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Conclaue Ignati (London, 1611); translated as Ignatius his Conclaue (London: Printed by N. O. for Richard More, 1611).

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In ‘A Valediction: Forbidding Mourning’, Donne likens the relationship between him and his wife to a religious or spiritual bond between two souls: note that he uses the word ‘laity’ to describe other people who cannot understand the love the two of them bear one another. C. S. Lewis, English Literature in the Sixteenth Century Excluding Drama (Oxford: Clarendon Press, 1954). Joan Bennett, Four Metaphysical Poets: Donne, Herbert, Vaughan, Crashaw (Cambridge: Cambridge University Press, 1934). The history of Donne’s reputation is the most remarkable of any major writer in English; no other body of great poetry has fallen so far from favor for so long. In Donne’s own day his poetry was highly prized among the small circle of his admirers, who read it as it was circulated in manuscript, and in his later years he gained wide fame as a preacher. For some 30 years after his death successive editions of his verse stamped his powerful influence upon English poets. During the Restoration his writing went out of fashion and remained so for several centuries. Throughout the 18th century, and for much of the 19th century, he was little read and scarcely appreciated. It was not until the end of the 1800s that Donne’s poetry was eagerly taken up by a growing band of avant-garde readers and writers. His prose remained largely unnoticed until 1919. The Poetical Works of Dr. John Donne, with a memoir, edited by James Russell Lowell (Boston: Little, Brown, 1855).

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In the first two decades of the 20th century Donne’s poetry was decisively rehabilitated. Its extraordinary appeal to modern readers throws light on the Modernist movement, as well as on our intuitive response to our own times. Donne may no longer be the cult figure he became in the 1920s and 1930s, when T.S. Eliotand William Butler Yeats, among others, discovered in his poetry the peculiar fusion of intellect and passion and the alert contemporariness which they aspired to in their own art. He is not a poet for all tastes and times; yet for many readers Donne remains what Ben Jonson judged him: “the first poet in the world in some things.” His poems continue to engage the attention and challenge the experience of readers who come to him afresh. His high place in the pantheon of the English poets now seems secure. Arnold Stein, John Donne's Lyrics: The Eloquence of Action (Minneapolis: University of Minnesota Press, 1962). The Second Anniuersarie. Of The Progres of the Soule, published with The First Anniuersarie. An Anatomie of the World (London: Printed by M. Bradwood for S. Macham, 1612).

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The Complete Poetry and Selected Prose of John Donne, edited by Charles M. Coffin (New York: Modern Library, 1952). The English writer and Anglican cleric John Donne is considered now to be the preeminent metaphysical poet of his time. He was born in 1572 to Roman Catholic parents, when practicing that religion was illegal in England. His work is distinguished by its emotional and sonic intensity and its capacity to plumb the paradoxes of faith, human and divine love, and the possibility of salvation. Donne often employs conceits, or extended metaphors, to yoke together “heterogenous ideas,” in the words of Samuel Johnson, thus generating the powerful ambiguity for which his work is famous. After a resurgence in his popularity in the early 20th century, Donne’s standing as a great English poet, and one of the greatest writers of English prose, is now assured.Donne’s poem undoes, or at the very least develops, the usual idea of courtly love by confronting the fact that the courtly love poet, in praising the beautiful woman, ultimately wants to go to bed with her (though often he can’t and never will get the chance). Merritt Y. Hughes, "Kidnapping Donne," University of California Publications in English, 4 (1934): 61-89. This is how one of Donne’s most celebrated poems begins. And it’s gloriously frank – it begins with Donne chastising the sun for peeping through the curtains, rousing him and his lover as they lie in bed together of a morning. Ferry, The "Inward" Language: Sonnets of Wyatt, Sidney, Shakespeare, Donne (Chicago: University of Chicago Press, 1983). Sir Arthur Quiller-Couch, Studies in Literature (Cambridge: Cambridge University Press, 1920), pp. 96-117.