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important opposition that he develops in the first stanza. After telling the sun a second time to depart
and engage with the social sphere, he comments, "Ask for those kings whom thou saw'st yesterday, /
And thou shalt hear, all here in one bed lay" (19-20). Whereas earlier the persona commands the sun
to leave because he wishes to live with his lover uninfluenced by time (which, as discussed, is an
unsuccessful endeavor) and to remain uninterrupted by the outside, social world, here the poet claims
that the social sphere is in his bed.
Perhaps disclosing this weakness of his rhetoric more distinctly, the persona states of his lover and of
himself, "She is all states, and all princes, I, / Nothing else is" (21-22). In "John Donne, Undone,"
Thomas Docherty, comments on the first line of this passage: "Sexual relation fades into commercial
relation here, and the female herself becomes mediated as a symbol of the market-place itself, [. . .]"
(32). Indeed, the persona follows the putative seventeenth-century social paradigm of female
inferiority when he claims that his lover is territory while he is the prince of that territory. Again, he is
unable to utilize a language that can transcend the external world; in this instance, a dominant social
ideology pervades his rhetoric, and his world of love cannot escape the outside structure once again.
Before the third stanza begins, two of the binary oppositions that the persona establishes in the first
stanza have broken down. While he attempts to engage in a convincing discourse on the potency of
love, the persona's rhetorical attachments to eternity and to social exclusion work within governing
structures that he is unable to avoid; therefore, his argument for these ideals is not firmly grounded.
He endeavors to use language in order to assert love's superiority to the external world, but by
acknowledging time limitations and the social sphere he ultimately supports the structures that he
hopes to undermine. The last stanza of "The Sun Rising" consummates the destruction of his attempt.
As previously mentioned, the persona establishes a confinement / openness opposition, favoring to
be enclosed within a microcosmic world of love. However, this idea is dismantled when the persona
summons everything in the external world to his room:
In that the world's contracted thus;
Thine age asks ease, and since thy duties be
To warm the world, that's done in warming us.
Shine here to us, and thou art everywhere;
This bed thy center is, these walls, thy sphere. (26-30)
Here, the most evident contradiction in the persona's reasoning is his contraction of the external world
into his internal world. As noted earlier, he claims that love knows no time and exists independent
from external influence. Through this assertion, the persona confines himself and his lover willingly,
expelling the sun and rejecting the cultural sphere with the notion that his love surpasses these
aspects of the physical world. Yet the buttress of his final argument, which he presents syllogistically,
is the assumption that his microcosmic world of love is the whole world. In lines twenty-seven and
twenty-eight the persona reasons that since the sun is obligated to illuminate the world, it must shine
on him and his lover; thus, he thinks that his microcosm is everything. His bed, he asserts in the final
line, is the center of the universe; his walls are its borders.
The persona's argument ends with the assumption that the entire physical world occupies his
microcosm. He and his lover are the center of this new sphere, and their love transcends the physical
limitations of the outside world. But upon critical analysis, this rhetoric is unconvincing. He brings
openness into his closed world, implicitly subverting his ideal to remain isolated from outside
influence. Throughout the progression of "The Sun Rising," Donne's persona has made claims that
undoubtedly break down as he continues to speak. In the final instance, the confinement that he
favors in his internal world of love, as opposed to the openness of the macrocosm, is undermined
because he insists that the external world exists within his microcosm. Ultimately, the persona's
attempt to utilize a language that will communicate love's transcendent qualities is a failurenot a
"sudden creative power" as Lisa Gorton asserts with other criticsbecause the structures that he
hopes to escape are inherently incorporated in that language (par. 17). He tries to embrace the ideals
of eternity, social solitariness, and confinement; however, in this verbal enterprise, he incorporates the
ideas that he is reacting against into his rhetoric. As a result, his argument loses forcehis language
is unsuccessful.