FREE ESSAY ON DOING DONNE: DONNE'S USE OF CONCEIT IN HOLY SONNET 14

DOING DONNE: DONNE'S USE OF CONCEIT IN HOLY SONNET 14

Doing Donne: Donne's Use of the Divine Rape Conceit in Holy Sonnet 14
As a young poet, John Donne often utilized metaphors of spiritual bond in many of his
Songs and Sonnets in order to explain fleshly love. Once he renounced Catholicism and
converted to the Anglican faith (circa 1597), Donne donned a more devotional style of
verse, such as in his Holy Sonnets (circa 1609-1610), finding parallels to divine love in
the carnal union. In many ways, however, his love poems and his religious poems are quite
similar, for they both address his personae's deep-seated fear of isolation by women and
God, respectively. For example, in "Song," Donne's speaker tells an unknown person
(presumably male) that if he would "Ride ten thousand days and nights" he would return
"And swear/ Nowhere/ Lives a woman true, and fair" (ll. 12; 16-18). Similarly, in Holy
Sonnet 2, the speaker voices fear that God will not be with him on his day of reckoning:
"Oh I shall soon despair when I do see/ That Thou lov'st mankind well, yet wilt not
choose me" (ll. 12-13). Whereas many of Donne's love poems display a speaker's anxiety
and anger about his inability to sustain affection from a woman, Donne transferred that
theme of resentment towards women to frustration with God because he personally doubted
his salvation.
Why would Donne have felt unfulfilled spiritually during the time in which he wrote
theHoly Sonnets? Witherspoon and Warnke posit that "Donne's religious doubts seem to have
been...settled" because after his conversion to Anglicanism, he led attacks against Roman
Catholicism and published a treatise which encouraged English Catholics to take the oath
of allegiance (58). While Donne abandoned Catholicism for Anglicanism willingly, records
indicate that he did so primarily for reasons of self-preservation and self-advancement
(Carey 60). I propose that despite his genuine attempts to embrace the Anglican faith, he
encountered seemingly insurmountable liturgical roadblocks that caused a long-lasting
religious disorientation. 
To leave one religion in order to embrace another with some fundamental differences with
respect to eternal salvation must have troubled Donne greatly. As a Catholic, Donne
probably believed that salvation was achieved by true contrition for sins, personal
endeavor and virtuous behavior. As an Anglican, however, he was forced to adopt the
Calvinistic approach that personal effort was futile and irrelevant; he must be chosen as
one of the elect. Donne, then, reasonably must have felt that he was not one the elect
when he converted, for he had sinned merely by being a Catholic. No longer cushioned by
the assurances of Catholicism and its sacraments, he possessed a fear of eternal
damnation. This was also a sin, for in order to be saved by God, one had to believe he
was already saved. In essence, fear of condemnation caused condemnation. 
Donne's Holy Sonnets reveal his consternation over his unworthiness as a Christian
through speakers' repeated attempts to beg God for redemption. In Sonnet 14 the speaker
plays the martyr by asking God to brutally force redemption upon him, for the speaker
cannot achieve it by the Catholic mode of prayer or the humanistic mode of reason.
Simultaneously, Donne is able to be the martyr he could never be once he turned traitor
to his original faith. Famous for his metaphysical conceits, and his relentless pursuit
of a faithful woman, Donne uses the most farfetched paradoxical juxtaposition of all: his
speaker begs God to rape him or her in order to become chaste.
Donne employs numerous poetic devices in order to suggest a symbolic rape that would win
salvation for his speaker. The hard consonant "B" in the first quatrain alliterates the
words "batter," (l. 1) "breathe," (l. 2) "bend" (l. 3), and "break, blow, burn" (l. 4) in
order to conjure violent images. Notice, however that these violent images are welcomed,
for in an extremely perverse way, "Batter my heart" (l. 1) is an example of the
invitation "sub-genre." The word "heart" was possibly Elizabethan slang for the vagina,
and therein lies a very blatant sexual metaphor. Donne uses subtler sexual imagery in the
first quatrain when the speaker continues to ask God for physical favors: "o'erthrow me,
and bend/ Your force" (ll. 3-4). From a sexual standpoint, the speaker asks God not to
tease and tantalize, but rather to exert force upon him or her. This relates to Donne's
religious dilemma in that in the first two lines, the speaker states that he or she does
not want to be "mend[ed]" by God, but rather spiritually reborn. The speaker's old self
is insufficient, and no amount of prayer will qualify him as worthy of redemption. God
must act first and "make [the speaker] new" (ll. 4).
In the second quatrain of Holy Sonnet 14, Donne uses the simile of a usurped town to
further portray the speaker as spiritually impotent.