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Metaphysical elements in John Donne's poems
Metaphysical elements in John Donne's poems
Content and analysis of a valediction forbidden mourning by John Donne
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An Analysis of Donne’s A Valediction: of Weeping
William Empson begins his critical essay on John Donne's "A Valediction: of Weeping" with the statement below. Empson here plays the provocateur for the critic who wishes to disagree with the notion that Donne's intentions were perhaps less than the sincere valediction of a weeping man. Indeed, "A Valediction" concerns a parting; Donne is going to sea and is leaving his nameless, loved other in England, and the "Valediction" is his emotive poesy describing the moment.
"...the language of [A Valediction: of Weeping] is shot through with a suspicion which for once he is too delicate or too preoccupied to state unambiguously, that when he is gone she will be unfaithful to him. Those critics who say the poem is sincere, by the way... know not what they do." --- William Empson, "A Valediction: of Weeping," John Donne: a Collection of Critical Essays (ed. H. Gardner)
There is little argument as to what Donne is feeling at surface level: he is sorrowful and grieving because he must be apart from his loved one, who has become his world (a metaphor which is carried out in the second stanza). Empson is indeed correct when he says that the poem is not unambiguous. There is a large range of interpretations that can be made based upon the language in the poem, and these are focused around the source of Donne's grief.
It is easy for one to picture a grieving sailor leaving his lover, but what makes this man grieve? It is the innate love between two people who are intensely focused upon each other which must be put on hold? Is it some additive emotion that consists of two people who are about to suffer separation and loss of a lover? Or is it, as Empson p...
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..., Donne and his lover/other struggle with their sadness just before separation. Donne realizes that this may be a futile goal, but he also sees the importance of composure if their relationship - his "world" - that he credits to her is going succeed. Donne seems to have no dearth of sincerity in this poem. He is also purposeful in writing it; Donne himself was a man of great passion, and who had to go out to sea. "A Valediction: of Weeping" seems not to be the valediction of a jealous lover, but of a conscientious other making a concerted effort not to let jealousy and self-pity control his farewell to a lover.
Works Cited:
Donne, John. "A Valediction: Of Weeping". The Longman Anthology of British Literature: Volume 1A. 2nd ed. Ed. Damrosch, David, Christopher Baswell and Anne Howland Schotter. New York: Addison-Wesley Educational Publishers, Inc, 2003.
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In order to better understand Philip's critique of Donne within the lines of her poetry, a reading
John Donne uses poetry to explore his own identity, express his feelings, and most of all, he uses it to deal with the personal experiences occurring in his life. Donne's poetry is a confrontation or struggle to find a place in this world, or rather, a role to play in a society from which he often finds himself detached or withdrawn. This essay will discuss Donne's states of mind, his views on love, women, religion, his relationship with God; and finally how the use of poetic form plays a part in his exploration for an identity and salvation.
Plato's perfect city was to be a model of order, efficiency and discipline. Above all it would be governed by the strict adherence to what White refers to as 'the natural division of labour'. This was to take the form of vocational and social division within the city. Everyone had one job in order to specialise and become good at it. 'We forbade our shoemaker to try his hand at farming or weaving or building and told him to stick to his last, in order that our shoemaking should be well done.'
To begin with, when Mr. Donne first commences his poem, he uses the personification “Death, be not proud” (1). The author gives death the human characteristics of being “not proud.” The rest of the line continues as “though some have called you thee”. ” Death should not be prideful even if people think it is. John displays through this first line how he feels about death: he is too proud for his own good.
In the Han Dynasty, Confucius ideas had a large influence on the daily life as well as the political procedures of the state. The social hierarchy was largely based on these beliefs. “Confucians envisioned scholar-officials as working hard for the ruler to enhance a moral economy in which profiteering by greedy merchants would be minimal.” It was believed that the people of the empire would not be selfish in attempting to make personal profits much of the time. However, the Han Dynasty was not actually run in this fashion. The early Han Dynasty “perpetuated powerful elites.” The scholar- officials did not have the social ranking needed to achieve a morally correct economic system. The elite class made up of imperials and noble, was the top of the social hierarchy followed by the high-ranking officials and scholars. The social ranking of the Han Dynasty people did not match the ranking that was seen as ideal to the Confucians. The ideas that people had about the social structure varied from the reality of
Verbs like 'melt ' imply a gentle parting. He does this to add to the sympathy that the poem reflects, thus reassuring his lover that he will come back to her when he leaves. The regular iambic tetrameter and the ABAB rhyme scheme echo 's the emotional strength that Donne feels his love has. Differently, 'Sonnet 73 ' creates a morbid tone due to the constant reference to degeneration. The ABAB rhyme scheme creates the sense of certainty that after time fades so does beauty, and thus this therefore leads to
The metaphysical era in poetry started in the 17th century when a number of poets extended the content of their poems to a more elaborate one which investigated the principles of nature and thought. John Donne was part of this literary movement and he explored the themes of love, death, and religion to such an extent, that he instilled his own beliefs and theories into his poems. His earlier works, such as The Flea and The Sunne Rising, exhibit his sexist views of women as he wrote more about the physical pleasures of being in a relationship with women. However, John Donne displays maturity and adulthood in his later works, The Canonization and A Valediction: Forbidding Mourning, in which his attitude transcends to a more grown up one. The content of his earlier works focused on pursuing women for his sexual desires, which contrasts heavily with his latter work. John Donne’s desire for physical pleasure subsides and he seeks to gain an emotional bond with women, as expressed in his later poetry.
The first stanza shows a wide range of fantastical language with the intention of drawing the reader slowly and steadily into the hazy, dreamlike setting. Along with the words like ?fantasy?, ?fables? and ?dreams? come affectionate phrases that effectively show us that the poem is meant to be addressed to a lover, ?Dear love? being the most obvious example. Later on in the poem, the language shifts from drowsy and steady to more intense and complicated, yet less passionate and more doubtful. Donne?s choice in the last stanza to utilize fiery words like ?torches? and phrases ?light and put out? and ?thou cam?st to kindle? depict a sense of overwhelming passion, as uncontrollable as fire. Donne doubts that he can control his lover to continue loving him as fervently as in his dream, which is why his dream lover is ?an angel? while his lover in reality is compared to fire.
In both ‘The Sun Rising’ and ‘The Good Morrow’ Donne presents the experience of love, in a typical Metaphysical style, to engage his reader through sharing his own experiences. These poems show distinctive characteristics of Metaphysical poems which involve colloquial diction, drawing inventive imagery from unconventional sources, passionately analysing relationships and examining feelings. Donne presents the experience of love through conceits, Metaphysical wit, language techniques and imagery, in a confident tone using logical argument. The impact of Donne’s use of direct and idiomatic language shows the reader how he feels about a woman and ultimately love.
However in the later years of the Chinese empire, dynasties began to shift towards selecting government officials based upon their merit. From the Sui Dynasty in 581 to the end of the dynastic system around 1911, government officials were chosen based upon their abilities and characteristics, rather than their lineage.3 The selection process, known as the civil exams, insured that qualified citizens would run the country. The civil exams were extremely difficult and were governed by tight quotas and highly specific and invariable material. Even though the tight restrictions insured that the participants were highly qualified, it also had a negative effect. It inhibited the growth of knowledge amongst the selected officials, also known as the scholar gentry.4 The intricacies and implications of this system will be discussed in detail later in this essay.
John Donne will not accept death as the finale, his religious conviction supports in the belief of eternal life proceeding death. Throughout the poem Donne’s main purpose was the personification of death, his use of figurative language gave death humanistic characteristics and made death vulnerable and unintimidating. The structure of three quatrains and a couplet for the poem allowed for easier understanding of the context because the layout and rhyme scheme helped the poem flow and also revealed the tones. The imagery of death described by Donne breaks down death’s pride and bravado, as well as shine an encouraging light past the process of dying, on to the hope of delivery to eternal life. Each element played a significant role in the interpretation of the paradox of the poem, that ultimately death is not the universal destroyer of life.
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Comparison of How John Donne and Andrew Marvell Present Death in Poems To His Coy Mistress and Holy Sonnet X
No poem of John Donne's is more widely read or more directly associated with Donne than the tenth of the Holy Sonnets,"Death, be not proud." Donne's reputation as a morbid preacher was well-known. He had a portrait of himself made while posed in a winding-sheet so that he could contemplate a personalized memento of death. Donne draws upon a popular subject in medieval and Renaissance art, Le roi mort or King Death. His fascination with death reaches another plateau with this poem. He almost welcomes it and denounces the process as being neither horrifying nor the "end-all be-all." In a contextual point of view, he works to rupture habitual thinking and bring attention to the intensity and depth of a situation by creating doubt or offering a new aspect of his subject. Donne takes this poem and pours forth an array of visions that directly connects to the contextualist in a look at death, the pa...