DOCSLIB.ORG

PGEG S1 02 (Block 2)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

PGEG SI 02 KRISHNA KANTA HANDIQUI STATE OPEN UNIVERSITY Patgaon, Rani Gate, Guwahati-781017 SEMESTER 1 MA IN ENGLISH COURSE 2: ENGLISH POTERY: CHAUCER TO THE NEO-CLASSICAL BLOCK 2: METAPHYSICAL POETRY TO MILTON CONTENTS Unit 6: Introducing Metaphysical Poetry Unit 7: John Donne: “The Good Morrow”, “Death Be Not Proud” Unit 8: Andrew Marvell: “To His Coy Mistress” and “The Garden” Unit 9: John Milton: Paradise Lost “Book I” (Part I) Unit 10: John Milton: Paradise Lost “Book I” (Part II) REFERENCES : For All Units Subject Experts Prof. Pona Mahanta, Former Head, Department of English, Dibrugarh University Prof. Ranjit Kumar Dev Goswami, Srimanta Sankardeva Chair, Tezpur University Prof. Bibhash Choudhury, Department of English, Gauhati University Course Coordinator : Dr. Prasenjit Das, Assistant Professor, Department of English, KKHSOU SLM Preparation Team Units Contributors 6 & 8 Chayanika Roy, KKHSOU 7 Bashabi Gogoi, Former Academic Consultant, KKHSOU 9 & 10 Dr. Pritima Sarma, Former Academic Consultant, KKHSOU & Dr. Prasenjit Das Editorial Team Content: Prof. Udayon Misra, Former Head, Department of English, Dibrugarh University (Units 7,9,10) In house Editing (Units 6 & 8) Structure, Format and Graphics: Dr. Prasenjit Das May, 2017 This Self Learning Material (SLM) of the Krishna Kanta Handiqui State University is made available under a Creative Commons Attribution-Non Commercial-ShareAlike4.0 License (International) : http.//creativecommons.org/licenses/by-nc-sa/4.0 Printed and published by Registrar on behalf of the Krishna Kanta Handiqui State Open University. Headquarters: Patgaon, Rani Gate, Guwahati-781017 City Office: Housefed Complex, Dispur, Guwahati-781006; Web: www.kkhsou.in The University acknowledges with strength the financial support provided by the Distance Education Bureau, UGC for preparation of this material. SEMESTER 1 MA IN ENGLISH COURSE 2: ENGLISH POTERY: CHAUCER TO THE NEO-CLASSICAL BLOCK 2: METAPHYSICAL POETRY TO MILTON DETAILED SYLLABUS Unit 6 : Introducing Metaphysical Poetry Page : 91 - 107 The Tradition of Metaphysical Poetry, Beginning and Development, Important Practitioners: John Donne, George Herbert, Richard Crashaw, Henry Vaughan, Abraham Cowley, Andrew Marvell, Critical Receptions of Metaphysical Poetry Unit 7 : John Donne: “The Good Morrow” & “Death Be Not Proud” Page : 108 - 124 John Donne: Life and Works, Reading the Poem: “The Sun Rising”, and “Death Be Not Proud”, Donne’s Poetic Style Unit 8 : Andrew Marvell: “To His Coy Mistress” and “The Garden” Page : 125 - 142 Andrew Marvell: Life and Works, Reading the Poems: “To His Coy Mistress” and “The Garden”, Marvell’s Poetic Style Unit 9 : John Milton: Paradise Lost “Book I” (Part I) Page : 143 - 157 John Milton: Life and Works, Context of the Poem Paradise Lost, Extracts from Paradise Lost (Book I) Unit 10 : John Milton: Paradise Lost “Book I” (Part II) Page : 158 - 171 The Plot of Paradise Lost, Reading Paradise Lost (Book I), Milton’s Poetic Style BLOCK INTRODUCTION This is the second Block of the Course 2. This Block introduces you to Metaphysical poetry, which shall be studies in terms of a few poems selected from the great metaphysical poets like John Donne and Andrew Marvell of the 17th century. The 17th century poets still recognised God as the source of order. Yet, secular elements began to emerge with the Metaphysical poets like John Donne who excelled in his use of witty paradoxes and ingenious ideas. However, towards the end of the century, the focus of poetry becomes almost entirely secular. Although the 17th century poets like John Donne lost their popularity in the subsequent period, it was the modern poet, T. S. Eliot who restored the significance of these 17th century poets collectively known as the Metaphysical poets. Another significant 17th century poet is John Milton in whose poetry; especially in his epic Paradise Lost, we encounter the changes taking place during the Civil War of 1642-51 and the aftermath. Block 2 : Metaphysical poetry to Milton is divided into five units, which are as the following: Unit 6: Introducing Metaphysical Poetry serves as the introduction to Metaphysical Poetry. There has been no such thing as metaphysical poetry during the 17th century. However, the term was later applied to a certain group of poets of the 17th century, owing to the common features and techniques, use of wit and conceits in their poems. The knowledge about new scientific changes perplexed the minds of the poets of the 17th century, and triggered in them a tendency to challenge existing ideas and thoughts of the universe. The metaphysical poets emerged during such a literary climate with an aim to introduce newer poetic techniques, mixing intellect with emotions. Unit 7: John Donne: “The Good Morrow” & “Death Be Not Proud” deals with two poems by John Donne: ‘The Sun Rising’ and ‘Death, Be Not Proud’. John Donne was the leading English poet of the Metaphysical School of Poetry, and is often considered to be one of the greatest love poets in the English language. From this unit, the learners will be able to get some ideas contained in these two poems, while at the same time, also being acquainted with Donne’s poetic style characterised by his use of conceits, paradox and puns. Unit 8: Andrew Marvell: “To His Coy Mistress” and “The Garden” deals with Marvell’s poems namely “To His Coy Mistress” and “The Garden”. Just like Donne, Andrew Marvell is also acclaimed as one of the finest metaphysical poets. “To his Coy Mistress” is often considered one of Marvell’s finest poems. The second poem “The Garden” too is often considered a famous English poem in which the poet’s personal emotions and feelings are told throughout the words of nature. Unit 9: John Milton: Paradise Lost “Book I” (Part I) deals with the life and works of John Milton with special reference to his epic poem Paradise Lost. Milton was a controversial writer of his time. Being a strict Puritan, he openly challenged some of the very basic biblical doctrines, particularly Preordination and Free will, which he deals with in Paradise Lost. Unit 10: John Milton: Paradise Lost “Book I” (Part II), which needs to be studied along with the previous unit, deals with a detailed analysis of the various aspects of the poem Paradise Lost. What is so striking is the fact that the whole poem cannot be considered a continuous narrative as the main story begins in the middle (In Medias Res), and earlier events are presented in terms of dreams, reminiscences and conversations. While going through a unit, you may also notice some text boxes, which have been included to help you know some of the difficult terms and concepts. You will also read about some relevant ideas and concepts in “LET US KNOW” along with the text. We have kept “CHECK YOUR PROGRESS” questions in each unit. These have been designed to self-check your progress of study. The hints for the answers to these questions are given at the end of the unit. We advise that you answer the questions immediately after you finish reading the section in which these questions occur. We have also included a few books in the “FURTHER READING” list, which will be helpful for your further consultation. The books referred to in the preparation of the units have been added at the end of the block. As you know, the world of literature is too big and so we advise you not to take a unit to be an end in itself. Despite our attempts to make a unit self-contained, we advise that you should read the original texts of the writers as well as other additional materials for a thorough understanding of the contents of a particular unit. UNIT 6: INTRODUCING METAPHYSICAL POETRY UNIT STRUCTURE 6.1 Learning Objectives 6.2 Introduction 6.3 The Tradition of Metaphysical Poetry 6.4 Beginning and Development 6.5 Important Practitioners 6.6 Receptions of Metaphysical Poetry in Subsequent Periods 6.7 Let us Sum up 6.8 Answers to Check Your Progress (Hints only) 6.9 Further Reading 6.10 Possible Questions 6.1 LEARNING OBJECTIVES After going through this unit, you will be able to: • gather an idea of the 17th century lyric poets who were commonly called metaphysical poets • trace the beginning of metaphysical poetry • analyse the common features in the poems of the metaphysical poets • explain the development of metaphysical poetry and discuss its major practitioners • analyse the impact of metaphysical poetry in the works of later writers 6.2 INTRODUCTION This is the first unit of this Block and serves as the introduction to Metaphysical Poetry. This unit deals with some poets of the 17th century grouped under the term “metaphysical poets”, and the various nuances that are characteristics of their works. You must keep one thing in mind that there was no such thing as metaphysical poetry during the 17th century. However, the term was later applied to a certain group of poets of the 17th Metaphysical Poetry to Milton (Block – 2) 91 Unit 6 Introducting Metaphysical Poetry century, owing to the common features and techniques, use of wit and conceits in their poems. Here we shall discuss the tradition of metaphysical poetry that began in the 17th century, differing from the preceding age in employing spiritual themes and unique comparisons. As you know, the Renaissance and Reformation led the way to a vast socio-political change in the society creating religious and political crisis. The knowledge about new scientific changes perplexed the minds of the writers and triggered in them a tendency to challenge existing ideas and thoughts of the universe. The metaphysical poets emerged during such a literary climate with an aim to introduce newer poetic techniques, mixing intellect with emotions. By tracing the beginning of metaphysical poetry, we shall in this unit, reflect on its development, and analyse its important characteristics.
Recommended publications
  • William Blake

    William Blake

    .,, '•I I I• 1J I I 11~ -· II I It~ I "I 1 rj.. I 1'111 .., l:l111i1l II' I i!1 ".IU - I. I ' 'I l ~ ,11 I ~ ii ·1 ... u",,.11 '"·' I '" 111 lit TH E COMPLETE POET R Y AN D SELECTED PROSE OF John Dorine & TH E COMPLETE POET R Y OF William Blake )))))))))))))))))))))))))))))))))))))))))))))))))) WITH AN INTRODU C TION BY Robert Silliman Hillyer ))))))))))))))))))))))))))))))))))))))))))))))))~~ THE MODERN LIBRARY NEW YORK Contents INTRODVCTION by Robert Silliman Hillyer THE COMPLETE POETRY AND SELECTED PROSE OF JOHN DONNE THE POEMS SONGS AND SONETS The Good-morrow 3 Song 3 Womans Constancy 4 The Undertaking S The Sunne rising 6 The Indifferent 6 Loves Usury 7 The Canonization 8 The Triple Foote 9 Lovers infiniteuesse Io Song II The Legacie I 2 A Feaver I3 Aire and Angells I3 Breake of Day 14 The Anniversarie IS A Valediction: of my name, in the window 16 T wicknam Garden 18 A Valediction: of the booke I9 Communitie 21 Loves Growth 21 Loves Exchange 22 Confined Love 23 The Drearne 24 A Valediction: of weeping 25 Loves Alchymie 26 The Flea 26 v CONTE NTS vii vi CON TENT S S4 The Curse 27 Raderus The Message 28 Mercurius Gallo-Beligicus S4 Ralphius SS A Nocturnall upon S. Lucies Day 29 The Lier SS Witchcraft by a Picture 30 The Baite 30 The Apparition 3I E LEGIES The Broken Heart 32 A Valediction: forbidding mourning 33 I. Jealosie s6 The Extasie 34 II. The Anagram S7 Loves Deitie 36 III. Change s8 Loves Diet 37 IV.
  • An Appendix on Criticism of Donne's Writings

    An Appendix on Criticism of Donne's Writings

    An Appendix on Criticism of Donne's Writings I RESPONSES BEFORE THE TWENTIETH CENTURY The fullest accessible collection of such responses is A. J. Smith's volume John Donne: The Critical Heritage (1975). A slighter selection may be found in F. Kermode (ed.) Discussions of John Donne (Boston, 1962). The 'Elegies on the Authors Death' printed with Miles Flesher's Poems by J.D. (1633) and reprinted by H. Grierson in Donne's Poetical Works (1912) provide an interesting illustration of the 'image' of Donne by the time of his death. R. Granqvist's The Reputation of John Donne 1779-1873 is a useful discussion of the reception of Donne's work in the nineteenth century. Such items allow a reader to chart movemen~s in Donne's reputation from the seventeenth century to the end of the nine­ teenth. They also provide insights into what aspects of Donne's work were of most interest and thereby illustrate both features of taste in earlier centuries and some of the ways in which texts are conditional rather than transcendental. Finally, taken together, such items subvert the once-common view that Donne was essen­ tially re-invented by the twentieth century, which is not to deny that Donne in our time is a rather different figure from the Donnes of earlier periods. II. DISCUSSIONS OF THE EARLY TWENTIETH CENTURY Some useful material is to be found in Kermode' s Discussions (above) and in J. Lovelock (ed.) Donne: Songs and Sonets (Casebook series, 1973). Two documents are particularly important in the history of Donne criticism: Grierson's introduction to his edition of the poems (above) and T.
  • Essays in Divinity

    Essays in Divinity

    i -.^ Digitized by tine Internet Arciiive in 2007 witii funding from IVIicrosoft Corporation littp://www.arcli ive.org/details/essaysindivinityOOdonnricli ' ESSAYS IN DIVINITY BY JOHN I)OT!r.;f^;l!,D.D,'?- • »<• »» *••'••» ' ' '. SOME TIME HyBXS 'OF- ?jT.. I»AUlV.- > ^ OF THR ^^;-^. UNIVERSITY EDITED BY JUGUSTUS JESSOFF, M.J. or ST. JOHN'S COLLEGE, CAMBRIDGE. L O ND ON: John Tupling, 320 Strand, 1855. T:)6 • :/: '.- fS3-^/0 10 him^ who with his wide knowledge is always able, and in his generous kindliness is always willing, to help and encourage his less-experienced fellow-labourers in the fields of English Literature, PHILIP BLISS, D. C.L. PRINCIPAL OF ST. MAEY'S HALL, OXFOKD, this Edition of Donne's Essays is respectfully dedicated, by AUGUSTUS JESSOPP. ,85330 tf ^ ^ OF THK ' r IX I UNIVERSITY ^^LCALiFOBjj^ SOME NOTICE OF THE AUTHOR AND HIS WRITINGS. JOHN DONNE, the writer of .the Essays contained in this volume, lived in an age more fruitful in great men and stirring events than the world has perhaps ever seen, from the times of Pericles to the days of Queen Victoria. He was born in 1573—the year after the massacre of St. Bartholomew; he died m 1631, the year after the battle of Liitzen. where Gustavus Adolphus fell. In his childhood Camoens fetched his last sigh in Portugal,— the poet who had laid the only firm foundation for his country^s literature, condemned to die in penury, hardly finding for his very corpse its last garment—a shroud. In his boyhood. Sir Philip Sidney wrote the Ar- cadia, and he was still in his teens when that gaUant hero put away the cup of water from his own parched lips to slake the thirst of the bleeding trooper lying by his side.
  • Appendix: a Brief Review of Scholarship

    Appendix: a Brief Review of Scholarship

    Appendix: A Brief Review of Scholarship The main subjects of the preceding pages—Donne’s Songs and Sonnets , the mechanisms and repercussions of evolution, the fields of Biology and Cognition it led to, and an allied science of Love—are not always easy to understand. I have tried to be comprehensible and to share my contagious interests; my success can only be judged by my readers. Fortunately for all of us, though, some admirably lucid com- mentators have turned their attentions to explaining Donne, Darwin, and desire, and this guide is presented with the aim of clearing up confusions and prompting further inquiry (full citations are found in the Works Cited.) There are extensive—better said, excessive —bodies of scholarship on every minute subtopic touched on here, enough to make the most diehard Holmesian investigator or grad student despair. Mountains of material have been published on, well, everything, down to gold and alchemy, gossip, particular metaphorical schema such as Donne’s compasses, and so forth. No claims for systematic inclusiveness are advanced here. More specifically, let me note that the previous chap- ters have (relatively) few citations to the history of science, to overhasty first-generation efforts at sociobiological literary criticism, and to the masses of twentieth-century work on Donne’s poems, though many of those pieces are topnotch and sometimes stand, at one remove, behind interpretations that are generally accepted today. Donne criticism may be said to have reached its full-blown matu- rity, and now occupies several shelves in most well-stocked university libraries. To boil it down to a single paragraph: the two most influen- tial opponents of Metaphysical verse were John Dryden and Samuel Johnson.
  • Syllabus Dept of English.Pdf

    Syllabus Dept of English.Pdf

    1 CENTRAL UNIVERSITY OF TAMIL NADU Department of English Studies School of Social Sciences Humanities Syllabi for M. A. in English(CBCS) MPhil in English Ph.D. in English English for Integrated Sciences English for Education Communicative English (for M. A. Tamil) & French 2018 2 M. A. English Studies Semester I Core Courses: S. No. Course Course Title Marks Credits Code 40 1. ENG 071 American Literature 60 4 40 2. ENG 072 British Literature I 60 4 40 3. ENG 073 Introduction to Indian Literatures 60 4 40 4. ENG 074 Introduction to Comparative Literature 60 4 Major Electives S. No. Course Course Title Marks Credits Code 40 1. ENGE075 Academic Reading and Writing 60 3 40 2. ENGE076 Philosophical Concepts 60 3 3 Core Courses: I Semester ENG 071 - AMERICAN LITERATURE Credits: 4 Unit I: Poetry Introduction to American Literature American Indian Poetry Walum Olum Unit II: Poetry Anne Bradstreet: “Prologue” Whitman: “Song of Myself” Lines 1-50 Edgar Allan Poe: “The Raven” Emily Dickinson: “A Narrow Fellow in the Grass,” “Because I could not stop for Death,” Phyllis Wheatley: “On Being Brought from Africa to America,” “To the University of Cambridge in New England” Robert Frost: “Home Burial,” “After Apple Picking” Wallace Stevens: “Peter Quince at the Clavier,” “Emperor of Ice Cream” Sylvia Plath: “Lady Lazarus” Adrienne Rich: “Snapshots of a Daughter-in-law” Maya Angelou: “Phenomenal Woman” Unit V: Fiction Hawthorne: “Young Goodman Brown” Mark Twain: Huckleberry Finn Ernest Hemingway: For Whom the Bell Tolls John Steinbeck: Of Mice and Men Flannery O’Connor: “Everything that Rises Must Converge” Non Fiction Thoreau: “Where I Lived” Toni Morrison: Nobel Lecture Amy Tan: “Mother Tongue” Unit IV: Modern American Drama Tennessee Williams: A Street Car Named Desire Lorraine Hansberry: Raisin in the Sun Arthur Miller: Death of a Salesman 4 ENG 072 - BRITISH LITERTURE I Credits: 4 Course objectives: 1.
  • Literature and the Encounter with God in Post-Reformtion England, C. 1550 - 1704 Michael Thomas Martin Wayne State University

    Literature and the Encounter with God in Post-Reformtion England, C. 1550 - 1704 Michael Thomas Martin Wayne State University

    Wayne State University Wayne State University Dissertations 1-1-2012 Hallowed ground: literature and the encounter with god in post-reformtion england, c. 1550 - 1704 Michael Thomas Martin Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the English Language and Literature Commons, and the Other Religion Commons Recommended Citation Martin, Michael Thomas, "Hallowed ground: literature and the encounter with god in post-reformtion england, c. 1550 - 1704" (2012). Wayne State University Dissertations. Paper 456. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. HALLOWED GROUND: LITERATURE AND THE ENCOUNTER WITH GOD IN POST-REFORMATION ENGLAND, C.1550 – 1704 by MICHAEL MARTIN DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2012 MAJOR: ENGLISH Approved by ____________________________________ Advisor Date ____________________________________ ____________________________________ ____________________________________ ____________________________________ © COPYRIGHT BY MICHAEL MARTIN 2012 All Rights Reserved DEDICATION for Bonnie “since all Divinity is love or wonder” ii ACKNOWLEDGMENTS I could never have completed—or even contemplated—this dissertation without the direction, help, and support of mentors, colleagues, friends, and family members. I could never begin to repay them for their generosity, which has given me a deeper appreciation for the admission, “Beggar that I am, I am even poor in thanks.” Ken Jackson’s forthrightness, insightful readings of my drafts, and knowledge of both early modern English literature and Continental philosophy were of great benefit to me as I worked through the issues of this study.
  • The World's Contracted Thus

    The World's Contracted Thus

    The World’s Contracted Thus: The Animation of Microcosmic Space in the Lyric Poetry of John Donne and Andrew Marvell Submitted in Partial Fulfillment of the Prerequisite for Honors in Medieval and Renaissance Studies Gabrielle Corlyn Linnell Wellesley College April 2013 © 2013 Gabrielle Corlyn Linnell 1 Table of Contents Introduction 3 Chapter One: Love and Other Earthquakes 15 Chapter Two: Holy Houses 41 Chapter Three: An Expanding Universe 66 Conclusion 87 Acknowledgments 89 Works Cited 91 Appendix (Texts) 95 2 Introduction In John Donne’s intimate aubade, The Sunne Rising, his lovelorn speaker tells the sun to stay away from the lovers’ bedroom. The sun threatens the all-encompassing experience of love that the two share. The speaker argues, Thou, o Sunne, art half as happy as us In that the world’s contracted thus Thine age asks ease, and since thy duties be To warm the world, that’s done in warming us. (25-28) The speaker has no desire to go anywhere else; instead, the space he shares with his lover serves as world enough for him. He uses this desire to persuade the sun to either run away from the house or shine only on the lovers. In either instance, the speaker asks the sun to recognize that the world has “contracted thus” into a single bedroom. To talk of contracted worlds is, sooner or later, to talk of microcosms. By the seventeenth century when John Donne and later Andrew Marvell are writing, the microcosm-macrocosm trope was an intellectual construct leftover from the medieval period. The tropes sought to discover connections between the great, unknowable universe in smaller, more tangible objects.
  • The Rhetoric of Nature: Marvell and the Longinian Sublime June 4, 2018

    The Rhetoric of Nature: Marvell and the Longinian Sublime June 4, 2018

    The Rhetoric of Nature: Marvell and the Longinian Sublime June 4, 2018 Adam Strömbergsson-DeNora Supervised by Dr. Nicholas von Maltzahn ÓAdam Strömbergsson-DeNora, Ottawa, Canada, 2018 Abstract This thesis examines Andrew Marvell’s politics through the lens of his competitive ethos, which I propose draws on values expressed in Peri hypsous, a third-century Greek treatise on rhetoric. The investigation reads Marvell’s early lyrics in order to demonstrate this ethos at work long before he openly enters politics. Marvell’s later political writings may instead be viewed as a logical conclusion to a long quest for the kind of High style that Peri hypsous recommends. This progression begins just after Marvell returns from his tour of the continent in 1648, with two poems that associate him with the Stanley Circle and, especially, John Hall, who produces a translation of Peri hypsous in 1652. Marvell’s association with Hall is reflected in the poems that both produce. The similarities between Marvell’s poetry and Longinian thought are further adduced. I contend that Marvell’s quest works through Plato’s “Ladder of Love” as this is expressed first in his Mower poems, then in his consideration of love, and finally in his view of statesmen’s households. The poetry displays a critical mind ready to deploy its knowledge of great writers that have come before. I argue that Marvell’s later confidence in his political prose stems from this earlier poetry, which reveals an intense curiosity about the languages of social interaction (of which politics is but a part). His poems thus viewed are more fundamentally political than has been understood and form an essential prologue to the political prose that so coloured his later fame.
  • Placing John Donne in the History of Sexuality

    Placing John Donne in the History of Sexuality

    (RE)PLACING JOHN DONNE IN THE HISTORY OF SEXUALITY BY REBECCA ANN BACH In 1937, after three novels recounting episodes from “[n]early six years” of Lord Peter Wimsey and Harriet Vane’s courtship, Dorothy Sayers published Busman’s Honeymoon, in which she shows us Lord Peter and Harriet married and on the threshold of sexual engage- ment.1 Both Lord Peter and Harriet love, and love by means of, John Donne’s poetry. In a diary entry in Busman’s’ first chapter, Peter’s mother, the marvellous Honoria Lucasta, Dowager Duchess of Denver, writes “Peter has always been queer about Donne.”2 Late in the novel, Harriet reveals to Peter that before their marriage, she spent all the money she had made in a career writing mystery novels on her trousseau, and she was, therefore, reduced to writing “[t]hree five-thousand-word” short stories “at forty guineas each for the Thrill Magazine” in order to afford to buy Peter his premarital gift: “a very beautiful” autograph “letter from D. to a parisioner—Lady Some- body—about Divine and human love.”3 When he receives this gift from bride to groom, Peter tells his Mother that having tried to buy the letter himself and learning that “it had been sold,” he had been “ridiculously angry” because he “wanted [it] for Harriet.”4 Sayers writes of Harriet’s and Peter’s love of Donne, and she also writes their love through Donne’s poetry. When Harriet and Peter fall silent, sitting on a wooden seat in a chuchyard, Busman’s’ narrator wonders “[w]hether, left to themselves, [Harriet and Peter] would have succeeded in emerging from this speechless trance, and might not, in the manner of Donne’s ecstatic couple, have remained like sepulchral statues in the same posture and saying nothing until nightfall.”5 This reference to Donne’s poem “The Extasie” is only one of the many specific Donne references with which Sayers salts the Peter Wimsey- Harriet Vane relationship.
  • The Political Theology of John Donne

    The Political Theology of John Donne

    Theological Studies 49 (1988) THE POLITICAL THEOLOGY OF JOHN DONNE DAVID NICHOLLS Littlemore Vicarage, Oxford HE CRUCIAL role played by analogy and image in religious discourse Tis, of course, widely acknowledged, and it is also a commonplace of contemporary publicists that theology is strongly influenced by the social context in which it is written. The connection between these two asser­ tions is the fact that the analogies and images used in the language of religion are frequently drawn from social experience directly or are borrowed from social and political rhetoric. While it is true, on the one hand, that this is not the only way religious formulations are influenced by historical factors and, on the other, that these analogies and images are not always derived from social or political experience, it nevertheless appears to be the case that some of the most widely used images of God and analogies of divine action are social or more specifically political in their primary reference.1 In view of this fact, there is a surprising lack of detailed studies of the way in which these images and analogies have operated in the development of Christian doctrine. In this article2 I wish to consider how these analogies and images, drawn in part from contemporary social and political experience, were employed in the religious discourse of John Donne. I do not, of course, attempt anything like a systematic account of his religious beliefs;3 rather I shall suggest that the political analogy, which sees the king in relation to his realm as analogical to God in His relationship to the universe, and the closely connected but distinct social image of God the Holy Trinity as a model for the life of the nation, play a central and unifying role in 1 See David Nicholls, "Images of God and the State," TS 42 (1981) 195-215; and "Divine Analogy: The Theological Politics of John Donne," Political Studies 32 (1984) 570-80.
  • PDF Download the Collected Poems of John Donne Kindle

    PDF Download the Collected Poems of John Donne Kindle

    THE COLLECTED POEMS OF JOHN DONNE PDF, EPUB, EBOOK John Donne,Roy Booth | 400 pages | 01 Apr 1999 | Wordsworth Editions Ltd | 9781853264009 | English | Herts, United Kingdom The Collected Poems of John Donne PDF Book For reason, much too strong for fantasy,. In Love With Queer Words. The Funeral. Death, be not proud, though some have called thee. Edward W. Batter my heart, three-personed God, for you. He died in London on March 31, In this line, John Donne puns upon his own surname perhaps to identify himself as the one who has committed those sins. Throughout the 18th century, and for much of the 19th century, he was little read and scarcely appreciated. The poem is considered misogynist by many people due to its message. Simpson Oxford: Clarendon Press, Shawcross Garden City, N. Get A Copy. Riding Westward. The marriage was eventually upheld; indeed, More became reconciled to it and to his son-in-law, but Donne lost his job in and did not find regular employment again until he took holy orders more than 12 years later. Macham, Ivvenilia London: Printed by E. This poem begins with the dream of the speaker being interrupted by the woman about whom he was dreaming. Kindle Edition , Penguin Classics , pages. But we by a love, so much refined, That our selves know not what it is, Inter-assured of the mind, Care less, eyes, lips, and hands to miss. Evelyn M. Save my name, email, and website in this browser for the next time I comment. Back to Previous. John Donne: The Anniversaries, edited by F.
  • OUP-112 APRIL 2001 30/04/2001 16:11 Page 208

    OUP-112 APRIL 2001 30/04/2001 16:11 Page 208

    OUP-112 APRIL 2001 30/04/2001 16:11 Page 208 © Oxford University Press Donne and Christ’s Spouse LUKAS ERNE THE LIFE OF John Donne is more fully documented than that of any other English poet before the eighteenth century. Its principal stages are well known and uncontested: birth in 1572 into a family of eminent recusants and martyrs; childhood in a devoutly Catholic home; apprentice years at university, the Inns of Court, and in military expeditions; employment by Sir Thomas Egerton, the Lord Keeper, in 1598; fall from grace following his marriage to Ann More in 1601/2; years of frustrated ambition and hope; ordination to the priesthood in the Church of England in 1615; appointment as Dean of St. Paul’s in 1621; and death in 1631. Not even the abundance of documents, however, can fully reveal the history of Donne’s religious allegiances, connections, and beliefs from the time of his Catholic childhood and youth to his ordination to the Anglican priesthood and beyond. To Izaak Walton, writing The Life and Death of Dr Donne (1640), the history of Donne’s conversion still seemed straight- forward. Walton concedes and simultaneously excuses Donne’s Roman Catholic upbringing by asserting that his mother advised his tutors to ‘instil into him particular Principles of the Romish Church’. In effect, Walton apologeti- cally adds, ‘they had almost obliged him to their faith’.1 With independent reasoning dawning at the age of 18, Walton con- tinues, Donne ‘betrothed himself to no Religion’ and a year later began ‘seriously to survey, and consider the Body of Divinity, as it was then controverted betwixt the Reformed and the Roman Church’.