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Metaphysical conceits in Donne's poetry
Metaphysical conceits in Donne's poetry
Metaphysical conceits in Donne's poetry
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The Religious Agenda of John Donne and Francis Bacon
Discuss the significance of religious belief in writing you have studied on the course.
Introduction
The Renaissance period was marked with bouts of religious change, from the Protestant Reformation in Germany to the formation of the Church of England. Much of the literature published during the Renaissance was a reaction to these constant changes – the works of John Donne and Francis Bacon are no different. Donne and Bacon were prominent writers of their time. They were well-known for indulging in religious debate through their work, especially with relation to other societal issues such as the rise of science. Donne's Satire III highlights the issue of religious uncertainty and Bacon's essays highlight an improbable idea of religious utopia in a world of religious uncertainty.
Religious Uncertainty in Donne's Satire III
Background
To fully understand Donne's work, one must endeavour to understand his religious views at the time Satire III was written. Many critics agree that the poem was written whilst Donne was in the transitional stage from Catholicism to Anglicanism (Moore 1969: 41). The poem is put forth as Donne's justification for shirking the religion he was born into. Literary scholar Sir Herbert Grierson, for example, hypothesized that Satire III's cynicism against the Church was Donne's way of justifying his move away from the Catholic Church. Grierson explains how Donne's Catholicism was getting in the way of his public career and upon studying the social aspects of religion, Donne was able to shirk his Catholicism by stating that religion was something that one was unfairly born into, not something one chose for himself. Donne later chose Anglicani...
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Grierson, Herbert. Poems of John Donne. 1964. Oxford University Publishing. PRINT.
Milgate, W. John Donne: The Satires, Epigrams and Verse Letters. 1967. Oxford University Press. Print.
Moore, Thomas V. Donne's Use of Uncertainty as a Vital Force in "Satyre III". 1969. Chicago Journals. PRINT.
Moore, Thomas V. Donne's Use of Uncertainty as a Vital Force in "Satyre III". 1969. Modern Philology 67.1. pp 41-49. JSTOR.
Smith, A. J. John Donne. 2010. Psychology Press. PRINT.
Sloane, Mary Cole, Image As Emblem In John Donne's Poetry. 1971. Dissertations from ProQuest. Paper 384. PRINT.
Zivley, Sherry. Imagery in John Donne's Satyres. 1966. Studies in English Literature 6.1: 87-95. JSTOR.
Everett, Nicholas From The Oxford Companion to Twentieth-century Poetry in English. Ed. Ian Hamiltong. Oxford: Oxford University Press, 1994. Copyright 1994 by Oxford University Press.
Bernard, Kenneth. “Imagery and Symbolism in Ethan Frome.” College English, Vol. 23, No. 1, October 1961, pp. 178-284.
Donne, John. “Holy Sonnet 5, Holy Sonnet 6, Holy Sonnet 10.” John Donne’s Poetry: A Norton Critical Edition. Ed. Donald R. Dickson. W.W. Norton & Company. New York, London. 2004. (Handout)
Murphy, B. & Shirley J. The Literary Encyclopedia. [nl], August 31, 2004. Available at: http://www.litencyc.com/php/speople.php?rec=true&UID=2326. Access on: 22 Aug 2010.
7. John Wisdom, Paradox and Discovery (Berkeley: The University of California Press, 1969), p. ix.
Bernard, Kenneth. “Imagery and Symbolism in Ethan Frome.” College English, Vol. 23, No. 1, October 1961, pp. 178-284.
In order to better understand Philip's critique of Donne within the lines of her poetry, a reading
Religion in society has always been argued and has caused many disagreements between the people of the church and the people of the community and the church itself. Dating back to the 17th and 18th century, authors began speaking out about their views on hypocrisy and fanaticism of the religious body. Authors, Moliere and Voltaire began writing satirical stories expressing their views on the issues of religion. Moliere used his play, Tartuffe, to direct his readers to understand the hypocrisy and fanaticism he found within the religion.
Ellmann, Richard and Robert O'Clair, ed. The Norton Anthology of Poetry, 2nd Edition. New York: W.W. Norton
Wittgenstein L. On Certainty G. E. M. Anscombe and Denis Paul editors (Oxford Blackwell, 1969)
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.
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.
Granted that Donne's personification of God reduces the deity from an almighty force to a human archetype, divinity is not undermined. The metaphoric figures of inventor, ruler, and lover, each retain specific skills and purpose, but can not compare to the Christian suggestion of God's role and strength. However, the presentation of striking, violent imagery charges the poem with a sense of power and complete domination, and allows the image of God to transcend his designated human forms. Through the projection of life's frailty, powerlessness in captivity, and sexual
By making many references to the Bible, John Donne's Holy Sonnets reveal his want to be accepted and forgiven by God. A fear of death without God's forgiveness of sins is conveyed in these sonnets. Donne expresses extreme anxiety and fright that Satan has taken over his soul and God won't forgive him for it or his sins. A central theme of healing and forgiveness imply that John Donne, however much he wrote about God and being holy, wasn't such a holy man all of the time and tried to make up for it in his writing.
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...