The Flea and the Sun Rising

1644 words 7 pages
The metaphysical era in poetry started in the 17th century when a number of poets extended the content of their poems to a more elaborate one which investigated the principles of nature and thought. John Donne was part of this literary movement and he explored the themes of love, death, and religion to such an extent, that he instilled his own beliefs and theories into his poems. His earlier works, such as The Flea and The Sunne Rising, exhibit his sexist views of women as he wrote more about the physical pleasures of being in a relationship with women. However, John Donne displays maturity and adulthood in his later works, The Canonization and A Valediction: Forbidding Mourning, in which his attitude transcends to a more grown up one. The …show more content…
He is absolutely against any obstacles that come in his way and very senselessly looks down at such a powerful thing like the sun. He further asserts that love is the most important thing in the world by saying, “Love, all like, no season knowes, nor clyme, nor houres, dayes, moneths, which are the rags of time.” (Line 9) Once again he is giving absolute advantage to love through the argument that love does not work in accordance with time. The sun, in this case, is a trespasser and should not disturb the operations of love that are taking place in the bedroom. Donne intensifies his argument when he says, “This bed thy center is, these walls, thy spheare.” (Line 30) This is highly significant because it summarizes John Donne’s arrogance towards the sun. He debases the sun by saying that everything revolves around the bedroom where love happens, and this is highly contradicting to nature’s laws. In addition, this line expresses his sexist views, as he cares only about making love to the woman. According to Donne, he finds all the treasures of the world in the bedroom, such as the spices of the two Indias, which implies that for him sex is everything. Another claim that Donne makes, “She is all States, and all Princes, I” (Line 21), shows how Donne looks down at women. He is objectifying his bed partner by calling her a “state” and describing himself as a “Prince” who owns that state. The Sunne

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