole	The speaker exaggerates the triviality of her refusal to persuade her.
	Argumentation	The line sets up a logical reasoning to undermine her resistance.
It sucked me first, and now sucks thee,	Imagery	A clear image of the flea sucking blood from both is provided to highlight the mingling of their lives.
	Symbolism	The flea symbolizes their physical and emotional union.
And in this flea our two bloods mingled be;	Metaphor	The mingling of blood in the flea metaphorically represents their unity.
	Symbolism	The flea serves as a physical representation of their relationship.
Thou know’st that this cannot be said	Direct Address	The speaker directly appeals to her logic and understanding.
	Persuasion	He employs reasoning to convince her that their union is natural and harmless.
	Tricolon	The use of three phrases emphasizes the absence of negative consequences.
Yet this enjoys before it woo,	Personification	The flea is given human qualities, “enjoying” without courting, to mock human conventions.
	Irony	The irony lies in the simplicity of the flea’s act compared to the complexity of human relationships.
And pampered swells with one blood made of two,	Metaphor	The swelling flea represents their unity and growing connection.
	Imagery	The visual description of the flea swelling adds a vivid, physical element to the metaphor.
And this, alas, is more than we would do.	Irony	The speaker sarcastically points out that the flea achieves more than they have.
	Understatement	Downplays their union to make her objections seem overly dramatic.
Oh stay, three lives in one flea spare,	Exclamation	Conveys urgency and emotion, drawing her attention to his plea.
	Hyperbole	Exaggerates the significance of the flea, attributing it three lives.
Where we almost, nay more than married are.	Metaphysical Conceit	The flea is an unusual, imaginative metaphor for their marriage.
	Hyperbole	Claims their union in the flea surpasses traditional marriage, exaggerating for effect.
This flea is you and I, and this	Metaphor	The flea embodies their relationship, blending their identities into one.
	Symbolism	It symbolizes the physical and emotional bond he desires.
Our marriage bed, and marriage temple is;	Metaphor	The flea becomes a sacred space for their union.
	Religious Imagery	“Marriage bed” and “temple” invoke religious connotations of sanctity and holiness.
Though parents grudge, and you, w’are met,	Allusion	Refers to societal and parental opposition to their union.
	Euphemism	“Met” subtly implies physical intimacy without stating it explicitly.
And cloistered in these living walls of jet.	Imagery	Describes the flea’s glossy black body, enhancing its visual impact.
	Symbolism	The flea’s body represents a private space for their union.
Though use make you apt to kill me,	Hyperbole	Exaggerates her rejection as akin to killing him, heightening emotional stakes.
	Irony	Ironically accuses her of cruelty despite her inaction.
Let not to that, self-murder added be,	Hyperbole	Killing the flea is dramatized as self-murder, emphasizing its symbolic significance.
	Religious Allusion	References the sinfulness of self-murder, adding moral weight to his plea.
And sacrilege, three sins in killing three.	Hyperbole	Killing the flea is exaggerated as a grave sin, with “three sins” underscoring its symbolic importance.
	Religious Imagery	Frames the flea as sacred to heighten its symbolic value.
	Tricolon	The mention of “three sins” creates a rhetorical structure for impact.
Cruel and sudden, hast thou since	Alliteration	The repeated “s” sound emphasizes the speaker’s accusatory tone.
	Direct Address	Engages her directly to make his reaction more personal and immediate.
Purpled thy nail, in blood of innocence?	Imagery	Vividly describes the flea’s blood on her nail to symbolize its innocence.
	Symbolism	The flea’s blood represents the triviality of her objections.
Wherein could this flea guilty be,	Rhetorical Question	Challenges her logic by questioning the flea’s supposed guilt.
	Personification	Attributes innocence to the flea, making it seem wrongly accused.
Except in that drop which it sucked from thee?	Imagery	Highlights the flea’s minor act of sucking blood, mocking the exaggerated significance she gives it.
	Irony	The flea’s trivial action is contrasted with her dramatic response.
Yet thou triumph’st, and say’st that thou	Irony	Points out the irony of her feeling victorious over killing a flea.
	Direct Address	Conversational tone directly engages her, keeping the dialogue personal.
Find’st not thy self, nor me the weaker now;	Irony	Acknowledges her claim that killing the flea had no effect, subtly mocking her reasoning.
	Understatement	Downplays the impact of her action to draw attention to its insignificance.
‘Tis true; then learn how false, fears be:	Argumentation	Logical reasoning undermines her fears about intimacy.
	Irony	Her admission is used ironically to highlight her unfounded fears.
Just so much honor, when thou yield’st to me,	Metaphor	Compares her honor to the flea’s life, suggesting its insignificance.
	Persuasion	Attempts to convince her that giving in is as trivial as killing the flea.
Will waste, as this flea’s death took life from thee.	Simile	Compares the loss of her honor to the insignificant loss caused by the flea’s death.
	Irony	The flea’s death, used to make a point, mocks the exaggerated importance she attaches to her resistance.

Themes: “The Flea” by John Donne

1. Physical Union and Love: One of the central themes in “The Flea” is the speaker’s desire for physical union with his lover, which he presents as natural and inconsequential. The flea becomes a symbol for this union, as it has mingled their blood, representing their closeness without any societal judgment or sin. The speaker argues, “And in this flea our two bloods mingled be,” emphasizing the physical connection that the flea achieves effortlessly, which he believes should also apply to their relationship. He further downplays the act by asserting, “How little that which thou deniest me is,” suggesting that her refusal is trivial in comparison to the natural mingling of their lives, as symbolized by the flea. Through this, Donne explores the tension between societal norms and physical desires, framing love and union as an ordinary and natural phenomenon.

---

2. Marriage and Religious Sanctity: Marriage and its sanctity are explored metaphorically in the poem, as the speaker elevates the flea to represent a sacred bond. He declares, “This flea is you and I, and this / Our marriage bed, and marriage temple is,” transforming the flea’s body into a sacred space where their union is legitimized, free from societal and parental constraints. The reference to a “marriage temple” invokes religious imagery, equating their physical connection to a holy act. The speaker also criticizes societal interference in love, stating, “Though parents grudge, and you, w’are met,” presenting the flea as a space where their union transcends such opposition. By using the flea as a conceit for marriage, Donne challenges traditional notions of sanctity, blending the physical and spiritual in his exploration of love.

---

3. The Power of Persuasion: Throughout “The Flea,” the speaker uses wit and logical reasoning to persuade his lover, showcasing the theme of rhetorical power in romantic persuasion. He crafts an elaborate argument around the flea, using its actions as a metaphor for the harmlessness of physical intimacy. The line, “‘Tis true; then learn how false, fears be,” encapsulates his attempt to dismantle her fears by drawing parallels between the insignificant consequences of the flea’s death and the supposed loss of honor in yielding to him. The use of rhetorical questions, such as “Wherein could this flea guilty be, / Except in that drop which it sucked from thee?” forces her to reconsider the gravity of her rejection. Donne’s speaker exemplifies the art of persuasion, using intellect, humor, and emotional appeals to win his lover over.

---

4. Mortality and the Triviality of Life: Mortality and the fleeting nature of life are subtly addressed in the poem, particularly through the death of the flea. The speaker uses the flea’s death to highlight the insignificance of her concerns, arguing, “Just so much honor, when thou yield’st to me, / Will waste, as this flea’s death took life from thee.” By comparing the act of yielding to love with the flea’s inconsequential death, Donne underscores how fears of dishonor are often exaggerated. The flea’s short-lived existence, reduced to “that drop which it sucked from thee,” serves as a reminder of life’s brevity and how trivial many human concerns can be. This theme aligns with the carpe diem philosophy often found in metaphysical poetry, encouraging the audience to embrace life and love without undue fear or hesitation.

Literary Theories and “The Flea” by John Donne

Literary Theory	Explanation	Application to The Flea
Metaphysical Criticism	Focuses on the use of conceits (extended metaphors) and intellectual reasoning to explore abstract ideas.	Donne uses the flea as a conceit to symbolize the union of the speaker and his lover. The line “And in this flea our two bloods mingled be” reflects his witty, intellectual argument that their union is as natural as the flea’s act of sucking blood.
Feminist Theory	Examines gender dynamics, power relations, and the representation of women in literature.	The speaker’s persuasive tone in “How little that which thou deniest me is” suggests a power dynamic where the woman’s choice is trivialized, reflecting historical gender inequalities. The woman’s silence highlights her marginalized voice.
Psychoanalytic Theory	Explores human desires, emotions, and unconscious motivations in literary texts.	The speaker’s argument, “Just so much honor, when thou yield’st to me, / Will waste, as this flea’s death took life from thee,” reveals his underlying desire to rationalize intimacy by reducing its emotional and social significance. This reflects subconscious manipulation.
New Historicism	Analyzes how historical and cultural contexts influence a text’s meaning and interpretation.	The societal norms of Donne’s era, where virginity and chastity were highly valued, are critiqued in the poem. The speaker’s claim, “A sin, nor shame, nor loss of maidenhead,” challenges these cultural beliefs, suggesting a rebellion against conservative moralities.

Critical Questions about “The Flea” by John Donne

Literary Works Similar to “The Flea” by John Donne

1. “To His Coy Mistress” by Andrew Marvell
   Similar in its use of wit and persuasion, this poem employs logical reasoning and vivid imagery to convince the speaker’s lover to embrace physical intimacy before time runs out.
2. “The Passionate Shepherd to His Love” by Christopher Marlowe
   Like “The Flea,” this poem uses romantic and persuasive language to invite the speaker’s beloved to embrace love and the pleasures of life.
3. “Song: Go and Catch a Falling Star” by John Donne
   This poem, also by Donne, shares the use of wit, clever conceits, and a skeptical tone to explore themes of love and fidelity.
4. “The Garden” by Andrew Marvell
   Both poems reflect metaphysical themes, with “The Garden” using rich imagery and philosophical reflections on love and nature as central ideas.
5. “The Collar” by George Herbert
   Although this poem is more religious in tone, it shares a metaphysical style and a reflective exploration of inner conflict and desires, resonating with the intellectual depth of “The Flea.”

Representative Quotations of “The Flea” by John Donne

Quotation	Context	Theoretical Perspective
“Mark but this flea, and mark in this, / How little that which thou deniest me is.”	The speaker begins his argument, using the flea as a metaphor for the triviality of her denial of intimacy.	Metaphysical Criticism: Highlights Donne’s use of conceit to present an intellectual argument through unusual comparisons.
“It sucked me first, and now sucks thee, / And in this flea our two bloods mingled be.”	The flea becomes a symbol of their physical union, achieved without sin or shame.	Psychoanalytic Theory: Reflects the speaker’s subconscious justification for physical desire through symbolic reasoning.
“A sin, nor shame, nor loss of maidenhead.”	The speaker dismisses societal and moral judgments associated with physical relationships.	New Historicism: Challenges the conservative moral and religious attitudes of Donne’s era regarding chastity and honor.
“Yet this enjoys before it woo, / And pampered swells with one blood made of two.”	The speaker contrasts the simplicity of the flea’s action with human courtship rituals.	Feminist Theory: Exposes gender dynamics, as the speaker simplifies and trivializes her emotional and moral concerns.
“Oh stay, three lives in one flea spare.”	The speaker pleads for the flea’s life, equating its death to a moral and spiritual loss for both of them.	Religious Imagery: Explores metaphysical notions of life, union, and sanctity, elevating the flea’s symbolic importance.
“This flea is you and I, and this / Our marriage bed, and marriage temple is.”	The flea is metaphorically transformed into a sacred space representing their union.	Metaphysical Criticism: Illustrates Donne’s intellectual creativity in blending sacred and physical imagery.
“Though parents grudge, and you, w’are met.”	The speaker acknowledges societal and parental disapproval but insists their bond is legitimate.	New Historicism: Reflects the influence of societal constraints on personal relationships in Donne’s time.
“And sacrilege, three sins in killing three.”	The speaker exaggerates the flea’s death, likening it to an act of religious desecration.	Religious Imagery: Challenges traditional moral judgments by framing intimacy as sacred and its rejection as sacrilege.
“Purpled thy nail, in blood of innocence?”	After she kills the flea, the speaker mocks her action, emphasizing its harmlessness.	Irony and Feminist Theory: Ironically critiques her moral stance while revealing the imbalance in their rhetorical dynamic.
“‘Tis true; then learn how false, fears be.”	The speaker concludes his argument, equating her fears of intimacy with the triviality of the flea’s death.	Psychoanalytic Theory: Highlights the speaker’s manipulation of her emotional fears to achieve his desires.

Suggested Readings: “The Flea” by John Donne

1. Perrine, Laurence. “Explicating Donne: ‘The Apparition’ and ‘The Flea.'” College Literature, vol. 17, no. 1, 1990, pp. 1–20. JSTOR, http://www.jstor.org/stable/25111839. Accessed 20 Jan. 2025.
2. Bach, Rebecca Ann. “(Re)Placing John Donne in the History of Sexuality.” ELH, vol. 72, no. 1, 2005, pp. 259–89. JSTOR, http://www.jstor.org/stable/30029970. Accessed 20 Jan. 2025.
3. JONES, R. T. “JOHN DONNE’S ‘SONGS AND SONETS’: THE POETIC VALUE OF ARGUMENT.” Theoria: A Journal of Social and Political Theory, no. 51, 1978, pp. 33–42. JSTOR, http://www.jstor.org/stable/41803782. Accessed 20 Jan. 2025.
4. Rudnytsky, Peter L. “‘The Sight of God’: Donne’s Poetics of Transcendence.” Texas Studies in Literature and Language, vol. 24, no. 2, 1982, pp. 185–207. JSTOR, http://www.jstor.org/stable/40754680. Accessed 20 Jan. 2025.

Introduction: “The Apparition” by John Donne

The poem “The Apparition” by John Donne first appeared in 1633 in the posthumous collection Songs and Sonnets. This striking metaphysical work is delivered as a dramatic monologue in which the speaker confronts his former lover with bitterness and resentment, vowing to haunt her after death. Through powerful imagery and biting sarcasm, the poem explores themes of unrequited love, vengeance, guilt, and human vulnerability. With its masterful blend of emotional intensity and intellectual depth, “The Apparition” has earned enduring popularity and remains a prominent example of Donne’s innovative and evocative poetic style.

Text: “The Apparition” by John Donne

Line	Annotation
When by thy scorn, O murd’ress, I am dead	The speaker accuses the beloved of metaphorically “murdering” him with her rejection, implying that her scorn caused his death.
And that thou think’st thee free	He sarcastically suggests that she will feel relieved and free from his advances after his death.
From all solicitation from me,	She believes she will no longer have to deal with his romantic pursuits once he is gone.
Then shall my ghost come to thy bed,	He warns that even in death, he will haunt her, specifically in her most private and vulnerable moments.
And thee, feign’d vestal, in worse arms shall see;	He accuses her of being a false virgin or chaste woman, and imagines her in the arms of another lover, who is unworthy.
Then thy sick taper will begin to wink,	The candle (taper) in her room will flicker weakly, symbolizing her fear or a supernatural presence.
And he, whose thou art then, being tir’d before,	Her current lover will already be weary or disinterested in her before the ghost appears.
Will, if thou stir, or pinch to wake him, think	If she tries to wake him, he will misinterpret it as a demand for more intimacy and pretend to sleep.
Thou call’st for more,	Her lover will wrongly assume she is asking for more physical affection, further embarrassing her.
And in false sleep will from thee shrink;	He will pretend to be asleep and avoid her, rejecting her just as she rejected the speaker.
And then, poor aspen wretch, neglected thou	She will become like a trembling aspen tree, abandoned and lonely, reflecting her guilt and fear.
Bath’d in a cold quicksilver sweat wilt lie	She will experience physical symptoms of terror and guilt, like sweating that resembles mercury (quicksilver).
A verier ghost than I.	Ironically, she will be more ghost-like, drained, and lifeless than the speaker’s actual ghost.
What I will say, I will not tell thee now,	The speaker refuses to reveal his final words or intentions, heightening her anticipation and fear.
Lest that preserve thee;	He suggests that if he tells her, she might use the information to protect herself from the haunting.
and since my love is spent,	He admits his love for her is gone, replaced by bitterness and a desire for revenge.
I’had rather thou shouldst painfully repent,	He wishes for her to suffer and regret her actions rather than live guilt-free.
Than by my threat’nings rest still innocent.	He would rather she feel genuine remorse than dismiss his words as mere threats.

Literary And Poetic Devices: “The Apparition” by John Donne

Line	Device	Explanation
When by thy scorn, O murd’ress, I am dead	Apostrophe	The speaker directly addresses the beloved as “O murd’ress,” intensifying the personal and accusatory tone.
	Hyperbole	The exaggeration of her rejection causing his death emphasizes the depth of his emotional pain.
And that thou think’st thee free	Irony	The beloved believes she is free from his influence, but the speaker’s plan to haunt her proves otherwise, creating situational irony.
	Foreshadowing	This line hints at the haunting he promises later, creating anticipation for his ghostly revenge.
From all solicitation from me,	Euphemism	The phrase “solicitation from me” softens the reference to his romantic pursuit, making it less direct but still clear.
Then shall my ghost come to thy bed,	Imagery	The image of his ghost entering her bed is vivid and eerie, creating a sense of dread.
	Symbolism	The ghost symbolizes unresolved emotional turmoil and the lingering presence of past relationships.
And thee, feign’d vestal, in worse arms shall see;	Irony	Referring to her as a “feign’d vestal” mocks her pretense of purity, contrasting her supposed chastity with her actions.
	Symbolism	“Worse arms” symbolizes the unworthy lover she is now with, reflecting her moral and emotional downfall in his eyes.
Then thy sick taper will begin to wink,	Personification	The taper (candle) is described as “sick” and “winking,” giving it human-like qualities to reflect the ominous atmosphere.
	Imagery	The flickering taper creates a visual representation of fear and supernatural presence.
And he, whose thou art then, being tir’d before,	Metonymy	“He” stands for her future lover, representing all her relationships without naming anyone specifically.
	Foreshadowing	This line predicts the lover’s indifference, adding to the speaker’s revengeful portrayal of her emotional state.
Will, if thou stir, or pinch to wake him, think	Irony	The lover’s assumed misunderstanding (thinking she asks for more attention) mocks her plight, adding to her humiliation.
	Imagery	The act of stirring or pinching to wake someone creates a vivid, almost comedic image that contrasts the darker themes.
Thou call’st for more,	Double Entendre	The phrase has dual meanings: either a literal request for more attention or an implied desire for intimacy, deepening her predicament.
	Symbolism	This phrase symbolizes her desperate need for connection, now mocked by the speaker.
And in false sleep will from thee shrink;	Symbolism	“False sleep” symbolizes pretense, illustrating the lover’s lack of genuine affection.
	Irony	The beloved, once confident, is now rejected by her lover, mirroring the speaker’s original plight and flipping the power dynamic.
And then, poor aspen wretch, neglected thou	Metaphor	Comparing her to an “aspen wretch” emphasizes her trembling fear and isolation, symbolizing her guilt and vulnerability.
	Pathos	The phrase evokes pity for her emotional and physical suffering, despite the speaker’s bitterness.
Bath’d in a cold quicksilver sweat wilt lie	Imagery	The description of her cold, clammy sweat vividly portrays her fear and guilt.
	Symbolism	“Quicksilver sweat” symbolizes the toxicity of her guilt, as quicksilver (mercury) is both cold and poisonous.
A verier ghost than I.	Irony	The speaker mocks her, claiming she will be more lifeless than his ghost, reversing their roles in life and death.
	Metaphor	Her transformation into a “verier ghost” represents emotional death and guilt consuming her entirely.
What I will say, I will not tell thee now,	Suspense	The speaker withholds his intentions, heightening tension and the ominous mood.
	Power Dynamic	By refusing to reveal his words, the speaker asserts control over her emotions and actions.
Lest that preserve thee;	Irony	Suggesting his words might protect her is ironic, as he intends to harm her emotionally.
	Anticipation	The line builds anticipation about the haunting, keeping the reader engaged.
and since my love is spent,	Metaphor	Love is compared to a finite resource, indicating its exhaustion and the transition to anger and revenge.
	Tone	The tone shifts from love to bitterness, signaling a complete emotional transformation.
I’had rather thou shouldst painfully repent,	Antithesis	The contrast between “painfully repent” and “innocent” reflects his preference for her guilt over peace.
	Revenge Motif	This line underscores the poem’s central theme of emotional revenge.
Than by my threat’nings rest still innocent.	Juxtaposition	The juxtaposition of “threat’nings” and “innocent” contrasts his desire to ensure her guilt rather than leave her unaffected.
	Tone	The tone is ominous and vengeful, emphasizing the speaker’s bitterness and desire for retribution.

Themes: “The Apparition” by John Donne

• Revenge and Bitterness: Revenge is a dominant theme in “The Apparition,” where the speaker’s rejection by his beloved fuels his desire to haunt her after death. From the outset, he addresses her as “O murd’ress,” accusing her of metaphorically killing him with her scorn. This accusation frames his emotional pain as an act of violence, justifying his plans for retribution. The speaker envisions himself as a ghost coming to her bed, a vivid image of his desire to disrupt her peace even in death: “Then shall my ghost come to thy bed.” The bitter tone and menacing imagery underscore his transformation from a heartbroken lover into a vengeful spirit. His ultimate goal is not reconciliation but to make her “painfully repent” for her actions, highlighting how deeply her rejection has wounded him.
• Hypocrisy and False Virtue: Donne explores the theme of hypocrisy by accusing the beloved of feigning chastity and virtue. The speaker refers to her as a “feign’d vestal,” mocking her pretense of being pure and untouched. He predicts that her actions will lead to humiliation, as she will find herself in the arms of an unworthy lover: “in worse arms shall see.” This criticism of her duplicity reflects the speaker’s frustration with her rejection and suggests that her outward behavior does not align with her true character. By exposing her perceived hypocrisy, “The Apparition” critiques the societal expectations of virtue and the consequences of failing to uphold them.
• Fear and Guilt: The poem vividly portrays the beloved’s future guilt and fear, which the speaker imagines as retribution for her cruelty. He describes her as trembling and terrified, comparing her to a “poor aspen wretch,” a metaphor for her shaking vulnerability. The image of her “bath’d in a cold quicksilver sweat” reinforces the physical manifestation of her guilt and fear, suggesting that her actions will haunt her more than his ghost. The taper “begin[ning] to wink” symbolizes the eerie atmosphere and her growing terror, as the speaker emphasizes her internal torment. This theme reflects Donne’s exploration of the psychological consequences of moral and emotional wrongdoing.
• Power Dynamics in Love and Rejection: “The Apparition” also examines the shifting power dynamics in love, where rejection reverses the roles of victim and oppressor. At the beginning, the speaker is the victim of her scorn, addressing her with bitterness as he laments his death caused by her rejection. However, as the poem progresses, he imagines reclaiming power through his haunting: “What I will say, I will not tell thee now.” By withholding his final message, he exerts control over her emotions, turning her confidence into fear and dependence. The dynamic culminates in her imagined transformation into “a verier ghost than I,” suggesting that her guilt and regret will overpower her, leaving her emotionally lifeless. This theme illustrates Donne’s exploration of how rejection alters relationships and the balance of power within them.

Literary Theories and “The Apparition” by John Donne

Literary Theory	Explanation	Application to “The Apparition”
Feminist Theory	Examines how gender roles, power dynamics, and patriarchal norms influence literature and its themes.	The speaker accuses the beloved of being a “feign’d vestal,” critiquing her perceived hypocrisy and rejecting her agency. The poem reflects a patriarchal perspective where the speaker attempts to control and shame the woman for her choices. Her guilt and fear, described as “poor aspen wretch,” reflect the societal expectations placed on women to maintain chastity and virtue.
Psychoanalytic Theory	Focuses on unconscious desires, emotions, and conflicts within characters, often referencing Freudian concepts.	The speaker’s obsessive desire for revenge reveals unresolved feelings of rejection and loss. His fantasy of haunting her in death, saying “my ghost come to thy bed,” illustrates his inability to let go of his emotional pain. The references to her future guilt and terror, such as “bath’d in a cold quicksilver sweat,” suggest projection of his own feelings of inadequacy onto her.
Reader-Response Theory	Considers how readers interpret and emotionally react to a text, focusing on individual experiences.	Readers may sympathize with the speaker’s pain or critique his vengeful intentions, depending on their perspective. For example, the line “Then thy sick taper will begin to wink” could evoke fear of supernatural revenge or pity for both characters’ suffering. This theory highlights the diverse ways readers engage with the poem’s themes of love, rejection, and guilt.
Metaphysical Poetics	Analyzes the metaphysical elements, including wit, intellectual exploration, and use of conceits.	The poem’s central conceit—a ghost haunting the beloved—is characteristic of metaphysical poetry, blending physical and emotional concepts. Lines like “A verier ghost than I” use paradox and irony to challenge conventional ideas of guilt and spiritual presence. The intellectual wit in his detailed revenge fantasy, juxtaposed with his emotional bitterness, exemplifies Donne’s metaphysical style.

Critical Questions about “The Apparition” by John Donne

• How does Donne’s use of the ghost metaphor reflect themes of revenge and emotional pain?
• The ghost metaphor in “The Apparition” is central to the speaker’s expression of revenge and unresolved emotional pain. By imagining himself as a ghost haunting his beloved, the speaker symbolizes how his love and hurt will linger even after death: “Then shall my ghost come to thy bed.” This metaphor reflects the intensity of his emotional wounds, as his presence becomes an eternal reminder of her rejection. The haunting is both literal and symbolic, emphasizing how deeply her scorn affects him, causing him to imagine a scenario where his bitterness continues to exert power over her. The metaphor also underscores the idea of inescapable guilt, as the speaker envisions her future torment: “Bath’d in a cold quicksilver sweat wilt lie.” Donne’s use of the ghost thus transcends the physical realm, illustrating the emotional and psychological consequences of love and rejection.
• How does Donne portray power dynamics in love and relationships in the poem?
• In “The Apparition,” Donne explores shifting power dynamics between the speaker and the beloved, highlighting the complexities of love and rejection. At the beginning of the poem, the speaker positions himself as the victim of her scorn, addressing her as “O murd’ress” and lamenting his metaphorical death caused by her rejection. However, the speaker reclaims power by envisioning himself as a ghost capable of haunting and controlling her emotions: “What I will say, I will not tell thee now.” By withholding his final words, he exerts psychological dominance, leaving her to fear the unknown. This shift in power is further reinforced as the speaker imagines her becoming “a verier ghost than I,” consumed by guilt and emotional torment. The poem critiques the imbalance of power in relationships, demonstrating how rejection can lead to bitterness and the desire for revenge.
• How does Donne’s depiction of the beloved reflect societal expectations of women during his time?
• Donne’s depiction of the beloved in “The Apparition” reflects the societal expectations of chastity and virtue imposed on women during the 17th century. The speaker sarcastically refers to her as a “feign’d vestal,” accusing her of pretending to be virtuous while engaging in hypocritical behavior. This criticism reveals the speaker’s frustration with her perceived failure to adhere to societal ideals of purity and loyalty. Furthermore, the emphasis on her future guilt and terror, described as “poor aspen wretch,” illustrates how women were often judged harshly for their actions, with emotional suffering viewed as a form of moral punishment. Donne’s portrayal of the beloved exposes the rigid gender norms of his era, which demanded that women conform to ideals of innocence and fidelity while allowing men greater freedom in expressing desire and resentment.
• How does Donne use irony to enhance the poem’s tone and themes?
• Irony is a key device in “The Apparition,” used to heighten the poem’s tone of bitterness and its themes of rejection and guilt. The speaker’s declaration that the beloved will feel “free / From all solicitation from me” is ironic, as he immediately follows this with his plan to haunt her in death, ensuring she is never truly free from him. Additionally, the speaker’s claim that she will become “a verier ghost than I” is laced with irony, as the beloved, who once caused his metaphorical death, will now be the one haunted by guilt and emotional emptiness. This reversal of roles underscores the speaker’s desire to reclaim power and inflict psychological suffering. The ironic tone adds complexity to the poem, blending wit with resentment, and serves to emphasize the destructive nature of unreciprocated love and lingering bitterness.

Literary Works Similar to “The Apparition” by John Donne

1. “La Belle Dame sans Merci” by John Keats
   Similarity: Both poems explore themes of unrequited love and emotional torment, with an eerie, supernatural tone underscoring the speaker’s suffering.
2. “The Raven” by Edgar Allan Poe
   Similarity: This poem shares a dark, haunting atmosphere and the presence of a spectral figure that symbolizes loss, despair, and unrelenting emotional pain.
3. “Porphyria’s Lover” by Robert Browning
   Similarity: Like Donne’s poem, this dramatic monologue delves into obsession, rejection, and the power dynamics of love, using vivid imagery and unsettling themes.
4. “Annabel Lee” by Edgar Allan Poe
   Similarity: Both poems depict the enduring pain of a lost or unattainable love, with the speaker imagining a continuing connection beyond death.
5. “The Sick Rose” by William Blake
   Similarity: This short poem also uses symbolic imagery to portray the destructive consequences of love, secrecy, and emotional betrayal.

Representative Quotations of “The Apparition” by John Donne

Quotation	Context	Theoretical Perspective
“When by thy scorn, O murd’ress, I am dead”	The speaker begins with a direct accusation, blaming his beloved for causing his metaphorical death through rejection.	Feminist Theory: Highlights the power dynamics and gendered expectations in love and rejection.
“And that thou think’st thee free / From all solicitation from me”	The speaker sarcastically claims she will feel free after his death, setting up the irony of his haunting.	Irony and Reader-Response Theory: Engages readers in interpreting the speaker’s bitterness and sarcasm.
“Then shall my ghost come to thy bed”	The speaker envisions haunting her in her most intimate space, symbolizing emotional revenge.	Psychoanalytic Theory: Reflects unresolved emotional conflicts and a desire to regain control.
“And thee, feign’d vestal, in worse arms shall see”	He mocks her as a hypocrite, accusing her of feigned chastity while imagining her with another lover.	Feminist Theory: Critiques societal expectations of women’s virtue and the speaker’s frustration with them.
“Then thy sick taper will begin to wink”	The taper’s flickering represents her growing fear and the eerie atmosphere of the haunting.	Metaphysical Poetics: Symbolizes supernatural presence and psychological guilt through vivid imagery.
“And he, whose thou art then, being tir’d before”	The speaker imagines her lover rejecting her in indifference, mirroring her treatment of him.	Psychoanalytic Theory: Projects his feelings of rejection onto her imagined future experiences.
“And in false sleep will from thee shrink”	Her lover’s pretense of sleep represents emotional detachment and rejection.	Reader-Response Theory: Readers interpret the reversal of rejection as poetic justice or bitter projection.
“And then, poor aspen wretch, neglected thou”	He envisions her trembling in fear, emphasizing her vulnerability and isolation.	Feminist and Psychoanalytic Theories: Examines guilt, fear, and societal pressures on women.
“Bath’d in a cold quicksilver sweat wilt lie”	Her fear manifests physically, symbolizing guilt and the psychological effects of rejection.	Psychoanalytic Theory: Explores the somatic response to guilt and fear, reflecting her internalized torment.
“I’had rather thou shouldst painfully repent, / Than by my threat’nings rest still innocent”	The speaker prioritizes her repentance and suffering over her remaining guilt-free.	Metaphysical Poetics and Revenge Motif: Highlights intellectual wit and emotional obsession with revenge.

Suggested Readings: “The Apparition” by John Donne

1. Perrine, Laurence. “Explicating Donne: ‘The Apparition’ and ‘The Flea.'” College Literature, vol. 17, no. 1, 1990, pp. 1–20. JSTOR, http://www.jstor.org/stable/25111839. Accessed 20 Jan. 2025.
2. Dubrow, Heather. “RESIDENT ALIEN: JOHN DONNE.” Echoes of Desire: English Petrarchism and Its Counterdiscourses, Cornell University Press, 1995, pp. 203–48. JSTOR, http://www.jstor.org/stable/10.7591/j.ctt207g5n1.10. Accessed 20 Jan. 2025.
3. Dubrow, Heather. “RESIDENT ALIEN: JOHN DONNE.” Echoes of Desire: English Petrarchism and Its Counterdiscourses, Cornell University Press, 1995, pp. 203–48. JSTOR, http://www.jstor.org/stable/10.7591/j.ctt207g5n1.10. Accessed 20 Jan. 2025.
4. Guss, Donald L. “Donne’s Petrarchism.” The Journal of English and Germanic Philology, vol. 64, no. 1, 1965, pp. 17–28. JSTOR, http://www.jstor.org/stable/27714581. Accessed 20 Jan. 2025.

Introduction: “Sonnet 130: My mistress’ eyes are nothing like the sun” by Shakespeare

“Sonnet 130: My mistress’ eyes are nothing like the sun” by William Shakespeare first appeared in The Passionate Pilgrim in 1599 and was later included in the 1609 Shakespearean Sonnets collection. This sonnet is renowned for its subversion of the traditional Petrarchan sonnet, which idealized women with hyperbolic and often unattainable comparisons. Instead, Shakespeare uses a realistic, almost satirical tone to describe his mistress with grounded imagery: her eyes are “nothing like the sun,” her lips are less red than coral, and her breath is not fragrant. Yet, the closing couplet reveals a deeper, sincere affection, proclaiming his love as “rare” and authentic despite her lack of conventional beauty. This contrast between mockery of idealization and genuine love has made the sonnet a textbook example of Shakespeare’s wit and innovation, celebrated for its humorous yet heartfelt portrayal of human relationships.

Text: “Sonnet 130: My mistress’ eyes are nothing like the sun” by Shakespeare

Annotations: “Sonnet 130: My mistress’ eyes are nothing like the sun” by Shakespeare

Line	Annotation
My mistress’ eyes are nothing like the sun;	The poet rejects the traditional simile of a woman’s eyes being like the sun, emphasizing her realistic appearance rather than an idealized one.
Coral is far more red than her lips’ red;	Coral is used to compare the color of her lips, which are not as vividly red, deflating conventional romantic hyperbole.
If snow be white, why then her breasts are dun;	The poet contrasts the whiteness of snow with the duller (dun) complexion of his mistress’s breasts, emphasizing her natural, non-idealized beauty.
If hairs be wires, black wires grow on her head.	The metaphor of “wires” for hair mocks the artificiality of traditional comparisons, with her hair being described as black wires instead of golden strands.
I have seen roses damasked, red and white,	The poet recalls the imagery of red and white damasked (patterned) roses, often used to describe cheeks in romantic poetry.
But no such roses see I in her cheeks;	He denies such poetic exaggerations, asserting that her cheeks lack the rosy complexion idealized in other poems.
And in some perfumes is there more delight	He admits that certain perfumes are more pleasant than the natural scent of his mistress, continuing his realistic portrayal.
Than in the breath that from my mistress reeks.	The word “reeks” adds a blunt, almost crude honesty, breaking away from flattering descriptions and highlighting her human flaws.
I love to hear her speak, yet well I know	Despite his appreciation for her voice, he acknowledges that it does not possess a melodious quality superior to other sounds.
That music hath a far more pleasing sound;	Music is described as more pleasing than her voice, maintaining the poem’s theme of honesty rather than exaggeration.
I grant I never saw a goddess go;	The poet admits he has never witnessed a goddess, dispelling mythological comparisons often used in romantic poetry.
My mistress, when she walks, treads on the ground.	His mistress walks like an ordinary mortal, contrasting the ethereal movement typically ascribed to women in idealized descriptions.
And yet, by heaven, I think my love as rare	The poet transitions to a declaration of true love, asserting that his affection is rare and valuable despite her lack of conventional beauty.
As any she belied with false compare.	He concludes by condemning exaggerated comparisons in poetry, suggesting that genuine love does not depend on such falsifications.

Literary And Poetic Devices: “Sonnet 130: My mistress’ eyes are nothing like the sun” by Shakespeare

Device	Example	Explanation
Alliteration	“My mistress’ eyes”	The repetition of the “m” sound creates a smooth, rhythmic effect.
Antithesis	“My mistress’ eyes are nothing like the sun”	Contrasting his mistress’s eyes with the sun, emphasizing her realistic rather than idealized beauty.
Assonance	“I love to hear her speak, yet well I know”	Repetition of the “o” sound adds a melodic quality to the line.
Blazon	The entire sonnet critiques traditional blazon	Blazon describes a lover’s body with hyperbolic praise, which Shakespeare subverts by pointing out realistic flaws.
Consonance	“Coral is far more red than her lips’ red”	Repetition of the “r” sound creates rhythm and ties the description together.
Couplet	“And yet, by heaven, I think my love as rare / As any she belied with false compare.”	The final rhyming couplet provides resolution and contrasts with the earlier descriptions.
Hyperbole	“If hairs be wires, black wires grow on her head”	This exaggerated comparison humorously critiques traditional poetic exaggerations.
Imagery	“I have seen roses damasked, red and white”	Vivid visual imagery evokes the common poetic symbol of roses to contrast with the mistress’s cheeks.
Irony	“And in some perfumes is there more delight / Than in the breath that from my mistress reeks”	The use of “reeks” is ironically blunt, mocking overly flattering love poems.
Juxtaposition	“I grant I never saw a goddess go; / My mistress, when she walks, treads on the ground”	Contrasts mythological imagery with the reality of his mistress’s humanity.
Metaphor	“If hairs be wires, black wires grow on her head”	Her hair is compared to wires, mocking the tendency to compare women’s hair to gold in other sonnets.
Paradox	“And yet, by heaven, I think my love as rare”	The paradox lies in loving her deeply despite her imperfections.
Personification	“Music hath a far more pleasing sound”	Music is personified as capable of producing a sound more pleasing than her voice.
Realism	The entire poem	The poem is grounded in realistic descriptions of the mistress, rejecting idealized portrayals.
Repetition	“Than in the breath that from my mistress reeks”	Repetition of “than” in earlier lines emphasizes comparisons between reality and poetic exaggeration.
Satire	The whole poem	The sonnet humorously critiques the unrealistic portrayals of women in traditional love poetry.
Simile	“My mistress’ eyes are nothing like the sun”	A direct comparison using “like” to describe the reality of his mistress’s eyes.
Tone	The blunt, humorous, yet affectionate tone throughout	The tone shifts from playful mockery to sincere admiration in the couplet.
Volta	“And yet, by heaven, I think my love as rare”	The volta (shift in thought) in the final couplet reveals the poet’s genuine affection despite the earlier critiques.

Themes: “Sonnet 130: My mistress’ eyes are nothing like the sun” by Shakespeare

Literary Theories and “Sonnet 130: My mistress’ eyes are nothing like the sun” by Shakespeare

Literary Theory	Explanation	References from the Sonnet
Feminist Literary Theory	This theory examines how texts reinforce or challenge gender norms and stereotypes. Shakespeare subverts traditional idealizations of women, presenting a realistic portrayal rather than an unattainable ideal.	Lines like “My mistress’ eyes are nothing like the sun” and “If hairs be wires, black wires grow on her head” reject the objectification of women in poetry.
Marxist Literary Theory	Marxist theory analyzes class and societal structures in literature. The sonnet can be interpreted as critiquing the elitist and artificial ideals of beauty promoted by the upper classes.	The poem’s earthy tone (“My mistress, when she walks, treads on the ground”) rejects the ethereal, idealized qualities reserved for aristocratic women.
Deconstruction	Deconstruction focuses on contradictions and oppositions within texts. The poem juxtaposes idealized beauty with realism, challenging the binary between beauty and imperfection.	The contradiction in “And yet, by heaven, I think my love as rare” reveals that despite her flaws, the speaker’s love remains profound and genuine.
New Historicism	This theory places the text in its historical and cultural context. Shakespeare’s sonnet can be seen as a reaction to the Petrarchan tradition of idealizing women in Renaissance poetry.	Lines like “I have seen roses damasked, red and white, but no such roses see I in her cheeks” mock the exaggerated imagery common in Elizabethan love poetry.

Critical Questions about “Sonnet 130: My mistress’ eyes are nothing like the sun” by Shakespeare

Literary Works Similar to “Sonnet 130: My mistress’ eyes are nothing like the sun” by Shakespeare

1. “To His Coy Mistress” by Andrew Marvell
   Similarity: Both poems challenge traditional conventions of love poetry, with Marvell using wit and persuasion while Shakespeare employs satire and realism.
2. “The Nymph’s Reply to the Shepherd” by Sir Walter Raleigh
   Similarity: Like Shakespeare, Raleigh uses realism and skepticism to counter idealized portrayals of love and romantic promises.
3. “A Valediction: Forbidding Mourning” by John Donne
   Similarity: Donne’s poem, like Shakespeare’s sonnet, emphasizes the depth and sincerity of love over superficial appearances or physical presence.
4. “Amoretti: Sonnet 75” by Edmund Spenser
   Similarity: Spenser also reflects on eternal love, though he idealizes it in contrast to Shakespeare’s more grounded depiction.
5. “She Walks in Beauty” by Lord Byron
   Similarity: Byron’s poem, while more flattering, focuses on a unique and unconventional description of beauty, deviating from typical hyperbolic imagery.

Representative Quotations of “Sonnet 130: My mistress’ eyes are nothing like the sun” by Shakespeare

Quotation	Context	Theoretical Perspective
“My mistress’ eyes are nothing like the sun;”	Opening line rejecting traditional poetic comparisons, setting a realistic tone.	Feminist Theory: Challenges the idealization of women in poetry and critiques patriarchal beauty standards.
“Coral is far more red than her lips’ red;”	Continues to dismantle exaggerated depictions of beauty in love poetry.	Satirical Perspective: Uses humor to critique the artificial conventions of romantic poetry.
“If snow be white, why then her breasts are dun;”	Contrasts the whiteness of snow with the natural complexion of the speaker’s mistress.	Deconstruction: Challenges binary oppositions of beauty and imperfection, exposing their instability.
“If hairs be wires, black wires grow on her head.”	Depicts her hair in a blunt, unflattering way to subvert poetic norms of golden hair.	New Historicism: Reflects a rejection of Renaissance ideals of feminine beauty, grounded in cultural reality.
“I have seen roses damasked, red and white,”	References traditional poetic imagery often used to praise women.	Intertextuality: Draws from the Petrarchan tradition, only to critique its overuse and lack of authenticity.
“And in some perfumes is there more delight”	Acknowledges that fragrances are more pleasant than the natural scent of his mistress.	Realist Perspective: Highlights the natural flaws of human beings, focusing on authentic rather than idealized love.
“Than in the breath that from my mistress reeks.”	The word “reeks” humorously undermines poetic traditions of glorifying every aspect of the beloved.	Satirical Perspective: Mocks unrealistic portrayals of perfection in love poetry.
“My mistress, when she walks, treads on the ground.”	Contrasts his mistress with ethereal, goddess-like figures of romantic poetry.	Marxist Theory: Rejects the elitist idealization of women as divine beings, grounding them in everyday reality.
“And yet, by heaven, I think my love as rare”	The volta, where the speaker transitions to a sincere declaration of love.	Existentialism: Affirms that love transcends physical or societal ideals, focusing on the authenticity of personal connections.
“As any she belied with false compare.”	Concluding line condemns false, exaggerated comparisons, emphasizing the value of truth.	Postmodernism: Critiques the artificiality of poetic traditions, celebrating individuality and sincerity.

Suggested Readings: “Sonnet 130: My mistress’ eyes are nothing like the sun” by Shakespeare

1. Schwarz, Kathryn. “Will in Overplus: Recasting Misogyny in Shakespeare’s ‘Sonnets.'” ELH, vol. 75, no. 3, 2008, pp. 737–66. JSTOR, http://www.jstor.org/stable/27654632. Accessed 19 Jan. 2025.
2. Shakespeare, William. “Sonnet 130: My mistress’ eyes are nothing like the sun.” Poetry Foundation (1973).
3. Schwarz, Kathryn. “Will in Overplus: Recasting Misogyny in Shakespeare’s ‘Sonnets.'” ELH, vol. 75, no. 3, 2008, pp. 737–66. JSTOR, http://www.jstor.org/stable/27654632. Accessed 19 Jan. 2025.
4. Boas, R. P. “Miscellanea: Sonnet.” The American Mathematical Monthly, vol. 89, no. 6, 1982, pp. 361–361. JSTOR, http://www.jstor.org/stable/2321644. Accessed 19 Jan. 2025.
5. Hall, Kim F. “Beauty and the Beast of Whiteness: Teaching Race and Gender.” Shakespeare Quarterly, vol. 47, no. 4, 1996, pp. 461–75. JSTOR, https://doi.org/10.2307/2870958. Accessed 19 Jan. 2025.