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Morte, non essere fiera, anche se qualcuno ti ha chiamata Possente e terribile, perché tu non lo sei; Ché quelli che pensi di travolgere Non muoiono, povera Morte, né ancora tu puoi uccidere me. Dal riposo e dal sonno, che non sono che tue immagini, (Deriva) molto piacere; quindi da te deve derivarne maggiore, e prestissimo i nostri migliori uomini se ne vanno con te, Riposo delle loro ossa, e liberazione dell’anima. Tu sei schiava del fato, del caso, dei re, e degli uomini disperati, E dimori con veleno, guerra, e infermità, E oppio o incanti possono farci dormire altrettanto E meglio del tuo colpo; allora perché insuperbisci? Trascorso un breve sonno, vegliamo in eterno, E la morte non esisterà più; Morte, tu morirai

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Death, be not proud, though some have called thee

Mighty and dreadful, for thou art not so;

For those whom thou think'st thou dost overthrow

Die not, poor Death, nor yet canst thou kill me.

From rest and sleep, which but thy pictures be,

Much pleasure; then from thee much more must flow,

And soonest our best men with thee do go,

Rest of their bones, and soul's delivery.

Thou art slave to fate, chance, kings, and desperate men,

And dost with poison, war, and sickness dwell,

And poppy or charms can make us sleep as well

And better than thy stroke; why swell'st thou then?

One short sleep past, we wake eternally

And death shall be no more; Death, thou shalt die.

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Donne’s “Holy Sonnet 10” follows the Shakespearean sonnet form in that it is made up of three quatrains and a concluding couplet. However, Donne has chosen the Italian/Petrarchan sonnet rhyme scheme of ABBA for the first two quatrains, grouping them into an octet typical of the Petrarchan form. He switches rhyme scheme in the third quatrain to CDDC, and then the couplet rhymes EE as usual.

The first quatrain focuses on the subject and audience of this poem: death. By addressing Death, Donne makes it into a character through personification.
The second quatrain turns the criticism of Death as less than fearful into praise for Death’s good qualities. From Death comes “Much pleasure”. Donne then returns to criticizing Death for thinking too highly of itself. So even there Death has no superiority.
The final couplet caps the argument against Death. Not only is Death the servant of other powers and essentially impotent to truly kill anyone, but also Death is itself destined to die when, as in the Christian tradition, the dead are resurrected to their eternal reward. Here Donne echoes the sentiment of the Apostle Paul in I Corinthians 15:26, where Paul writes that “the final enemy to be destroyed is death.” Donne taps into his Christian background to point out that Death has no power and one day will cease to exist.

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Nessun uomo è un'isola, completo in sè stesso;

ogni uomo è un pezzo del continente, una parte del tutto.

Se anche solo una zolla venisse lavata via dal mare,

l’Europa ne sarebbe diminuita,

come se le mancasse un promontorio,

come se venisse a mancare una dimora di amici tuoi,

o la tua stessa casa; la morte di qualsiasi uomo mi sminuisce,

perché io sono parte dell’umanità.

E dunque non mandare mai a chiedere

per chi suona la campana; essa suona per te.

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No man is an island entire of itself; every man

is a piece of the continent, a part of the main;

if a clod be washed away by the sea, Europe

is the less, as well as if a promontory were, as

well as any manner of thy friends or of thine

own were; any man's death diminishes me,

because I am involved in mankind.

And therefore never send to know for whom

the bell tolls; it tolls for thee.

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This famous verse of John Donne's, a great poet of the early 1600s, who was closely associated with the metaphysical school of poetry, ls characterized by the unusual degree of intellectualism, but it is also highly dramatic in lts cadences and repeition. Characteristic of Donne's metaphysical poetry is the conceit, a fanciful metaphor that makes an unexpected and striking comparison, although it is briefer than those of the Elizabethan poets. The conceit in this poem ls the surprising comparison of man to an island in a negative sense las not being an island.
Therefore, there is a responsibility of one man for another that is implied. This concept has been passed down throughout the ages and into different cultures.
Moreover, with no man existing alone, there is a community of man that shares in suffering. And, by empathizing with others' suffering, the individual recognizes the common humanity of all mankind.