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It’s impossible to be blinded by beauty, of course, but the cleverness of the conceit transforms it from clichéd declaration of love (‘I’m blinded by your beauty’) into something more affecting because, as T. S. Eliot observed, thought and feeling were united in Donne’s poetry.

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Douglas Bush, English Literature in the Earlier Seventeenth Century, 1600-1660 (Oxford: Clarendon Press, 1945). A Sermon, Preached To The Kings M tie. At Whitehall, 24. Febr. 1625 (London: Printed for Thomas Jones, 1626). The verse letters and funeral poems celebrate those qualities of their subjects that stand against the general lapse toward chaos: “Be more than man, or thou’art less than an ant” (“The First Anniversary”).Magyarország első és legnagyobb fórum szolgáltatása. A web kettő pre-bétája, amit 1997 óta töltenek meg tartalommal a fórumlakók. Fórumok változatos témákban, hangnemben, moderálva. Ha nem csak megosztani akarsz, hanem diskurálni egy egy témában, csatlakozz Te is, és ha kitartó vagy, társakra találhatsz.

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Donne characterizes our natural life in the world as a condition of flux and momentariness, which we may nonetheless turn to our advantage.” The tension of the poetry comes from the pull of divergent impulses in the argument itself. In “A Valediction: Of my Name in the Window,” the lover’s name scratched in his mistress’s window ought to serve as a talisman to keep her chaste; but then, as he explains to her, it may instead be an unwilling witness to her infidelity:

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This is one of Donne’s most cynical poems: the speaker of the poem argues that finding a woman who will remain faithful is as impossible as catching a falling star from the sky. His place in the Egerton household also brought him into acquaintance with Egerton’s domestic circle. Egerton’s brother-in-law was Sir George More, parliamentary representative for Surrey. More came up to London for an autumn sitting of Parliament in 1601, bringing with him his daughter Ann, then 17. Ann More and Donne may well have met and fallen in love during some earlier visit to the Egerton household; they were clandestinely married in December 1601 in a ceremony arranged with the help of a small group of Donne’s friends. Some months elapsed before Donne dared to break the news to the girl’s father, by letter, provoking a violent response. Donne and his helpful friends were briefly imprisoned, and More set out to get the marriage annulled, demanding that Egerton dismiss his amorous secretary. 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. Helen Gardner, ed., John Donne: A Collection of Critical Essays (Englewood Cliffs, N.J.: Prentice-Hall, 1962). This is a remarkable sonnet because, although it was written after Donne’s confirmation as a priest in the Church of England, it is teeming with the same erotic language we find in his earlier ‘love sonnets’.