Chapter 5 The 17th centuChapter 5 The 17th century I (The period of revolury I (The period of revolu

tion)tion) MetaphysicalsMetaphysicals

John Donne and his John Donne and his The FleaThe Flea

ContentsContents Historical BackgroundHistorical Background Literary features in this periodLiterary features in this period MetaphysicalsMetaphysicals John DonneJohn Donne1.1. Life experienceLife experience2.2. Literary careerLiterary career3.3. Major works and Artistic featuresMajor works and Artistic features4.4. His creations in poetryHis creations in poetry5.5. Appreciayion if his Appreciayion if his The FleaThe Flea

HistoricalHistorical backgroundbackground Conflicts between the king and the PConflicts between the king and the P

arliamentarliament The outburst of the civil war (the revThe outburst of the civil war (the rev

olution)olution) Restoration and the Glorious RevolutRestoration and the Glorious Revolut

ionion The changes of values and thoughts The changes of values and thoughts

of people and the societyof people and the society

Conflicts between the king and tConflicts between the king and the Parliamenthe Parliament

The religious aspect of the chaosThe religious aspect of the chaos 1.1. King James I came to power in 1603 a King James I came to power in 1603 a

nd began to impose his will upon religind began to impose his will upon religious matters as well as on Parliament.ous matters as well as on Parliament.

2.2. But an extreme Protestant sect would But an extreme Protestant sect would like to see the church more free of the like to see the church more free of the control of the state and restored to the control of the state and restored to the purity of the first century church of Jespurity of the first century church of Jesus Christ.us Christ.

The political aspect of the chaosThe political aspect of the chaos 1.1. The King saw Parliament as his servant, The King saw Parliament as his servant,

but Parliament refused to take his ordebut Parliament refused to take his orders without good reason. The King then rs without good reason. The King then decided to dissolve it and ruled the coudecided to dissolve it and ruled the country in his own for seven years (1614 – 1ntry in his own for seven years (1614 – 1621). 621).

2.2. His successor Charles I claimed his rule His successor Charles I claimed his rule as a divine right, but Parliament saw hias a divine right, but Parliament saw him as a human being. This led to the dism as a human being. This led to the dissolution of the first three parliaments asolution of the first three parliaments and also the fourth .The dead lock was nnd also the fourth .The dead lock was not to be addressed except the war.ot to be addressed except the war.

The outburst of the civil war (tThe outburst of the civil war (the revolution)he revolution)

The civil war broke out. For a few years (164The civil war broke out. For a few years (1642 – 1648) it raged between Parliament with it2 – 1648) it raged between Parliament with its army of the “Roundabouts” on one side as army of the “Roundabouts” on one side and the King with his Cavaliers on the other, nd the King with his Cavaliers on the other, ended with the capture and the beheading of ended with the capture and the beheading of Charles I and the founding of the commonwCharles I and the founding of the commonwealth in 1649.ealth in 1649.

Oliver Cromwell (1599 – 1658) and his ironsiOliver Cromwell (1599 – 1658) and his ironsides moved in, and England became a Protectdes moved in, and England became a Protectorate with Cromwell as its Protector. orate with Cromwell as its Protector.

Restoration and the Glorious RRestoration and the Glorious Revolutionevolution

With the death of Cromwell, the ParliaWith the death of Cromwell, the Parliament asked Charles II, Charles I’s son tment asked Charles II, Charles I’s son to the throne. Thus began the Restoratioo the throne. Thus began the Restoration in 1660. The country again fell into the n in 1660. The country again fell into the anarchy. But he was clever enough to aganarchy. But he was clever enough to agree act as a figurehead and not to enragree act as a figurehead and not to enrage Parliament.e Parliament.

The James II, his brother, tried once moThe James II, his brother, tried once more to rule absolutely and restore the Rore to rule absolutely and restore the Roman Catholic religion.man Catholic religion.

Parliament felt insecure and invited his brotheParliament felt insecure and invited his brother-in-law, William Orange, in 1688 to come with r-in-law, William Orange, in 1688 to come with an army to protect the English people. This waan army to protect the English people. This was the “Glorious Revolution”, glorious becauss the “Glorious Revolution”, glorious because bloodless.e bloodless.

The Bill of Rights which the new king signed wThe Bill of Rights which the new king signed with Parliament endowed Parliament as the ith Parliament endowed Parliament as the de fde facto acto ruler of the nation and the king became a ruler of the nation and the king became a titular head.titular head.

Now the struggle between king and Parliament Now the struggle between king and Parliament came to an end, and no king or queen has ever came to an end, and no king or queen has ever again thought of competing with Parliament.again thought of competing with Parliament.

The changes of values and thoThe changes of values and thoughts of people and the society ughts of people and the society The old value system was on its way ouThe old value system was on its way ou

t; the new values were taking shape. Pt; the new values were taking shape. People and the society all had the attemeople and the society all had the attempt to seek certainty and intellectual hapt to seek certainty and intellectual harmony, and to address the question of rmony, and to address the question of values through violence and sexuality. values through violence and sexuality. These incidentally constituted the featThese incidentally constituted the features of the period.ures of the period.

Literary features in this perLiterary features in this periodiod

The literary moodThe literary mood:: a mood of gloom, pe a mood of gloom, pessimism, decadence, and frivolity.ssimism, decadence, and frivolity.

The literary sceneThe literary scene:: not prolific; and bec not prolific; and because there was no accepted standard in gause there was no accepted standard in government and religion, there was no fixovernment and religion, there was no fixed standard of literary criticism; and soed standard of literary criticism; and some of the literary works were influenced me of the literary works were influenced by French culture.by French culture.

So there appeared an influential school oSo there appeared an influential school of literature, f literature, MataphisicalsMataphisicals in this period. in this period.

Metaphysicals /MetaphysicMetaphysicals /Metaphysicss

MetaphysicalsMetaphysicals (a literary term):(a literary term): It is a sc It is a school of poets in England, appearing in thhool of poets in England, appearing in the 17th century. The Metaphysical poets te 17th century. The Metaphysical poets tended to emphasize their personalities aended to emphasize their personalities and the complexity of their intellect. Theind the complexity of their intellect. Their works are just a mixture of poet’s emor works are just a mixture of poet’s emotions and intellect. Generally speaking, ttions and intellect. Generally speaking, their works are characterized by mysticisheir works are characterized by mysticism in content and fantasticality in form.m in content and fantasticality in form.

Founder of Metaphysical poetryFounder of Metaphysical poetry: : John John Donne is regarded as the founder of MeDonne is regarded as the founder of Metaphysical poetry taphysical poetry

Representatives of Metaphysical poetRepresentatives of Metaphysical poets (read P75)s (read P75): : George Herbert, Henry VaGeorge Herbert, Henry Vaughan, Richard Crashaw etc..ughan, Richard Crashaw etc..

The basic featuresThe basic features of Metaphysical poe of Metaphysical poetry: try: Wits Or conceits(p76)Wits Or conceits(p76)

John Donne (1571 – 1631) John Donne (1571 – 1631)

Life experience: (P74)Life experience: (P74) His literary career:His literary career: Donne’s literary c Donne’s literary c

areer can be divided into two periods. areer can be divided into two periods. 1.1. 1st period1st period:: Most of Most of The Elegies The Elegies and and SatSat

iresires and a good many of the and a good many of the Songs and SSongs and Sonnetsonnets were written. were written.

2.2. In the later periodIn the later period:: he mainly wrote he mainly wrote rereligious poems and prose works,ligious poems and prose works, esp. esp. ssermonsermons,, which reveal his spiritual devo which reveal his spiritual devotion to God as a passionate preacher.tion to God as a passionate preacher.

His major works,His major works,1. Two categories of his poetry1. Two categories of his poetry1.1 The youthful love lyrics: 1.1 The youthful love lyrics: The Songs and SonnThe Songs and Sonn

etsets (1633)(1633), , by which Donne is probably the best kby which Donne is probably the best known, contains most of his early lyrics. Love is thnown, contains most of his early lyrics. Love is the basic theme. Donne holds that the nature of love basic theme. Donne holds that the nature of love is the union of soul and body. e is the union of soul and body. These poems are These poems are very good examples of Metaphysical poetry.very good examples of Metaphysical poetry. W What is more, idealism and cynicism about love cohat is more, idealism and cynicism about love coexist in Donne’s love poetry. (read p77 -78)exist in Donne’s love poetry. (read p77 -78)

1.2 The sacred verses1.2 The sacred verses (religious poems): published (religious poems): published in 1624 as in 1624 as Devotion Upon Emergent OccasionsDevotion Upon Emergent Occasions..

2. Major artistic features: 2. Major artistic features: 2.12.1 In his poetry, he frequently applies In his poetry, he frequently applies conceits, i.e. exteconceits, i.e. exte

nded metaphors involving dramatic contrasts.nded metaphors involving dramatic contrasts. His co His conceits may be divided into two kinds; easy ones and diffnceits may be divided into two kinds; easy ones and difficult ones.icult ones.

2.22.2 His poetry involves a certain kind of argument with th His poetry involves a certain kind of argument with the direct, simple, sharp and heart-searching language. It e direct, simple, sharp and heart-searching language. It begins with a certain idea but ends in quite a contrary obegins with a certain idea but ends in quite a contrary one.ne.

2.32.3 His great His great prose workprose works are both rich and imaginative, s are both rich and imaginative, exhibiting the same kind of physical vigor and scholastiexhibiting the same kind of physical vigor and scholastic complexity as his poetry.c complexity as his poetry.

2.42.4 His best work is uneven in quality (p79): His best work is uneven in quality (p79): some are of some are of highest order with noble themes, but some are mere dohighest order with noble themes, but some are mere doggerel expressions of trivialities. Its imagery and thougggerel expressions of trivialities. Its imagery and thoughts can be licentious, and its form rugged and lacking ihts can be licentious, and its form rugged and lacking in smoothness.n smoothness.

2.52.5 HisHis writing stylewriting style:: frank and penetrating realism. frank and penetrating realism.

His creations in poetry:His creations in poetry:1.1. He abandons the traditional form of soHe abandons the traditional form of so

nnets, and gives a verse or a stanza a flennets, and gives a verse or a stanza a flexible form according to the peculiar thxible form according to the peculiar theme.eme.

2.2. He gives up the traditional skill of illusHe gives up the traditional skill of illustrating the theme in the poem, but has trating the theme in the poem, but has his own ways of fantastic metaphors anhis own ways of fantastic metaphors and extravagant hyperboles to express his d extravagant hyperboles to express his theme or ideas.theme or ideas.

Analysis and appreciation of Analysis and appreciation of The The FleaFlea

The Title:The Title: Donne’s “ Donne’s “The FleaThe Flea” is a seduction poe” is a seduction poem in which the author presents the title insect to him in which the author presents the title insect to his lover as a symbol of the potential consummation s lover as a symbol of the potential consummation of their relationship.of their relationship.

Stanza IStanza I Lines 1-2:Lines 1-2: The speaker tells his beloved to look at the fle The speaker tells his beloved to look at the fle

a before them “Take note of this.” With the word a before them “Take note of this.” With the word “but,” he seems to discount the worthiness of the fl“but,” he seems to discount the worthiness of the flea, it is just an insect. Continuing on, he mentions, ea, it is just an insect. Continuing on, he mentions, “mark in this,” which draws the reader’s attention “mark in this,” which draws the reader’s attention from the body of the flea from the body of the flea to the interior of the fleato the interior of the flea an and to note "how little" is that thing that she denies him d to note "how little" is that thing that she denies him (refusing his wooing love/his proposing sex with her)(refusing his wooing love/his proposing sex with her)

Lines 3-4: Lines 3-4: For the flea, he says, has sucked firFor the flea, he says, has sucked first his blood, then her blood, so that now, insst his blood, then her blood, so that now, inside the flea, they are mingled; By diminishiide the flea, they are mingled; By diminishing the importance of the flea, and then the ng the importance of the flea, and then the blood inside the flea, Donne diminishes thblood inside the flea, Donne diminishes the importance of his lover’s virginity. (Althoe importance of his lover’s virginity. (Although you have refused my wooing love, our bugh you have refused my wooing love, our blood has finally mixed together in the flea. lood has finally mixed together in the flea. We are together in another way. Your virginWe are together in another way. Your virginity is not kept.) ity is not kept.)

““blood” here is a symbol of “sex” and blood” here is a symbol of “sex” and “virginity”.“virginity”.

Lines 5-6: Lines 5-6: That mingling cannot be called "sin, or That mingling cannot be called "sin, or shame, or loss of maidenhead." shame, or loss of maidenhead." (why?)(why?) Most r Most religions consider premarital sex a sin and societeligions consider premarital sex a sin and society shames those that are known to have participay shames those that are known to have participated in that act. Premarital sex is equivalent to thted in that act. Premarital sex is equivalent to the “loss of maidenhead” since “maidenhead” e “loss of maidenhead” since “maidenhead” is an archaic word for the hymen. The word is an archaic word for the hymen. The word “o“or”r” is problematic. It implies that the tryst that is problematic. It implies that the tryst that Donne is suggesting would be considered one of Donne is suggesting would be considered one of those three possibilities, instead of being all thrthose three possibilities, instead of being all three at the same time, as it is commonly viewed. Iee at the same time, as it is commonly viewed. In fact, it would be impossible for one of the othn fact, it would be impossible for one of the other two choices to occur without the “loss of maer two choices to occur without the “loss of maidenhead.” Donne seems to be supplementing idenhead.” Donne seems to be supplementing his argument by making the consequences of sehis argument by making the consequences of sex with him appear less severe.x with him appear less severe.

Lines 7-8: Lines 7-8: He is asking why the flea can partake He is asking why the flea can partake of the sweetness of his lover while he cannot. of the sweetness of his lover while he cannot. Since the flea receives this prize with no effort,Since the flea receives this prize with no effort, it is therefore “pampered”. Donne says that it is therefore “pampered”. Donne says that the flea “swells” with pride. (the flea “swells” with pride. (Here “swellHere “swells” implies after sex with someone and then s” implies after sex with someone and then “to be pregnant”with their mingled blood“to be pregnant”with their mingled blood.).)

Line 9: Line 9: Donne ends the first section of the poem Donne ends the first section of the poem withwith a cry of regreta cry of regret.. “Alas” shows his true d “Alas” shows his true dismay at knowing that he cannot enjoy the saismay at knowing that he cannot enjoy the same privilege as the flea, and that he and his lome privilege as the flea, and that he and his lover cannot consummate their relationship. ver cannot consummate their relationship.

This stanza pave the way to the second stanza, thThis stanza pave the way to the second stanza, the most famous stanza of e most famous stanza of “conceits”.“conceits”.

Stanza IIStanza IILine 1-2:Line 1-2: As his beloved moves to kill the flea, the As his beloved moves to kill the flea, the

speaker stays her hand, asking her to spare the tspeaker stays her hand, asking her to spare the three lives in the flea: his life, her life, and the flhree lives in the flea: his life, her life, and the flea's own life.ea's own life.

When he writes,When he writes, “three lives in one flea spar“three lives in one flea spare,”e,” he is saying that the fluid inside the flea is he is saying that the fluid inside the flea is not just blood, but also he and his lover. not just blood, but also he and his lover. Their Their lives are contained within the flea. The flea is lives are contained within the flea. The flea is the first life, and they are the additional two(athe first life, and they are the additional two(an insect, spare it, please).n insect, spare it, please). Here “three lives in Here “three lives in one flea” is a metaphor. one flea” is a metaphor.

Lines 3-4: Lines 3-4: Here isHere is Donne’s second metaphor of thiDonne’s second metaphor of this stanza comparing the flea to a s stanza comparing the flea to a “marriage bed a“marriage bed and marriage temple”.nd marriage temple”. This emphasizes the intim This emphasizes the intimate nature of the mingling of blood presented earate nature of the mingling of blood presented earlier. The flea is a place where the two lovers can lier. The flea is a place where the two lovers can have a marital relationship. In fact, they “more thave a marital relationship. In fact, they “more than married are”. In the flea, he says, where thehan married are”. In the flea, he says, where their blood is mingled, they are almost married--no, ir blood is mingled, they are almost married--no, more than married--more than married--and the flea is their marriage and the flea is their marriage bed and marriage temple mixed into one.bed and marriage temple mixed into one.

Here “conceits”: Flea>Church/marriage temple>Here “conceits”: Flea>Church/marriage temple>FleaFlea

Flea>marriage bed>FleaFlea>marriage bed>Flea

Lines 5-6: Donne presents the Lines 5-6: Donne presents the idea of social conveidea of social conventionsntions when he says that “parents grudge, and y when he says that “parents grudge, and you”. The parents are representative of ou”. The parents are representative of the societthe societyy that says that premarital sex is a sin. Though th that says that premarital sex is a sin. Though their parents grudge their romance and though she eir parents grudge their romance and though she will not make love to him, they are nevertheless uwill not make love to him, they are nevertheless united and cloistered in the living walls of the flea. nited and cloistered in the living walls of the flea.

Lines 7-9: Lines 7-9: She is apt to kill him, he says, but he asks She is apt to kill him, he says, but he asks that she not kill herself by killing the flea that conthat she not kill herself by killing the flea that contains her blood; he says that to kill the flea would tains her blood; he says that to kill the flea would be sacrilege, "three sins in killing three."(What dobe sacrilege, "three sins in killing three."(What does es “three”“three” make you think of according to make you think of according to The The BibleBible? Here understanding it as the holy religious ? Here understanding it as the holy religious images: trinity.)images: trinity.)

Stanza IIIStanza III "Cruel and sudden," the speaker calls his lover,"Cruel and sudden," the speaker calls his lover,

who has now killed the flea, "purpling" her fi who has now killed the flea, "purpling" her fingernail with the "blood of innocence." The spngernail with the "blood of innocence." The speaker asks his lover what the flea's sin was, oteaker asks his lover what the flea's sin was, other than having sucked from each of them a dher than having sucked from each of them a drop of blood. He says that his lover replies tharop of blood. He says that his lover replies that neither of them is less noble for having killet neither of them is less noble for having killed the flea. It is true, he says, and it is this very d the flea. It is true, he says, and it is this very fact that proves that her fears are false: If she fact that proves that her fears are false: If she were to accept his wooing ("yield to me"), she were to accept his wooing ("yield to me"), she would lose no more honor than she lost when would lose no more honor than she lost when she killed the flea. she killed the flea.

The structure of the poem:The structure of the poem: This poem alternates metrically between lineThis poem alternates metrically between line

s in s in iambic tetrameter and lines in iambic peiambic tetrameter and lines in iambic pentameter, a 4-5 stress pattern ending with two ntameter, a 4-5 stress pattern ending with two pentameter lines at the end of each stanza.pentameter lines at the end of each stanza. T Thus, the stress pattern in each of the nine-line hus, the stress pattern in each of the nine-line stanzas is 454545455. The rhyme scheme in eastanzas is 454545455. The rhyme scheme in each stanza is similarly regular, in couplets, witch stanza is similarly regular, in couplets, with the final line rhyming with the final couplet:h the final line rhyming with the final couplet: AABBCCDDD. AABBCCDDD.

The poem is organized into three stanzas of nThe poem is organized into three stanzas of nine lines each. Each of these stanzas deals wiine lines each. Each of these stanzas deals with a different aspect of Donne’s argument. th a different aspect of Donne’s argument.

AssignmentsAssignments Written workWritten work1.1. Define the term: Metaphysicals Define the term: Metaphysicals 2.2. Tell the two categories of John Donne’s potery and his masterworks.Tell the two categories of John Donne’s potery and his masterworks.3.3. In In The FleaThe Flea by John Donne, there are religious images. List them out. by John Donne, there are religious images. List them out.4.4. In In The FleaThe Flea by John Donne, What is “blood” symbolized? by John Donne, What is “blood” symbolized? 5.5. In the second stanza of In the second stanza of The FleaThe Flea by John Donne, there are two big m by John Donne, there are two big m

etaphors. What are they? What do they mean? What are the most faetaphors. What are they? What do they mean? What are the most famous conceits?mous conceits?

6.6. Who are the three lives in the flea?Who are the three lives in the flea? Topics for discussionTopics for discussion1.1. What are the literary features in the 17th century?What are the literary features in the 17th century?2.2. What are the major artistic features of John Donne?What are the major artistic features of John Donne?3.3. Discuss John Donne’s literary carrer.Discuss John Donne’s literary carrer.*Oral work*Oral work Memorizing John Donne’s Memorizing John Donne’s The Flea.The Flea.

Love ends with nothing (a song inserteLove ends with nothing (a song inserted)d)