Death, Be Not Proud by John Donne

Context

• Death, Be Not Proud by John Donne was written during the early 17th century, a period marked by religious turmoil and the expansion of British influence globally.
• Donne, initially a Catholic, converted to Anglicanism amidst the anti-Catholic sentiment in England.
• This poem is part of Donne's "Holy Sonnets," which reflect his deep religious convictions and often address themes of faith, mortality, and salvation.

Structure and Form

Form, Meter, and Rhyme

• The poem is a sonnet, traditionally composed of 14 lines.
• It has a mixed structure resembling both Petrarchan and Shakespearean sonnets with an ABBA ABBA CDDC EE rhyme scheme.
• The poem is written in iambic pentameter, creating a rhythmic and steady flow, though some pronunciations from Donne's era may differ from modern English.

Speaker and Setting

• The speaker, likely a reflection of Donne's religious struggles, directly addresses Death, personifying it as an arrogant being.
• The setting is broadly earthly, focusing on the interaction between human mortality and the promise of eternal life.

Poetic Devices

• Apostrophe**:** The speaker directly addresses Death, confronting it head-on to undermine its perceived power.
• Personification**:** Death is given human traits, portrayed as prideful and misguided.
• Alliteration**:** Used to emphasize key points and add a rhythmic quality, such as in "canst" and "kill."
• Anaphora**:** The repetition of "And" at the beginning of lines builds the argument against Death's power.
• Enjambment**:** Creates suspense and drama, smoothly transitioning ideas across lines.
• Paradox**:** The final line contains the paradox that Death itself will die, emphasizing the speaker's belief in the afterlife.

Key Themes

The Powerlessness of Death

"Death, be not proud, though some have called thee / Mighty and dreadful, for thou art not so" (Lines 1-2)

• The poem argues that Death is not the final, fearsome end it is perceived to be. Instead, it is a mere transition to eternal life, over which Death has no control.

Sleep as a Symbol

"From rest and sleep, which but thy pictures be" (Line 5)

• Sleep is used as a metaphor for death, suggesting that just as sleep is a temporary state, so is death. This comparison diminishes the fear associated with dying.

Faith and Eternal Life

"One short sleep past, we wake eternally / And death shall be no more; Death, thou shalt die" (Lines 13-14)

• The theme of eternal life through Christian faith is central, with the speaker confident that death is merely a brief sleep before the soul awakens to eternal life in heaven.

Similar Poems

• "A Hymn to God the Father" by John Donne: Explores themes of sin, forgiveness, and the afterlife.
• "To His Coy Mistress" by Andrew Marvell: Although focused on love, it shares the metaphysical style and preoccupation with time and mortality.
• "Holy Sonnet 14: Batter my heart, three-person'd God" by John Donne: Deals with themes of faith and salvation.

Line by Line Analysis

Lines 1-4

Death, be not proud, though some have called thee

Mighty and dreadful, for thou art not so;

For those whom thou think'st thou dost overthrow

Die not, poor Death, nor yet canst thou kill me.

"Death, be not proud, though some have called thee"

• The speaker begins by directly addressing Death, telling it not to be proud. Death is often seen as powerful and terrifying, but the speaker argues that this reputation is undeserved.
• The use of apostrophe and personification in addressing Death as "thee" sets up the poem's argumentative and confrontational tone.

"Mighty and dreadful, for thou art not so;"

• This line refutes the common perception of Death as powerful and fearsome. The speaker asserts that Death is neither mighty nor dreadful.
• The enjambment between lines 1 and 2 adds urgency, swiftly undermining Death's perceived power.

"For those whom thou think'st thou dost overthrow"

• Death mistakenly believes it has the power to overthrow life, to kill people. The speaker uses enjambment again to push past this idea quickly.
• The phrase "think'st thou dost" highlights Death's delusion.

"Die not, poor Death, nor yet canst thou kill me."

• The speaker pities Death, calling it "poor Death," for its foolish belief that it can end human existence.
• The alliteration in "canst thou kill" adds a biting sharpness to the speaker's declaration that Death has no real power.

Lines 5-8

From rest and sleep, which but thy pictures be,

Much pleasure; then from thee much more must flow,

And soonest our best men with thee do go,

Rest of their bones, and soul's delivery.

"From rest and sleep, which but thy pictures be,"

• Death is compared to rest and sleep, both of which bring pleasure. This diminishes the fear associated with death by likening it to harmless and restorative activities.
• The comparison to "pictures" suggests that rest and sleep are merely images or reflections of death.

"Much pleasure; then from thee much more must flow,"

• Since rest and sleep are pleasurable, the speaker argues that death, being a more intense form of these states, must bring even greater pleasure.
• The use of enjambment emphasizes the flowing nature of this pleasure from rest to death.

"And soonest our best men with thee do go,"

• The best people often die young, implying they are chosen for their eternal reward sooner. This line suggests a divine selection process.
• The phrase "our best men" adds a sense of nobility and virtue to those who die early.

"Rest of their bones, and soul's delivery."

• Death provides rest for the body ("bones") and delivers the soul to the afterlife. This line reinforces the idea of death as a transition rather than an end.
• The word "delivery" hints at a kind of rebirth into the afterlife.

Lines 9-10

Thou art slave to fate, chance, kings, and desperate men,

And dost with poison, war, and sickness dwell,

"Thou art slave to fate, chance, kings, and desperate men,"

• Death is depicted as a slave, controlled by external forces such as fate, chance, rulers, and desperate individuals. This diminishes Death's autonomy and power.
• The word "slave" highlights Death's lack of control and dependence on other forces.

"And dost with poison, war, and sickness dwell,"

• The association with poison, war, and sickness portrays Death as something that lurks in negative and undesirable circumstances.
• The speaker uses this line to further diminish Death's status, associating it with lowly and vile elements.

Lines 11-12

And poppy or charms can make us sleep as well

And better than thy stroke; why swell'st thou then?

"And poppy or charms can make us sleep as well"

• The speaker argues that drugs (poppy) and magic (charms) can induce sleep, and potentially better than Death can. This further diminishes Death's power.
• The word "poppy" refers to opium, a popular drug in Donne's time, which induces a sleep-like state.

"And better than thy stroke; why swell'st thou then?"

• The comparison implies that Death's stroke is not the best way to achieve rest or sleep, questioning why Death would be proud.
• The rhetorical question "why swell'st thou then?" challenges Death's arrogance.

Lines 13-14

One short sleep past, we wake eternally

And death shall be no more; Death, thou shalt die.

"One short sleep past, we wake eternally"

• The final lines declare that after a brief sleep (death), the soul awakens to eternal life. The use of "we" emphasizes the collective human experience.
• The phrase "wake eternally" signifies the eternal life promised in the Christian faith.

"And death shall be no more; Death, thou shalt die."

• The paradox that "Death, thou shalt die" signifies that death is ultimately defeated by eternal life. The final couplet delivers a powerful conclusion to the poem.
• The personification of Death throughout the poem culminates in this ultimate defeat, reinforcing the speaker's argument against Death's power.