1. Donne’s poetry is replete with a metaphysical conceit which made use of colloquialism, intellectual analysis, and unique imagery. It aimed to portray the ordinary conflicts and contradictions of life. The poems often took the form of an argument, and many of them emphasize physical and religious love as well as the fleeting nature of life. By presenting comparisons, posing questions, and providing examples, the speaker shows that his love is innocent, unifying, and finally, that it makes the lovers saints of love after their deaths. Donne creates a speaker who is invested in talking and dreaming about his love, and he does not want to be disturbed with negative comments. In the second stanza, by asking the addressee a series of providing examples of how the world remains unaffected by his love, the speaker suggests that his love will lead to his sanctity. In the first question, the speaker connects his sighs to a drowning ship by saying that his sighs have not drowned any merchant's ships. In the second question, the speaker connects his tears to flood, and he says they have not flooded any ground. Paradoxically, in the third stanza, the imagery of fire that describes the intensity of their sensual love applies as well to their spiritual love. The lover's mutual ascent through contemplation is emphasized by images not only of the dove and phoenix but also of the eagle. The eagle and dove are religious symbols which represent courage and peace. In this poem the union of the eagle and the dove into a single symbolic image manifests the lovers' movement toward unity. In this poem, characteristics of all three birds are fused into a single dominant image of winged flight toward salvation. The speaker uses these powerful images of sharing traits and building a partnership to indicate the strength of their relationship. The speaker describes how they will be remembered, canonized, and invoked by others and provides an analogy between the legend of a saint and the story of his love. The speaker compares an erotic relationship to a saintly experience. As the speaker argues the case for sainthood, his mock-serious tone heighten the humor, and the wit of this secular love poem is derived from its ironic sainthood is integrated. In the last stanza of the poem, the speaker describes how people will invoke the lovers as the saints of love. This is an indication that the speaker feels he will be able to look over everyone, when he becomes the saint of love. Donne creates his bizarre claim to distract the addressee and to eliminate any negative thoughts he has about the speaker's love. Therefore, Donne employs a clever strategy to intensify his claim as each stanza progresses.
6. A fundamental, paradoxical balance between conflict and consolation marks many of Herbert’s poems, consistently revealing truths about the deeper spiritual tension and resolution in mankind’s experience with sin, suffering, and God’s grace. Through literal and symbolic imagery, figurative language, mood and tone, and defining themes, Herbert crafts poems of intricate structure, beauty, and meaning. Each skillfully progresses through a sense of disharmony. Herbert employs to create such a careful juxtaposition of tension and peace, which—by empowering his verse with a sense of life and emotional vigor—gains, in the end, true triumph. Emotional power heightens the drama of conflict and peace in Herbert’s poem “Easter Wings,” particularly through its vivid imagery. As an emblem poem, its verse shape in the form of eagles’ wings gives it a concrete tangibility and conveys a feeling of wildness and vitality by its implication of eagles in flight. Moreover, the diction—both the denotative and connotative aspects of the words themselves—follows the falling and rising of the lines. Implicit in the visual imagery is the idea of falling and flight. At the lowest point of both verses, the phrases “most poor” and “most thin” illustrate the actual level of the textual imagery as well as the spiritual state of the speaker. Ascending again, the picture of soaring eagles compares to the human spirit rising from the depths of self’s poverty and taking flight on the wings of God’s abundant grace.
Through this combined visual and spatial imagery, the speaker reveals the conflict and discord of man’s “[decay]”, “sicknesses,” and “shame” caused by sin—and then resolves it in the dramatic upward shift to victory. This poem reflects the sadness felt by the speaker at what he considered was man-kinds demise from the new-born purity designed by God to becoming sinners affected and influenced by the devil. The sad reflection of 'foolishly' loosing the ability to see God's goodness becoming increasingly the main stay of man's everyday existence. The repetition of 'Falling' could indicate the will to rise from a fallen sinner to find grace thus seeking redemption. The fallen praying for forgiveness which use of 'O let me rise ' reflecting the wish to rise above sin and overcome the obstacles that it presents to being close to God. Thus even in the triumphant climax of each verse’s end, the speaker maintains the paradox of tension and peace as a surprising, empowering element in spiritual growth and ultimate victory.