John Donne 1572-1631 Historical Context

Total Page:16

File Type:pdf, Size:1020Kb

John Donne 1572-1631 Historical Context JOHN DONNE 1572-1631 HISTORICAL CONTEXT Born in 1572 during a period of religious and political unrest in Queen Elizabeth’s reign The dominance of the Anglican church created social tension between different sects of believers, and many Catholics who were public about their beliefs were persecuted and harassed by the authorities Legislation made life for Catholics incredibly difficult, for it denied them legal redress against state-sanctioned persecution. CONTEXT, CONT. “You could not, if you remained faithful to your religion, hope to play any part in public life, and you were debarred from taking a university degree by the requirement that graduates should subscribe to the Thirty-Nine Articles” Taken by his Jesuit tutors to public executions to instill a sense of martyrdom FAMILY HISTORY Father dies when Donne is four, and mother remarries six months later to a wealthy Catholic doctor Mother was related to Thomas More Two of his uncles became Jesuit priests and carried a relic of one of More’s teeth around with them One uncle is later arrested, hanged, drawn, and quartered — Donne sneaks into the Tower with his mother to visit him Grandfather eventually flees the country in order to avoid accepting Anglicanism YOUNG ADULTHOOD Saw compromise as the only political solution, and after much moral agony, abandoned Catholicism in the 1590s Studied at Oxford, Cambridge, and Lincoln’s Inn, but did not take any academic degrees because he did not agree with the Thirty-Nine Theses Got a court secretary’s position with Thomas Egerton, one of Queen Elizabeth’s highest officials in 1598 MARRIED LIFE Ruined political career when he secretly married Lady Egerton’s 17 year old niece Had a happy marriage throughout their lives, but he immediately lost his position and was temporarily imprisoned, which ruined his future job prospects His wife began giving birth about once a year, which put a huge burden on Donne, who was unable to provide for his family MARRIED LIFE, CONT. During this period of extreme stress, Donne writes unpublished treatise Bianthanitos on the lawfulness of suicide Refused to take Anglican orders in 1607, but King James believed Donne would be an amazing preacher and declared that Anglican priesthood would be his only avenue of success and financial security CHURCH OF ENGLAND After King James’ proclamation, Donne writes an anti -Catholic polemic in 1610 and then writes Ignatius His Conclave against Jesuits in 1611 Enters Anglican ministry in 1615—sees worldly success and the desire to work as spiritual duties Made Dean of St. Paul’s in 1621 END OF CAREER AND LIFE In 1624 his book of private prayers and devotions were published. 160 of his sermons survive. Obsessed with death—composed his own funeral sermon “Death’s Duel”, which he preached right before he died Commissioned his own portrait in which he dressed himself in a funeral shroud and stood on top of an urn Died March 31, 1631 ATMOSPHERE OF TERROR Catholics who refused to attend Anglican services were liable to a fine of £20 a month, though an average schoolmaster’s pay was £20 a year Offenders who were unable to pay were to have all their goods and 2/3 of their land confiscated by the state When there was no livestock, houses were stripped of bed linen, blankets, provisions, and window glass. RAIDS It was high treason for a Jesuit or priest to be in the Queen’s dominion and a felony for any layperson to receive or help them Catholic households were subject to raids in order to stop secret masses, which often meant that the searchers would tear up floor boards, knock down walls, and rooms ransacked. Households had to not only defray these costs, but pay the raiders for their time TORTURE From 1585 until the defeat of the Spanish Armanda, the Queen’s Council would periodically issue massacre decrees that would determine certain nights for the killing of known Catholic families New prisons were created and filled with Catholics, where many prisoners were victimized through starvation, sleep deprivation, disjointed on the rack, crushed into balls by machinery, hung from their wrists, and publicly disemboweled METAPHYSICAL POETRY Considered the Father of Metaphysical poetry. Named by Samuel Johnson, who said that the Metaphysical poets “were men of learning, and to show their learning was their whole endeavor” Influenced by the experimentation of other contemporary poets who were striking out against a tradition of highly stylized poetic clichés, like Petrarchan conventions Focused on poetry of courtly love, based on literary texts and consisted of poetry written for and to the aristocracy Often depicted the relationship between a knight and his lady—knight is devoted and faithful to the lady and undertakes endless pursuits of danger and adventure to prove his love for her RELIGIOUS OVERTONES Believed the body and soul were distinct entities The present life should be one of self-denial The everlasting peace of the soul in the next world would compensate for the renunciation of passion and sexuality As beautiful as heaven promised to be, frightening images of hell were also included as warning Sought to establish a way to inseparably unite the body and soul in the world; strenuously affirmed human sexuality as a way to achieve spirituality Donne challenged the ideas of decorum during his time in order to use bold and often incongruous imagery in order to find new ways to perceive reality and the spiritual nature of secular existence LITERARY ELEMENTS Used ordinary speech mixed with puns, paradoxes, and conceits Conceit: a paradoxical metaphor causing a shock to the reader by the strangeness of the objects compared; lovers and a compass, the soul and timber, the body and mind, etc. The exaltation of wit, which in the 17 th century meant a nimbleness of thought A sense of fancy—imagination of a fantastic or whimsical nature Originality in figures of speech, but including abstruse terminology drawn from science or law Poems are often presented in the form of an argument THE HOLY SONNETS A.K.A.- The Divine Meditations or Divine Sonnets Series of 19 poems never published during Donne’s lifetime Most of them are written in the Petrarchan sonnet form, rather than the Shakespearean Composed between 1609 and 1610 Reflect Donne’s emotional and spiritual turmoil over joining the Anglican church and the daily struggles of his financial and physical hardships Famous for their themes of his faith in God and in women ROMANCE Based on the Neo-Platonic idea of lovers’ souls communing when they are in love Donne tries to show the psychological realism when describing the tensions of love Embraces sexuality, but discusses it in terms of the mystical union of souls as they are directed toward an ideal end Platonic love also means a love that transcends sexual desire and attains spiritual heights, like in Tennyson’s Idylls of the King Poems show a profound anxiety about the permanence of human affection and his ability to merit affection Often his issues with abandoning the Catholic church and his faith are intertwined with his descriptions of love STYLE Argumentative structure: the poem often engages in a debate or persuasive presentation—intellectual exercise, not just emotional effusion Dramatic and colloquial mode of utterance: often describe dramatic events as opposed to being a reverie, a thought, or contemplation Diction is usually simple and direct; inversion is limited. Usually rough, like speech, rather than written in perfect meter, resulting in the dominance of thought over form Acute realism: poem often reveals a psychological analysis, images advance the argument rather than being ornamental Analogies are drawn form a variety of fields: science, mechanics, housekeeping, business, astronomy, etc. .
Recommended publications
  • The Canonization of John Donne
    SYDNEY STUDIES The Canonization ofJohn Donne DAVID KEI..LY I In 'The Canonization' John Donne, in the person of the speaker, speculates upon the prospect of his being 'canonized'. He is using the term in the religious sense, of course, but mischievously - by implying that he and his lover will be elevated to the level of saints because they love as they do he is being playful, witty, and just a shade blasphemous. From the beginning the tone is provocative: For God's sake hold your tongue, and let me love, Or chide my palsy, or my gout, My five grey hairs, or ruined fortune, flout, With wealth your state, your mind with arts improve, Take you a course, get you a place, Observe his honour, or his Grace, Or the King's real, or his stamped face Contemplate; what you will, approve, So you will let me love.1 A poem which takes a theological term for its title - 'The Canonization' - and then begins with a blasphemy - 'For God's sake' - is clearly playing a number of ironic games with its readers. Dramatically, the speaker appears exasperated at being continually reprimanded for his amorous life and so here he responds, not by apologizing for it but rather by mischievously pleading for the social world at large to permit love to exist in some small comer of its realm, devalued and frowned upon though it be. For this is a world that values everything above love - it is a world of affairs in every sense but the romantic. Nevertheless, the speaker is able to imply that this system of value is questionable, for this world of affairs is clearly one of sycophancy, cupidity, and hypocrisy: 'With wealth your state, your mind with arts All quotations are from The Complete English Poems, ed.
    [Show full text]
  • Proquest Dissertations
    Benjamin Britten's Nocturnal, Op. 70 for guitar: A novel approach to program music and variation structure Item Type text; Dissertation-Reproduction (electronic) Authors Alcaraz, Roberto Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 13:06:08 Link to Item http://hdl.handle.net/10150/279989 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be f^ any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitlsd. Brolcen or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author dkl not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectk)ning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6' x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additkxial charge.
    [Show full text]
  • The Body As His Book: the Unification of Spirit and Flesh in John Donne's Holy Sonnets
    Hober 1 Archived thesis/research paper/faculty publication from the University of North Carolina Asheville’s NC Docks Institutional Repository: http://libres.uncg.edu/ir/unca/ The Body as His Book: The Unification of Spirit and Flesh in John Donne's Holy Sonnets Senior Paper Presented in Partial Fulfillment of the Requirements For a Degree Bachelor of Arts with A Major in English at The University of North Carolina at Asheville Fall 2018 By: Kelli Danielle Hober ___________________________ Thesis Director Dr. Mildred K. Barya ___________________________ Thesis Advisor Dr. Evan Gurney Hober 2 “T’our bodies turn we, then, that so Weak men on love revealed may look; Love’s mysteries in souls do grow, But yet the body is his book” (69-72). For John Donne, the spirit and the flesh are elements which are intrinsically linked. Here in his poem, “The Ecstasy,” for example, Donne presents an image of the mingling of body and soul between two lovers. Donne has spent seventeen stanzas of the poem demonstrating that love grows through the connecting of the souls, elaborating in painstaking detail the Neoplatonist1 ideal of transcending the body through love. Here at the end, however, he finally shows that though love “in souls do grow” (71), it is ultimately written on the body, which is the book. Despite his interest in Neoplatonism, Donne asserts that spiritual ecstasy is incomplete without a physical basis. The couple becomes one entity as their souls combine, but this unification is impossible to obtain without the connection of their bodies. For Donne, love starts and ends with the body; it is what unites them.
    [Show full text]
  • A Psychobiography of John Donne
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work 5-1995 "Contraryes Meete in One": A Psychobiography of John Donne Lisa Anderson University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Anderson, Lisa, ""Contraryes Meete in One": A Psychobiography of John Donne" (1995). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. "Contraryes Meete In One": A Psychobiography of John Donne by Lisa Anderson Tennessee Scholars Senior Project & English Honors Thesis Project Director: Dr. Rob Stillman Second Readers: Dr. Al Burstein Dr . Jack Reese April 28, 1995 1 John Donne and his poetry have long been a tremendous source of interest for readers and scholars alike. Once more, with the development of psychoanalytic theory and its application to works of art and literature, John Donne's life and poetry have become, not surprisingly, a subject for analysis. One reason for psychoanalytic critics to be concerned with Donne is the complex nature of his poems, reflecting a struggle between dichotomous emotions influenced by the forces of sex and death. One example of Donne's poetry that displays this complex quality and illustrates the potential inherent in a psychoanalytic reading is Holy Sonnet XVII: Since she whome I lovd, hath payd her last debt To Nature, and to hers, and my good is dead And her Soule early into heaven ravished, Wholy in heavenly things my mind in sett.
    [Show full text]
  • Strategies of Persuasion and Argument in John Donne's Poetry Nazreen Laffir Pace University
    Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 8-25-2005 "Mark in this": Strategies of Persuasion and Argument in John Donne's Poetry Nazreen Laffir Pace University Follow this and additional works at: http://digitalcommons.pace.edu/honorscollege_theses Part of the Literature in English, British Isles Commons Recommended Citation Laffir, Nazreen, ""Mark in this": Strategies of Persuasion and Argument in John Donne's Poetry" (2005). Honors College Theses. Paper 17. http://digitalcommons.pace.edu/honorscollege_theses/17 This Article is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Laffir 1 Nazreen Laffir Honors Thesis Dr. Pender 17 May 2005 “Mark in this”: Strategies of Persuasion and Argument in John Donne’s Poetry Whether he is writing an erotic lyric, a mutual love poem or a holy sonnet, John Donne’s poems employ a similar argumentative structure. Although "The Flea," an erotic lyric, "The Canonization," a mutual love poem, and "Batter My Heart," a holy sonnet portray different types of love, Donne’s argumentative structure in these poems is similar to each other. In "The Flea," "The Canonization," and "Batter My Heart," Donne's speakers present a claim or command which they defend throughout the rest of the poem. The speakers use persuasive strategies to defend and validate their assertions. As the poems conclude, the speakers remain confident that their propositions will triumph. In “The Flea,” the speaker tries to seduce a lady by arguing that the lady’s blood and his blood are combined in a flea.
    [Show full text]
  • The Essential John Tavener
    Tavener covers v.2 #6 8/8/13 18:36 Page 1 Chester Music exclusively publishes the complete catalogue of the music of John Tavener The essential JohnTavener The essential JohnTavener A guide Chester Music Limited Chester Music Limited www.musicsalesclassical.com A guide PUB28930 Magenta prints in Pantone 871 metallic gold Tavener 48pp 9x12in text v2. :Layout 1 8/8/13 18:39 Page 1 Mary of Egypt, from the pre- miere production at the Aldeburgh Festival in 1992 directed by Lucy Bailey John Tavener was knighted for his services to music in the Millennium Honours List in 2000, www.musicsalesclassical.com Magenta prints in Pantone 871 metallic gold Tavener 48pp 9x12in text v2. :Layout 1 8/8/13 18:39 Page 2 Guide written by Elizabeth Seymour Designed by Pearce Marchbank RDI Chester Music exclusively publishes the complete catalogue of the music of John Tavener. Printed by Caligraving Limited, Works are available to purchase from your local music shop Thetford, Suffolk IP24 1HP,UK or go to www.musicroom.com. Book © 2013 by Music Sales Limited Additionally large-scale works are available to hire from PUB28930 Music Sales Limited. Music Sales Limited For details of our worldwide offices, please see the inside Newmarket Road, Bury St Edmunds, front or back covers, or go to www.musicsalesclassical.com Suffolk IP33 3YB, United Kingdom or visit www.zinfonia.com to place a hire order. Page 3 About the guide 5 About John Tavener Categories 9 Early Works 10 Catholicism 11 The Eternal Feminine 12 Orthodoxy 13 Russia 14 Greece 15 Poetry 16 Beauty in Death
    [Show full text]
  • Donne's Annihilation
    a Donne’s Annihilation Ross B. Lerner Princeton University Princeton, New Jersey I “For his art did express / A quintessence even from nothingness, / From dull privations and lean emptiness.” This is how John Donne, in his 1612 “A Nocturnal upon St. Lucy’s Day,” describes the divine power of love.1 Love can squeeze out of nothingness, from the leanest emptiness, a quintessence. Nothingness is a threat to material beings — they might cease altogether to exist — but the threat is not absolute; some things, the speaker in this lyric asserts, can be evacuated to nothingness, but then reborn into a new life: “He ruined me, and I am re- begot / Of absence, darkness, death — things which are not” (17 – 18). How is one “ruined” and then “re- begot”? The rela- tionship between ruin and re- begetting that emerges across the caesura in line 17 is not a concern limited to the realm of love in Donne’s works; it is also a central concern of the Holy Sonnets, especially the relationship between “ravishment” and being made new in “Batter my heart.” This essay claims that we must understand the convergence of ruin and re-begetting before we can properly diagram Donne’s concrete concerns with martyr- dom and the annihilation of the will. Martyrdom and self- annihilation are limit cases for the relationship between devotion and labor; they raise the possibility that certain kinds of devotion orient themselves toward forms of passivity that require a release from labor and an evacuation of the will. Can one labor actively to beget oneself again through the ruining or annihilation of the self that takes place in martyrdom? If so, can this labor be exemplary, an action that others can follow? Or can one only be passively “re- begotten” in a singular process that could never be mimetically reenacted? Through an examination of annihilation and ravishment in Donne we can begin to answer these questions.
    [Show full text]
  • John Donne's “Holy Sonnets”: Spiritual Experience in Poetry
    Cultural and Religious Studies, October 2016, Vol. 4, No. 10, 645-654 doi: 10.17265/2328-2177/2016.10.005 D DAVID PUBLISHING John Donne’s “Holy Sonnets”: Spiritual Experience in Poetry Julieta C. Mallari University of the Philippines Extension Program in Pampanga, Pampanga, Philippines This paper attempts to interpret Donne’s “Holy Sonnets” as spiritual experiences. Donne’s works are better understood through the optic of Biblical knowledge, the backdrop of God’s revelation of Himself. A poet whose heart is kindled by the Spirit of his Maker and whose mind is illumined by His Word recognizes a much deeper sense of transcendent reality. As Donne uses the most potent but intimate of words to express his interaction with God, his sonnets ground the sacred. In their fluctuating moods, the sonnets reverberate as radically varied experiences of God. Grand theological truths are translated into personal and passionate encounter with God. Keywords: John Donne, Holy Sonnets, spiritual experience, poetry Introduction The faith of a writer may be related to major aesthetic concerns, particularly the nature of the creative process and the extent of art as religious expression (Dyrness, pp. 206-207). A Christian writer has his inherent and deeply entrenched religious commitment that usually governs his works. Gordon Allport describes “the religious drive as a person’s master sentiment, giving comprehensive ultimate shape to all his experiencing, whereas the poetic drive would be a further concrete specification of the same dynamism” (cited by Ruland, p. 4). In the same vein, when the gift of creativity is added to the gift of faith, “The work takes on a resonance that no other inspiration is likely to give” (Arland, quoted by Dyrness, p.
    [Show full text]
  • The Metaphysical Poet: John Donne and His Religious Experience in Poetry
    ORIGINAL ARTICLE © UIJIR | ISSN (O) - XXXX-XXXX June 2020 | Vol. 1 Issue.1 www.uijir.com THE METAPHYSICAL POET: JOHN DONNE AND HIS RELIGIOUS EXPERIENCE IN POETRY DR. MUNA SHRESTHA Assistant Professor of Tribhuvan University, Nepal Mahendra Multiple Campus, Nepalgun, Nepal E-Mail:[email protected] ABSTRACT This paper tries to interpret John Donne’s as a religious poet. His works are better understood through the optic of Biblical knowledge, the backdrop of God’s revelation of Himself. A poet’s heart is filled with sympathy by the Spirit of his Maker and mind is illumined by His Word recognizes a much deeper sense of inspiring reality. In his poems, Donne uses the most effective and intimate of words to express his relation with God. The metaphysical poetry not only explains the existence of earthly things, but also reveals the religious significance of unnoticed or hitherto unappreciated aspects of temporal things. He also portrays satire in his poetry that deal the problem of true religion and it is a matter of great importance to Donne. He argues that it is better to examine carefully one's religious beliefs than blindly to follow any established tradition. Key words: John Donne, metaphysical poetry, religious, God. 1. INTRODUCTION English metaphysical poetry is the richest and most widely ranging in the language. Its style was most enthusiastic in the seventeenth century and it not only brought the best devotional poetry but also the finest lyrics, satires, pastorals and visionary meditations of that era (Edwin Honig). The poets gave the signal to the readers to enter into a new empire of poetry with a sense of attachment and belonging between different objects of nature and human sentiments, feeling and passion.
    [Show full text]
  • Interrogating God: Donne's Holy Sonnets
    Volume 12: 2019-20 ISSN: 2041-6776 Interrogating God: Donne’s Holy Sonnets and their religious contexts Annie Peppiatt “All theology is done in a context.”1 Donne’s writing, as both preacher and poet, appears acutely conscious of its tempestuous political and religious contexts, engaging with the theological debates of the Reformation and Counter-Reformation era. The inflamed exchange of theological thought between England and continental Europe combined with the recent translation of the Bible into English provided a radically new context of personal theological contemplation. Donne’s own conversion, or perhaps apostasy, from Catholicism to the Anglican Church may have been ‘attended by profound doubts and existential crisis’,2 expressed through the ‘stylistic disturbances’3 of his metaphysical poetry. Though not necessarily autobiographical, the many speakers of Donne’s Holy Sonnets voice different questions about the Church, sin, and salvation with often controversial non-conformity. The relative freedom of expression provided by the protection of the limited intimate audience of manuscripts and elaborate, often humorous use of conceits allowed Donne to test convictions with startling emotional and intellectual nerve. Utilising the popular Petrarchan sonnet form and threefold structure of religious meditation, it is Donne’s subversion of these conventions that enables his poetry to pose unconventional religious ideas. Holy Sonnets 9 (‘If poisonous minerals…’), 17 (Since she whom I loved…’), and 18 (Show me, dear Christ…’)4 may all be interpreted as dyadic dialogues between the speakers and God. Yet, ultimately, the inevitable silence of God means there can be no tête-à-tête; the poems’ questions can only be left unanswered.
    [Show full text]
  • Preparing for the Poetry Exam: John Donne [Source (With Some Amendments): Richard Huish College, Taunton]
    Preparing for the Poetry Exam: John Donne [Source (with some amendments): Richard Huish College, Taunton] The poetry question is assessed mainly on AO3, so you need to be aware of all the techniques that Donne uses in terms of language, structure and form. The following are some of these techniques, though you may think of more. You need to be able to make cross-references across the poems to illustrate these techniques as part of your answer. 1. General issues on form Donne's poems were collected under a general heading of "Songs and Sonnets", written between 1593 and 1601, but first published in 1633, two years after Donne's death (Shakespeare was 8 years older than Donne). Many Elizabethan love poems were written in the lyric, and particularly the sonnet forms, in a smoothly flowing language style. Hence they could quite easily be set to music and we have two poems called "songs" in our collection. Poetry is often described as 'lyric' and this relates to the fact that the earliest poetry written by the Greeks was written to be sung to the accompaniment of a lyre (an ancient Greek instrument). Even now, the term 'lyric' relates to words set to music. A lyric is usually fairly short (between 12 and 30 lines) and expresses the thoughts or feelings of a single speaker in a personal and subjective fashion. The Renaissance, when Donne was writing, was the great age of the lyric, not only in England but also in France and Italy. Early Elizabethan poets, such as Sir Thomas Wyatt and the Earl of Surrey, made outstanding contributions to the genre and wrote songs, lyrics and sonnets.
    [Show full text]
  • Views Were More (Or Less) Sympathetic to Donne’S As a Result of Their Changing Cultural Experience
    Dialogues with the Past: Musical Settings of John Donne’s Poetry by Emma Mildred Cowell Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music YOUNGSTOWN STATE UNIVERSITY May 2012 Dialogues with the Past: Musical Settings of John Donne’s Poetry Emma Mildred Cowell I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: __________________________________________________________________ Emma Mildred Cowell, Student Date Approvals: __________________________________________________________________ Ewelina Boczkowska, Thesis Advisor Date __________________________________________________________________ Corey Andrews, Committee Member Date __________________________________________________________________ Randall Goldberg, Committee Member Date __________________________________________________________________ Jena Root, Committee Member Date __________________________________________________________________ Peter J. Kasvinsky, Dean of School of Graduate Studies and Research Date © E. M. Cowell 2012 ABSTRACT My thesis concerns artists who have addressed the topic of death by interacting with voices from the past. In my study I trace layers of thought that begin with the seventeenth- century poetry of John Donne. Donne’s works are influenced by his struggles with faith and his paradoxical understanding of mortality. They display a combination of emotion and intellect characteristic of seventeenth-century Protestant religious devotion, and provide a starting point for artistic reaction from English composers of later eras, whose spiritual worldviews were more (or less) sympathetic to Donne’s as a result of their changing cultural experience. Pelham Humfrey, a member of Charles II’s Chapel Royal, set Donne’s “Hymne to God the Father” to music after the Restoration.
    [Show full text]