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Another example of Donne’s humour. It can be paraphrased as, broadly, there are bad as well as good angels, dressed in white to deceive us. The bad spirits can frighten us, or ‘set our hairs’, but the good ones result in the ‘flesh upright’ — which doesn’t need explaining!

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This is a typical Metaphysical conceit, Knowledge of other cultures was expanding during this time. Donne must have known about the virgins in heaven of the Muslim faith. He is saying ‘You’re like 72 virgins all in one!’

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Donne returns to more delicate language, and refers to sex as something holy, referring to his bedroom as a ‘hallow’d temple.’ This religious allusion serves to make sex seem less sinful, as his bedroom is now a place that has been sanctioned by God. Donne famously struggled with reconciling his sexual desires with his piety, so this allusion serves to assuage his guilt.

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Donne is actually referring to female genitalia with his reference to her ‘hairy diadems.’ This explicit and rather crude language is in direct contrast with the delicate language used two lines prior.

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The body is like the clothing of the soul (as when Andrew Marvell strips off his body’s vest so his soul can sing), so getting naked is like casting away one’s mortal coil to get closer to God…or, in this case, to the horny poet

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This is rather brazen – his strategy is to just take his clothes off and hope she gets the hint

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The American New Critics loved Donne, and this phrase inspired Cleanth Brooks' book of literary criticism.

The ‘well-wrought urn’, apart from continuing the extended metaphor of death/orgasm, is also a metaphor for the clever poetry Donne was able to write; a strikingly inventive and compact idea.

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Ironically, though Donne wrote many sonnets, this is not one. The ‘pretty rooms’ will be the sweet places where they can make love.

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They are like two flies that buzz around each other. This reference echoes The Flea, in which he elevates sex and love by imagining his and his partner’s blood mixing in the body of the parasite.

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The two ‘exclamatory 'alas’s are sarcastic. Donne is clearly not at all regretful about his loving relationship. He defends himself by saying, 'we’re not hurting anyone by loving each other.’

He goes on to list situations which could hardly have been affected by ‘my sighs’. For example, did his winter cold ever delay spring? He deems it illogical that any damage could have been done by his ‘love’.

Note the interrogatives; When, What, Who, When, that begin the first five lines. These function as a refrain, emphasising his annoyance at the reaction of people to his marriage.

Part of the enjoyment of this poem is the outrage that Donne clearly feels and expresses. This would work very well as a performance poem, read aloud with the right tone of voice to an audience.

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