Now, the other cool thing about sonnets, and one always worth keeping in mind, is that sonnet tradition dictates that the 9th line is a sharp "turn" in the poem, where the speaker's language, style, or content is expected to change. This tension between an earthly, physical attraction and a more sacred, spiritual form of love, so perfectly represented in the context of the sonnet form, is central to the poem's meaning. ![]() On one hand, there's an intimacy and genuine affection for God here, but on the other hand, you can also construe this as serious disrespect for God. Think about that for a second – Donne’s speaker attempts to address God exactly as if he is telling a woman that he thinks she's beautiful. Instead of writing a little love song to a lady, Donne decides that this would be an appropriate form for speaking to God. ![]() Until Donne writes this sequence, sonnets were almost always about a speaker's love for a woman. As for the rhyme scheme, the poem looks like this: ABBA, ABBA, CDCD, EE, with an unusual rhyme at the end of line 12: "enemy" with "I." This history and tradition of this form are important to this poem. We know this because the poem is composed of 14 lines, the three quatrains (groups of four lines) followed by a rhyming couplet (two lines) at the end, and the regular rhyme scheme. ![]() This poem takes the form of a Petrarchan sonnet. A Sonnet with very irregular iambic pentameter
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