Ok folks, to put this poetry into perspective it is important to understand the author's life and how his poetry and writings evolved throughout his life. The Flea was written when he was a young man before he met his wife and has a gregarious and lecherous air to it, which belies his later somber religious sermons. Indeed, reading through Donne’s works in chronological order is an anthropological study in how the hardships of life and love shape a man throughout his lifetime.
John Donne was a contradiction, he was born into a family of Roman Catholics related to the famous Catholic martyr and Saint Thomas More and in contrast, he wrote erotic poetry and had quite a fan following in his lifetime. He was born in England during an anti-Catholic time period. At first, he seemed destined for Catholic martyrdom like the rest of his family. He did not graduate from Oxford University or the University of Cambridge, because he refused to take an oath to the Church of England required for graduation. His brother, Henry Donne, was convicted of Catholic sympathies and died in prison after being tortured quite mercilessly in 1593. This shook Donne’s faith as he continued to use his inheritance on womanizing and mirth. It is believed that is was during this time that The Flea was written.
In his mid-twenties, he went to work for Sir Thomas Egerton, Lord Keeper of the Great Seal of England. Over the four years he worked for Sir Egerton, Donne fell in love with and married Sir Egerton’s sixteen-year-old niece, Anne More. Anne’s family was so upset that they had Donne jailed along with the Anglican priest that performed the wedding until they could prove that the marriage was legitimate. Eventually, he was freed from jail and the growing family (they had twelve children) struggled economically relying on wealthy family members and benefactors until Anne’s father paid her dowry eight years later. In 1610, Donne published his anti-Catholic poem “Pseudo-Martyr” winning him the patronage of King James I that insisted that Donne convert to the Church of England and take his vows as an Anglican priest. He was soon appointed Royal Chaplain and wrote some of the most famous religious sermons in the English language including “no man is an island,” “death be not proud,” and “for whom the bell tolls.” It is fascinating to read The Flea from Donne’s carefree youth followed by Donne’s erotic poetry while he was married, then start reading his religious sermons that reflect a grown Donne that had lost his great love in his wife and many of his children. It really shows the evolution of a man in the 17th Century England.
My initial reaction to first reading The Flea by John Donne was to laugh. At first, I was quite impressed at his masterful pickup lines and I thought to myself in the modern-day vernacular that John Donne “had game” in his day. He is trying very hard to convince a young lady to give up her virginity to him by comparing it to the mixing of blood in a flea. He treats it as such a simple thing and yet for a woman in this time period, particularly of noble birth, it is not a simple thing to give up your virginity before marriage. Indeed, this would be quite taboo and stigmatizing for the young woman.
The poem is an extended metaphor involving a flea. At the time fleas were everywhere and had free reign to crawl along ladies’ flesh to the envy of lecherous young men like John Donne. During that time period, sex was viewed as a mixing of blood. Making the blood-sucking and intermingling of blood alluded to by the poem particularly salacious for the time period. Viewed with a modern lens, this is somewhat dark humor considering that millions have died of the plague throughout human history that was found to be transmitted by fleas in the 1800s.
In the very first stanza, Donne starts off by using suggestive language when he states that the flea has “sucked me first, and now sucks thee,” and now their bloods are intermingled alluding to sex. He continues to allude to having premarital sex when he refers to the “loss of maidenhead,” swelling as with an erection, and with one blood made of two. The rhymes are simple and not overly clever. It is almost like he was writing what amounts to a dirty schoolboy limerick that is meant to give his friends a good laugh.
The second stanza is a bit more dramatic with Donne moving on from the salacious imagery of their blood intermingling after being sucked on by the same flea to saying that they are more than married now and that killing that flea would be akin to a murder-suicide. During this time period, the imagery of death was a euphemism for orgasm. I imagine that at this point the young lady is rolling her eyes in exasperation.
At the end of the poem, the young lady has fulfilled the imagery of death by purpling her nail with the innocent blood from the flea. Now that the flea metaphor has drawn to a close, Donne argues that she didn’t die when the flea died and that she should “learn how false, fears be; Just so much honor, when thou yield’st to me ....” In other words, the fear she harbors over losing her honor by surrendering her virginity to him is unfounded/exaggerated and such a small thing like the flea she just squashed.
The Flea follows a traditional sonnet rhyme scheme of 3 stanzas that intermixes iambic tetrameter and iambic pentameter using the following rhyme scheme: AA BB CC DDD.
My final interpretation of the poem is that it reflects the spirit of carefree young man that really wanted to have sexual relations with a young woman that valued her honor, hence probably someone of noble birth. Seen through the lens of the life that Donne lived having married a sixteen-year-old at age twenty-nine against her parents’ wishes, it seems to indicate that he successfully used the argument he outlined as a young man in The Flea at least once. His success landed him in jail and a life of poverty; but, by all accounts, he was very much in love with his wife and ceased his womanizing ways when they married. The close reading of this text made me focus on the drawn-out conceit of the flea and of death in the poem. The reader became so focused on the sexual innuendos involved the flea imagery that initially the reader missed the purposeful use of the double entendre of death.