Abstract John Donne viewed love in a very unique context. His attitudes towards love can be found in many of his works including "The Flea" and "Elegy 19: To His Mistress Going to Bed".. This paper examines how these poems are excellent examples of the beliefs that Donne held regarding the sexual roles of both men and women and how Donne includes symbolism and other literary techniques to show his inner feelings and beliefs towards the roles one plays when dealing with romance and love.
From the Paper "Donne uses the literary techniques known as ethos, logos, and pathos in "The Flea", intentionally or not, and it helps the reader be more readily convinced of what the roles of gender truly are. When Donne mentions, "And in this flea our two bloods mingled be", he is using ethos to show the audience he in fact is a reputable author who was knowledgeable about the beliefs and culture surrounding him. In the time of this writing it was a common belief that sex was no more than the mixing of two bloods. The whole argument of the lover is that the flea has already done that which sex actually constitutes so it would therefore be meaningless for her to worry about losing her virginity."
Abstract This paper examines Elizabeth Dickinson's poem"Because I Could Not Stop for Death" and John Donne's poem "Death Be Not Proud," evaluating the technical style of each poem in terms of rhyme scheme, meter, syllables per line, etc., and comparing and contrasting them with regard to theme, appeal and interpretation.
From the Paper " Emily Dickinson's Because I could not stop for death and John Donne's Death be not proud are both poems that reflect upon the poets' personal concept of death. Both poets speak of death as if it were a person Dickinson speaking of it in the third.."
Tags: John Donne, Elizabeth Dickinson, Because I could not stop for death, Death be not proud, poetry
Abstract This paper discusses the life and works of John Donne. The paper examines Donne's fascination with the theme of death, which is prevalent in all his literary works. The paper explores the impact the death of Donne's wife had on his views of death. The paper contends that her death in childbirth profoundly affected Donne's writing.
From the Paper "There can be no question that one of the central themes of John Donne's work, in poetry and prose, is death. Not for nothing did a recent academic biographer of Donne devote an entire chapter to his subject's attitude towards, uses of, and presentation of, the theme of death (Carey 229ff). As a writer concerned with both the intensely spiritual and the intensely physical, death was a natural focus of Donne's thought and work throughout his life; as a Christian, convinced of the reality of resurrection and salvation, death was in a sense the fixed point around which his world-view revolved. Donne's fixation with the body, with its physical substance, its relationship to the outside world and its role as an expression of the divine, relates powerfully and inevitably to his conception of the significance of the body's physical dissolution in death and the consequences of this for the soul (Selleck 150-1)."
Abstract This paper discusses the way the poet describes and treats love in the poem "The Canonization" by John Donne, noting how Donne develops a statement about love through the use of a metaphysical conceit, meaning an extended metaphor that served to develop the idea fully. Donne follows a method here that he used in many of his poems, by mixing the religious and the secular. This was the method used in Donne's metaphysical poetry in which religious devotion and sexual love are combined in complicated conceits, such as is seen in "The Canonization."
Abstract The paper gives examples from Donne's poems of imagery involving comparisons that are often far-fetched, yet intellectual. The writer asserts that these poems are written records of Donne's inner-turmoil. The paper shows that Donne's love poems fall into two distinct categories-- passionate poems and cynical poems.
From the Paper "Just as Donne wrote passionate poems of the sacredness of love, he wrote cynical poems of the hypocrisies of love. His "concern for the ?honesties of love' turned him into a rebel and atheist of love" (Williamson 55). It is in the works of this time that Jack Donne, trapped between his idealistic conception of holy love and the reality of superficial love, which seemed so prevalent in society, can be seen at his best. Under his attack were women; he scorned both faithlessness and faithfulness and wrote of women with contempt. "At this time he despised them equally for yielding to his lust or for denying themselves to him" (Keast 124). Such disdain can be seen in his poem "The Apparition," in which he addresses a murderess of his love, cursing her so that she will feel his presence when she is in the bed of another. In his "Song," Donne challenges any man to find " . . . a woman true and fair" (Abrams 1064), an impossible feat, since "Though she were true when you met her . . . she/Will be I False . . ." (Abrams 1064). As Jack matures into John, his perceptions of love become more realistic, as lovers are never perfect soul mates."
Abstract This paper explains that John Donne's poem "A Valediction: Forbidding Mourning" is a string of metaphors and comparisons, which invoke the metaphysical and spiritual nature of love in an attempt to make the parting of husband and wife easier. The author points out that Donne makes constant use of the sphere and the circle as symbols of perfection and eternity. The paper relates that a theme of erotic carnality, typical of Donne's writings, is not present in this poem but rather it expresses only the deepest and purest feelings for the wife. The author suggests that the husband demonstrates his sentiments by professing his devotion to a spiritual love, which has transcended itself above the merely physical and into the celestial heavens. The paper includes the complete poem and many quotations.
From the Paper "John Donne opens up with a metaphysical comparison of dying, "virtuous men" who "whisper to their souls to go" and two lovers saying goodbye before a journey. Death, in this sense, should not be seen as an ending but as the beginning of a journey. It seems very strange to compare their departure to the passing away of a virtuous man, but it's actually a very powerful comparison. When a virtuous man begins to die, he knows that when he dies he will enter into Heaven. In knowing this, he is able to remain calm and peaceful. In the same way, when two "refined" lovers part, there is no sadness or pain, "No tear-floods, nor sigh-tempests move," because they know each will remain true to the other, even though they are apart (l. 17; l. 6)."
Tags: metaphors, parting, quatrain, ptolemaic, love
Abstract The paper explains that the novelty of John Donne's poetry is that he does not merely talk of love as a personal experience, but undertakes a universal doctrine of love. The paper refers to Donne's poems "Good Morrow," "The Sun Rising," "A Canonization" and "A Valediction: Forbidding Mourning" in order to show how Donne speaks of love in alchemical terms, emphasizing the magical and unusual force which is obtained with the union of the two lovers.
From the Paper "The seventeenth century English author John Donne is probably the most prominent among the poets which were identified with the metaphysical strain. His work consists of poems, essays and sermons which emphasize the flight from medievalism and the dawn of modernism. One of the most representative poets of his century, Donne, wrote extensively on love in new and original ways. The novelty of Donne's poetry is that he does not merely talk of love as a personal experience, but undertakes a universal doctrine of love. His philosophy molds love as an erotic and spiritual ideal at the same time, the symbol of a passion that takes scope of the whole universe and not only of the two lovers."
Abstract This paper discusses John Donne's "Sonnet XIX," which is part of his collection of "Holy Sonnets." The paper discusses Donne's attempt to capture some of the images and emotions of God's love and mercy in his sonnets and in "Sonnet XIX" in particular. The paper also describes Donne's language and tone and the relevance of the placement of "Sonnet XIX" at the end of his work.
From the Paper "It is also important to note the placement of this poem is the arrangement of the "Holy Sonnets." "Sonnet XIX" is the last sonnet in the collection and it seems to sum up what the poet has been feeling up until this point. The poem represents a culmination of his good, or best, days. In the beginning of the composition, he is fearful and he seeks God's attention. His fear and his ultimate discovery reassure him of God's redeeming love. However, it also reminds him of the fact that he must maintain his worthiness, which is difficult because he is human. Humanity is the inconsistency that stands in his way and it something that the poet cannot change about himself. This is the conflict, or the contrariness the poet experiences."
Abstract This paper explains that Donne's ?Sonnet 10? argues that Death is simply living a masquerade; therefore, we do not have to accept the fact that Death is the end of everything. The author points out that the poem follows the Italian sonnet form with a standard "abbaabba" rhyme scheme consisting of fourteen lines and ends with a dramatic couplet, which is generally associated with Elizabethan sonnets. The paper relates that Donne's point is that Death itself is really asleep; in the end, we will wake from our sleep with Death, which leads us to eternal life.
From the Paper "Donne begins by addressing Death with a serious, yet cynical attitude. His tone is straightforward and he appears to be very confident when he tells death that it has nothing to be proud of, although "many have called thee/Mighty and dreadful" (1-2). Donne tells Death that this fact is simply "not so" (2). Again, we get a sense for Donne's tone with this line?he is meeting Death face to face without fear or intimidation. Donne then introduces us to an interesting paradox when he says, "For those whom thou think"st thou dost overthrow,/Die not? (3-4). This is important because it sets the mood for the entire poem. Donne is speaking to Death without absolutely any reservation. He points out that even those who do die, have not been actually overthrown by Death. In essence, Donne has absolutely no respect for Death."
Abstract This paper explores the poet John Donne's philosophy regarding love and marriage, which can often be traced to Ovidian or Platonic sources through an analysis of poems such as "'Batter My Heart", "The Flea", "Elegie" and "Aire and Angels". It looks at how relationships portrayed between body and soul are often exposed and how Donne analyses the human experiences of being in love and of sensual delight, which are inextricably bound to his vulnerable search for religious certainty.
From the Paper "In "The Flea" Donne uses a logical mock-religious argument in an attempt to persuade his mistress to partake in sexual activity with him. The reasoning Donne uses to try to entice his lover to bed is based on a metaphysical conceit, which makes the unlikely comparison between their union and a flea biting them both. He creates a sexual image of their "two bloods" mingling in the flea, and promises that sex involves no more "loss of maidenhead" , a pun on French puce, "flea" and pucelage "maidenhead", than allowing the flea to bite her."
Abstract This paper explains that John Donne utilizes the techniques of imagery and metaphor to express feelings beyond comprehension in his love poems. The author points out that Donne is often referred to as a metaphysical poet, which means that his poetry, often a blend of passion and thought, was more intellectual than most poets of his time. The paper relates that the poet uses images such as a single teardrop or a compass to reinforce the theme that love is not only physical, but also spiritual.
From the Paper "The poet employs the use of a metaphor in the first stanza of this poem when he compares his lover's face to a stamping mill, which produces coins, which are tears that bear her image. He tells her, "By this mintage they are something worth" (Donne A Valediction: Of Weeping 4). This line indicates that because his tears are like coins, they are valuable aside from their obvious worth. The poet also tells his lover that the coins are "Pregnant of thee" (6). This image suggests that the poet's tears and perhaps his entire being are filled with images of his lover. As a result of this fullness, they are "Fruits of much grief" (7). Because they are full of her being, they cannot help but bring pain when associated with separation. In addition, when a tear falls and becomes separated from the eye, it represents another level of separation. This is an excellent example of how Donne utilizes fantastic ideas to make his point."
Tags: metaphor, imagery, metaphysical, passion, thought
Abstract This paper examines how John Donne uses paradox to create a framework for his poems, which helps "paradoxically" to make the poems more coherent. The author points out that one of Donne's most widely studied poems "Holy Sonnet 14" is also one of his most paradoxical in that the poem deals with the simultaneously relationship of longing and resistance between the author and God. The other poems examines are "Resurrection, "Lover's Infiniteness" and "The Paradox" .
From the Paper "Donne now begins to make associations between the rightful ruler and the soul: "Reason, your viceroy in me, me should defend, / But is captivated, and proves weak or untrue." Reason is the faculty of the mind, and conceived of as a viceroy is clearly supposed to rule the bodily appetites, according to the platonic conception of man. The linkage here is City, Viceroy, Reason, which in turn implies a parallel set that might go Usurper, The one meant to be ruled, bodily appetites. Donne's genius lies in mentioning the word "reason" before the word "viceroy," hence disrupting the progression in the readers mind in such a way as to keep the metaphor for become too obvious."
Tags: framework, coherent, religious, presentation, love
Abstract This paper discusses the poetic style of John Donne. The paper discusses the ways in which Donne ties his descriptions of emotions with scenery and describes the way in which many of his metaphors involve the human body. The paper looks at a few of his poems and discusses his use of imagery and language to portray the themes in his poems.
From the Paper "Though these revelations are cruical, the meat of this poem lies in the last stanza. "Alas, hearts do not in eyes shine"(Donne 24). This line, in my opinion, is one of Donne's most powerful statements. It may seem obvious at first, but in this context, it acts as an alarm that wakes us up. Donne realizes that it is foolish to judge love's purity by comparing tears. He understands that a woman's tears are no better an indication of love than "her shadow, what she weares"(Donne 24). With this simple statement, Donne is explaining the true source of all of his pain: doubt. He can never truly know if his feelings for this woman are equal to her feelings for him. And this painful realization is tearing him apart. Doubt is the thread that connects "Twicknam Garden" to "A Valediction: of Weeping"."
Abstract This paper looks at how analyzing the social, cultural, and gendered implications of political and economic change during the long seventeenth century, from the accession of Queen Elizabeth to the reign of George I, can be achieved by examining and reflecting upon the poetry and letters of John Donne. The paper relates that John Donne was a keen observer of contemporary life and recorded his observations in numerous poems and letters. The paper then discusses how examining them enables us to view this period through various lenses, including cultural production, status and ethnic difference, and gendered male and female experiences.
From the Paper "In one of many letters to the Countess of Bedford, Donne contemplated both the bad and good elements in human nature: "Whate'er the world hath bad, or precious, Man's body can produce; hence hath it been, That stones, worms, frogs, and snakes in man are seen. But whoe'er saw, though nature can work so, That pearl, or gold, or corn in man did grow?" (Donne 4) He understood that there are both good and evil impulses in everyone and that no one is either entirely good or entirely evil. Men are capable of perpetrating the most horrible things, but men are also capable of wondrous and noble accomplishments."
Abstract This paper discusses the unique view of death that John Donne demonstrated in his poem "Death Be Not Proud". The paer discusses the view that, although Donne seemed to be approaching death in his poem, he more so was indirectly approaching the living people and trying to change their views of death, remove their fear of death and increase their belief in eternal life. The paper shows how this is evident in the poem.
From the Paper "Some readers and critics believe that Donne tries to mock and defy Death because he won't die as long as his writings will prevail. Such a belief is logically true, since most talented writers are always alive in their writings, yet that is not what Donne meant since he used eternal life as the dominant over death. Other critics believe that John Donne is an escapist; he somehow is unable to digest the reality that he too will die some day. Looking at Donne's strong belief and that fact of him being priest, it is not logical to believe that Donne was afraid of Death, after all he made his belief in after life clearly evident at the end of his poem. Napoleon once said that " if people had no fear of death, then death has no power" and I believe that this is what Donne is trying to do, he is trying to remove that fear and overcome the power of Death."
