Death be

not proud

Death be not proud, though some have called thee

Mighty and dreadfull, for, thou art not soe,
For, those, whom thou think'st, thou dost overthrow,
Die not, poore death, nor yet canst thou kill mee.
From rest and sleepe, which but thy pictures bee,
Much pleasure, then from thee, much more must flow,
And soonest our best men with thee doe goe,
Rest of their bones, and soules deliverie.
Thou art slave to Fate, Chance, kings, and desperate men,
And dost with poyson, warre, and sicknesse dwell,
And poppie, or charmes can make us sleepe as well,
And better then thy stroake; why swell'st thou then?
One short sleepe past, wee wake eternally,
And death shall be no more; death, thou shalt die!

Poet - John Donne

Other names of the poem

Holy Sonnet 10

Hply Sonnet X

Literary Devices

Personification as a conceit
This poem is probably one of the most famous uses of personification in 17th-

century literature. Donne personifies Death, so he can question his

power. By personifying an abstract state or event, Donne creates a conceit

and also immediately brings Death down to the level of the humans that fear it.

The personification enables him to address Death directly and attribute

human shortcomings to him. These include false pride, being at the beck

and call of human murderers and those who are suicidal, keeping bad company

and also being a bit useless at his job of ensuring eternal death. As Death was

something to be feared by many, Donne's approach is an interesting way to

reduce the fear associated with phenomena that are not fully understood.

A. Personification

Death is treated as a person who falsely believes it has power:

"Death, be not proud, though some have called thee mighty and dreadful, for
thou art not so."

The speaker personifies death as a figure with an inflated sense of self-

importance that trades on its reputation as something fearsome and final.

Personification: The poem personifies death, treating it as a living entity

with human attributes. The speaker directly addresses death as if it were a

person, challenging its pride and arrogance

Use of Rhetorical Devices:

Donne employs various rhetorical devices, such as direct address,

personification, and irony, to effectively convey his message and challenge
the audience's perception of death.
Examples of Rhetorical Devices:

Direct Address: The poem begins with "Death, be not proud," directly
addressing Death as a person.

Personification: The speaker treats Death as a person capable of pride

and arrogance, allowing for a more personal and engaging argument.

Irony: The speaker uses irony to mock Death's perceived power, suggesting
that it is actually a "poor Death" and that its victims are merely resting.

Apostrophe

In poetry, addressing a person who is not present, dead, or a

personification is called an apostrophe. Donne’s 'Holy Sonnet X: Death Be

Not Proud' is a well-known example of an apostrophe, as is Emily Dickinson’s

lesser-known work, 'Wild Nights—Wild Nights!' (1861).

The poem is a form of argument within the Petrarchan sonnet format. Do you

think that Donne's argument is valid? Why or why not?

As with many of Donne's poems, "Death, be not proud" starts boldly. The

speaker addresses "Death" itself, an example of apostrophe.

This poem is not just an argument against death but an argument with death.

To make this argument work, the speaker uses apostrophe throughout the

entire poem, directly addressing death as if it were a person. Essentially, the

speaker is trying to deflate the sense of death’s power by tackling it head-on.

The speaker isn't afraid to confront, and, indeed, antagonize, death.

'Death Be Not Proud': imagery

Donne makes extensive use of imagery to bring his poem of Death berating

to life and to support his argument.

Imagery is a type of description that uses the readers' senses to create a vivid

impression.

Sleep - symbol

As part of the argument against the power of death, the speaker repeatedly

refers to sleep and rest. These activities symbolize the impermanent, even

restorative nature of death.

Sleep is referred to as the 'picture' of death. This creates an image of death

as just a longer version of sleep. To use a state (sleep) as imagery is

unusual as it is not a visible object, but it is effective in diminishing the power of

Death to instil fear. Who fears sleep?

The speaker goes on to add that the sleep of Death is temporary and that those

waking to eternal life, ultimately 'kill Death'.

Slavery symbol

Donne creates the image of Death as a slave to Kings, murderers, and

the suicidal and random events. By doing this, he subverts the all-powerful

reputation that Death has been given over time. Rather than a master over

human life, he is, in fact, the minion of mankind and even dictated to by

abstract, random events.

Eternal life after death is a concept common to many different religions. Donne

was raised as a Roman Catholic and converted to Anglicanism. Both of these

religions have beliefs around eternal life for the faithful. It is considered a

concept common to all Christian faiths.

The belief in a life after death is also found in various forms across many other

religions such as Judaism, Hinduism and Islam, for example. Even the old

mythologies had places like Valhalla, an afterlife for Norse warriors.

Paradox: Donne employs paradoxical statements to emphasize the

contradictory nature of death’s power. For example, the title itself, “Death be
not Proud,” sets the tone for the speaker’s defiance against the conventional
perception of death as something to be feared.

Imagery: The poem uses vivid imagery to convey the speaker’s thoughts.
Phrases like “rest and sleep, which but thy pictures be,” evoke images of
death as a temporary state, a mere resemblance of the real thing.

Allusion: The poem contains religious allusions, referring to concepts of

eternal life and resurrection. The speaker draws on Christian beliefs to
reinforce the idea that death is not the end but a gateway to a higher
existence.

Irony: The speaker uses irony to diminish the significance of death. By

calling death “mighty and dreadful,” the speaker mocks its perceived power,
suggesting that it is, in fact, not as fearsome as commonly thought.

Irony

In the last line when the speaker mocks Death by saying Death thou shalt
die.

B. Paradox

The final line paradoxically states that death itself will die:

"Death, thou shalt die."

This suggests that death is an illusion and will be defeated by eternal life.

C. Metaphor

Death is compared to "rest and sleep", implying it is nothing to be feared.

Alliteration

When two or more consonants starting a word are close together in a line:

For those whom thou think'st...much more must

flow...thou then?...we wake...Death, thou shalt die.

Assonance

When two or more words close together in a line have similar-sounding

vowels:

thou think'st thou...much more must...bones, and

soul's...slave to fate...desperate men...

Caesura

When a line is paused midway roughly, by punctuation. For example:

One short sleep past, we wake eternally

Enjambment

When a line continues on into the next with no punctuation and maintains
sense. For example, from first line to second, third to fourth.

The enjambment between lines 3 and 4 adds urgency to the speaker's

argument:

For those whom thou think'st thou dost overthrow

Die not, poor Death, nor yet canst thou kill me.
That "overthrow" is immediately undermined, as the poem doesn't grant any

space for a pause. This, in turn, reflects the speaker's belief that death isn't

any sort of final end.

Repetition (Anaphora)

Used to emphasise meaning and reinforce an idea, as in lines 7, 10, 11, 12

and 14 And...

Metre

"Death, be not proud" is a sonnet that roughly follows the iambic pentameter
pattern, five feet per line—daDUM daDUM etc., with the stress on the
second syllable—but there are variations on this basic metrical line that add
texture and interest for the reader.

The pure iambic pentameter line, without punctuation, plods along with
predictable beats, but Donne's sonnet has altered lines and uses trochee
(DUMda), pyrrhic (dadum).

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

Mighty / and dread / ful, for / thou art / not so;
For those / whom thou / think'st thou / dost o / verthrow
Die not, / poor Death, / nor yet / canst thou / kill me.
From rest / and sleep, / which but / thy pic / tures be,
Much pleas / ure; then / from thee / much more / must flow,
And soon / est our / best men / with thee / do go,
Rest of / their bones, / and soul's / deliv / ery.
Thou art / slave to / fate, chance, / kings, and / desper / ate men,
And dost / with poi / son, war, / and sick / ness dwell,
And pop / py or / charms can / make us / sleep as / well
And bet / ter than / thy stroke; / why swell's / thou then?
One short / sleep past, / we wake / eter / nally
And death / shall be / no more; / Death, thou / shalt die.

Reading through this sonnet with one ear for the metrical beats is a challenge
and a joy. The syntax (the way clauses and grammar work together) isn't
straightforward—typical Donne—and the pauses for commas and other
punctuation give the reader just enough time to take it all in.
Some lines are pure iambic pentameter, five feet, ten syllables, a familiar
daDUM beat. These are lines 3,5,6,7,10,12 and 14.

But half are not. The first line, for example, has only nine syllables, starts with
a trochee (DUMda), and ends on what is known as a feminine ending, no
stress.

Lines 9 and 11 have eleven syllables, an extra one. Line 9 has a spondee
(DUMDA); both syllables are stressed midway through the line to give extra
emphasis. Line 11 has an opening iamb, but from then on is highly unusual,
with trochees dominant and a single extra beat stressed.

Lines 4 and 8 start with trochees, with stress on the first syllable.

Line 13 starts with a trochee, falling away initially, and also ends with a
pyrrhic (no stress) which again gives a fade away to the line.

All in all it's a fascinating sonnet that demands intelligence from the reader
and acute awareness of pause and flow.

Introduction

John Donne's "Death, be not proud" (also known as Holy Sonnet 10) is a
sonnet that argues against the power of death, portraying it as a false idol
and a mere gateway to eternal life, rather than a final end. The speaker
directly addresses Death, challenging its perceived might and suggesting
that death is a "poor Death" that has a misplaced sense of pride.

********************

“Death be not Proud” is a sonnet where the speaker directly addresses death,
treating it as a living entity. Instead of fearing death, the speaker challenges
its power, calling it “not proud” and mocking its might. The poem suggests
that death is not the end but a temporary state, akin to sleep. Religious
themes emerge, emphasizing the idea of an afterlife and resurrection.
Overall, the poem encourages a fearless attitude toward death, portraying it
as a natural part of life rather than something to be dreaded.”

*************************
"Death Be Not Proud" presents an argument against the power of death.
Addressing Death as a person, the speaker warns Death against pride in his
power. Such power is merely an illusion, and the end Death thinks it brings to
men and women is in fact a rest from world-weariness for its alleged
"victims." The poet criticizes Death as a slave to other forces: fate, chance,
kings, and desperate men. Death is not in control, for a variety of other
powers exercise their volition in taking lives. Even in the rest it brings, Death
is inferior to drugs. Finally, the speaker predicts the end of Death itself,
stating, "Death, thou shalt die."

*****************

“Death, Be not proud,” also known as Holy Sonnet X, is John Donne’s great
poem in mockery of Death. Composed in 1609, the poem was published
posthumously in 1633. It is fitting that Donne got the final word, laughing at
Death from his grave.

*******************

The sonnet, “Death, be not proud,” penned by the English poet John Donne,
is one of the most well-known poems from the 1600s. The poem’s basic
premise is that Death is nothing to fear or be sad about because it is only
thought of as a temporary rest before the soul moves on to a new body. The
poet personified Death as sleep, arguing that since it is only a brief rest for
someone extremely worn out from living, Death shouldn’t be proud of taking
people with it. The poet has tried to convey that, like people who attempt to
unwind after a long day, those who are sick of life and yearn for a lasting
change also have a brief respite after Death. In light of this, this poem, a
fourteen-line holy sonnet, discusses the need to lessen the fear of Death
while emphasizing the importance of reaching goals while still alive. The
issue of mortality or Death is explained by the poet using a variety of
techniques. Each of the poem’s four quatrains discusses how people can
overcome their fear of Death on a psychological level.

***********************

“Holy Sonnet 10,” often referred to by its opening line (“Death, be not

proud”), was written by the English poet and Christian cleric John Donne in

1609 and first published in 1633. The poem is a direct address to death,

arguing that it is powerless because it acts merely as a “short sleep” between

earthly living and the eternal afterlife—in essence, death is nothing to fear.

The sonnet is written mostly in iambic pentameter and is part of a series

known as Donne's "Holy Sonnets"(or “Divine Meditations”/ “Divine

Sonnets”). In keeping with these other poems, “Holy Sonnet 10” is a

devotional lyric that looks at life’s biggest questions in the context of Donne’s

religious beliefs.

**********************

"Death, be not proud" (Holy Sonnet X) is one of John

Donne's most famous metaphysical poems. It challenges the power of death,
portraying it not as a fearsome force but as something weak and ultimately
powerless.

********************

The best metaphysical poem written during the 1600s is thought to be the
sonnet or poem “Death, be not proud.” In most of his poems, the poet
emphasizes the eternal nature of existence, mortality, and the idea of
resurrection. Due to the incorporation of divine thought or holiness, the poem
is regarded as one of Donne’s best compositions. The poem follows the
Westmoreland Manuscripts and supports the cycle’s completion as it was in
the nineteenth century. But according to its editions, this poem has been
uploaded twice; one of those editions currently ranks eleventh, and the other
currently ranks sixth in the last two years. This poem is a basis for an
argument about forces that can overcome Death. The poet warns him not to
be so proud of taking people with him by using Death as a human being. The
poet’s major goal is to undermine Death’s arrogance and make it appear
subdued compared to people’s inner fortitude and efforts while they are still
living. The poem’s central idea is that Death cannot conquer the immortal
spirit, and in no way can it be corrupted. As a result, the poet emphasizes in
the phrase “Death, thou shalt die” that there won’t be any more deaths if
people believe they will pass away after being weary of life and remain in
eternal sleep. As a result of typhoid sickness, which made rehabilitation
extremely challenging, the poet wrote the poem when he was on the verge of
passing away. That helped him understand that although Death is inevitable,
a person’s soul is not destroyed and can transfer from one person to another.

*********************

Death Be Not Proud' (1633) is a metaphysical poem by John Donne. It inverts

the human fear of death in a mocking and ironic way by suggesting that
Death’s reputation as all powerful is a little inflated .

********************

Donne’s ‘Death, be not proud,’ rooted in the Christian idea of the afterlife,
challenges the personified death, exposing its illusory power.
 *****************

Popularity: The popularity of this poem lies in its unique subject, as it was a
devotional as well as a warning to ‘personified’ death. Using the metaphor of
death, the poet argues that death is not permanent and it serves as an
eternal pathway to life hereafter. He also has demonstrated the Christian
doctrine of resurrection and immortality of the soul, calling death as an
inferior

Context

Poet’s Background: Who wrote it? What was their life like?

John Donne (1572–1631) was a metaphysical poet and preacher. His

poetry often explored themes of love, faith, and mortality.

John Donne was a metaphysical poet who became an Anglican Dean.

His poetry makes extensive use of the literary device, conceit.

Donne’s regular themes included death, which is the main subject of his

Famous 'Sonnet X: Death Be Not Proud'.

The poem makes use of personification and apostrophe to humanise and

then admonish Death.

As a man raised as a Catholic who then converted to Anglicanism, Donne

proposes that the concept of eternal life defeats Death.

Donne had a major illness that brought him close to death during his eighth
year as an Anglican minister. The illness may have been typhoid fever, but in
recent years it has been shown that he may have had a relapsing fever in
combination with other illnesses.

****************

The poet knew himself to be a sinner; he just wanted God's approval. The
sonnets are a sort of cathartic exercise helping Donne transition from his
earlier days as a Catholic follower to a later Anglican devotee.

Donne's poems. cover subjects such as faith, mortality and divine judgement
and have that personal touch in a prevalent manner.

************

John Donne was born, the third of five children, in London in 1572 to a Roman

Catholic family. His great-great uncle, Thomas More, was a martyred Catholic

priest. Donne's father, also named John Donne who was an iron merchant,

died when he was just four.

His mother, Elizabeth Heywood, soon remarried an Oxford-educated physician,

John Syminges. Donne attended Oxford for three years but left without a

degree, as he was Catholic at the time. He later became secular and then

converted to Anglicanism.

As a young man, he was known to be extremely fond of women, and he spent

most of his inheritance travelling through Europe. He also fought against the

Spanish with Sir Walter Raleigh. After returning to England, Donne studied with

and worked for a society of barristers at Lincoln’s Inn. A talented diplomat, he

was soon appointed secretary to Lord Thomas Egerton, the lord keeper of the

Seal. Donne ensured the end of his political career with his marriage to Anne

More. As the 17-year-old daughter of Egerton’s brother-in-law, she was of a

higher class and the marriage did not have her father’s blessing. Donne was

fired and briefly thrown into jail by Anne’s father.

Donne and his wife moved to the country, where he remained unemployed for

over a decade. During this time of relying on the charity of friends and family,

he wrote both poetry and prose. King James I strongly advised that Donne take

his holy orders in 1615, which he did. Anne died in childbirth in 1617, leaving

him with 5 surviving children. He wrote 'Holy Sonnet XVII' (1633) about her

death. He never remarried, instead focusing on his career within the Anglican

Church. In 1621, he was elected Dean of St Paul’s, going on to become the

most lauded cleric of his time.

Having been a paradoxical poet and author who wrote poems about religious

politics, lust, love and death, Donne then became famous for his religious

oratory and prose. He died in 1631. All of his poetry was published after his

death, as it was a little too unconventional to publish in his lifetime.

a famous metaphysical poet.

888888888888

There are two John Donnes: the brilliant, pleasure-seeking man-about-town

who, in his youth, wrote frank love poems to various women along with

satires that jeered his fellow men, and the sober, serious Dean of St. Paul’s,

an Anglican reverend famed for his moving sermons and profound “Holy

Sonnets.” One of the Metaphysical poets (John Dryden coined the term half a
century later), Donne was known for his razor wit and his extended

comparisons, also called conceits

***********************

Donne underwent a great transformation in his private and poetic life, writing
erotic and passionate love poems early on in his career and later devoting
himself to God—he became the dean of St Paul's in London no less—the Holy
Sonnets being among his best religious poems.

Historical & Cultural Context: What was happening in society when it was
written?

Literary context

John Donne is generally grouped together with Andrew Marvell, George

Herbert, and others as part of the "Metaphysical" Poets, though in truth he is

a singular talent in the English canon. This poem comes from the "Holy

Sonnet" series, a group of Donne's poems that mostly deals with issues of

faith, mortality, and religious anxiety. Of those poems, this is perhaps the

most sure-footed; others present more of a challenge to God, and worry

about man's relationship to his maker. But this was not always Donne's

subject—as a younger man, Donne wrote marvelously constructed and

extremely witty poems that tended to be more interested in love and sex

than God and penance. The early poems—in fact, all of Donne's poems—were

not published widely during his lifetime, but circulated in small number

amongst an exclusive group of people in the know.

The "metaphysical" poets was a description coined by the critic Samuel

Johnson, who saw in Donne and his contemporaries a reliance on conceit—

which is, in essence, an ingenious and sustained metaphor—and an

emphasis on the spoken quality of their work. In fact, Donne was often

criticized by his contemporaries for not being stricter with his meter and

form. Ben Jonson quipped that Donne deserved "hanging ... for not keeping

accents."

Now, Donne is considered one of the foremost poets in the English language.
Those qualities that made him seem inferior to some of his fellow poets and
critics—his linguistic dexterity and his taste for the daringly imaginative—are
those that make him endure so strongly. He remains widely influential, and
often quoted (the 1999 play Wit, for example, makes frequent reference to
this particular poem). Bizarrely, J. Robert Oppenheimer named the first
atomic test site "Trinity" in reference to Donne's Sonnet 14—which famously
begins, "Batter my heart, three-person'd God."

Historical context

Written during a time when death from disease and war was common,
the poem reflects Donne’s Christian belief in eternal life

*****************

This poem was written in 17th-century England, a time of considerable

religious turmoil and the expansion of British reach across the globe. Donne

was a Catholic, born during a time of great anti-Catholic sentiment. In 1593,

Donne's brother, Henry, was imprisoned for his Catholicism and died soon

after. Critics disagree as to the exact reasoning behind Donne's decision, but

he subsequently changed his religious allegiance by converting to

Anglicanism. Later, he became a cleric, delivering passionate sermons in

Saint Paul's—including one in which the phrase "no man is an island"

originates.

The tension between the two different forms of Christianity played on

Donne's conscience, and the Holy Sonnets portray an individual desperate for

confirmation that they have chosen the right faith, and that in turn they will

be granted access to the afterlife.

Literary Movement: Is it Romantic, Modernist, etc.?

Setting of the poem

The setting of "Death, be not proud" is non-specific. In general, the poem is

set on earth (as opposed to heaven). It is a poem that makes its argument in

broad strokes, taking a look at death's role on earth and arguing against the

fear of dying.

That said, there are one or two moments that seem to tie the poem to the

17th century and to Europe (or possibly England) more specifically. The first 8

lines give little away in terms of setting, but lines 9-11 provide some

interesting clues. Line 9 accuses death of being "slave" to "kings,"

referencing the role of monarchs in the doling out of death among subjects.

War was not uncommon at the time of the poem's writing in 1610, which was

not long after the end of the Anglo-Spanish War (1585-1604). This conflict, as

with many others, was ultimately presided over by monarchs. Likewise, the

religious turmoil in Europe was also closely linked with its monarchies.

In line 11, "poppy" links the poem to 17th-century Europe as well. The word is

a euphemism for opium, a relatively popular drug in England at the time.

Structure & Form

Type of Poem: Sonnet, haiku, free verse, etc.

Sonnet: A sonnet is a fourteen-line poem in which the same idea runs

throughout the poem. In this sonnet, John Donne has combined the
Shakespearian and Petrarchan style. The division of the sonnet reflects the
Shakespearian structure, whereas the rhyme scheme shows the structure
of Petrarchan sonnet.

Rhyme Scheme: In first, second and third quatrains the poem follows the
ABBA rhyme scheme, and in couplet the rhyme scheme is AA.

Meter: Most of the verses of this poem are written in

iambic pentameter in which unstressed syllable is followed by a stressed
syllable, as it is stated, “from rest,” “and ” However, the meter fluctuates,
as the poem progresses.
Sonnet Form: 14 lines, following the Petrarchan (Italian) sonnet
structure (octave + sestet).

Stanza & Line Structure: How is it divided? Does it follow a pattern?

Form

"Death, not be proud" is a sonnet. It has two main sections: the octave and

the sestet. This makes it look most like a Petrarchan sonnet. Based on

its rhyme scheme, however, it can also be broken into three quatrains and

a concluding couplet—which is more akin to the English sonnet.

Sonnets lend themselves well to arguments: usually, the octave presents an

argument or point to which the sestet then responds. The moment this

response begins is called the poem's turn, or volta. The turn in this poem is

subtle: the speaker simply intensifies the argument against death's power,

declaring that it's a "slave" to random chance and human whims.

The rhyme scheme shifts in line 9, signaling this turn: whereas lines 1-8

followed the scheme ABBA ABBA, line 9 introduces a new rhyme sound.

The pattern remains the same—CDDC—but the sounds are new.

Donne then ends the poem with a couplet, adding a burst of lyrical intensity

(again, couplets are usually seen in English sonnets). This final couplet allows
for a further shift in the poem, this time to state, as clearly as possible, the

reason why death is powerless: the eternal afterlife.

Rhyme Scheme & Meter: Does it have a regular rhythm (iambic

pentameter, etc.)?

Rhyme scheme

Rhyme Scheme: ABBAABBA (octave) and CDDC/EE (sestet).

Iambic Pentameter: The poem follows a rhythmic pattern of ten syllables

per line, giving it a steady and solemn tone.

The rhyme scheme of the first 8 lines (the octave) is:

ABBAABBA

This is the typical scheme found in Petrarchan sonnets.

But the sestet diverges from the Petrarchan set-up. It rhymes:

CDDCEE

In terms of rhyme, then, the poem can be divided into three quatrains (two

of which form the octet) and an ending couplet. The development towards
the couplet at the end lends force to the conclusion, which is making the bold

claim that Death itself will die (because of the afterlife).

Meter

Iambic pentameter is five iambic feet of stressed and unstressed syllables. It

sounds like this:

duh-DUM duh-Dum duh-Dum duh-Dum duh-Dum

The meter in "death, be not proud" is iambic pentameter. Modern readers

might struggle to hear the iambic pentameter clearly because of changes in

the way certain words are pronounced. For example, "called" in Donne's era

would have been said with 2 syllables: "call-ed." Line 5 gives an example of

perfect iambic pentameter:

From rest and sleep, which but thy pictures be,

The poem uses its steady meter to reinforce the argument that death is

powerless.
Language & Style

Diction: What kind of words are used (formal, colloquial, archaic)?

Figurative Language: Metaphors, similes, personification, symbolism.

Literary Devices

Personification

The speaker personifies death as a prideful, misguided individual who has got

the completely wrong idea about their role in the lives of humankind.

Personification and apostrophe create a clear enemy in the poem, a distinct

figure against which the speaker can level his arguments

Personifying "Death" as a vain, prideful figure.

Metaphor: There are three metaphors. The first is used in the opening
line “Death, be not proud.” Here death is compared to a proud man. The
second is used in the ninth line, “Thou art slave to fate.” In the last line in
an extended metaphor where death is compared to the non-existent or
unrealistic object.

Alliteration:

the use of /th/ in “And better than thy stroke; why swell’st thou then”
and /m/ sound in “Much pleasure; then from thee much more must flow.”

Metonymy:

In this poem, “poppy” and “charm” are used to produce gentle sleep or
death.

Assonance:

the sound of /a/ in “Thou art slave to fate, chance, kings, and desperate
men,” and the sound of /e/ in “And soonest our best men with thee do go.”
 Irony:

“Death, thou shalt die.”

Tone & Mood:

Imagery: What senses does the poem appeal to?

Summary

'Death be not Proud' is a poem addressed to the personification of Death. The

speaker highlights Death’s false pride, his unearned reputation, and his

shortcomings.

The speaker begins by calling out Death for what he believes is an inflated ego

and an unearned reputation as all-powerful. He directly informs Death that

Death cannot kill him.

Linking the experience of sleep to death, he suggests that Death is merely

a long sleep. Since sleep is pleasurable, then there is no reason to believe that

Death would not be too.

The speaker goes on to mention that the best men die young, achieving rest

from the realms of the earth. He suggests that Death is not all-powerful but

actually dictated to by random events, kings and those desperate enough to

murder or take their own lives.

Further berating the personification of Death, the speaker points out the type of

undesirable company he keeps: Poison, war and sickness.

The speaker lists poppies and charms as things that can cause a peaceful

sleep, which is better than what Death can offer. He asks Death why he is so

puffed up when he is, in fact, inadequate.

Finally, the speaker suggests that Death is but a short sleep before we

wake eternally, which logically means that Death then dies when the person

'awakes'.

Opium and laudanum were made from poppies and during the 17th century

were used as general-purpose pain killers, sleeping aids, a cure for coughs and

scurvy and even for keeping children quiet.

17th-century charms for enticing sleep included hanging cow dung from

bedposts, eating lettuce soup and more practical things like having a routine

and avoiding caffeine at night.

************************************

“Death, be not Proud” a representative Poem of Logic: Donne has

presented death as a powerless figure. He denies the authority of death with
logical reasoning, saying the death does not kill people. Instead, it liberates
their souls and directs them to eternal life. He does not consider it man’s
invincible conqueror. Instead, he calls it a poor fellow without having free will.
The arrival of death is also compared with a short rest and sleep that
recuperates a person for the upcoming journey. The poet’s denial to the
conventional approach of death gives the reader a new interpretation.
Analysis

The Impact of Faith and Belief in Conquering Death

John Donne’s poem dismantles the fear of dying and Death, personifying it to
convey that pride should not be felt because it has not been earned. Even
though Death may believe it is powerful and terrible, the truth is completely
contrary. Death is a pleasure, like sleep, as Donne points out. It has the same
attractiveness as the natural sleeping process since it is a long sleep that
relaxes and brings happiness. Death is quickly shamed and shown to be
incompetent, so there is no need to be afraid of it and no reason for it to take
pride in itself. In this poetry, Death is made fun of and stated to serve no
purpose other than to grant sleep and enable endless awakening. The most
ironic statement came when Donne said the dead men are not dead. We can
also observe later in the poem that Donne states Death itself needs to die. As
we can see, the poem mostly deals with heaven and hell, life and Death,
which are aspects of one’s views. Donne wrote this poem in the 17th century
and was finally ordained by the church, where these steadfast spiritual
convictions originate. Without his Reformation theology, it is challenging to
comprehend this poetry of Donne, and during the height of its popularity in
England, the Churches began to distance themselves from Catholicism. An
Anglican minister, Donne tried to reflect his reformed ideas in his poetry as
much as possible. This poem displays the poet’s emotions and beliefs by
making fun of Death and its horror. By diminishing Death by parallels, the
poet cunningly defeats it. He once compared Death to a long nap that brings
joy and pleasure, much like how a restful nap might feel after a demanding
day at work. The speaker continues by comparing Death to poppy and charm,
with the poppy denoting the plants or seeds of Death and slumber. Later on
in the poem, the poet also employs sarcasm and irony when he claims that
Death may be resisted and refused, that in actuality, it cannot imprison him
and make him the victim when it is the other way around, and when he
declares that a dead man is not dead, ridiculing and making fun of Death.
This is the method the author uses to diminish the character of Death and
give the impression that it has no power. Donne strongly believes that God
would raise those who believe in him from the dead and take them to the
heavenly abode because he thinks that Death only serves to release souls,
while the physical bodies of the deceased remain behind and mingle with the
dust from which they originally came from. There comes the point where the
speaker claims that Death would perish and would have to confront the fear
of Death, rendering Death unreal because, in Christian thought, Death is
living and must face its Death. Donne believed that anyone could triumph
over Death since the best men pass away young and have the chance to rest
in peace and enter their heavenly homes.
*****************************

Section 1: Death’s Limited Power

Analysis of the first quatrain

Examination of the Personification of Death

In all, the sonnet contains four quatrains. In the first quatrains of his poem,
the poet mocks Death and threatens it with destruction. The poet uses the
words “Mighty and dreadful, for, thou art not soe” in the first quatrain to
represent Death as a person who is feared or might. In this poem, the poet
seeks to personify Death as someone who is viewed as powerful based on
their deeds and as someone who can overcome any obstacle. Humans fear
Death greatly because it involves grieving for loved ones who are lost forever
and involves an end to life. The belief that Death is the only type of finality
that may exist in the universe comes from its belief that it has a huge power
to triumph over humans. Donne has tried to clarify through his poetry that
Death is not what it is often understood to be by people.

Contrary to popular belief, it differs significantly. Death is mocked and

insulted by the poet, who claims that while some people have referred to it as
horrible or mighty depending on their preferences, this has not been
reported. The author boastfully asserts in his poetry that Death is not
associated with pride and a mysterious character. The pride can only be
displayed by the living. Since Death lacks the tools to do so, it can never be
showcased. Everybody finds it fantastic, yet Death has traditionally had a
negative connotation. Because of the pride ingrained in people, they
frequently have a negative reputation throughout their life because they
despise the world and believe they have conquered everyone. As a result,
this element significantly impacts people, preventing them from leading
peaceful, happy lives. The reputation of Death is comparable to a person’s
pride during their lifetime, which they believe may have a fantastic outcome
but is the start of anything good or bad. Because there are several positive
results or explanations for why Death should be embraced rather than
lamented, the poet has attempted to illustrate how Death is not in the least
bit great and certainly not horrible. Even yet, the poet has just attempted to
instil a sense of optimism in others. The loss of a loved one is always present.

Death’s portrayal as a weak and vulnerable entity

The poet fiercely criticizes Death using a variety of elements, methods, and
resources. It is clear from the poem’s tone how deeply the poet despises the
idea of Death and how strongly he associates Death with a base component
of everyone’s existence. People often use unfair tactics to demonstrate their
strength in every manner possible. As a result, they live lives that are more
robust than they could have ever dreamed. People view weakness as a defect
and those who are weak as gloomy members of society. They also believe
that those who are strong should outlive those weak. However, regardless of
how strong or weak a person is, Death might happen to them. As a result,
defining the parameters for strength and assessing the degree of weakness
and susceptibility can occasionally be a terrible practice. Donne has therefore
attempted to clarify by the following sentences: “For those whom thou
thinkst, thou dost topple. It can often be a typical phenomenon for Death to
believe that it has conquered its victims and was won over them, but that is
simply not what happens. “Die not, poor death, nor yet canst thou kill me,”
the song goes. According to the poet, Death takes away the body and bones
since humans do not depart for their heavenly abode when they pass away.
Until it locates another body to which it can be transferred, the soul is
unharmed and continues to exist in the universe. As a result of a person’s
spirit being transferred from one body to another and remaining everlasting,
the poet shows his sympathy for Death and refers to it as a weak creature
that cannot wipe them from the universe. The poet also suggests resurrection
when he discusses the soul’s capacity to go from one body to another.
Because of this skill, the soul is strong and obvious enough to defeat Death.
The poem’s expression and word choice by the poet is used in such a way as
to speak plainly about the frailty of Death as an idea and the negative ways
in which Death affects people. Donne aimed to challenge this established
thinking and improve people’s mental health.

Analysis of the second quatrain

Donne’s argument against Death’s sovereignty

The poet was an extremely reasonable and rational person who saw Death as
an inescapable component that could strike anyone at any time. The poet has
therefore made an effort to uphold the explanation by providing the readers
with both a perspective on Death and a perspective on the traditional beliefs
of Death. Donne starts a lofty discussion about Death, and the discussion
shifts to several facts related to Death. The people believe that Death has its
sovereignty and is not under their control. Anyone can experience it at any
time. Therefore, the poet has employed several devices or components
associated with Death. Donne consistently discusses the horrifying nature of
Death and the idea that it is not what most people think it to be. Donne
makes a convincing case for using Death as a pessimistic weapon.

After a long day of work, everyone needs a good night’s sleep. Sleep is
crucial since it is a human tendency to sleep to lessen weakness and fatigue.
The author uses the nature of independence humans possess to personify the
poetry. According to Donne, Death is a natural occurrence that has no power
over individuals. People must manage the psychological thought patterns
that revolve around Death or failure. The poet is very certain that Death
comes in various forms, yet it still lacks the strength to cause the souls to
pass from one form to another. The poet has aimed to prove that taking
naps after leaving work is completely natural and that getting enough sleep
supports people in restoring their joy in life. The poet thought that because
Death tests people for all eternity before allowing them to start over with the
help of their soul transfer, it was similar to the rest that people take after
arriving home from work. The poet has demonstrated that Death can be
regarded from a different angle and is not as horrible as perceived. The poet
also talked about the best kinds of men who were successful in society,
particularly the warriors who died in battle and were given honorary awards
after their deaths. This demonstrates that the soul is always immortal, even
after the physical body and bones are absent. Since the poet claims that
Death will also pass away quickly and before Death, Death will always stand
alone.

Death’s inability to control fate and destiny

Death is a universally recognized symbol of cruelty and suffering among

humanity. After a person suffers from world-weary, the poet personifies
Death with rest and sleep. Since Death has little power to alter a person’s
fate, the poet has attempted to explain why it is difficult for Death to affect
one’s destiny and fate. The poet says that everyone requires a certain
amount of rest to operate normally and wake up feeling refreshed the next
day to start another day at work. Sleep or rest is an act of relaxation after a
long day at work. As a result, the main component of Death has been
compared to rest because it provides everyone with enough rest and marks
the start of another process. Nothing in the cosmos can control fate and
destiny because these are things that God has predetermined. Death cannot
alter how the soul moves from one body to another since it is recorded in
writing. The poet has tried to establish and explain that all virtuous men who
pass away for a noble cause or have lived humble lives have their souls
transferred to new bodies after Death to preserve their humility. The power
to live cannot be permanently taken away by Death. Therefore, a person who
wants to live will live forever; even Death cannot take away their will to live.
The power of the conscience may be temporarily lost upon Death, but the
soul will not be lost; it will simply assume a different shape and move on to
another body. An individual who is born will always die, and an individual who
dies will always be born. As a result, Death plays a significant role in both
birth and fate, demonstrating that it is a vital component of the afterlife.

Section 2: Death’s Transitory Nature

Analysis of the third quatrain

Donne’s portrayal of Death as a temporary state

Death can be viewed as a conceited and narcissistic character who takes

pride in their reputation as “mighty and dreadful” in the poem Death Be Not
Proud. However, Donne mocks Death by referring to it as small and flimsy
through the speaker. He contends that Death is merely a respite for people’s
physical bodies while their souls continue to the hereafter and have no actual
power. He alters the conventional idea that “Death” is terrible and strong.
According to Donne, Death is only a way for the soul to unwind rather than a
mysterious force. He describes how everyone feels more at ease after
sleeping or obtaining some rest. Rest and sleep are very mild forms of Death,
after all.
Since it offers serenity to the body and the psyche, Death is nothing to fear
and should even be viewed as a pleasure. Since Death cannot kill anybody,
there is no reason for it to be petty or arrogant. Death’s ego is further
crushed when the speaker refers to it as a “slave” who is subject to “fate,
chance, kings, and desperate men” and is associated with “poison, war, and
sickness.” Even things like charm and poppies can make people feel queasy
and pleasurable; thus, he mocks Death by calling him unimpressive. Since it
believes that Death is a person’s final deed, Death appears mighty and
arrogant. It doesn’t realize that Death does not necessarily entail entering the
final stage. When a person dies, they do not suddenly cease to exist; their
physical body is left behind by Death, but their soul continues to the afterlife,
where it continues to exist forever.

Death is a servant ready to assist those whose time has come, not a master.
Through this poem, the narrator attempts to convey that Death only has the
power to end a person’s physical form because an eternal spirit usually
outlives mortal life. As a result, Death is merely a false ego that seeks to rule
over people’s lives. Once a human soul has crossed over into eternal life,
Death has been defeated. Furthermore, Death itself is ultimately the only one
who “dies.” That is the poem’s real irony; it is a satire on the power of Death,
which can never be felt the same way twice after it happens. As a result, it is
not the only way to end someone’s existence in the realm of the living. It also
has no bearing on what someone wants to happen to them once they pass
away. Facing Death puts an end to everyone’s fear of them.

Death’s transition to eternal life

Death has become selfish and arrogant due to their long-standing fear of
Death. Few people realize that Death is not something to be feared; despite
being immortal, Death is still subordinate to mortals because it has no
authority over them. By vehemently criticizing Death’s ego, Donne combats
the conventional notion of Death’s image. He continues to make fun of Death
by calling him “poor” and claiming he is simply a “slave” of fate, luck,
monarchs, and evil men rather than the master of people’s life. Furthermore,
Death cannot do its dirty work independently and must rely on the meagre
means of disease, poison, and conflict. Through the narrator, the poet aims to
express that Death can, at all costs, be postponed by taking precautions.
Death, however, cannot select the time to reflect on a person.

To communicate with mortal beings, it needs a medium. There is nothing to

be terrified of because just the physical form of a person dies with Death,
although Death is an unavoidable reality for everyone born. The individual’s
soul cannot ever be destroyed. Afterwards, the speaker continues, “People
sleep to rest.” Death itself should be regarded as calm because rest and
sleep are subdued representations of Death. He continues to make the case
that everyone should look forward to Death rather than be terrified. He says
Death is merely a “passageway” to eternal life. According to him, the true
meaning of life can only be experienced after escaping the cycle of birth and
Death and living without having to face Death. By asserting that “poppy,”
another word for opium, and “charms,” another word for spells or magic, are
significantly more effective at lulling people to sleep than Death, the speaker
makes fun of Death and describes it as mediocre. While mocking Death’s
inability to become permanent, Donne expresses his belief in eternal
existence. Donne shows how passing away might lead to a life of peace.
According to him, only our mortal bodies are left with Death after “death,”
and our souls go to the hereafter to finally defeat Death.

Additionally, when judgment day arrives, even Death will die and cease to
exist in contrast to our souls, which will continue to live. This is because our
souls have conquered Death and transfigured into eternal life. Death is this
peaceful passageway to an eternity of rest.

Analysis of the couplet

Assertion of Death’s ultimate defeat

Death is described as an egotistical, frail being in the poem “Death Be Not

Proud” who feeds off of people’s fear. Death had a huge sense of self-
importance and had thought it was in charge of everything, but in truth; it
was merely a way for spirits to “travel” and “rest” before going on to eternal
life. Since Death cannot take someone’s life by force, it employs strategies
like famine, disease, war, evil men, rulers, fate, and luck to take many lives
simultaneously. Death is like slumber, as Donne describes through the
narrator. He describes how sleeping is a popular way for individuals to
unwind. He makes the analogy that just as we sleep to unwind, so to is Death
only “temporary sleeping” until our spirits can pass on to eternal life. These
words, which serve as the poem’s thesis, contain a lot of vivid imagery used
by the poet. These assist in tying the characteristics of Death to those of
something else. In this instance, all the less significant and unambiguous
meanings are connected to the occurrence of Death and its effects on living
things. Death itself cannot bring about anyone’s Death or stop anyone from
Death; it can only preserve the mortal remnants of the individual who has
passed away. By surviving Death and entering the hereafter, our spirits
triumph over it. Death has a false sense of self-immortality and frequently
underestimates the path of life. Death frequently forgets that even Death
would have to pass away on judgment day since there wouldn’t be anyone
left for it to come and transport them to the other life. Going to eternal life,
the one place even Death cannot enter, was the only way for people to
conquer Death. The poet asserts that escaping the cycle of rebirth and birth
must be mortal beings’ top priority.

The significance of the speaker’s faith in eternal life

The author of the poem “Death Be Not Proud” is shown as a devout Christian
in this poem. Donne had recently reformed his faith from Catholicism when
he wrote the sonnet. In the majority of his works, his beliefs and experiences
are evident. Death had Donne enthralled. Two different types of Christians
existed when he composed this poem: First, some believed that everyone
who did not adhere to the real teachings of Christianity must be damned to
hell. Those who had no fear of God or Death were the opposite. Donne
expresses in this poem his genuine conviction that Death is simply a tranquil
process that should not be feared like “sleeping,” as opposed to being
something to be feared. According to him, every soul is created to be
immortal and has to experience Death to transition into the next stage of life
in the hereafter.

Contrary to Catholic Christians’ beliefs, which held that only those who
carefully adhered to the Bible’s teachings, had a healthy respect for life and
Death, and propagated the idea of the “good” Christian were eligible to enter
paradise, most Christians no longer hold this view. The speaker in this poem
serves as a vehicle for Donne to communicate his conviction in eternal life.
He explains that passing through Death and entering eternal life are only
stages. After surviving Death, every soul travels to heaven, a location that
will never end. Even Death cannot enter such a location, which serves as the
soul’s final resting place. According to Donne, everyone who has endured
suffering might now unwind and lead peaceful lives in eternal life. He thinks
that because of the widespread belief that Death is an endless cycle of
suffering, agony, and misery among people on earth, they fail to see that true
serenity can only be found in eternal life. Donne is adamant that when a
person dies, their bodily form is forgotten; with it, all the suffering and
anguish that come with living a mortal life also end. Because as mortal
beings pass on to the other realm after Death, they experience an increasing
sense of eternal bliss and happiness, there is no reason to be afraid of Death;
rather, one should look forward to it.

Section 3: Triumph of Eternal Life

Examination of the overall tone and message of the poem

John Donne, a poet, mocks the idea of Death since, in his opinion, it has little
power compared to “salvation.” His argument that Death cannot
contaminate our soul gives readers a sense of power over it. In addition to
reminding people of their conviction in eternal life, he challenges their fear of
Death. In the poem “Death be not proud,” John Donne makes light of Death
while expressing that a person can still exist and survive after passing. By
pointing out Death’s position of weakness and challenging it, the speaker
subverts the human fear of Death. This poem makes fun of Death by
personifying it and speaking directly to it as if it were a distinct personality.
The poet, a young boy, wrote the poem himself. As stated in the following
lines, “we wake eternally and death shall be no more; death thou shalt die,”
the author begs Death to avoid its arrogance and be a slave. Inhibiting the
inspiring thought of endless waking and, as a result, not having a fear of
Death because it will pass away is what John Donne advises his readers to do.

Additionally, he contends that life is a terrible fact, whereas Death is a

pleasant fiction. In the line “Die not, poor Death, nor yet canst thou kill me,”
the speaker laments Death’s weakness and poverty. Even though a few
individuals put Death in a position that gives it the authority to be the
greatest fear, the poet is direct and severe about it, warning the reader not to
feel superior. By the end of his sonnet, John Donne adopts a triumphal tone,
yet he also utilizes a sombre tone to discuss Death’s servitude. Death is
attacked by the author from the outset and is contrasted with sleep,
demonstrating a negative connotation. After a hard day’s labour, he thinks
that sleep is joyful and comfortable, and as Death is a long slumber, he
believes that it is also. According to him, just as sleep is a normal procedure
that improves our mood, so too is Death since it is an extended rest period,
much like a long nap. Passing away early is desirable because this allows the
young souls to deliver and rest. According to John Donne, Death should not
feel powerful or smug because it is unavoidable and will likely be long, like a
restful nap that leaves one feeling happy and rejuvenated. In his conclusion,
he claims that life is an illusion and that only Death can free us from it,
awakening us to our true selves for all time.

Additionally, he claims that since Death is a natural part of life and all living
things eventually pass away, there is no reason for people to fear it or even
give it any supernatural status. By the sonnet’s conclusion, the poet brilliantly
flips the script and places Death in front of Death so that it might experience
fear and helplessness on its own. This powerfully conveys the hostile nature
of Death. John thinks that if Death were to be embraced with this kind of
spirit and belief in mind, then Death would also pass away. This would be a
big defeat for Death, leaving it powerless and humiliating.

Themes & Meaning

The central theme of the poem is the defiance of death.

Major Themes “Death, be not Proud”: The major theme in the poem is
the powerlessness of death. The poem comprises the poet’s emotions,
mocking the position of death and arguing that death is unworthy of fear or
awe. According to him, death gives birth to our souls. Therefore, it should not
consider itself mighty, or superior as ‘death’ is not invincible. The poet also
considers death an immense pleasure similar to sleep and rest. For him, the
drugs can also provide the same experience. The poem foreshadows the
realistic presentation of death and also firmly believes in eternal life after
death..

Discussion of the religious and spiritual themes

As a member of a recusant family, John Donne portrays an eschatological

subject in this metaphysical sonnet of his called “Death Be Not Proud”
because his main interests are in religion and spirituality. Because man is the
superior creature, he is merely formed of flesh and blood, which inevitably
decompose into dust. It is a well-known fact that everything born into
existence must eventually die. The anxiety of leaving everything behind
consumes a person before they die; hence this might be termed strength in
disgrace. John skillfully illustrates how the suffering between the cycles of life
and Death relates to each other. According to Donne, the bodily form of an
individual changes during their life as they move from one realm to another
and vice versa.

Additionally, he dispels the pride and fear of Death that everyone must
confront at some point in their lives because Death is the moment one
awakens to the ultimate truth. By not viewing Death as a negative or fearful
process because all humans must experience the process of Death, Donne
attempts to uplift and comfort man in this poem toward reformation and the
afterlife. Because Death is not the end but rather the commencement of a
fresh beginning, he presents a weak image of it, mocking and making fun of
it. By establishing the three concepts of sola scriptura (word alone), sola faith
(fate alone), and sola gratia (grace alone) in his reformation theology
movement, Donne, an Anglican preacher, impacted the Christocentric
movement and produced his poems. In the following verses, Donne
persuades the protestant belief: “One short….…., thou shalt die.”

In this passage, he is trying to illustrate that God must awaken all his children
from their final sleep state and carry them to his heavenly abode. As a
devout Christian, Donne believes that those who have faith in Jesus will
awaken to eternal life even after their physical existence has ended and
Death has encompassed them. The speaker can convey that Death should
not be feared because the best men often pass away young by personifying
Death and making it tangible, only to be mocked and humiliated because of
the analogies drawn occasionally. The speaker plays with the idea of Death in
a way that demonstrates how, even if it believes it has accomplished its goal,
this is untrue because it is a universal truth that captivates the victim, but the
opposite is also true. According to Donne, the soul can only be delivered by
Death, who also claims that Death has no power and may be readily
controlled, rejected, and disobeyed. As the plot focuses on heaven and hell,
life and Death, which are acquainted with the Bible, this poetry has a lot of
spiritual and religious elements.

Defiance and Fearlessness:

The speaker in the poem takes a bold stance against the conventional fear of
death. Instead of succumbing to the terror associated with mortality, Donne’s
speaker challenges death’s authority and portrays it as something that
should not be feared.

The Transitory Nature of Death:

Donne argues that death is not an all-powerful force but rather a temporary
state. The use of phrases like “rest and sleep, which but thy pictures be”
suggests that death is a mere imitation or representation of something
greater.

Religious Resilience:

The poem incorporates religious themes, drawing on Christian beliefs in

eternal life and resurrection. The speaker relies on the idea that death is not
the end but a passage to an afterlife. This theme provides comfort and
resilience in the face of mortality.

Mortality as a Sleep or Rest:

Donne uses imagery to depict death as a form of rest or sleep. By doing so,
he softens the harshness associated with death, suggesting it is a natural and
peaceful state rather than something to be dreaded.

Irony in Death’s Power:

The speaker employs irony to undermine the perceived power of death. By

addressing death as “mighty and dreadful,” there’s a subtle mockery,
suggesting that it is not as formidable as people often believe.

Celebration of Life’s Continuity:

The poem subtly celebrates the continuity of life. By challenging the idea of
death’s finality, Donne encourages readers to view life as an ongoing journey
rather than a finite experience.

A. The Powerlessness of Death

The speaker directly personifies Death and tells it not to be "proud"

because it is not as powerful as it seems.

Death does not destroy souls—it is just a passage to eternal life.

B. Death as Temporary
Donne argues that death is not an end but a momentary sleep before
eternal life.

This reflects Christian beliefs about resurrection and the soul’s

immortality.

C. Mocking Death

Donne mocks Death as a servant to fate, kings, and chance.

He claims that things like "poppy" (opium) and "charms" (spells/drugs)

can make people sleep better than death itself!

Main Ideas: What is the poem about on a surface level?

Deeper Meaning: What underlying messages or critiques are present?

Personal Interpretation: How does it resonate with you?

When the life ends on the earth it eventually cause the death to die too.

Special notes on the poem.

 The poem reflects Donne’s faith in Christianity—death has no power

over the soul.

 It reassures the reader that death is not an end, but a transition.

 It also challenges the fear of death, making it seem small and

unimportant.

 This poem is part of his Holy Sonnets, which focus on religious devotion

and human mortality.

 The analysis of these poetic devices shows this sonnet as a unique

representative poem for mixing Shakespearean and Petrarchan style in

its structure and meter.

 .The literary analysis shows that Donne has made his poem appealing

using diverse literary devices.

 'Death Be Not Proud' is a poem about how Death is not all powerful, rather

it is a temporary stop on the way to eternal life.

 The message of the poem is that Death is not an all powerful thing to be

feared.

 Personification and apostrophe are the two figures of speech that

dominate 'Death be Not Proud'

 The speaker argues that Death is a mere slave to man and circumstance

and that eternal life means the death of Death.

 Apostrophe in this poem is also closely linked with personification.

 'Death Be Not Proud' is one of the most quoted poems in the English

language as it addresses a very human fear.

 This quote sets the tone and creates the conceit. The speaker directly

challenges Death and advises him that he has no reason for his pride. (lines

1–2)

 Here the speaker subverts the image of an all-powerful death and

proclaims him a slave to the whims of humanity and chance. (lines 9–10)

 The last two lines refer to the religious belief in eternal life after death. The

speaker seemingly allocates this eternal life after death state to all humans.

Donne's Christian churches, both the Roman Catholic and Anglican, are

usually a little more specific about who can and who cannot gain access to

eternal life. These lines invert the idea that humans die. Instead, Donne kills

off Death. (lines 13–14)

 The speaker argues that death doesn't have the final say over human

beings.

 These lines can be used when teaching the religious belief that has faith

in life after death. It can also be quoted to rid the fear of death.

Additionally, the poem and the below lines can teach the importance of

living in the world and hereafter.

“One short sleep past, we wake eternally

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

 The speaker rejects the conventional view of death as a fearsome

and invincible force, instead portraying it as a mere transition to an
afterlife.
Sound & Musicality

Alliteration & Assonance: Repetition of sounds.

Enjambment & Caesura: How the lines flow or pause.

Notes on the poem.

The speaker tries to deflate death's arrogance by declaring that death is

really nothing more than a rest. Following this rest comes the afterlife, which
represents humanity's ultimate triumph over death.

*******************

Through a series of gestures and rhetorical tactics meant to humble Death,

the speaker insists that Death ultimately has no power over life. They

develop this claim over the course of the sonnet’s three quatrains, in which

they negate Death’s power, liken Death to sleep, and argue that Death is a

mere slave to those who have the power to control it. The speaker then

concludes that Death itself “[shall] die” (line 14). This final claim reflects the

speaker’s faith in everlasting life. Yet for all the speaker’s apparent

confidence, a trace of doubt arguably lingers beneath the surface.

************************

Death, in the poem, is a boastful figure that proudly trades on its reputation

as “mighty and dreadful.” Yet the speaker sees death as petty and weak and

confronts it directly, insisting that death can’t “kill” him—or anyone, for that

matter.

That’s because death isn’t the frightening end that people think it is. Really,

the speaker argues, death is just like a more intense version of “sleep.”

People generally feel good after getting some rest, the speaker reasons, so it
follows that they’ll feel even more “pleasure” after dying. Death is simply a

welcome reprieve for people's “bones,” their physical selves, while their souls

move on to the afterlife.

The speaker deflates death’s ego further by calling it a “slave” to earthly

things. Death, in the speaker’s estimation, isn’t the master of anything; it’s

beholden to “fate, chance, kings, and desperate men” and hangs out with

lowly, despicable things like “poison, war, and sickness.” Even as a form of

rest, the speaker continues, death isn’t all that impressive: “poppy” (opiate

drugs) and “charms” (magic and spells) are far better sleep aids!

As such, death has no reason to puff out its chest (to “swell” with pride). As

nothing more than a restful passage between life on earth and in heaven,

death is nothing to be afraid of. In fact, the speaker dramatically concludes,

the only thing that “die[s]” in the end is death itself: in waking “eternally” in

heaven, people overcome death’s supposed finality.

The speaker personifies death as a figure with an inflated sense of self-

importance that trades on its reputation as something fearsome and final. Yet

"thou art not so," the speaker continues: death is neither "mighty" nor

"dreadful," and the speaker will spend the rest of the poem explaining why.

For one thing, death wrongly thinks that it can "overthrow" life—that is, "kill"

people, even though nobody ever really dies. The speaker even pities death,

calling it "poor Death," for its foolish belief that it can end human existence.

When someone is asleep they are unconscious and thereby separated from

their interactions with the world and other people (just as they will be in

death). But sleep is also a kind of restorative retreat—good for the mind and

body—that everybody needs. It follows that if death is a kind of sleep, it is

nothing to be feared; sleep is a good thing. In fact, if death is a kind of

“super-sleep” it is even something to be looked forward to.

*******************************

Challenging Death's Power:

The poem's central argument is that death is not as powerful as people

think, and its perceived "victories" are actually temporary, leading to a state
of rest and ultimately, a transition to eternal life.

Subverting the Fear of Death:

The poem subverts the common fear of death by suggesting that death is
not something to be feared, but rather a natural part of the human
experience.

Emphasis on Rest and Afterlife:

The speaker highlights the idea that death is a rest from the troubles of the
world and a gateway to a higher state of existence, emphasizing the
Christian concept of eternal life.

********************

It is included as one of the nineteen sonnets that comprise Donne's Holy

Sonnets or Divine Meditations, among his best-known works. Most editions
number the poem as the tenth in the sonnet sequence, which follows the
order of poems in the Westmoreland Manuscript (c. 1620), the most complete
arrangement of the cycle, discovered in the late nineteenth century.
However, two editions published shortly after Donne's death include the
sonnets in a different order, where this poem appears as eleventh in
the Songs and Sonnets (published 1633) and sixth in Divine
Meditations (published 1635).

**********************

The poem “Death Be Not Proud” by John Donne has a message that endures
because he explicitly addresses Death in it, making it plain to the readers
that he is doing so. He also humanizes Death by treating it as a distinct
personality, which he mocks by making fun of its existence and position of
authority. Although some people have given Death the authority of the
ultimate terror and made it the mightiest of all times, the speaker begs Death
not to feel the power and pride it wields by instilling a sense of fear in all
humans, or rather, living things. He makes the analogy between sleep and
Death because he thinks that just as sleep is enjoyable, so too will Death be
since it will give a person a long rest at the end of a demanding day of work,
and they will have the chance to experience joy and freshness by resting
their bones and going to heaven, so one should willingly die and not fear
Death. Additionally, he asserts that fate, luck, and men needing help are the
masters of Death. He compares the two as both medicines and Death can put
a person to sleep.

********************************

The poem begins with blunt, forceful directions to die fearful of Death while
not feeling proud of oneself and listing each of its flaws one at a time. Donne
has portrayed the key theme as being the dark and helplessness of Death;
however, on the other hand, he also states that Death is regarded to be
mighty by some people. He does this by mocking Death and humiliating it by
comparing it to numerous items. In the same way, slavery is a product of
chance, battle, or the whims of some desperate men. He equates Death to
being a slave. To make fun of Death, the speaker compares it to sleep, which
brings joy and rest to a lean and laborious body. Death is, therefore, similar
to sleep since it is a prolonged sleep that rests the bones. According to the
speaker, they are similar since both medications and Death are said to induce
sleep. In Donne’s opinion, the best men are those who pass away early so
that their bones can rest and they might awaken eternally in paradise.
Ironically, the dead are not quite dead since they have let go of their illusions
of life because it is said that they are not dead. Because he cannot die for
some absurd reasons, the speaker denigrates Death and seeks to allay
people’s fears about it. This speaker presents a ridiculous perception of
Death.

************************

Due to the power and pride that Death possesses in people’s minds and their
fear of Death, Donne denigrates and patronizes Death with his deft
augmentation techniques. To facilitate understanding, he humanizes Death
and gives it a physical form. It is also evident that he makes comparisons
between Death and various substances to make it appear weak and so
demonstrate to the reader that there is no need to feel strong or pride, and
as a result, one should not be fear of Death. He occasionally uses sarcasm,
saying, “A dead person is not dead because when we die, we wake up to the
eternal awakening which retains forever and thus ends death from existing.”
He also likens Death to the act of naturally sleeping, as it is similar to an
enjoyable long nap. According to John, it’s good to pass away young because
it allows for an early bone rest and entry into heaven. He contends that since
Death is a living thing that will ultimately meet its end, it should not be able
to control us. As both medicines and Death put us to sleep, the speaker
makes the comparison that they are extremely similar. Despite its grim
subject matter, this poem has the enduring ability to help people overcome
their fear of Death.

****************************

the poem’s title, “Death, be not proud,” speaks for itself about the pride that
Death brings and how it renders people powerless. In his poem, Donne
explains how Death can be a helpless occurrence and how it triumphs over
life, offering a reflection on every life. There is no such thing as Death, and he
has tried to convince others. To enjoy their endless voyage and get over
exhaustion, a person merely takes a little nap or rest before beginning
something fresh from a different source.

***************************

"Death, be not proud" is one of John Donne's Holy Sonnets (10) or Divine
Poems, written probably in 1609/10 and published two years after his death
in 1633.

"Death Be Not Proud" is a sonnet, 14 lines in total, the first eight lines
concentrating on the role that Death plays, the last six lines detailing how
Death is subject to other controls, such as fate, chance and governmental
systems.

Speaker & Perspective

Who is the Speaker?:

The speaker in "death, be not proud" is anonymous, though critics often take

the Holy Sonnets to be an expression of John Donne's own struggles with his

Christian faith (particularly as Donne had converted from Catholicism to

Anglicanism a few years prior). However, nothing in the poem definitively

proves Donne to be the speaker.

In fact, as the poem is essentially a logical battle with death, it's reasonable

to think of the speaker as representing humanity itself. Specifically, the

poem's speaker chastises death from a standpoint of certainty—they believe

in the eternal afterlife, and for them, this sole fact undoes everything that is

usually terrifying or intimidating about the thought of death.

The speaker talks widely about the world, and particularly humankind's role

in it as opposed to death's. This supports the idea that the speaker positions

themselves as a kind of defender of humanity, taking on death through a

series of unfolding logical propositions. But, of course, it's up to the reader to

decide if the speaker's standpoint is convincing.

Point of View:

Line-By-Line Analysis/ meaning of the poem

Lines 1–4

The direct address signifies immediately that the speaker is 'talking' to

Death, who is personified here. Death is being treated as a human, capable
of pride, which is, interestingly, the most serious of the seven deadly sins.

Death's reputation has gone down in human history no doubt, many

considering it a fearful thing. But the speaker is having none of it.
Reputations count for little as the speaker denounces Death and states that,
on the contrary, Death is not 'mighty and dreadful' at all.

The superior tone continues. Death may think he overthrows victims, but
that's not the end of affairs. People do not die...and just for fun, the speaker
introduces his own immunity and says he cannot be killed either.

Death is being treated rather shamefully, the speaker in a rather mocking

kind of way suggesting that Death does not realise this—poor Death—as if
pity is being shown.
These opening lines make it crystal clear that Death has no real power over
humanity—the human body might perish, but according to Christian
theology, this is not the end.

Lines 5–8

Sleep and rest are pleasures. Who doesn't relish the idea of a long, restful
sleep after a hard day's work? The speaker suggests that this is exactly what
Death is, rest and sleep, but with a little added extra.

Sleep is natural; we wake up feeling better following some shuteye. Same

with Death, only more so.

And Death may take the best men, the good die young, so to speak, but they
get a double bonus...they get to rest, plus they get to have their soul
delivered. That word—delivery—is related to birth, so not only has Death
given pleasure, it has helped the birth of the soul; Death is an integral part of
the afterlife.

Lines 9–12

The final six lines intensify the charge against Death. The speaker states that
Death is a slave to fate, chance and kings and desperate men, meaning that
Death has no authority and no control.

Random accidents, government machinery of law and justice, poison and

war, sickness—Death only exists because of these.

From flowers such as the poppy comes opium, and from magic comes charms
—both are just as effective as Death when it comes to sleep. Even better.
How demeaning. Death is reduced to a weakling—how foolish to swell up with
pride when unmerited.

Lines 13–14

The end couplet sums up the situation beautifully. A human's death is but a
short sleep, for they'll wake up and go on forever, free of Death.
The ultimate insult—Death itself will therefore be dead.

This final nail in the coffin suggests that Death itself is alive and is logically
subject to its own death from the Christian perspective. The speaker will
wake up from a sleep and will not have to go through the dying process
again, ever.

*************************

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

Mighty and dreadful”

The speaker directly addresses a personified death, telling it not to be

arrogant just because some people find death scary and intimidating.

“for thou art not so;

For those whom thou think'st thou dost overthrow

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

In fact, death is neither of these things because people don’t really die when

death—whom the speaker pities—comes to them; nor will the speaker truly

die when death arrives for him.

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

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

Comparing death to rest and sleep—which are like images of death—the

speaker anticipates death to be even more pleasurable than these activities.

“And soonest our best men with thee do go,

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

Furthermore, it’s often the best people who go with death—which represents

nothing more than the resting of the body and the arrival of the soul in the

afterlife.

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

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

Death is fully controlled by fate and luck, and often administered by rulers or

people acting desperately. The speaker points out that death is also

associated with poison, war, and illness.

“And poppy or charms can make us sleep as well

And better than thy stroke;”

Drugs and magic spells are more effective than death when it comes to rest.

“why swell'st thou then? ”

With all this in mind, what possible reason could death have for being so

puffed up with pride?

“One short sleep past, we wake eternally ”

Death is nothing but a mere sleep in between people’s earthly lives and the

eternal afterlife,

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

in which death can visit them no more. It is instead death—or a certain idea

of death as something to be scared of—that is going to die.

**************************
. The power of the poem is its reversal of our experience. Most of the time,
we fear Death because it frustrates our efforts and our loves. But Donne uses
the hope of eternity in Christ to flip the script. In Christ, it is Death who shall
die, and we shall remain alive.

Stanza 1
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.

The poem personifies Death and offers it a direct challenge. Death is not
“mighty and dreadful.” Death does not “overthrow.” And those who seem to
die, in fact, “die not.” And so Donne concludes with pity for “poor Death” and
a final schoolyard taunt: “Nor yet canst thou kill me.”

Paul does something similar when he quotes Hosea in his letter to the
Corinthians, “O Death, where is your victory? O Death, where is your sting?”
(1 Corinthians 15:55). We can taunt Death because we have the sure and
certain hope of resurrection in Jesus Christ.

Stanza 2
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.

In the second stanza, Donne compares Death to rest and sleep. The
comparison is clear: both sleep and Death share the same posture. But
Donne makes the further argument that if sleep gives the pleasure of
refreshment, then Death will give the pleasure of even deeper rest. It’s a
counterintuitive idea because we tend to associate Death with pain. But if
Death is not the end, perhaps it is better associated with pleasure!

Again, this resonates with Paul’s teaching, who described Christians who
have died as those “asleep in Christ” (1 Corinthians 15:18). Paul even uses
the comparison to sleep to mitigate grief, as in his letter to the
Thessalonians: “But we do not want you to be uninformed, brothers, about
those who are asleep, that you may not grieve as others do who have no
hope” (1 Thessalonians 4:13).

Stanza 3
Thou art slave to fate, chance, kings, and desperate men,

And dost with poison, war, and sickness dwell,

And poppy or charms can make us sleep as well

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

In the third stanza, Donne shows how Death is not even a master of himself
but is used by other and outside forces. The list of causes demonstrates
Donne’s conceptual range, moving from the broadest cause (fate) to the
most specific (desperate men) and then to the most universal (sickness).The
second half of the stanza returns to the previous theme of sleep, though we
learn that “poppy and charms” are even better ways of inducing it. The point
is that Death, once shorn of its finality, has no further purpose. Rather than to
swell in pride, Death ought to shrink!

Stanza 4
One short sleep past, we wake eternally

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

From the perspective of resurrection, Death is only a sleep. And though it

may seem like a long time until the day of resurrection, once we are dead, it
won’t be any time at all! We die, we sleep, and that “short sleep past, we
wake eternally.”

And yes, eternally should be pronounced eternal-lie. This allows the poem to
conclude with its triumphant rhyme: “And death shall be no more; Death,
thou shalt die.”

In the final phrase, we see a structural and rhythmic repetition of the

beginning: “Death, be not proud…Death, thou shalt die.” But notice that
the final phrase also intensifies the poem’s opposition. Where the poem
began by checking Death’s pretensions, here it ends with a declaration of
doom.

In Conclusion
Though Holy Sonnet X is addressed to Death, it is powered by the energy of
Easter. Because of the Empty Tomb, Death is no longer to be feared.

One of John Donne’s recent biographers, Katherine Rundell, contrasts the fear
of Death with Donne’s apparent fearlessness:
“Spiritually speaking, many of us confronted with the thought of
Death perform the psychological equivalence of hiding in a box
with our knees under our chin: Donne hunted Death, battled it,
killed it, saluted it, threw it parties. His poetry explicitly about
Death is rarely sad: it thrums with strange images of living”
(Super-Infinite, 277).

The deeper our faith in Christ, the more we can join Donne as he dances over
Death. For Christ is risen, Christ will come again, and “the last enemy to be
destroyed is death” (1 Corinthians 15:26).

The last line alludes to 1 Corinthians 15:26: "The last enemy that shall be

destroyed is death".