Analysis of Death Be Not Proud: Issues of Religion and Death

“Death Be Not Proud” is a classic metaphysical poem composed by John Donne in 17th century England. This poem treats with eschatological themes since the perspective of the speaker is mainly religious. The biology of man dictates that he has to die. Man, only composed of flesh and blood, eventually disintegrates to dust. The physical decomposition of man emphasizes his frailty and fallen nature. In the many interpretations of death, Donne puts forward his beliefs on life, death and human suffering. Cognizant of his mortal constitution, Donne still rebuffs death as a being that is overcome by the bright prospects of the afterlife. The Reformation movement deeply casts an indelible mark upon the face of religious life and the belief system in England until Donne, formerly a Catholic, converts to Protestantism. In his poem , Donne casts down the pride of death and hopefully asserts that humans pass not only from one physical state to another, but also from one world to the next, leaning on Reformation teachings of the afterlife as a means of consolation and courage.

The English Reformation commenced in England since the 14th century with John Wycliffe. However it was not until three centuries later that the Reformation cemented in England. The conflicts between the Catholic kings and Pope and the Protestant movement headed by Henry VIII sparked much dissension. However, it is not until Queen Elizabeth I (1556-1603) that English Protestantism takes root. After she is deceased, she names another Protestant king, King James I (1603-1625) to succeed her. This king is the same monarch who authorizes the printing and publishing of the well-known King James Version of the Bible. Religion figures preponderantly in politics and wider society. As some believed in the divine right of rule that belonged to the monarchy, allegiance to God in some minds is equated to loyalty to the king. In the 17th century, England divorces itself from the Papacy, literally and figuratively through Henry VIII’s displeasure at being disallowed a divorce by the Pope. As a result, the State’s religion becomes English Catholic or Anglican. Different segments of Christians advocate widely different beliefs for they see the flaws in the Church thus urgently recognize the need to reform. The Puritans and the Quakers are some of these non-conformist churches. Certain laws come into force which give these sectarian non-conformist groups freedom to practice their religion unhindered such as The Corporation Act (1661), the Act of Uniformity (1662), the Bill of Rights (1689) and the Toleration Act (1689). As Reformation continues in England and the feeling of discontent with religion increases, more and more people leave the mainstream state religion in favor of others. This time marks the period when the English Church distances itself as far as possible from Catholicism to the point at times to hostility (Mullet 245-55).

Donne’s poetry cannot be understood apart from his reformation theology. The Reformation was founded on three principal tenets, sola scriptura, sola fide and sola gratia or (by the Word alone, by faith alone, and by grace alone respectively) (O’Collins 2004). This movement inspires many radical changes to take place so that adherents turn to a Christocentric belief system. As an Anglican minister, Donne incorporated his reformed beliefs into his poetry, although he does not wholly divorce some Catholic teachings. Donne’s theological perceptions on death predominantly derive from the Reformers since it is so rooted in the Scriptures. Widely distinct from Catholicism, Protestantism is not considered compatible with Catholic dogma. On one hand, Catholicism embraces superstition and its worship was grounded on tradition, rather than on the Bible especially with such doctrines as the Eucharist, purgatory, the worship of relics, the worship of saints, indulgences sales and Latinized readings. On the other, the Reformers sought a closer relationship with God through Bible truth and a revived Church that lived up to higher standards. In this religious context, belief in the truth by faith would set the believer free.

Following the steps of Biblical authors, Donne portrays the transience of life, likening it to a sleep (Psalm 13:3; John 11:13; 1 Corinthians 15:52-58 and 1 Thessalonians 4:15). Donne depicts death as that “from rest and sleepe, which but thy pictures bee.” This metaphor, employed by David, Jesus and even the apostle Paul, demonstrates the brevity of life yet the hope of an eternal after-life. In this figure, death is compared to a night, whereas life or resurrection is symbolized by the morning. Morbid though the poem may seem, Donne exults over death’s power, for he asserts that it only has a fragile hold over the soul. Donne and many of the Protestant reformers believe that at man’s decease, he lapses into a state of unconsciousness or sleep until resurrection day when Jesus Christ returns again. Alluding to the scriptures of the Christian’s triumph over death through Jesus Christ, Donne refers to the oft-quoted Scripture in 1 Corinthians 15:54, 55. Here, Paul asserts that “death is swallowed up in victory/55 O death, where is thy sting? O grave, where is thy victory?” The brevity of death’s hold is compared to “one short sleepe” and its defeat at the cross is the hope of the believing. Here, Donne rejects the view that death is a despairing, eternal finality; instead, he chooses to rejoice in what come after death.

The resurrection of the dead is the reason behind Donne’s boast and is central to his hopeful assurance in this poem. Serving as the poem’s punchline located at the last line of the last stanza, Donne urges the Protestant belief that subsequent to “one short sleepe past, wee wake eternally.” This line runs parallel to the Scripture that declares that “We shall not all sleep, … For this corruptible must put on incorruption, and this mortal must put on immortality.” Donne’s faith is rooted in an everlasting life promised to Christian believers that God will awake those who fall asleep in death to arise to live in their heavenly home. He believes that whosever believes in Jesus would not perish but have everlasting life (John 3:16). The eternity before him transcends the short sleep of the dead in the grave.

To belittle the stature of death in the poem, one discerns Donne’s use of personification, irony and sarcasm to accomplish his taunt of death’s lack of power over him. Death is personified as unknown character; however, this being could be any of the members of the Greco-Roman pantheon including Hades, Proserpine, Ceres, Proserpine, Pluto or even Satan. The poem’s speaker addresses death as one that “think’st,” thus attributing to it one of the highest qualities of mankind: reason. Death blights the earth with a curse against the living as his boast goes unchallenged with no one escaping its grasp. Donne enumerates Death’s associates as “poyson” “sickness” “warre” “fate” and “chance.” Personifying death enables him to enter into discourse with death. Because of Death’s unwanted sinister and deathly influence, the speaker chooses to inculpate it, oppose it, mock it, and rebuke it. Death has committed many ravages against mankind by taking away “our best men.” He has deprived men from experiencing life to its fullest since death is used as punishment or as a threat in the hands of governors/government.

In terms of irony, the speaker realizes that death actually does not perform its duties efficiently with poppies and charmes outdoing it. For those who have passed under the hand of death, “die not… (neither), yet canst thou kill mee.” This irony impresses on the mind the speaker’s demeaning opinion of death. It fails to carry out its grave purpose although it thinks it does. Death is usually referred to as one that takes its victims captive instead, the speaker asserts that the reverse is true. Instead of being lauded as a majestic ruler or master, the speaker dethrones death, relegating it to the position of a “slave” that merely serves a duty to those who would use it. Again, the speaker deflates the pride of death, demanding that death “be not proud.” Although death truly claims all men and women under its authority, the speaker defiantly refuses to pay him homage. Rather, he gives death a warning of its impending demise for he knows in his heart that death… “shalt die.” This affirmation reflects Paul’s firm belief that “the last enemy that shall be destroyed is death” (1 Corinthians 15:26).

Poppies and charm(e)s are soporific or sleep-inducing ingredients and to dwarf death’s accomplishments, likens death’s effect to that of drugs that bring on sleep. “Death Be Not Proud” of necessity includes “poppies” and “charmes” to maintain the death theme. Death is a compact of sleep and flowers, but of narcotic flowers especially – a revenant who […] bears always the secret of decay in her, of return to the grave (Gauding 308). According to The Signs and Symbols Bible, in Greco-Roman mythology, poppies were traditionally offered to the dead, signifying eternal sleep. The poppy is a wild flower which historically symbolizes sleep and death: sleep, because of its opium content and soporific effect; and death, because of its commonly blood-red color. Likewise just as there is blood in death, no one is born into this world without blood, therefore, there is the connotation of birth and rebirth.

Contrary to its presumed, baneful effect, death only ends up doing good. It lulls the dead into a comatose state, it separates the dead from the unfortunate vicissitudes of life such as adversity, war, sickness, socio-political unrest, the struggle to survive – from all of these he is shut out. Also death functions only to propel the dead to another higher level. A level that is enviable to the living, an experience that death itself cannot taste and enjoy. Donne affirms that death only causes the “soules deliverie”/soul’s delivery. In other words, it liberates the soul from the time; it emancipates the being from physical constraints and it unchains the soul from the body.

At the same time, Donne concedes that man has no control over death in and of himself as he is powerless to manipulate, refuse or defy death’s approach. Donne enumerates death’s enablers such as fate, poison, war, sickness and cruel, desperate men. He acknowledges that in the hands of these entities, death is utilized against man. He acknowledges that it is man’s lot to die since man is mortal and has to periodically succumb to it. Aware of man’s evil nature, Donne states that “desperate men” are the ones who sometimes instigate death by their own actions incurring and entering war. Poison and sickness are other means by which one may fall. Kings and tyrants who would have their own way have recourse to threaten their subjects with death, to strike fear in their hearts and coerce compliance. Men precipitate other men to death.

In sum, Donne’s Death Be Not Proud is a metaphysical poem because it treats with philosophical and theological themes for example death and religion. The poem reflects prevailing religious persuasion in 17th century England and demonstrates with ardent conviction the position of the Anglican believer in matters relating to life and death, heaven and hell. An intimate acquaintance with the Bible and the fundamental tenets of Protestantism enables the decoding of this poetry which is melancholy in its subject but strikes a note of hope in the end.