On Time Analysis - Literary devices and Poetic devices

On Time

Fly, envious Time, till thou run out thy race,
Call upon the lazy, leaden-stepping hours,
Whose speed is but the heavy plummet’s pace;
And glut thyself with what thy womb devours,
Which is no more than what is false and vain,
And merely mortal dross;
So little is our loss,
So little is thy gain.
For when each bad thing thou hast entombed,
And last of all, thy greedy self consumed,
Then long eternity shall greet our bliss
With an individual kiss;
And joy shall overtake us as a flood,
When everything that is sincerely good
And perfectly divine,
With truth, peace, and love shall ever shine
About the supreme throne of him whose happy‑making sight alone,
When once our heavenly guided soul shall climb,
Then all this earthly burdens will be gone,
Attracted by stars, we shall forever sit,
Triumphing over death, chance, and you, O Time.

Unveiling “On Time”: A Journey Beyond the Clock

John Milton’s “On Time” is a profound and powerful lyric poem that invites readers to reconsider their understanding of time itself. Far from a simple reflection on the passage of moments, this work is a bold theological meditation, challenging the very dominion of temporal existence in favor of an eternal, divine reality. It stands as a testament to Milton’s deep spiritual convictions and his masterful command of language, offering a unique perspective on mortality, eternity, and the ultimate triumph of the soul.

On Time Summary: The Essence of Milton’s Vision

Central Idea: “On Time” asserts that earthly time, with all its fleeting concerns and material possessions, is ultimately insignificant when compared to the boundless joy and divine truth of eternity. The poem’s core message is one of spiritual triumph, where the soul transcends the limitations of the temporal world to embrace an everlasting, blissful existence.
Milton’s Unique Perspective: Unlike many poems that lament the swift passage of time or the inevitability of decay, Milton’s “On Time” adopts a defiant and challenging tone. The poet does not mourn time’s effects, but rather commands Time to hasten its own end, viewing its consumption of mortal things as a necessary prelude to eternal bliss. This perspective highlights a profound faith in a spiritual reality that utterly eclipses the material.
Key Themes Explored: The poem intricately weaves together several significant themes: the transient nature of earthly life versus the permanence of eternity, the personified power and ultimate weakness of Time, and the ultimate victory of the human spirit over death, chance, and temporal constraints through divine ascension. It encourages a shift in focus from worldly attachments to spiritual aspirations.

In-Depth Analysis of “On Time”

The Defiant Challenge to Time: Opening Lines and Personification

The poem immediately establishes its confrontational stance. The opening lines are not a plea, but a direct command, a challenge to a formidable adversary:

Fly, envious Time, till thou run out thy race,
Call upon the lazy, leaden-stepping hours,
Whose speed is but the heavy plummet’s pace;

Milton personifies Time as an “envious” entity, suggesting it is not a neutral force, but one driven by a grudging resentment towards the eternal. The imagery of Time running “out thy race” implies its existence is finite, a temporary sprint compared to the infinite marathon of eternity. The “lazy, leaden-stepping hours” and the “heavy plummet’s pace” further diminish Time’s perceived power, portraying its movement as slow and cumbersome, a stark contrast to the swift ascent of the soul to divine realms.

Imagery of Consumption and Worthlessness

Milton continues to undermine Time’s significance by describing its actions as a futile consumption of the trivial. He urges Time to:

And glut thyself with what thy womb devours,
Which is no more than what is false and vain,
And merely mortal dross;
So little is our loss,
So little is thy gain.

The verb “glut” suggests an insatiable, almost repulsive, appetite. The things Time consumes are explicitly labeled “false and vain” and “merely mortal dross.” “Dross” refers to the worthless impurities skimmed off molten metal, emphasizing the poem’s assertion that earthly possessions and experiences are ultimately valueless in the grand scheme. The powerful couplet, “So little is our loss, / So little is thy gain,” serves as a direct dismissal, reinforcing the idea that Time’s actions are inconsequential for those focused on eternal truths.

The Promise of Eternity and Divine Joy

The poem transitions from challenging Time to celebrating the advent of eternity, presenting it as a state of ultimate fulfillment. Milton writes:

For when each bad thing thou hast entombed,
And last of all, thy greedy self consumed,
Then long eternity shall greet our bliss
With an individual kiss;

The act of “entombing” bad things signifies a necessary purification, a shedding of earthly imperfections. The ultimate consumption of Time’s “greedy self” marks its complete annihilation. Eternity is not merely an endless extension of time, but a qualitatively different state, characterized by “bliss” and an intimate, personal connection with the divine. The “individual kiss” is a striking and tender image, suggesting a unique and loving embrace awaiting each soul, a deeply personal welcome into the eternal realm.

The Triumph Over Mortality: Closing Lines

The poem culminates in a powerful vision of spiritual liberation and ultimate victory. The closing lines declare:

When once our heavenly guided soul shall climb,
Then all this earthly burdens will be gone,
Attracted by stars, we shall forever sit,
Triumphing over death, chance, and you, O Time.

The ascent of the “heavenly guided soul” symbolizes spiritual ascension, a liberation from the gravity of earthly existence. The shedding of “earthly burdens” signifies a purification, leaving behind the weight of material concerns and mortal anxieties. The imagery of being “attracted by stars” evokes a sense of celestial beauty and glory, a destiny among the divine. The final declaration of “Triumphing over death, chance, and you, O Time” is a resounding affirmation of the soul’s ultimate power and immortality, a confident assertion of victory over the very forces that define mortal existence.

Literary and Poetic Devices in “On Time”

Milton’s “On Time” is a masterclass in poetic craftsmanship, employing a rich array of literary and poetic devices to convey its profound message.

Personification and Apostrophe

Central to the poem’s argument is the personification of Time as an “envious” and “greedy” entity. This device allows Milton to directly address and challenge Time, transforming an abstract concept into a tangible adversary. The direct address to Time, as in “Fly, envious Time” and “Triumphing over death, chance, and you, O Time,” is an example of apostrophe, a rhetorical device used to address an absent or imaginary person or a personified abstraction.

Imagery

Vivid imagery is used throughout the poem to create strong sensory experiences and reinforce its themes. Examples include “leaden-stepping hours,” “heavy plummet’s pace,” “womb devours,” “mortal dross,” “greedy self consumed,” and “attracted by stars.” These images help readers visualize the slow, destructive nature of time and the glorious, celestial nature of eternity.

Metaphor and Symbolism

Time itself can be seen as a metaphor for the limitations and transient nature of earthly existence, while eternity symbolizes the boundless and divine realm. “Mortal dross” is a metaphor for the worthlessness of worldly things. The “individual kiss” is a powerful symbol of personal divine embrace and ultimate spiritual fulfillment.

Alliteration and Assonance

Milton skillfully employs sound devices to enhance the poem’s musicality and emphasis. Alliteration, the repetition of initial consonant sounds, is evident in phrases such as “lazy, leaden” and “plummet’s pace.” Assonance, the repetition of vowel sounds, can be found in lines like “Fly, envious Time, till thou run out thy race,” where the long ‘a’ sound is subtly repeated, contributing to the poem’s lyrical quality.

Enjambment

Milton frequently uses enjambment, the continuation of a sentence or phrase from one line to the next without a pause, to create a sense of flow and momentum, drawing the reader forward. Consider these lines:

And last of all, thy greedy self consumed,
Then long eternity shall greet our bliss
With an individual kiss;

This technique prevents abrupt stops and allows the ideas to unfold seamlessly.

Structure, Meter, and Rhyme Scheme

“On Time” is a lyric poem of 22 lines, not adhering to the strict form of a sonnet. Milton employs a varied meter, primarily iambic, but with lines of differing lengths, often shifting between tetrameter and pentameter, which contributes to its dynamic and emphatic tone. The rhyme scheme is also irregular, often featuring rhyming couplets and triplets, but without a fixed pattern throughout the entire poem. For example, the opening lines follow an AABB pattern (“race”/”pace,” “hours”/”devours”), followed by a CDDC pattern (“vain”/”gain,” “dross”/”loss”), and then mostly couplets (“entombed”/”consumed,” “bliss”/”kiss,” “flood”/”good,” “divine”/”shine”). The final lines introduce a more complex interweaving of rhymes, such as “alone”/”gone” and “climb”/”Time.” This flexible structure allows Milton to adapt the rhythm and emphasis to suit the evolving argument of the poem.

Conclusion: The Enduring Message of “On Time”

John Milton’s “On Time” is more than just a poem; it is a profound philosophical and theological statement. Through its defiant tone, vivid imagery, and masterful use of literary devices, the poem challenges conventional perceptions of time and mortality. It offers a powerful reassurance that the fleeting nature of earthly existence is but a prelude to an eternal, blissful reality. This enduring work continues to inspire readers to look beyond the immediate, to find solace in the promise of spiritual transcendence, and to recognize the ultimate triumph of the soul over all temporal constraints.