You Ravish Me The Holy Sonnets, written by John Donne during the early seventeenth century, primarily consist of religious struggles within the sinful heart. Sonnet Fourteen includes Christian content; however, it also embraces sexual expression. While this stark contrast may seem absurd, the juxtaposition of these two ideas reveals characteristics of Donne along with the dilemma illustrated throughout the poem. By the end of Sonnet fourteen, the request made in the word ravish provides a chaste solution to Donne s sinful vice that causes him guilt. Over the years, the word ravish has generally maintained its definition. According to the Oxford English Dictionary to ravish means to transport an individual with the strength of emotion or to fill with intense delight or sensuous pleasure. Another interpretation of ravish commonly used during the 17 th century meant to remove a person from earth, especially to heaven, or to transport someone in spirit. These two quarreling definitions from the Oxford English Dictionary reflect Donne s struggle between love for Christ by following his commandments and Donne s physical urge for sexual action. Donne s Anglican background proves to be a vital part of this sonnet. Although he grew
up a part of the Roman Catholic Church, Donne converted to Anglicanism after his brother s murder over Catholic practices. He later entered the Anglican ministry in 1615 and served as a minister. As a result of his lifestyle, Donne chose to write on spiritual topics (poets.org). The allusion to God s nature and identity in line one unveils critical information about Donne s desires. Line one reads, Batter my heart, three-person'd God ; for you (Line 1). Although Donne does not write the word you at the beginning of the line, he implies placement for this subject. Therefore, the line would read You batter my heart, three-person d God. According to Laura Gerigus, from La Sierra University, the line thereby performs the unspeakable and invisible nature of God, the addressee of the poem, by the use of the silent imperative form (Gerigus 156). In other words, this you creates a command for God to follow. However, the noun relating to the implied you does not become evident to readers until the middle of the line with the phrase three-person d God. This added appositive without a direct noun referent remains relevant due to the implied you. Finally, the pronoun you at the end of the line becomes an incarnation of the silent, absent you (Gerigus 156). The implied you, three-person d God, and pronoun you at the end of line one destabilize due to the absent subject. This grammatical structure beautifully represents the idea of a triune God as
being three innate persons in one being. According to Gerigus, these three references to God presented in the sonnet s first line can be further understood in relationship to the three parts of the Christian Godhead, the trinity. The unseen, unspeakable subject of the imperative references the invisible but omnipresent nature of God the Father; the representational proximity of the appositive stands for the supportive and definitional purpose of God the Holy Spirit; and the visible, dangling pronoun performs the incarnational role of God the Son (Gerigus 157). By considering this provision of syntactical ordinance, readers can see both the visible command for God to remake Donne s heart and his desire to have a relationship as intimate as the Holy Trinity (Gerigus 156). Donne s understanding of a relationship with God solidifies his reason for calling upon the Lord for help. Line two contains important reference to scripture. He appears to be alluding towards Matthew 7:7 which states, Ask and it shall be given to you; seek and you shall find; knock and the door shall be open unto you. This passage gives immense comfort to believers. It states that God will always provide for those who desire his help. Evidence of this part of scripture s relevance can be found through the words knock and seek. Although Donne
never uses the word ask in this line, the sonnet as a whole makes up for the absence. Donne consistently begs the Lord to make him a new person. Support for this claim can be found in line one when Donne writes, Batter my heart, three-person'd God (Line 1). In this line, Donne requests for the passions of his heart to be brutally destroyed. Gerigus also supports this idea by stating, Donne demonstrates implicit hopefulness about the seeming impossibility of divine human intimacy because he views its realization as dependent upon God s goodness and greatness being able to batter man s sinful resistance and ravish him into salvation (Gerigus 157). In other words, Donne realizes that he cannot reach salvation on his own; therefore, he humbles himself in order to save himself and gain holy intimacy. Further support for Donne s familiarity of Biblical teachings can be found in line six and seven which states, Labour to admit you, but Oh, to no end. Reason, your viceroy in me, me should defend (Line 6 and 7). Donne professes his knowledge of God s rule in his heart through these lines. Ephesians 4:7, 8 states, For it is by grace you have been saved, through faith and this is not from yourselves, it is the gift of God not by works, so that no one can boast. Line
six and seven directly parallel Donne s profession. Donne realizes that he cannot change his own desires and passions within his heart. Rather, he needs the help of the Lord to cleanse his soul. Therefore, Donne demands assistance, as seen in line two, because without Christ, he remains a slave to his sinful nature. Donne s commitment and love for God paired with a corrupt human nature creates the driving force of guilt that causes him to submit to the Lord s reconstruction of his heart. In Petrarchan and Repentance in John Donne s Holy Sonnets by Gary Kuchar, Kuchar supports this claim by stating that the fundamental drama of the Holy Sonnets is characterized by the speaker s terrifying recognition that repentance requires him to experience his lack of autonomy to undergo a psychically violent process (Kuchar 537). The octet clearly shows Donne s guilt and submission to God s will through his demands. Donne uses spondis and changes in rhythm to especially emphasize these points throughout the sonnet. Examples of this can be seen in the first line of the poem with the word batter, in the second line with the words breathe, shine, and seek, and in the fourth line with the words, break, blow, burn.
The word ravish also appropriately fits amongst Donne s aggressive word choice for this visual cry out to God. According to the Oxford English Dictionary, the word ravish can be replaced with the synonym abuse. In some ways, this corresponds with Kuchar s theory and Donne s strategic word choice. Donne repetitiously pleads for the Lord to violently change his heart. In part, this provides readers with understanding as to why Donne s final request would be for the Lord to ravish him. Donne never directly provides readers with the offense that causes him such agony; however, word choice throughout the poem hints at the root of his sinful desire. Terminology such as enthrall and ravish sexually charge Sonnet fourteen. Therefore, an assumption can be made that Donne struggles with the sin of adultery. This conjecture transforms the poem into one that more closely models the Petrarchan tradition due to the desperation for God and separation caused by sin. Lines nine and ten help prove this claim. They read, Yet dearly I love you, and would be loved fain, But I am betroth'd unto your enemy (Lines 9 and 10). Lora Geriguis from La Sierra University also supports this assertion by stating that the Petrarchan relationship can be seen through the evitable inconsistency of a faithless human lover estranged
from a beloved God (Geriguis 155). The fact that Donne does not directly state the sin that bothers his conscience and replaces it instead with lines of humility emphasize the guilt of his actions. Donne realizes that he has become a slave to sin. He exemplifies this through lines ten and eleven which read, But I am betroth'd unto your enemy ; Divorce me, untie, or break that knot again (Lines 10 and 11). Donne presents himself as meek by referring to himself in feminine terms. In these two lines, Donne uses vocabulary such as betrothed. This word is often used in reference to new brides rather than bridegrooms. However, while these lines offer a suggestion of humility, they also provide an impact of jealousy. The Bible often refers to God as the bridegroom and the individual believer as his bride. Examples of this can be found in Ephesians 5:25 which reads, Husbands, love your wives, just as Christ loved the church and gave himself up for her. Another example would be the parable of the ten virgins in the book of Matthew. Donne desires more than anything to be a part of this intimate relationship with Christ in order to escape from his bondage of sexual sins. It
is possible that Donne uses the contrasted view, a marriage with the devil, in an attempt to rouse God s passion for him. Through these endeavors, Donne hopes that the Lord will finally come to his rescue from certain temptation and ravish him into a purer life. The final three lines of the poem reveal the ultimate conclusion to Donne s suffering. Lines thirteen, fourteen, and fifteen read, Take me to you, imprison me, for I, except you enthrall me, never shall be free, nor ever chaste, except you ravish me (Lines 13-15). Donne states in these lines that unless God imprisons him from the devil and his sin, he cannot be free. The most interesting word choice in these three lines occurs in the final line of the poem with the words chaste and ravish. These opposing ideas create the ironic truth needed to absolve Donne s dilemma. Donne desires to be pure, free of all sexual sins. He wants nothing more than to serve the Lord. However, he finds himself struck with desires poisonous to the heart. These sexual sins pollute his conscience; therefore, resulting in this struggle between good and evil. In order for Donne to relieve his pestering physical desires, he begs God to ravish him. As stated earlier in the paper, ravish can have two drastically different meanings. However, which definition did Donne wish to apply? While the use of sexual imagery could
point towards that of sexual pleasure, the possibility of this being a chaste reference could still be a likely solution. As stated throughout this paper, Donne had a strong connection to the Anglican Church and based his life on the teachings of the Lord. It would not be out of place for Donne to ask God to remove him from temptation and transport him to heaven. Line twelve would also agree with this statement because Donne requests to be quarantined from sin and the devil when he says, Take me to you, imprison me, for I, (Line twelve). Donne wants no part of these impure acts. Lori Gerigus argues that Donne wishes to imply sexual content by using the word ravish. Gerigus states, The sonnet opens with a figure of militaristic incursion and closes with sexual penetration, a combination of phallic images that Donne designs into metaphorical architecture capable of bridging the gap separating humanity from divinity (Gerigus 157). As the poem continues toward the end, sexual imagery begins to become more evident. It isn t as hidden as it was at the beginning of the sonnet with the grammatical structure. This suggests that Donne purposely crafted this processional unraveling in order to express the conclusion to his struggle, to be ravished sexually by God. The erotic undertones within the poem seem to enforce the result of eroticism behind the word ravish.
In conclusion, the word ravish provides Donne with a solution to his physical struggle. Donne wishes to serve the Lord in a pure manner; however, sexual sins have caused him temptation. In order for Donne to become unadulterated, he chooses to submit himself to the Lord and beg to be made new. Donne desires to be ravished by God as the final resolution to his vice. John Donne uses the word ravish to express his sexual sins and yearning to be saved from them. Due to the purpose of the poem, the two definitions of the word ravish can appropriately coexist; however, the physical intimacy implied throughout the poem supports the hypothesis of an erotic meaning. Sonnet fourteen may appear surprising at first read, but through careful examination, the complex design reveals the replication of a timeless dilemma through poetic expression.
Works Cited Geriguis, Lora. "John Donne s HOLY SONNET 10." N.p., n.d. Web. "John Donne." Poets. N.p., n.d. Web. Kuchar, Gary. "Petrarchism and Repentance." N.p., n.d. Web. "Zondervan Niv Study BibleGetMediafireFile.com." Zondervan Niv Study Bible. N.p., n.d. Web. 09 Dec. 2013.