How does Donne use aspects of poetic form and device to advance his argument in 'The Sunne Rising'?

Perhaps the most striking use of poetic device in this poem is the establishment of a strong and distinct poetic voice, which is maintained throughout, allowing the reader to appreciate the speaker's force of character. The poem begins with the plosive 'Busy old fool, unruly sun', which instantly undermines the concept of the sun as an all-powerful, life-giving force, and instead betrays an almost comic irritation on the part of the speaker such as might be directed at a meddling relative. This is enhanced by the trochee at the beginning of the line, which allows the poetic voice to come across in a more pronounced and powerful manner. Furthermore, in lines such as 'I could eclipse and cloud them with a wink, but that I would not lose her sight so long', the hypothetical nature of the sentence and the repeated personal pronoun show the speaker refusing to lower himself to the level of the most powerful force of nature, an idea enhanced by the selective use of 'eclipse' and 'cloud'. Indeed, Donne succeeds in both portraying the speaker's elevated perception of himself and expressing powerful love of the woman and her 'sight'. This in itself enhances the comic aspect of the poem, and the skilful development of an arrogant poetic voice contributes to the force of arguments in favour of his own superiority as well as undying passion. 

The personification of the sun is also an effective and entertaining device employed by Donne, with the direct and presumptuous address 'saucy pedantic wretch' conveying an idea of the sun as an intrusive observer of the lovers, aith the bawdy language showing a contempt which remains comical to a modern reader. The constant use of imperatives, such as 'Go chide' and 'Go tell' add to our awareness of the sun's position as an undesired third party in what would otherwise be a romantic morning scene. Although each 10-line stanza is constructed in the same, rather rigid way throughout, Donne does include variations in line length, particularly in the second line of each stanza, to stress particular sentiments and add force to his argument. In the first and second stanzas, for example, the demanding rhetorical question is given extre force through this, but the line 'Nothing else is' in the final stanza is the most noticeable example, with the space after this stark declaration perhaps being symbolic of the futility of trying to place significance upon anything besides love for the woman, thus ending the argument on a note of explicit romance.