Busy old fool, unruly Sun, Why dost thou thus, Through windows, and through curtains, call on us? Must to thy motions lovers’ seasons run? Saucy pedantic wretch, go chide Late school-boys and sour prenticed, Go tell court-huntsmen that the king will ride, Call country ants to harvest offices; Love, all alike, no season knows nor clime, Nor hours, days, months, which are the rags of time. Thy beams so reverend, and strong Why should thou think? I could eclipse and cloud them with a wink, But that I would not lose her sight so long.
If her eyes have not blinded thin, Look, and to-morrow late tell me, Whether both the’ Indians of spice and mine Be where thou left’s them, or lie here with me. Ask for those kings whom thou straw’s yesterday, And ho shall hear, “All here in one bed lay. ” She’s all states, and all princes I; Nothing else is; Princes do but play us; compared to this, All humor’s mimic, all wealth alchemy. Thou, Sun, art half as happy as we, In that the world’s contracted thus; Thin age asks ease, and since thy duties be To warm the world, that’s done in warming us.
Shine here to us, and thou art everywhere; This bed thy center is, these walls thy sphere Donna’s primary strategy for making “The Sun Rising” a powerful, effective poem is through incorporation of powerful, vivid imagery that draws the reader into the mom, offering a glimpse of Donna’s thoughts. Donna’s foremost image in “The Sun Rising” is the sun as a nosy “busy old fool who nettles in romantic relationships” (Bloom 16).
Done is clearly upset at the sun for its rude interruption of Done and his wife, as evidenced by his statement in lines one through three of the poem: “Busy old fool, unruly Sun, why dost thou thus, through windows, and through curtains, call on us? ” The image Done uses, comparing the sun to a nosy old bat, draws the reader to Donna’s side in his argument against the sun. This occurs wrought the reader identifying with Done in his protests against the sun, as almost no reader can truthfully state that there has never been an instance in which they did not want to get out bed after being awakened prematurely.
Bloom endorses this analysis in his summation of Donna’s image as “the sun is reduced to a large cosmic alarm clock, calling the poet back to the daylight world of education, business, and politics; its task no more than to “chide late schools oboes, and swore prenticed” (5-6)” (27). Bloom’s reference to lines 5 and 6 of the poem refers to Donna’s ext descriptor of the sun. The second image Done utilizes is the sun as an overly formalistic, inordinately precise being who scolds “late school-boys and sour prenticed” (6).
Donna’s choice of diction, in this instance, is responsible for the vividness of the image. A third significant image evident in the poem is Donna’s acceptance and welcome of the sun into his bed, “This bed thy center is, these walls thy sphere” (30). This image signals Donna’s submission to the sun, Juxtaposed with his initial anger at the sun in the beginning of the poem. This Juxtaposition is clear evidence of movement from one point of view to another, otherwise known as a resolution, and its incorporation into “The Sun Rising” signifies Donna’s peace- making with the sun.
A second prominent feature of “The Sun Rising” are Donna’s underlying themes, evident in the poem. Donna’s entire purpose in writing “The Sun Rising” lies in his expression of his love for his wife. Grievers concurs, evidenced by his statement “Donna’s interest is his theme, love and woman, and he uses words not for their own sake but to communicate his consciousness of the surprising phenomena in all their raying and conflicting aspects” (29).
The second part of Gridiron’s statement helps the reader to understand Donna’s strange choice to convey his theme of love through images of adultery, when Donna’s true intent is to depict the love between himself and his wife. Grievers statement explicates this paradox by explaining that Donna’s diction isn’t meant to be taken literally as Donna’s choice of words lies not in their actual meaning, but the words’ denotation, the thoughts of love and the emotion these thoughts convey. A second theme in Donna’s “The Sun Rising” is the theme of secular love in divine concepts (Daley 3).
Daley posits: Another theme found in Donna’s love poetry is the Juxtaposition of the sacred and the profane, mirroring secular love in divine concepts and expressing spiritual truths by linking them to secular experiences. In “The Sun Rising,” the speaker calls the sunbeams “reverend,” an adjective that alludes to a higher level than the physical; by analogy, the mistress also takes on more than physical characteristics. The lovers mirror in their mutual love the Incarnation, since in them the world and its material ND spiritual values are contained: “All here in one bed lay. (20) (Daley 3) Dale’s statement contains several complex ideas that require close analysis for complete comprehension. To begin with, Daley asserts in this statement that Done is referring to a higher authority by describing the sun’s rays as “reverend” (1 1 description is paradoxical, according to Daley, as Done is describing the Seoul non-spiritual sun with an adjective that refers to a “divine concept” (Daley 3). F complicating this paradox is the fact that Donna’s image of the sun is not mean eternally, but is an expression symbolizing his theme of love.
Therefore, Donna’s adjective “reverend” (11) is not modifying Donna’s image of the sun, but is mod his description of the theme of secular love, through utilization of an adjective referring to a higher authority, which is a divine concept. Warner, in “John Don Collection of Critical Essays,” parallels Dale’s assertions by stating “Donna’s pop of elevated love assume, with the Platonic tradition, that love is above all spirits and that the important aspect of the lovers’ union is the Joining of their spirits”
Secondly, Dale’s reference to the Incarnation openly refers to God, which expel Donna’s true meaning in line 20: “And thou shall hear, “All here in one bed lay. Donna’s wording of this statement denotes that the kings that the sun saw yeast are now in the lover’s bed. What Done is actually referring to is the “Incarnation” (Daley 3), which describes God, since it is in Him that all existence contained. Therefore, by saying “All here in one bed lay” (20), Done is stating t of existence is contained in the lover’s bed, thus expounding upon the theme a secular love in divine concepts.
A third prominent literary device Done makes use of is manipulation of the so devices in “The Sun Rising. ” The sound devices Done manipulates in “The Us Rising” include the rhythm of the lines in the poem, the phonetic stress of the syllables in each line, and the syntactical arrangement of the lines in all three stanzas. Perfecting the balance of these three elements is what defines a poet artist, as only an artist has such skill and patience.
Further testimony to Done’ as a poet is the fact that “the sound in Donna’s poetry not only echoes the sense in part communicates the emotion. The fact that people are better able to diet the meaning and emotion of spoken word as opposed to reading words from a is widely accepted, and illustrates Donna’s poetic skill, as he weaves the emotion attempts to convey into the sound of his poetry. Donna’s primary means of accomplishing this intricate and formidable task is through manipulation of the rhythm of “The Sun Rising. Done is able to manipulate the rhythm of the Poe putting the rhyme scheme in a specific order. The rhyme scheme of “The Sun R is BACKSIDE. The rhyme scheme of the poem directly affects the speed and “cadence” with which the poem is read. By rhyming the ending words in each Ii a particular scheme, Done gives the poem a specific “flow. ” The flow of the pop of “The Sun Rising” possesses a “quick tense quality,” and gives the poem a chi feel. “Its texture is sinewy and often irregular. It is not smooth verse, but it is e and musical. However, the closing lines of “The Sun Rising” possess a sense of “tranquility and sensuousness” (The Poetry of Done 3). Additionally, John Don manipulates the sound devices by placing words that are critical to the message the poem in “positions” that correspond with a phonetic stress in the meter. D In example, Done places the words: bed, center, walls and sphere in line 30 tactically so that they fall under a vocal stress in the meter, which coincides wit fact that these words are most critical to understanding the message of line 30.
Additionally: Done uses meter and intricate syntactical arrangements to convey the superiority of the love portrayed in “The Sun Rising. ” “He employs an uneven syllable count in his lines by varying his line length from short, pithy lines with four syllables to longer iambic pentameter lines. His manipulations of the syllable count allow Done to operate with different levels of stress and syntactical arrangement. The terse four- syllable lines create a forceful tension in each stanza. Daley 2) In conclusion, Grievers exquisitely summarizes “The Sun Rising” in his statement: “In Donna’s poem one feels the quickening of the brain, the vision extending its range, the passion gathering sweep with the expanding rhythms, and from the mind thus heated and inspired emerges, not a cry that might stay its course, but a clearer consciousness of the eternal significance of love, not love that aspires after the unattainable, but the love that unites contented hearts” (32).