Introduction

Write a poem on the sun?

Shinning with might, the powerful sun,

Why thy so potent?

Peering through the windows and the curtains,

You shed light upon us.

May I know the feelings behind the warmth?

Scorching rays of yours,

Penetrate the world,

No one can escape the warmth of yours,

Go tell the people to come out,

Call the ants for the harvest time.

Love every one alike, no season nor country,

Nor any moment, which are simply the element of time.

Thy rays so strong and powerful,

What should you think?

I can eclipse and shadow them with a wink

But then the sight cannot be so long;

If the eyes are not blinded,

Look and behold the agony of time

Be there where no one happens to be present

Ask for people who saw you yesterday

And then you might hear.

The sun is an element of art,

Happy and lovable as we are

Ages will pass,

Duties will changes

But the sun will warm as it use to be

The poet wonders aloud of the sun as to why it glows in his bedroom, bothering him and his beloved in sleep. Instead of bothering them, the sun ought to go away and do some other things, such as wake up ants or hustle late schoolchildren to start their day. Couples should have the freedom to schedule their time as they see fit. After all, sunbeams pale in contrast to the strength of love, and everything the sun sees across the earth pales into insignificance to the beauty of the loved, which encompasses everything. The room is the centre of the universe. Research The poet/lover is the narrator in “The Sunne Rising,” 30-line poetry in three quatrains.

The metre is asymmetrical, with two to six strains each line under no discernible pattern. The strongest system is usually found at the end of 3 stanzas, although Donne isn’t concerned with precise uniformity here. The rhyme scheme, on the other hand, is consistent throughout, with each stanza repeating abbacdcdee. As he confronts the sun, the poet’s tone is mocking and ranting, masking an undercurrent of frantic, possibly intense fandom and extravagant conceptions of what his lover is. The sun is portrayed by the poet as a “busy old fool” (line 1). He wonders why the light is bothering “us” (4), who seem to be people in love.

The sun peeks it through the curtain of their room window, signalling the start of the day and the end of their time together. The narrator is irritated, hoping that the day had not yet arrived (contrast Juliet’s assurance in Juliet III.v that it is not the morning). Instead of disturbing them, the writer proposes that the sunlight go out and do some tasks, such as going to be telling the royal sniper that it is a hunting day for the king, start waking up ants, or even hurrying late schoolchildren and apprenticeships to their chores. The poet is confused as to why “people who love’ periods run thine movements” (4). He imagines, or hopes for, a paradise in which lovers’ caresses aren’t limited to the night, but instead can take place whenever they choose.

The poet continued to ridicule the sun in the second verse, stating that its “reverent and powerful rays” are nothing compared to the power and splendour of their devotion. “With a blink, I could obscure and mist all [the sunbeams],” he boasted. In some ways, this is true; he can block out the sun by closing his eyes. The companion, on the other hand, does not want to “lose her sight for so long” as a winking might. The poet is underlining that the sunlight has no real influence on how he and his sweetheart do and that it is he who decides to let the sun in since it allows him to view his lover’s magnificence.

The lover then goes on to make more lofty assertions. “If her eye has not distracted thine” (13) alludes to her beloved’s eye being brighter. This was a classic Renaissance love-poem tradition to extol his lover’s magnificence (see Shakespeare’s Sonnet 130, “My lady’ eyes are nothing like the sun”). “Tell me both the Indias of spice and mine/Are wherever thou left them, or sleep here and with me,” the sunlight also should say. The lover continues to express further high claims after that. “If her eye hath not diverted thine” (13) is a remark to her lover’s brighter gaze. To exalt his lover’s splendour, he followed a great Renaissance adore tradition (see Shakespeare’s Poem 130, “My ladies’ eyes are nothing like the sun”). “Tell me both the Indians of spice and mine/Are wherever thou left them, or rest here with me,” the sun must also say.

The sun’s rays are powerful, yet it pales in comparison to the divine’s intellectual light, which causes man that love the holy. In the last verse, the strange process of reducing the entire globe to the partners’ bed achieves its pinnacle: “In that the world has ever known condensed so” (26). Therefore, the sun does not need to leave the room to shine on them; by doing so, “thou art omnipresent” (29). “This mattress thy centre is, these walls thy sphere,” says the final line, a play on the Ptolemaic scientific theory that the Earth revolves around the sun of the cosmos, with Sun spinning it around.

Donne grants the lovers supreme important symbolic here, making the entire physical universe around them subservient to them. The feeling of couples that they are beyond space and that their feelings are the most significant things in the world is expressed in this poetry. There’s a touch of first-love adolescent melodrama here, which shows Donne is using his intelligence and finesse to create a separate kind of argument. While his and his partner’s love may appear spiritual, god’s love may be more significant than the goods of this earth symbolically.

The transformation of the ground into his beloved’s body is perhaps more hard to decipher. Donne would not be the first man to compare his woman love to a field that he would plant or a kingdom and said he would rule. Is Donne, as one who loves, truly putting herself in the place of God if she symbolizes the globe because Truly love the world? What we know for a fact is that the sun, which indicates the passing of terrestrial time, is disregarded as a source of authority. The “seasons” of lovers (a pun on the earth’s seasons, which are likewise regulated by the sun) must not be dictated by the sun’s motions.

Nothing should be above the desires and wishes of lovers, as they perceive them, and the sun is merely another creator of the universe on a spiritual level; all chronology and physical laws are subordinate to God. The fact that the sunlight will ignore a man’s insults and directives are implicitly accepted. It will proceed on its path every day, and there is no way to stop it. No spite of how creative his analogies are, the poet will never be able to influence the sun’s movements or the coming of the day. From his vantage point, the entire country is safe there along with him, but he is aware that his view is restricted. The poem ends with a much more genuine (and more plausible) claim that the “bed thy centre is.” Even though the spiritual idea of the poem stretches to the sun’s relatively weak power in comparison to the cosmic events of the god, he may be talking more to oneself in this, realising that the duration he has with his beloved is more essential to him than anybody else in his living at this moment.