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The poems of john donne
The poems of john donne
Cultural context on the society of john donne
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John Donne was born to John and Elizabeth Donne of Bread Street, London, in
1572. In his early years, John Donne was a wild lover and sensual writer. After finding
Christ, his writing style changed from sexual to spiritual. Despite the fact that Donne’s
earlier poetry was focused around lustful sensations, his later works utilized biblical
illusions, proclaiming his newly found belief in God.
Early in Donne’s life, his brother was incarcerated “for giving sanctuary to a
proscribed Catholic priest” and met his death through fever while serving his time
(Smith). The untimely and unfortunate death of his brother sent Donne down a path of
religious questioning. Though raised as a Catholic, Donne began to wonder what sort of
God would permit his brother not only to be arrested, but also to die for helping a fellow
believer. The ensuing uncertainty young Donne was struggling with can be seen reflected
in his first two volumes of work, Satires and Songs and Sonnets. Though those works do
not directly condemn religion or the government, Donne strays from the path he was
raised to walk, and speaks openly of sexual desires and women.
In “Indifferent,” a poem from the collection Songs and Sonnets, Donne openly
discusses his preferences, or lack thereof, when it comes to women. Poems such as “The
Curse” and “The Prohibition” all discuss love and women from objective and interesting
standpoints. In Donne’s poem “The Damp,” a woman is said to have no need to use any
means other than her body to overcome a man :
But these I neither look for nor profess ;
Kill me as woman, let me die
As a mere man ; do you but try
Your passive valour, and you shall find then,
Naked you have odds...
... middle of paper ...
...n to God, My God, in my Sickness.” The first few lines of
the poem are strongly indicative not only of a deeply rooted faith, but also of Donne’s
concrete belief that he would be welcomed to Heaven by God:
Since I am coming to that Holy room,
Where, with Thy choir of saints for evermore,
I shall be made Thy music. (211)
Works Cited
Jokinen, Anniia. "A quick and Rough Explication of Donne's Holy Sonnet 10."
Luminarium. 27 Mar 2002. Web. 2 Mar 2011.
Miller, Edmund. "John Donne." Critical Survey of Poetry. Ed. Philip K. Jason. Pasadena,
California: Salem Press, 2003. 1058-1059. Print.
Smith, A.J. "John Donne (1572-1631) Biography." Poetry Foundation.2010. Web. 2 Mar
2011.
"Student Essay on John Donne Holy Sonnet VII Prosody/ Analysis." Book Rags. 2006.
Web. 2 Mar 2011.
"The Works of John Donne." Luminarium. 2007. Web. 2 Mar 2011.
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Poets often times share their opinions through their poems. It is not always easily understood. Poets use metaphors, similes, and play with their words to show how they feel about a certain situation. In “Sex without Love” by Sharon Olds, a lot of this comes into play.
Throughout his life... was a man self-haunted, unable to escape from his own drama, unable to find any window that would not give him back the image of himself. Even the mistress of his most passionate love-verses, who must (one supposes) have been a real person, remains for him a mere abstraction of sex: a thing given. He does not see her --does not apparently want to see her; for it is not of her that he writes, but of his relation to her; not of love, but of himself loving.
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It is quite feasible to state that poetry at its finest is a dazzling and expressive art of words. A poem not only can expose the diplomatic beliefs of societies, but can also articulate passions and sentiments of the author to whom the poem belongs. One of the many fine poems that have been prevalent among the study of literature that is irrefutably powerful is Meditation 17 by John Donne. This poetic essay exposes John Donne’s opinions and beliefs on humanity, and covers much cogitation from religion all the way to death. Of course, the poem has been written so profoundly that one may not grasp it completely at first glimpse, however John Donne does use explicit strategies to better convey his message to readers of all sorts. John Donne utilizes situation, structure, language, and musical devices to enhance the poem and to aid in delivering his message efficiently.
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...) This is one of the most important claims that Donne makes because he indirectly inducts himself and Anne into the canon of saints, thus making them sacred. The poem ends with Donne calling upon all those who have suffered from similar criticisms; this further dignifies Donne as a saint-like figure. Therefore, both of Donne’s latter poems expose the transformation that Donne acquires when he meets Anne. His sexist attitude and views transcend to a more spiritual and emotional one.
Donne's mastery of comparison allows him to create an in-depth metaphor comparing spherical images to two lover's love. He uses some of the same images as he does in his other poems for example: holy love and tears in "The Canonization," spheres in "A Valediction: Forbidding Mourning" and "The Sun Rising," and two worlds becoming one in "The Good-Morrow" and "A Valediction: Forbidding Mourning." Also in the other valediction poem Donne includes the line "No tear floods, nor sigh tempest move." (6) This idea is mentioned in "A Valediction: Of Weeping" too.
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.
... life in the process. In only 66 lines, Donne uses his masterful command of the English language to create a superb poetical representation of his personal beliefs about love.
The first quatrain of the poem begins undermining the idea of death by personifying it. Death is personified by Donne throughout the poem as he challenges death by stating that it is not the “mighty and dreadful” aspect of life that people are afraid of, but as an escape from life where people can find peace after death because “nor yet canst thou kill me” (Donne 1100). He argues that death does not really kill those whom it thinks it kills to further beat death into humility. In the opening line of the poem he uses an apostrophe, “Death, be not proud..” to begin with a dramatic tone to argue with death as people’s adversary (Donne 1100). Death is given negative human traits, such as pride, but also inferiority and pretense.
John Donne is known as being one of the most famous and influential metaphysical poets. The term “metaphysical," as applied to English and continental European poets of the seventeenth century, was used by Augustan poets John Dryden and Samuel Johnson to reprove those poets for their “unnaturalness.” As Johann Wolfgang von Goethe wrote, however, “The unnatural, that too is natural," and the metaphysical poets continue to be studied and revered for their intricacy and originality. Due to Donne’s personal experiences with spirituality and love, he is able to grasp the true meaning of metaphysical poetry (Brief Guide to Metaphysical Poets). Using all the aspects of metaphysical poetry, Donne creates a mysterious metaphoric poem titled, “The Flea.” Throughout this poem, the use of metaphors and breaks into the separate stanzas allow for the audiences to understand what The Flea is really about. At first glance, many read The Flea as a poem that compares sexual intimacy with an animal, but when broken down, it can be seen that the meaning is much deeper than intimacy, but it
John Donne delivered, like all of the other great poets of the renaissance era, an invaluable contribution to English literature. However, it is the uniqueness of this contribution that sets him apart from the rest. This statement seems somewhat ironic when one analyses the context of his life and the nature of his writing, for Donne is clearly the rebel in English poetry. He is the one poet that deliberately turned his back to the customs and trends of the time to deliver something so different to the reader that he will be remembered forever as a radical and unconventional genius. This is most probably the way that he would have liked to be remembered.
Donne’s approach to the topic plays an important role in the result in which the poem ended. Instead of being utterly romantic and persuading his lover in a kind and tender way, he is straightforward and not afraid to ask of her what he wants. To a certain extent the metaphor of a flea can be deemed as logical in the sense that if a flea bit them both their blood would have already been shared. In this poem Donne breaks the barriers of Petrarchan poetry when using metaphysical wit and conceit to portray his feelings making metaphysical poetry much more interesting and challenging.
John Donne is unanimously acknowledged as a true metaphysical poet because he made an unlike conceptual thought against the Elizabethan poetry, showed an analytical pattern of love and affection and displayed an essence of dissonance in words and expressions. This paper concentrates on the exploration of the characteristics of Donne’s metaphysical poetry highlighting extended form of epigrams, conceits, paradoxes and ratiocinations. Donne in respect of the manifestation of metaphysical beauty was an unparallel and super ordinate among all poets such as Richard Crashaw, Henry Vaughan, Abraham Cowley, George Herbert, Andrew Marvell and many more. Donne, in fact, gave a breakthrough about the initiation of a new form of poetry-metaphysical poetry. He was natural, unconventional, and persistently believed in the argumentation and cross analysis of his thoughts and emotions through direct languages. He also concentrated on love and religion through intellectual, analytical and psychological point of view. His poetry is not only scholastic and witty but also reflective and philosophical.