These lines are from the "Holy Sonnets" of the 17th-century poet John Donne.

For Oppenheimer, there are passages of Baudelaire and the Bhagavad Gita, and that terrifying Holy Sonnet of Donne's.

Benjamin Britten's settings of nine "Holy Sonnets" by John Donne make up one of the most powerfully expressive song cycles in 20th-century music.

Peter Pears's imposing recording of the "Holy Sonnets" with the composer at the piano has long discouraged other singers from taking on this music.

The title is derived from the 7th of the "Holy Sonnets" by English poet John Donne:

Holy Sonnet of John Donne (medium voice, piano) (1967)

Another especially significant work of Le Gallienne is his song-cycle, Four Holy Sonnets of John Donne, for low voice and piano.

In Holy Sonnets, Donne addresses religious themes of mortality, divine judgment, divine love, and humble penance while reflecting deeply personal anxieties.

Holy Sonnet XIV.

A Holy Sonnet of John Donne for Milton Babbitt (1916-2011) (2011)