Selected Love Poetry

of

John Donne

(metaphysical poet 1572-1631)

“more than kisses, letters mingle souls”

compiled & prepared by: R. Guraliuk, Gladstone Secondary School

Vancouver, British Columbia

LoveinaTurbulentAge:anintroductiontoJohnDonne’slovepoetry–(by:R.Guraliuk)

Duringthetimemenlivewithoutacommonpowertokeepthemallinawe,theyareinthatconditionwhichiscalledwar,andsuchawarasisofeverymanagainsteveryman...Insuchconditionthereisnoplaceforindustry,becausethefruitthereofisuncertain,andconsequentlynocultureoftheearth;nonavigation,noruseofthecommoditiesthatmaybeimportedbysea;nocommodiousbuilding;...noarts;noletters;nosociety;and,whichisworstofall,continualfear,anddangerofviolentdeath;andthelifeofman,solitary,poor,nasty,brutish,andshort.

ThomasHobbes(1588–1679).OfMan,BeingtheFirstPartofLeviathan.

ThomasHobbespicturestheterribleconditionofpeoplewholivedbeforetherewere

kingstobringaboutorderofsociety.Withoutrulerstokeeppeopleinawe,Hobbesinsisted

thatsocietywoulddissolveintochaosandlifewouldbepoor,nasty,brutish,andshort.

Hobbesclaimedtobewritingaboutatimethatexistedbeforethedawnofhistory,butin

fact,hemayhavebeenworryingaboutthebreakdownofEnglishsocietyaroundhim–civil

warwashappening;thekingwasbeheaded;themonarchywasabolished;long-heldbeliefs

andideaswerebeingdiscredited;optimismandconfidencegavewaytoquestioning,

uncertainty,evenpessimism.Thesechangesallleadscholarstoproclaimthatthe

SeventeenthCenturywasindeedatimeofintensepoliticalandreligiousunrestfor

England.

Theliteratureoftheturbulentyearsfrom1625-1660inpartcontinuedthestylesof

theRenaissance,andinpartreflectedtheconditionsofthetime.Thewritersofthisperiod

canbedividedessentiallyintotwogroups:themetaphysicalpoets,andtheSonsofBen.

AlthoughBenJonsonandotherswroteplaysthatwereoftenmorepopularthan

Shakespeare’s,theperiodisnotrememberedforitsdrama.Rather,itisanagethat

producedmanymemorablepoemsbyJohnDonne,AndrewMarvell,andJohnMilton,for

example.Inthiseraofunrestandchange,JohnDonnestandsoutforhisoftenbrilliantand

intellectuallyamorousandreligiouspoemsandverses.Formany,Donneisthemost

popularofthemetaphysicalpoets,andwithinhisoftendifficultanddemandingwritingone

findsagreatdealoflove,passion,seduction,andsorrow.Donne’sSongsandSonnetsare

amongthefinestcollectionsoflyricsintheEnglishlanguage,andalthoughtheselyrics

refertoamultitudeofdiversethoughts,images,conceits,paradoxes,andallusions,all

whichcharacterizemetaphysicalpoetry,attheircoreisasenseoflove.

Whatexactlyismetaphysicalpoetry?

SamuelJohnsonfirstusedtheterm‘metaphysical’inanattackonwriterswhofilltheirworkswithfar-fetchedconceitsandwhomakepoetryavehiclefordisplaysoflearning.Johnsonwrites:

Wit,likeallotherthingssubjectbytheirnaturetothechoiceofman,hasitschangesandfashions,andatdifferenttimestakesdifferentforms.TheMetaphysicalpoetsweremenoflearning,andtoshowtheirlearningwastheirwholeendeavour...Theirthoughtsareoftennew,butseldomnatural;theyarenotobvious...andthereader,farfromwonderingthathemissedthem,wondersmorefrequentlybywhatperversenessofindustrytheywereeverfound......Ideasareyokedbyviolencetogether;natureandartareransackedforillustrations,comparisons,andallusions;theirlearninginstructsandsurprises;butthereader,thoughhesometimesadmires,isseldompleased.

[FromSamuelJohnson'sLivesofthePoetsseries,publishedbetween1779-1781]Well,itlookslikesJohnsonwasundeniablynotafanofthemetaphysicalpoets,sohere’sourquest(ion):

DoesJohnDonnelovepoetrytrulyandgenuinelyexpressrealloveinitsmanyexperiences,allowingthereadertobemovedandtofeel?

orIsJohnDonnemerelyatalentedpoetwhouseshiswitandingenuitytocreatelovepoems?

MetaphysicalpoetryaroseasareactiontotheextremesofPetrarchism;oneproblemwithPetrarchanpoemsisakindofpredictability--mellifluousmadrigals,charminglovelyricsandsuch.Theconceitisfound,presented,elaborated,buttherearefewsubsequentsurprises.Metaphysicalpoetswerefarmoreintellectual,andtheirintellectualityisexpressedinthematterandthemanneroftheirpoetry.Donneandhisfollowers(AndrewMarvell,GeorgeHerbert,HenryVaughan)liketocatchusoff-guard,changedirection,foilexpectations.Readingpoemsbythemetaphysicalpoetsisoftenanacademic,intellectualexercise.Aboveall,metaphysicalpoetsarecharacterizedbytheiruseofwit,oftenrevealedintheunusualoringenioususeofwordsratherthaninthesubjectmatter.

Variouscharacteristicsofmetaphysicalpoetry

• clevernessofwitdisplayedthroughsubtleandbrilliantimagesorconceits,associatedwiththingsthatatfirstseemincongruous;thedevelopmentoftheconceitisthedevelopmentofthethought;demandsconcentration,andemotional,intellectual,andsensoryresponsefromthereader

• imagerybasedonperceptionofsimilaritybetweendifferentthings

• scornforconventionalpoeticthemesandimages;strongrealism

• lotsofimagesfromlearning:geography,maths,alchemy,theology...

• lotsofimagesfromeverydaylife

• useofimageswhichcontainotherthingsinsomeway;forexample,reflections

• keenperceptionandcleverlyaptuseofwords,ideas,connections

• dramatic,colloquialtone

• startlingopenings;energy,movement

• freedomofrhythminwhichwecanhearstresses,pauses,tempo

• frequentuseofpunsandparadoxes

• tendencytodevelopthemesbyuseofargument,oftenthroughsyllogisticproofs–twostatementsandconclusiondrawnfromthem–(eg.allplantshaveroots;atreeisaplant;therefore,treeshaveroots);maybebasedonfalseanalogiesthough(sheisheavenly;heavenisunchanging;therefore,shecannotdie)

• afusionofemotionandintellect–typically,metaphysicalpoetryrequiresdeepand

difficultthoughtaswellasfeelingfromthereader• useswordswhichcallthemindintoplay,ratherthanwordswhichappealtothe

sensesorevokeanemotionalresponse(throughmemory)• involvesaperceivedlikeness

• emotionsareshapedandexpressedbylogicalreasoning;Intellectwasatthetipofthesenses–T.S.Eliot

JohnDonne,hislovepoems,andSPACE/PLACE

InmanyDonnepoems,theuseofspaceandplaceissignificant.Somecharacteristicsareasfollows:

v discoveries:thedelightofdiscoveryisoftenprofound

v spatialimagination:manyuniqueimagesareused;boundariesarepushed

v senseofplace:awarenessofaphysicalsettingisimportant

v circles(concentriccircles):maybesymbolic,loving,social,spiritual

v cosmos:centereduponEarthandarrangedinconcentricspheres;sublunarysphere(sphereenclosedbythemoon)isalwayschanging,living/dying;composedoffourelements(earth,water,fire,air);celestialsphereispurer,simpler,heavenly

v time:oftenuncertain,changing

JohnDonne’sloversoftenattempttotransformplaceandspace,attempttotransformworld.Theyareshutout;theyshutout;theyaretheworld.Donne’spoemsareoftensetattheedgeofdelight,writtenisresistancetotheinevitable–forbiddingsun,morning,breakofday...ConflictsbetweenTimeandLoveoccur;argumentsareinevitableSpeakersassertpoweroverTime;speakersimaginepoweroverspace.Powerofloversisablereachbeyondtimeintothecelestialsphere.ForDonne,love:

• maybeanexperienceofthebody,thesoul,orboth• maybeareligiousexperienceormerelyasensualone• givesrisetoemotions,fromecstasytodespair

ReadingJohnDonne’slovepoemsgivesinsightintothecomplexrangeofexperiencesconnectedtolove,and/yetareoftencontradictory.Foreachpoemincludedinyourreadingpackage,considereachofthefollowingquestionswhichwillserveasthebasisforourfinalexamquestion.

• analysehowthespeakerusesvariedimagerytorevealhisattitudetowardsthenatureoflove

• discusshowthispoemistypicalofJohnDonneand/ormetaphysicalpoetry

Andfinally(sortof),somemorethoughtsonJohnDonneandMetaphysicalPoetry

JohnDonnewrotehispoetryinamuchdifferentclimatethantheNeoclassicism

whichsoughttoreformulatetheliteraryvaluesofancientGreeceandRome.Hewas

influencedbytheexperimentationofothercontemporarypoets,whowerestrikingout

againstatraditionofhighlystylizedpoeticclichés,suchasbleedinghearts,cheekslike

roses,Cupid’sshootingarrows.Theseaspectshadbeenemployedbythepoetryofcourtly

love,atraditionthatwasnourishedbyliterarytextsandconsistedofpoetrywrittentoand

aboutthearistocracy.Thispoetrydepictedtheknight’sprotestationsofunworthinessand

hisendlesspursuitofdangerandadventuretoprovehisfaithfulanddevotedservicetohis

lady.

Donnewasalsowritingagainstthebackdropofareligiousandliterarytradition,

begunintheearlyMiddleAges,thatassertedthatthebodyandsoulweredistinct.This

traditionbelievedthatthepresentlifewasoneofself-denial.Theeverlastingpeaceofthe

soulinthenextworldwouldcompensateforthisrenunciationofpassion(andsexuality).

Inotherwords,thesufferingandtribulationsofthisworldwouldallberewardedbythe

soul’sfuturehappinessintheworldtocome.Conversely,frighteningimagesofdamnations

awaitedthosewhosinned.

AftertheMiddleAges,literaturetriedtorepairthedivorcebetweenbodyandsoul.

Thisrhetoricaldivisionbetweenbodyandsoulhadbeensopersuasivethatafterthe

Renaissance,literaturebecamedeeplyengagedwiththeefforttorepairthisrift.Donne’s

poetry,aswellasthatoftheothermetaphysicalpoets,soughttoestablishawayof

inseparablyunitingthebodyandsoulinthisworld;itaffirmedhumansexualityasawayto

achievespirituality.Indeed,Donnedaredtousepotentiallyperceivederoticimagesin

completeoppositiontowhathadbeenpreviouslyconsideredappropriateanddecorous.

Thus,inhisboldandoftenincongruousimagery,Donnebrokeawayfromthepastand

offerednewwaytoperceiverealityandthespiritualnatureofour(secular)existence.

TheLifeofJohnDonne:ABriefHistory

TherearetwodistinctstagesofwritingforJohnDonne.Firstisthescandalous

youngspark,whowroteenergetic,originalverse.Thenthereisthegravelywitty,

passionatelydivine,whowroteversestohisGod.Thekeyto‘both’isthesame:itisakind

ofrestless,searchingenergy,whichscornstheeasyplatitudeandthesmooth,empty

phrase.Hiswritingisvivid,troubling,allofwhichmakesreadingDonne’spoetryan

imaginativeandintellectualstruggleandall-absorbingexperience.

JohnDonnewasbornin1572inLondon,England.Heisknownasthefounderofthe

MetaphysicalPoets,atermcreatedbySamuelJohnson,aneighteenth-centuryEnglish

essayist,poet,andphilosopher.ThelooselyassociatedgroupalsoincludesGeorgeHerbert,

RichardCrashaw,AndrewMarvell,andJohnCleveland.TheMetaphysicalPoetsareknown

fortheirabilitytostartlethereaderandcoaxnewperspectivethroughparadoxicalimages,

subtleargument,inventivesyntax,andimageryfromart,philosophy,andreligionusingan

extendedmetaphorknownasaconceit.Donnereachedbeyondtherationaland

hierarchicalstructuresoftheseventeenthcenturywithhisexactingandingeniousconceits,

advancingtheexploratoryspiritofhistime.

Donneenteredtheworldduringaperiodoftheologicalandpoliticalunrestforboth

EnglandandFrance;aProtestantmassacreoccurredonSaintBartholomew’sdayin

France;whileinEngland,theCatholicswerethepersecutedminority.BornintoaRoman

Catholicfamily,Donne’spersonalrelationshipwithreligionwastumultuousand

passionate,andatthecenterofmuchofhispoetry.HestudiedatbothOxfordand

CambridgeUniversitiesinhisearlyteenyears.Hedidnottakeadegreeateitherschool,

becausetodosowouldhavemeantsubscribingtotheThirty-nineArticles,thedoctrine

thatdefinedAnglicanism.AtagetwentyhestudiedlawatLincoln’sInn.Twoyearslaterhe

succumbedtoreligiouspressureandjoinedtheAnglicanChurchafterhisyoungerbrother,

convictedforhisCatholicloyalties,diedinprison.Donnewrotemostofhislovelyrics,

eroticverse,andsomesacredpoemsinthe1590s,creatingtwomajorvolumesof

work:SatiresandSongsandSonnets.

In1598,afterreturningfromatwo-yearnavalexpeditionagainstSpain,Donnewas

appointedprivatesecretarytoSirThomasEgerton.WhilesittinginQueenElizabeth’slast

Parliamentin1601,DonnesecretlymarriedAnneMore,thesixteen-year-oldnieceofLady

Egerton.Donne’sfather-in-lawdisapprovedofthemarriage.Aspunishment,hedidnot

provideadowryforthecoupleandhadDonnebrieflyimprisoned.

Thisleftthecoupleisolatedanddependentonfriends,relatives,andpatrons.Donne

sufferedsocialandfinancialinstabilityintheyearsfollowinghismarriage,exacerbatedby

thebirthofmanychildren.HecontinuedtowriteandpublishedtheDivinePoemsin1607.

InPseudo-Martyr,publishedin1610,Donnedisplayedhisextensiveknowledgeofthelaws

oftheChurchandstate,arguingthatRomanCatholicscouldsupportJamesIwithout

compromisingtheirfaith.In1615,JamesIpressuredhimtoentertheAnglicanMinistryby

declaringthatDonnecouldnotbeemployedoutsideoftheChurch.HewasappointedRoyal

Chaplainlaterthatyear.Hiswifediedin1617atthirty-threeyearsoldshortlyaftergiving

birthtotheirtwelfthchild,whowasstillborn.TheHolySonnetsarealsoattributedtothis

phaseofhislife.

In1621,hebecamedeanofSaintPaul’sCathedral.Inhislateryears,Donne’swriting

reflectedhisfearofhisinevitabledeath.Hewrotehisprivateprayers,Devotionsupon

EmergentOccasions,duringaperiodofsevereillnessandpublishedthemin1624.His

learned,charismatic,andinventivepreachingmadehimahighlyinfluentialpresencein

London.Bestknownforhisvivacious,compellingstyleandthoroughexaminationofmortal

paradox,JohnDonnediedinLondononMarch31,1631.

VerylittleofDonne’sverseappearedinprintduringhislifetime,andthe

posthumousCollectedPoems(1663)wasbynomeanscomplete.Hisverseisgenerally

dividedintothelovepoetryofhisyouthandthereligiouspoetryoflateryears,thoughboth

clearlybelongtothesameprocessoforganicdevelopment.Hislovepoetryisoriginal,

energeticandhighlyrhetorical,fullofpassionatethoughtandintellectualjuggling,paradox

andpunningdesignedtoworkforcefullyagainstthetiredconventionsofthePetrarchan

school.Itisofteneroticandphysicallyurgent.Hispoetryrepresentsasharpbreakwith

mostofthatwrittenbyhispredecessorsandcontemporaries.

(https://www.poets.org/poetsorg/poet/john-donne)

the early lyric poems of John Donne

metaphysical poet

“poetrytobefurtivelyshared”

acute observation

sensual indulgence

colloquial vigour

playful religious blasphemy

intellectual erudition

legal technicality

English 12 AP Guraliuk

Sight Passage Composition

Read the following John Donne poem carefully. Then, in a well-organized essay, analyze how the speaker uses the varied imagery of the poem to reveal his attitude towards the nature of love.

The Broken Heart

He is stark mad, who ever says, That he hath been in love an hour, Yet not that love so soon decays, But that it can ten in less space devour; Who will believe me, if I swear 5 That I have had the plague a year? Who would not laugh at me, if I should say I saw a flask of powder burn a day? Ah, what a trifle is a heart, If once into Love’s hands it come! 10 All other griefs allow a part To other griefs, and ask themselves but some: They come to us, but us Love draws, He swallows us, and never chaws: 1 By him, as by chain’d shot,2 whole ranks do die, 15 He is the tyrant pike, our hearts the fry.3

If ’twere not so, what did become Of my heart, when I first saw thee? I brought a heart into the room, But from the room, I carried none with me: 20 If it had gone to thee, I know Mine would have taught thine heart to show More pity unto me: but Love, alas, At one first blow did shiver it as glass. Yet nothing can to nothing fall, 25 Nor any place be empty quite, Therefore I think my breast hath all Those pieces still, though they be not unite; And now as broken glasses4 show A hundred lesser faces, so 30 My rags of heart can like, wish, and adore, But after one such love, can love no more. 1 -- chews 2 -- cannon balls chained together 3 -- small fish that the pike devours 4 -- mirrors

TheBrokenHeartsamplecompositions

SampleEssay1:Excellent

Throughouthistory,innumerablepoetshavecommentedonthenatureoflove.Eachpoetuseshisownstyletoconveyhisattitudetowardlove.In"TheBrokenHeart,"JohnDonneusesimagerytorevealhisviewofloveasapowerful,consuming,andcruelforce.

ThefirststanzaindicatesDonne'sbeliefthatLovedoesnotoccurgradually;instead,itcan"devour"tenpeopleinlessspacethananhour.ByusingtheimageofLovedevouringthelover,theauthorindicatesthelackofchoiceofthelover;fallinginloveisaninvoluntaryprocessthatoccursinstantaneously.Hethenusestheideasof"[having]theplagueayear"and"[seeing]aflaskofpowderburnaday"ascomparableoccurrences—theyareashardtocomprehendorbelieve.

HavingshowntheimmediacyofLove,Donnethenillustratesthepoweroflove.Heusestheimageoftheheartasatrifle,indicatingtheheart'shelplessness"[i]fonceintolove'shandsitcome[s]."HecomparesLovetoagrief,butbelievesthatothergriefsclaimbutportionsofoursouls.Love,incontrast,"swallowsus"completely.

DonnealsoportraysLoveasaforcethatcanbecruel;intheconclusionofthesecondstanza,heprovidestwoimagesofloversasvictims.Comparingloveto"chain'dshot,"herevealshisbeliefthatloveisresponsibleforthespiritualdeathsof"wholeranks"ofpeople.Thissimilealsoprovidestheimageofloversassoldiers,fightingvainlyagainsttheforceofLove.ThesecondimageisthatofLoveasa"tyrantpike"andlover'sheartsas"thefry."Again,DonneportraysloversasvainlyattemptingtoescapefromthedevouringforceofLove.

Inthethirdstanza,DonnerevealsthereasonforhisviewofLoveasacruel,consumingpower.WhilethefirsttwostanzasillustratehisviewofLoveingeneralandalllovers,thethirdstanzarelateshispersonalexperiencewithLove.Heusestheimagesof"[bringing]aheartintotheroom"and"[carrying]none"whenleaving,indicatingthelossofhisheartwhenheseesthewomanintheroom.However,hisheartdoesnotgotothewoman,forotherwisehisheart"wouldhavetaught[her]hearttoshowmorepity"untohim.Sherejectshim,aneventwhichheillustratesbytheimageofLoveshatteringhisheart.Hecompareshishearttoglass,indicatinghoweasilythepowerfulforceofLovecanbreakit.

Oncebroken,Donnebelievesthattheheartisnolongercapableoftruelove.Althoughhefeelsthathisbreaststillcontainsallthepiecesofhisheart,theyaremerelypieces,"notunite."Therefore,hispiecesor"ragsofheart"maystillbecapableoflesserfeelings,suchasliking,wishing,andadoring,but,"afteronesuchlove,canlovenomore."

JohnDonne'sownexperiencewithLovehasleftanemptinessinhim.HerealizesthenhowpowerfulLoveisandhowcruelanddestructiveLovecanbe.ByusingvariousimagesofLove,lovers,andhisheart,heconveysthisattitudetowardthenatureoflovetothereader.

SampleEssay2:Excellent

Loveisthesinglemostcelebratedhumanemotion.Avastbodyofliteratureexaminesitsnuancesandexploresitsmeanings.Typically,poetsandauthorschampionlove'smyriadvirtues.Itisasalveforthewoundedandaboonforthewhole,afounderofrelationshipsandabuilderofunity.JohnDonneseeslovedifferently,however,anddepartsfromhisliterarycomradesinhispowerfuldescriptionofloveasthedestroyerofhisheart.

Thepoem'sfirstverseaddressesthedurationoflove.Donneopensbyofferingtheimpressionthatpassionvariesinlength,althoughhestatesthatthegeneralperceptionofloveisthatitisashorttermaffair.Hequeries,"Whowillbelieveme,ifIswear/ThatIhavehadtheplagueayear?"ThelineinformsthereaderthatDonneisoperatingfrompersonalexperienceandatthesametimecastsanegativelightonlove,whichDonnecallstheplague.Thesamecombinationoftestimonyabouttheexistenceofalonglovecoupledwithanegativeconnotationoftheemotionisfoundintheneatline,whichreads"Whowouldnotlaughatme,ifIshouldsay,/Isawaflaskofpowderburnaday?"Thestrikingimageisofloveasaflaskofpowder.Donne'simagepressestheissueoftheabnormalityofalonglove,sinceloveisgenerallyexplosive,likethekegofpowderwouldlogicallybe.Atthesametime,thepowderimagecontributestolove'sfallingreputationinthepoem.Abarrelofpowderconjuresthoughtsofwaranddestruction,andbyusingitasasymbolofloveDonneassociatespassionandfeelingwiththepowder'sdestructivecapacity.

Thesecondversecarriesovertheideaoflove'sabilitytodamageanddestroy.Donnepersonifiesloveanddrawsthementalpictureofitgraspingaheartinthelines,"Oh,whatatrifleisaheart,/Ifonceintolove'shandsitcome!"Theideathatlovehasthepowertograspandholdthehumanheart,symbolicofman'scapacityforemotion,reinforcesDonne'spointofloveasanegativeforce.Thepoetmentionsthegriefsassociatedwithloveandthenproceedstoweaveseveraldisturbingimagestogether,stating,"Byhim,asbychain'dshot,wholeranksdodie,/Heisthetyrantpike,ourheartsthefry."Heislove,andhisabilitytolaywastetotheheartsofmenisdirectlystatedthroughDonne'simagesofcarnageandslaughter.Asthepikeimagesuggests,Donnebelievesthatloveisapredatorreadyandwillingtodevourthedefenselesshumanheart.

Thethirdversemovesfromtherealmofgeneralizationsintothefieldofpersonalexperience.Thepoetrhetoricallyasks,"If'twernotso,whatdidbecome/Ofmyheart,whenIfirstsawthee?"Thelineestablishestheverseastherelationofaspecificevent.Donnesimplyevokestheimageofamanwalkingintoaroomwithaheartandleavingwithoutitinthelines"Ibroughtaheartintotheroom,/Butfromtheroom,Icarriednonewithme."Onceagain,Donneisarguinghismainpoint,thistimethroughpersonalexperience.Explainingthelossofhisheart,hesays,"Morepityuntome.butLove,alas,/atoneblowdidshiveritasglass."Nofrailheartcanwithstandtheexplosivepoweroflove.

Theresultsoflove'sdepredationarethesubjectofthelastverse.Donneutilizestheentireversetoexpresstheshatteredfeelinghehasexperienced.Hesaysofhisheart"ThereforeIthinkmyhearthathall/Thosepowersstill,thoughtheybenotunite."Theeventualresultofhisexperiencewas,asthepoem'snameimplies,abrokenheart.Hisexperienceledtopainandsuffering,notjoyandhappiness.Ashestates,"Myragsofheartcanlike,wish,andadore,/Butafteronesuchlove,canlovenomore,"meaningthatoncetruelovehasbeenexperienced,itwillnotbeexperiencedagain.Afterthepowderkeghasexploded,allthatislefttodoispickupthepiecesandremembertheheatofthepassionateinferno.

SampleEssay3:Satisfactory

ItisabitteranddepressedattitudethatthespeakerinJohnDonne’spoem“TheBrokenHeart”hastowardslove.Thisisexpertlyrevealedthroughthevarioustypesofimageryusedinthepoem.

Thefirsttwolinesofthepoemsetthetone.Itisapparentthatthespeakeriscrushedandnowruinedbyflawedlovebecausehebeginsharshly,doubtingthosewhoclaimtobeinlove.Then,inlinesix,hereferstolovesicknessas“theplague”.

Thesecondstanzadepictsloveasapredator,whopreysonourhearts,asDonnewrites,“...uslovedraws,/Heswallowsus,andneverchews...”(lines13–14).Thiscomparisonismademoreevidentwithametaphorusedinline16:“Heisthetyrantpike,ourheartsthefry.”Inordertofurthervictimizethosewhohavebeencrushedbythejawsoflove,Donnecomparesloveto“chain’dshot”,expressinghowpowerfullovecanbe.

Thespeaker’srelationshipwithwhoeveritiswhohasbrokenhisheart(withthehelpoflove,ofcourse)isexplainedingreaterdetailthroughmicrocosmsusedinthethirdstanza.The“room”hespeaksofisusedtomeantherelationship,whilethe“heart”meansthespeaker’scapacitytolove,hisemotionalcapabilities.Love,however,rendershimpowerless,takingawaythespeaker’s“heart”orhiscapacityforlove.Thevisualandauditoryimageryofbreakingglassinthefinalline(lovehitshard)completesthestanzapowerfully.

Thereisaresignedtoneapparentinthefinalstanza.Thespeakercontendsthat,yes,hedoesstillhaveaheart,butitis“brokenglasses”that“show/Ahundredlesserfaces,”meaningthathislovewillneverbequitethesame:itwillbevariedindegreesofaffection,butwillnevertruly,deeplyloveagain.Thisismorevisualimagery,whichiscontinuedintothelasttwolines,wherehereferstohisnow-shatteredheartashis“ragsofheart”.Thisimagery,liketherestusedinthebeginningandmiddleofthepoem,isveryeffectiveindescribingthebitter,ruinedtonethespeakernowhastowardslove.

Donne “Love” poems:

• Air and Angels • The Apparition • The Anniversary • The Bait • The Blossom • Break of Day • The Broken Heart • The Canonization • Community • The Computation • Confined Love • The Curse • The Damp • The Dissolution • The Dream • The Ecstasy • The Expiration • Farwell to Love • A Fever • The Flea • The Funeral • The Good-Morrow • The Indifferent • The Legacy • Love’s Alchemy • Love’s Deity • Love’s Diet • Love’s Exchange

• Love’s Growth • Love’s Usury • Lovers’ Inf initeness • The Message • Negative Love • A Nocturnal Upon Saint Lucy’s Day • The Paradox • The Primrose • The Prohibition • The Relic • Self-Love • Song: Go and catch a fal l ing star • Song: Soul’s joy, now I am gone • Song: Sweetest love, I do not go • The Sun Rising • The Token • The Triple Fool • Twickenham Garden • The Undertaking • A Valedict ion Forbidding

Mourning • Valediction to his Book • A Valediction of my Name, in the

Window • A Valediction of Weeping • The Will • Witchcraft by a Picture • Woman’s Constancy

*titlesinboldarefoundinthisguide

IwascleverenoughtoknowthatJohnDonnewasofferingsomethingthatwasawfullyenjoyable.Ijustwasn’tcleverenoughtoactuallyenjoyit.–WallaceShawn

TheIndifferent

Icanlovebothfairandbrown,Herwhomabundancemelts,andherwhomwantbetrays,Herwholoveslonenessbest,andherwhomasksandplays,Herwhomthecountryformed,andwhomthetown,Herwhobelieves,andherwhotries,Herwhostillweepswithspongyeyes,Andherwhoisdrycork,andnevercries;Icanloveher,andher,andyou,andyou,Icanloveany,soshebenottrue.Willnoothervicecontentyou?Willitnotserveyourturntodoasdidyourmothers?Orhaveyoualloldvicesspent,andnowwouldfindoutothers?Ordothafearthatmenaretruetormentyou?Owearenot,benotyouso;Letme,anddoyou,twentyknow.Robme,butbindmenot,andletmego.MustI,whocametotravailthoroughyou,Growyourfixedsubject,becauseyouaretrue?Venusheardmesighthissong,Andbylove'ssweetestpart,variety,sheswore,Sheheardnotthistillnow;andthatitshouldbesonomore.Shewent,examined,andreturnederelong,Andsaid,Alas!sometwoorthreePoorhereticsinlovetherebe,Whichthinkto’stablishdangerousconstancy.ButIhavetoldthem,Sinceyouwillbetrue,Youshallbetruetothemwhoarefalsetoyou.

Song:goandcatchGoandcatchafallingstar,Getwithchildamandrakeroot,Tellmewhereallpastyearsare,Orwhocleftthedevil'sfoot,Teachmetohearmermaidssinging,Ortokeepoffenvy'sstinging,AndfindWhatwindServestoadvanceanhonestmind.Ifthoube'stborntostrangesights,Thingsinvisibletosee,Ridetenthousanddaysandnights,Tillagesnowwhitehairsonthee,Thou,whenthoureturn'st,wilttellme,Allstrangewondersthatbefellthee,Andswear,NowhereLivesawomantrue,andfair.Ifthoufind'stone,letmeknow,Suchapilgrimageweresweet;Yetdonot,Iwouldnotgo,Thoughatnextdoorwemightmeet;Thoughsheweretrue,whenyoumether,Andlast,tillyouwriteyourletter,YetsheWillbeFalse,ereIcome,totwo,orthree.

AirandAngelsTwiceorthricehadIlov'dthee,BeforeIknewthyfaceorname;Soinavoice,soinashapelessflameAngelsaffectusoft,andworshipp'dbe;Stillwhen,towherethouwert,Icame,SomelovelygloriousnothingIdidsee.Butsincemysoul,whosechildloveis,Takeslimbsofflesh,andelsecouldnothingdo,MoresubtlethantheparentisLovemustnotbe,buttakeabodytoo;Andthereforewhatthouwert,andwho,IbidLoveask,andnowThatitassumethybody,Iallow,Andfixitselfinthylip,eye,andbrow.WhilstthustoballastloveIthought,Andsomoresteadilytohavegone,Withwareswhichwouldsinkadmiration,IsawIhadlove'spinnaceoverfraught;Ev'rythyhairforlovetoworkuponIsmuchtoomuch,somefittermustbesought;For,norinnothing,norinthingsExtreme,andscatt'ringbright,canloveinhere;Then,asanangel,face,andwingsOfair,notpureasit,yetpure,dothwear,Sothylovemaybemylove'ssphere;JustsuchdisparityAsis'twixtairandangels'purity,'Twixtwomen'slove,andmen's,willeverbe.

TheFleaMarkbutthisflea,andmarkinthis,Howlittlethatwhichthoudeniestmeis;Itsuckedmefirst,andnowsucksthee,Andinthisfleaourtwobloodsmingledbe;Thouknow’stthatthiscannotbesaidAsin,norshame,norlossofmaidenhead,Yetthisenjoysbeforeitwoo,Andpamperedswellswithonebloodmadeoftwo,Andthis,alas,ismorethanwewoulddo.Ohstay,threelivesinonefleaspare,Wherewealmost,naymorethanmarriedare.ThisfleaisyouandI,andthisOurmarriagebed,andmarriagetempleis;Thoughparentsgrudge,andyou,w'aremet,Andcloisteredintheselivingwallsofjet.Thoughusemakeyouapttokillme,Letnottothat,self-murderaddedbe,Andsacrilege,threesinsinkillingthree.Cruelandsudden,hastthousincePurpledthynail,inbloodofinnocence?Whereincouldthisfleaguiltybe,Exceptinthatdropwhichitsuckedfromthee?Yetthoutriumph’st,andsay'stthatthouFind’stnotthyself,normetheweakernow;’Tistrue;thenlearnhowfalse,fearsbe:Justsomuchhonor,whenthouyield’sttome,Willwaste,asthisflea’sdeathtooklifefromthee.

TheGoodMorrow

Iwonder,bymytroth,whatthouandIDid,tillweloved?Werewenotweanedtillthen?Butsuckedoncountrypleasures,childishly?OrsnortedweintheSevenSleepers’den?’Twasso;butthis,allpleasuresfanciesbe.IfeveranybeautyIdidsee,WhichIdesired,andgot,’twasbutadreamofthee.Andnowgood-morrowtoourwakingsouls,Whichwatchnotoneanotheroutoffear;Forlove,allloveofothersightscontrols,Andmakesonelittleroomaneverywhere.Letsea-discovererstonewworldshavegone,Letmapstoother,worldsonworldshaveshown,Letuspossessoneworld,eachhathone,andisone.Myfaceinthineeye,thineinmineappears,Andtrueplainheartsdointhefacesrest;Wherecanwefindtwobetterhemispheres,Withoutsharpnorth,withoutdecliningwest?Whateverdies,wasnotmixedequally;Ifourtwolovesbeone,or,thouandILovesoalike,thatnonedoslacken,nonecandie.

TheTripleFool

Iamtwofools,Iknow,Forloving,andforsayingsoInwhiningpoetry;Butwhere'sthatwiseman,thatwouldnotbeI,Ifshewouldnotdeny?Thenasth'earth'sinwardnarrowcrookedlanesDopurgeseawater'sfretfulsaltaway,Ithought,ifIcoulddrawmypainsThroughrhyme'svexation,Ishouldthemallay.Griefbroughttonumberscannotbesofierce,Forhetamesit,thatfettersitinverse.ButwhenIhavedoneso,Someman,hisartandvoicetoshow,Dothsetandsingmypain;And,bydelightingmany,freesagainGrief,whichversedidrestrain.Toloveandgrieftributeofversebelongs,Butnotofsuchaspleaseswhen'tisread.Bothareincreasedbysuchsongs,Forboththeirtriumphssoarepublished,AndI,whichwastwofools,dosogrowthree;Whoarealittlewise,thebestfoolsbe.

Lovers’Infiniteness

IfyetIhavenotallthylove,Dear,Ishallneverhaveitall;Icannotbreatheoneothersigh,tomove,Norcanintreatoneotherteartofall;Andallmytreasure,whichshouldpurchasethee—Sighs,tears,andoaths,andletters—Ihavespent.Yetnomorecanbeduetome,Thanatthebargainmadewasmeant;Ifthenthygiftoflovewerepartial,Thatsometome,someshouldtoothersfall,Dear,Ishallneverhavetheeall.Orifthenthougavestmeall,Allwasbutall,whichthouhadstthen;Butifinthyheart,since,therebeorshallNewlovecreatedbe,byothermen,Whichhavetheirstocksentire,andcanintears,Insighs,inoaths,andletters,outbidme,Thisnewlovemaybegetnewfears,Forthislovewasnotvow'dbythee.Andyetitwas,thygiftbeinggeneral;Theground,thyheart,ismine;whatevershallGrowthere,dear,Ishouldhaveitall.YetIwouldnothaveallyet,Hethathathallcanhavenomore;AndsincemylovedotheverydayadmitNewgrowth,thoushouldsthavenewrewardsinstore;Thoucanstnoteverydaygivemethyheart,Ifthoucanstgiveit,thenthounevergavestit;Love'sriddlesare,thatthoughthyheartdepart,Itstaysathome,andthouwithlosingsavestit;Butwewillhaveawaymoreliberal,Thanchanginghearts,tojointhem;soweshallBeone,andoneanother'sall.

TheEcstasyWhere,likeapillowonabedApregnantbankswell'duptorestTheviolet'sreclininghead,Satwetwo,oneanother'sbest.OurhandswerefirmlycementedWithafastbalm,whichthencedidspring;Oureye-beamstwisted,anddidthreadOureyesupononedoublestring;Soto'intergraftourhands,asyetWasallthemeanstomakeusone,AndpicturesinoureyestogetWasallourpropagation.As'twixttwoequalarmiesfateSuspendsuncertainvictory,Oursouls(whichtoadvancetheirstateWeregoneout)hung'twixtherandme.Andwhilstoursoulsnegotiatethere,Welikesepulchralstatueslay;Allday,thesameourpostureswere,Andwesaidnothing,alltheday.Ifany,sobyloverefin'dThathesoul'slanguageunderstood,Andbygoodloveweregrownallmind,Withinconvenientdistancestood,He(thoughheknewnotwhichsoulspake,Becausebothmeant,bothspakethesame)MightthenceanewconcoctiontakeAndpartfarpurerthanhecame.Thisecstasydothunperplex,Wesaid,andtelluswhatwelove;Weseebythisitwasnotsex,Weseewesawnotwhatdidmove;ButasallseveralsoulscontainMixtureofthings,theyknownotwhat,Lovethesemix'dsoulsdothmixagainAndmakesbothone,eachthisandthat.

Asingleviolettransplant,Thestrength,thecolour,andthesize,(Allwhichbeforewaspoorandscant)Redoublesstill,andmultiplies.WhenlovewithoneanothersoInterinanimatestwosouls,Thatablersoul,whichthencedothflow,Defectsoflonelinesscontrols.Wethen,whoarethisnewsoul,knowOfwhatwearecompos'dandmade,Forth'atomiesofwhichwegrowAresouls,whomnochangecaninvade.Butohalas,solong,sofar,Ourbodieswhydoweforbear?Theyareours,thoughtheyarenotwe;weareTheintelligences,theythespheres.Weowethemthanks,becausetheythusDidus,tous,atfirstconvey,Yieldedtheirsenses'forcetous,Noraredrosstous,butallay.Onmanheaven'sinfluenceworksnotso,Butthatitfirstimprintstheair;Sosoulintothesoulmayflow,Thoughittobodyfirstrepair.AsourbloodlabourstobegetSpirits,aslikesoulsasitcan,BecausesuchfingersneedtoknitThatsubtleknotwhichmakesusman,Somustpurelovers'soulsdescendT'affections,andtofaculties,Whichsensemayreachandapprehend,Elseagreatprinceinprisonlies.Toourbodiesturnwethen,thatsoWeakmenonlovereveal'dmaylook;Love'smysteriesinsoulsdogrow,Butyetthebodyishisbook.Andifsomelover,suchaswe,Haveheardthisdialogueofone,Lethimstillmarkus,heshallseeSmallchange,whenwearetobodiesgone.

TheSunRisingBusyoldfool,unrulysun,Whydostthouthus,Throughwindows,andthroughcurtainscallonus?Musttothymotionslovers'seasonsrun?Saucypedanticwretch,gochideLateschoolboysandsourprenticesGotellcourthuntsmenthatthekingwillride,Callcountryantstoharvestoffices,Love,allalike,noseasonknowsnorclime,Norhours,days,months,whicharetheragsoftime.Thybeams,soreverendandstrongWhyshouldstthouthink?Icouldeclipseandcloudthemwithawink,ButthatIwouldnotlosehersightsolong;Ifhereyeshavenotblindedthine,Look,andtomorrowlate,tellme,Whetherbothth’IndiasofspiceandmineBewherethouleftstthem,orlieherewithme.Askforthosekingswhomthousaw'styesterday,Andthoushalthear,Allhereinonebedlay.She'sallstates,andallprinces,I,Nothingelseis.Princesdobutplayus;comparedtothis,Allhonor'smimic,allwealthalchemyThou,sun,arthalfashappyaswe,Inthattheworld'scontractedthus.Thineageasksease,andsincethydutiesbeTowarmtheworld,that'sdoneinwarmingus.Shineheretous,andthouarteverywhere;Thisbedthycenteris,thesewalls,thysphere.

AFeverOhdonotdie,forIshallhateAllwomenso,whenthouartgone,ThattheeIshallnotcelebrate,WhenIremember,thouwastone.Butyetthoucanstnotdie,Iknow;Toleavethisworldbehind,isdeath,Butwhenthoufromthisworldwiltgo,Thewholeworldvapourswiththybreath.Orif,whenthou,theworld’ssoul,go`st,Itstay,’tisbutthycarcasethen,Thefairestwoman,butthyghost,Butcorruptworms,theworthiestmen.Ohwranglingschools,thatsearchwhatfireShallburnthisworld,hadnonethewitUntothisknowledgetoaspire,Thatthisherfevermightbeit?Andyetshecannotwastebythis,Norlongbearthistorturingwrong,FormuchcorruptionneedfulisTofuelsuchafeverlong.Theseburningfitsbutmeteorsbe,Whosematterintheeissoonspent.Thybeauty,andallparts,whicharethee,Areunchangeablefirmament.Yet’twasofmymind,seizingthee,Thoughitintheecannotpersevere.ForIhadratherownerbeOftheeonehour,thanallelseever.

TheFuneralWhoevercomestoshroudme,donotharmNorquestionmuchThatsubtlewreathofhair,whichcrownsmyarm;Themystery,thesign,youmustnottouch,For'tismyoutwardsoul,Viceroytothat,whichthentoheavenbeinggone,WillleavethistocontrolAndkeeptheselimbs,herprovinces,fromdissolution.ForifthesinewythreadmybrainletsfallThrougheverypartCantiethoseparts,andmakemeoneofall,Thosehairswhichupwardgrew,andstrengthandartHavefromabetterbrain,Canbetterdoit;exceptshemeantthatIBythisshouldknowmypain,Asprisonersthenaremanacled,whentheyarecondemn'dtodie.Whate'ershemeantbyit,buryitwithme,ForsinceIamLove'smartyr,itmightbreedidolatry,Ifintootherhandstheserelicscame;As'twashumilityToaffordtoitallthatasoulcando,So,'tissomebravery,Thatsinceyouwouldhavenoneofme,Iburysomeofyou.

AValedictionForbiddingMourningAsvirtuousmenpassmildlyaway,Andwhispertotheirsoulstogo,WhilstsomeoftheirsadfriendsdosayThebreathgoesnow,andsomesay,No:Soletusmelt,andmakenonoise,Notear-floods,norsigh-tempestsmove;'TwereprofanationofourjoysTotellthelaityourlove.Movingofth'earthbringsharmsandfears,Menreckonwhatitdid,andmeant;Buttrepidationofthespheres,Thoughgreaterfar,isinnocent.Dullsublunarylovers'love(Whosesoulissense)cannotadmitAbsence,becauseitdothremoveThosethingswhichelementedit.Butwebyalovesomuchrefined,Thatourselvesknownotwhatitis,Inter-assuredofthemind,Careless,eyes,lips,andhandstomiss.Ourtwosoulstherefore,whichareone,ThoughImustgo,endurenotyetAbreach,butanexpansion,Likegoldtoairythinnessbeat.Iftheybetwo,theyaretwosoAsstifftwincompassesaretwo;Thysoul,thefixedfoot,makesnoshowTomove,butdoth,iftheotherdo.Andthoughitinthecentersit,Yetwhentheotherfardothroam,Itleansandhearkensafterit,Andgrowserect,asthatcomeshome.Suchwiltthoubetome,whomust,Liketh'otherfoot,obliquelyrun;Thyfirmnessmakesmycirclejust,AndmakesmeendwhereIbegun.

Song:sweetestloveSweetestlove,Idonotgo,Forwearinessofthee,NorinhopetheworldcanshowAfitterloveforme;ButsincethatIMustdieatlast,'tisbestTousemyselfinjestThusbyfeign'ddeathstodie.Yesternightthesunwenthence,Andyetisheretoday;Hehathnodesirenorsense,Norhalfsoshortaway:Thenfearnotme,ButbelievethatIshallmakeSpeedierjourneys,sinceItakeMorewingsandspursthanhe.Ohowfeebleisman'spower,Thatifgoodfortunefall,Cannotaddanotherhour,Noralosthourrecall!Butcomebadchance,Andwejointo'itourstrength,Andweteachitartandlength,Itselfo'erusto'advance.Whenthousigh'st,thousigh'stnotwind,Butsigh'stmysoulaway;Whenthouweep'st,unkindlykind,Mylife'sblooddothdecay.ItcannotbeThatthoulov'stme,asthousay'st,Ifinthinemylifethouwaste,Thatartthebestofme.LetnotthydiviningheartForethinkmeanyill;Destinymaytakethypart,Andmaythyfearsfulfil;ButthinkthatweArebutturn'dasidetosleep;TheywhooneanotherkeepAlive,ne'erpartedbe.

BreakofDay‘Tistrue,‘tisday,whatthoughitbe?Owiltthouthereforerisefromme?Whyshouldwerisebecause‘tislight?Didweliedownbecause‘twasnight?Love,whichinspiteofdarknessbroughtushither,Shouldindespiteoflightkeepustogether.Lighthathnotongue,butisalleye;Ifitcouldspeakaswellasspy,Thisweretheworstthatitcouldsay,ThatbeingwellIfainwouldstay,AndthatIlovedmyheartandhonourso,ThatIwouldnotfromhim,thathadthem,go.Mustbusinesstheefromhenceremove?Oh,that’stheworstdiseaseoflove,Thepoor,thefoul,thefalse,lovecanAdmit,butnotthebusiedman.Hewhichhathbusiness,andmakeslove,dothdoSuchwrong,aswhenamarriedmandothwoo.

CommentariesandActivitieson(Selected)DonneLovePoems

TheIndifferent

Thispoemshouldbeviewedasbeingdeliberatelyoutrageous;itsuggeststhatmarriageandmonogamyaredangerousvices;oneshouldbefreetoloveanyoneatanytime.

GoandCatchaFallingStar

paraphraseeachstanzaverse1:Thepoemstartsoffbyorderingyoutoattemptastringofimpossiblefeats:catchafallingstar,ravishaplantthatstrangelylookssomewhathuman(seriously–searchitup)findoutwhereallthepastyearsare,tellDonne(speaker)whogavethedevilclovenhooves,teachhimtohearmermaids,howtoavoidenvy,andfinally,findoutwhichwindhelpshonestmentopromotion(animpossibletasksince,aseveryoneknows,beinghonestisnotmuchhelpifyouwanttogetaheadinlife–whateverwindisblowing).verse2:Ifyouhavemagicpowersandcanseethingsthatareinvisibletoordinaryeyes,thenjourneyuntilyouareoldandgreyandwhenyoucomeback,tellDonneaboutallthewondersyouhaveseenbutonethingyouwon’thaveseenisawomanwhoisbothbeautifulandtrue.verse3:Ifyoudofindone,letDonneknow;hewouldlovetomakeapilgrimagetoher,yetyouneedn’tbother;therewouldreallybenopointinhimsettingoffbecauseevenifshehadbeentruewhenyoumetherandhadstayedtrueuntilyouhadwrittenDonneabouther,shewouldhavebeenfalsetotwoorthreemenbythetimehearrivedevenifonlyhadtogonextdoor.Whichofthefollowingwordsdoyouthinkapplytothispoemandwhy?

boring,dullenergetic,serious,light,deep,amusing,dramatic,stilted,unfair...

AirandAngels

Thispoemexploresthedifferencebetweenrealloveanderoticloveandperhapscontainsasexistmaleview.Lines23-15:somescholasticphilosophersheldthatangels,whentheyappearedtoman,assumedabodyofair.Suchabody,thoughpure,waslesssothanthepureangel’sbeing.Similarly,women’slove,whichDonnethinkslesspurethanthatofmen,maystillserveasthereceptacle(sphere)fortheloveofmen.

paraphrasing:IlovedyoubeforeImetyou,inthesamewayangelscaninfluenceuswithoutmeetingthem.EversinceImetyou,youseemedlikeanangel–alovely,gloriousspirit.Butjustasmysoulhastoliveinabody,somylovehastolivesomewhere.This,Iaskedmylovetofindoutaboutyouandsettleinyou.Ididthistofixmyloveandsteadyit,butyouaresodistractedlylovelythatmylovecannotliveinyou.Iwillhavetofindsomewhereelseforittosettlein.Itcanliveinsideyourloveforme,justasanangelhastoliveinabodyofairwhenitappearstoman.Thedifferencebetweenaman’sloveandawoman’sloveisthedifferencebetweenanangelandthepureairitinhales. pure pure,butlesspure angels angels assumeabodyofair soul soul physicalbody Loveneedsabodytoo... Donne’s Donne’s love love body ...butnotbalanced(toobeautiful), therefore: Donne’s Donne’s woman’slove,whichDonnefeelsis love love lesspure,canstillserveasareceptacle (sphere)fortheloveaman

TheFlea

Writeanappreciationofthepoemusingthefollowingasaguide:

• whatthepoemisabout• whatDonneistryingtoachieve• howhetriestoachieveit• whateffectthepoemhasonyou• whetherornotthepoemissuccessful

TheFleaisaseductionpoem.Donneistryingtopersuadeagirltobewithhimbyconvincingherthatherobjectionsareabsurd.Hisimmediateaimistooutwither,demolishherargument,andwin.Hisbroaderaimistodazzle,entertain,amuse,shock,andupsettheexpectationsofhisaudience. Thepoemneednotbetakenseriouslyasthepoetisgoingaboutseductionlikealawyeroratheologianarguingpointbypoint.Hedoesnotflatterherbeauty.Hedoesnotsayheisdyingforloveofher.Thepoemisdeliberatelyunorthodox.Itisalsoadramaticpoem:therearetwocharacters,asetting,andtheargumentpassesfromonetotheother.Wefeelthepresenceofthegirl;sheanswersbackandkillsthefleatomakeherpointalthoughthespeaker,ofcourse,turnsherargumentagainstherandgetsthelastword. Thusthecoreofthepoemisargument.SeehowDonnestartswiththewordMark;thisdebatingsortofwordsetstherationalmood. Thefactthattheobjectofthismeasuredmarkingisaludicrous,unromanticinsectshouldbeamusing.Thepoet,thelady,andthereaderareallawarethathisargumentisfalseandfarcical,eventhoughitispursuedrelentlesslyandpersuasively. AttheheartofDonne’sargumentistheimageoftheflea.Hebeginswithapreposterousanalogy:becausethefleahassuckedbloodfrombothofthemandthereisnothingwrongandshamefulaboutthis,itfollowsthatmakingloveisjustasinnocentbecausethat’sjustanotherwayofminglingblood. Whensheisabouttokillthefleahetriestosaveitbyclaimingthat,sinceitcontainsthebloodofbothofthem,itistheirmarriagebedandtemple.Killingthefleameanskillingthepairofthemtoo. Thisimageofthefleaarisesfromthedramaticsetting–realorimagined–andformspartoftheaction.Itisalsousedinaverycomplexwaytoillustratestagesinthepoet’sabsurdargument,afineexampleofDonne’soriginalandsophisticateduseofimagery.

TheGoodMorrow

paraphraseeachstanzastanza1:IwonderwhatyouandIdiduntilweloved?Werenotweweaneduntilthen?Didwejustplay?Wereweasleep?Yes:apartformallthis,allotherpleasuresarefantasies.Before,ifeverIsawbeautyandwanteditandgotit,itwasonlyadreamofyou.stanza2:Andnow,goodmorningtoourwakingsoulswhicharenowwatchingeachother,notbecausetheyarejealousbutbecausetheyareinloveandlovecutsoutothersandmakesonesmallroomthewholeuniverse.Letexplorersfindnewlands;letmapsshowotherworlds;letusjustpossesonworld:eachother.stanza3:Ourreflectedfacesareineachother’seyesandhonestheartsareshowninthosefaces(ie.theylookhonestandtrue).WherecouldwefindtwobetterhalvesofaglobewithoutthecoldNorthortheWest,wherethesungoesdownbringingdarkness?Whateverdieshaditselementsmixedunequally;itfollowsthatifweloveoneanotherwiththesamestrengthandneitherofusslacken,thenourlovewillliveforever.Howisthisopening/writingtypicalofDonne? Itstartsinastrikingway;heistalkingtosomeone;hedismissessomething:theiroldattitudetolove.Itendswithawonderfullyturnedcompliment.Discusstheimageryinstanza1. I’llfocusontwokeyimages: …werewenotwean’dtillthen? Butsuckedoncountrypleasures,childishly? Thisfirstimagestressestheimmaturityandthecarnal,physicalnatureofthewaytheyusedtobebeforetheyfellinlovewitheachother. Thenextimage: Snortedweinthesevensleepersden? Thisimageidentifiesthisimmaturestatewithsleep.Thewholepoemisitselfanimageofawakeningfromthatsleeptoanewlife.Stanza2images: Thisstanzastartswiththeimageoftwosoulswakingfromsleep.Next,we’retoldthattheyarelookingateachother.Thisimageisextended.Donneexplainsthattheyarenotwatchingeachotheroutofjealousybecauseloveexcludesothersandmakesonelittleroomaneverywhere. Followingthiscontrastingconceit,whichcomesaspartofacompleximage,comethecomplementaryimageswhichexpandtheidea:

Letsea-discovererstonewworldshavegone, Letmapstoother,worldsonworldshaveshown, Letuspossesoneworld;eachhathone,andisone. NotethewayDonnedismissesthesea-discoverersandthemap-makers.Theeffectistomaketheoneworldoftheloversstableandsignificant.Stanza3imagesandhoweachcontributestothetheme: Thyfaceinthineeye,thineinmineappears... Heretheyarelookingintoeachother’seyesandseeinghis/herownreflection–animageofspiritualunion;onepersonalityenteringanother,becomingpartofitwhileremainingphysicallyseparate.Thisimageofthereflectionsisnowextended.Justasthefacesappearreflectedintheeyessodotheirheartsappearreflectedinthefaces.Againweareshownonethingappearingwithinanother.Thisreinforcesthereflectionimage.Atthesametimewearetoldthattheheartsarehonestandsincere,sowereceivetwomessagesatonce:theyarewithineachother;theyaretruetoeachother. Anotherimage: Wherecanwefindtwobetterhemispheres WithoutsharpNorth,withoutdecliningWest? Again,thisisanextensionofthepreviousimages.Donneiscontinuingtoemphasizetheideaofthepairofthembeingtwohalvesofthesamething,likehemispheresofaglobe.Thisistrulyanexpressionofgenuinelove.RememberDonne’searlierlineLetuspossessoneworld,eachhathoneandisone. Anothersignificantimagenowfollows: Whateverdies,wasnotmixedequally. Weknowwhatthismeans,butnotethewayDonneusestheimage;hemakesastatement.Thingsdiebecausetheirelementsaremixedunequally.Hethengoesontoarguethatiftheyloveeachotherequallythennonecandie.Itmaybeastrangeargument,butwithinthecontextofthepoem,itisforme,convincing.Metaphysicalcharacteristicswhichapplytothispoem:

• plentyofconceitsandcleverimages• imagesfromlearningandeverydaylife• imageswithinimages• colloquiallanguage• startlingopening• argumentbasedonfalseanalogy• fusionofintellectandemotion(passionwithreason)

Isthepoemconvincing? Ithinkso.Thepoemshowsthepassionate,quick-thinkingstyleofDonne.Heassertswhathefeels.

TheTripleFool

On“TheTripleFool”(ChristopherAtkins) TheTripleFool,Donnedisplaysnotonlyhistalentasapoet,butalsohisskillasanironist.Whobutamasterofironycouldcallhimselfafoolforwritingpoetryaboutthepainofhislove,anddosowithintheboundsofapoem? Inourexaminationofthispoem,weshalldirectourattentiontofourareas:first,toDonne’srealizationofthefoolishnessofusingpoetrytoridhimselfofhispain;second,tothereasonshegivesforassumingthathisstratagemshouldwork;third,tothewayinwhichhispurposeisunderminedbytheactionsofothers;andlast,totheeffectthishasuponhimandhisestimateofhimself. Donnebegins:

Iamtwofools,Iknow,Forloving,andforsayingsoInwhiningpoetry;Butwhere'sthatwiseman,thatwouldnotbeI,Ifshewouldnotdeny?

Thefirstthreelinescontainthenarrator’sbasicunderstandingofhissituation,thatheisfoolishforbeinginlove,andevenmoresoforwritingpoetryabouthiscondition.ItisnotuntilthefourthlinethatDonnerevealsthat,weretheobjectofhisaffectionstoreciprocatehisfeelings,hewouldnotbeinhiscurrentfoolishstate. ThenextsixlinesexplainDonne’sreasonforputtingintopoemsthepainofhisunrequitedlove:

Thenasth'earth'sinwardnarrowcrookedlanesDopurgeseawater'sfretfulsaltaway,Ithought,ifIcoulddrawmypainsThroughrhyme'svexation,Ishouldthemallay.Griefbroughttonumberscannotbesofierce,Forhetamesit,thatfettersitinverse.

Thefirsttwolineshereconjureupimagesofafiltration,ofaremovalofsomeundesirablequality,leavingbehindapure,unadulteratedsubstance.ThatDonneshoulduseseawaterinthissectionisfarfromsurprising,fortheoceanhasalwaysbeen,inthepoetictradition,associatedwithtears.Byspeakingofpurgingseawater’sfretfulsaltaway,Donneisspeaking,metaphorically,ofremovinghisgriefbyhavingitbroughttonumbers,thatis,expressedinverse,andthusconqueredandunderstood,asweseeinthenextline’sfettersittoverse. Thepassagehere,then,speaksofaconqueringofhispain,throughtheuseoftwoimages,thefirstalchemical(inwhichDonne’sworksarereplete)andthesecond,technicaldescribingtheprocessofwritingpoetryofafetteringofgrief,andthus,controllingit. Alchemically,wehavetworeferences,oneimplicit,theotherexplicit.Theimagesofseawater’spurification(purging)isreminiscentoftheprocessoffiltration(inwards,crookedways).Whenwerememberthatthealchemist’sgoalwastoimitateNatureinitsoperations,itbecomesclearwhyDonneshouldwriteIthoughtifIcoulddrawmypains/Throughrhyme’svexation,Ishouldthemallay.Thesecond,moresubtlereferencetotheartofalchemy,isinthefinalwordofthequestion,allay,whichis,itself,aplayonthedoublemeaningofthetermatthetime.Toallayapainwastomakeitlessfelt,andtoallayametalwastocombineitwithsomeothersubstanceinordertochangeitsnature. Thetechnicalreferencestothepoet’scraftareinteresting,inthattheydescribetheexpressionofemotionwithinpoetryasasortofbindingupofsentimentandthecreationofamorereliantalloy.Donnewouldseemtobesayingthatinbeingabletoexpresshisgriefmetrically,heshowshimselftobeitsmaster,forhecanbendandshapeitashechooses;hefettersitinverse.

Wecomenowtothethirdthemewithinthepoem,thatofthefutilityofhisefforts,forhegoeson:

ButwhenIhavedoneso,Someman,hisartandvoicetoshow,Dothsetandsingmypain;And,bydelightingmany,freesagainGrief,whichversedidrestrain.

Fromtheselineswecanconcludethatgrief,whenboundupinverse,remainsinertuntilsuchtimeastheverseisread.Inessence,asentimentexpressedpoeticallyistrappedwithintheverse,line,andmeterofthepoembutisliberatedwhenread.Thiswouldseemtomeanthatapoemisaprisonofsorts,andthatreadingofapoemisanopeningofthatprison,thusreleasingthatwhichisconfinedtherein. Thefinalthemeoftheworkisexpressedasfollows:

Toloveandgrieftributeofversebelongs,Butnotofsuchaspleaseswhen'tisread.Bothareincreasedbysuchsongs,Forboththeirtriumphssoarepublished,AndI,whichwastwofools,dosogrowthree;Whoarealittlewise,thebestfoolsbe.

BystatingthatToloveandgrieftributeofversebelongs,Donneassertsthat,inthefinalanalysis,allpoetryiseitheranexpressionoftheuniversalhumanemotionoflove,orofsuffering.Wehavehereyetanotherinsightintothepoet’scraftaspractisedandunderstoodbyDonne.Perhapsunwittingly,perhapsdeliberately,Donneprovidestwogreatcategoriesintowhichallpoemsfall,andthusfulfillsadescriptiveroleinhiswork,acharacterizationofpoetryingeneral,andofthispoeminparticular. Hegoesontoclearlystatethattherecitationofsuchpoemsasarewrittenoutofloveandgriefrepresentsavictoryforsuchemotions,inthatthispublishestheirsuccessagainstthepoetwhofeltthem. ThissentimentisverymuchinthespiritofSørenKierkegaard,whoinEither/Orwrites:Whatisapoet?Anunhappypersonwhoconcealsprofoundanguishinhisheartbutwhoselipsaresoformedthatassighsandcriespassoverthemtheysoundlikebeautifulmusic.ThisisnothinglessthantheexpressioninproseofDonne’scomplaintwithinhispoem. Theterminalcouplet,AndI,whichwastwofoolsgrowthree/Whoarealittlewise,thebestfoolsbe,expressesDonne’sresignationtothisstateofaffairs.Heunderstoodthatheisfoolishforloving,andfoolishstillmoreforwritingpoetryabouthislove,butheseesthatconditionscannotbeotherwise;itisonlybeconfininggriefhislovebringshiminpoetrythathecanbegintoridhimselfofit.Butthisis,atbest,merelydelayingtheinevitabletriumphofhispain,forsomeoneisboundtocomealongandliberatehispain,and,indoingso,permitittotriumphoverhimwhohasintendedtodefeatit.TheedificethatDonneconstructsforhisgriefisofsuchanaturethatitinvitesotherstoopenit,butitisonlywithinthewallsofsuchastructureasapoemthathecancontainhispain.Itisasifheisduty-boundtofetterhispaininsuchawayastofacilitateitsreleaseandtriumph.Asacrowningtouch,Donneaddsthedeliciouselementofirony,thathygieneofthemind,asithasbeencalled,tohisworkbyframinghiscomplaintintheformofapoem,whichis,accordingtohisowntext,liabletobereadandhaveitsprisonerfreed. Wehave,then,inthesefewlines,awonderfullyrichandcomplexwork,drawingonsuchelementsasthefutilityofpoetryasameansofconqueringpain,thepoets’andalchemists’art(whichare,itwouldseem,verymuchalike),andfinally,ofthenecessityofthefutileundertakingthatisthewritingofpoetry.

SamplemultiplechoicequestionsonTheTripleFool: 1.Thepoemasawholeisbestcharacterizedaswhichofthefollowing?

a.anode b.acomplaint c.asatire d.aplea e.acelebration

2.Incontext,thespeakerismadeafoolofforathirdtimeasaresultof

a. ridiculebyhismistressb. hisownpublicdesireforfamec. thepublicresponsetohisversed. thewitofarivalpoete. thescornofliterarycritics

3.Thespeakerdescribeshispoetryas“whining”(line3)becausehebelievesitis

a. flawedintechniqueb. unlearnedc. unoriginald. old-fashionede. undignified

4.Incontext,lines4-5suggestwhichofthefollowingaboutthespeaker’ssituation?

a. Hisloveisinsincere.b. Hisloveisunrequitedc. Hisardourhasbeguntocoold. Hewillsoonabandonhismistress.e. Hismistressisunworthyofhim.

5.Inlines6-11,thespeakersuggeststhathecomposespoetryprimarilyto

a. informothersofhispainb. experimentwithpoetictechniquec. assuagehislovesicknessd. woothewomanhelovese. indulgehisowngrief

6.Incontext,“numbers”(line10)referstowhichofthefollowing?

a. “fools”(line1)b. “lanes”(line6)c. “salt”(line7)d. “pains”(line8)e. “verse”(line11)

7.Inlines12-16,whathappenstothepoetrythespeakerhascomposed?

a. Itisquicklypublishedinananthology.b. Itiswidelyimitatedbyotherpoets.c. Itisquicklyforgotten.d. Itispubliclyperformed.e. Itismockedbythespeaker’sfriends.

8.Accordingtothespeaker,the“man”inline13ismotivatedchieflybyhis

a. thepromiseofmonetarygainb. thedesiretodisplayhisowntalentsc. jealousyofthespeaker’spoetryd. planstowoothespeaker’smistresse. sympathyforthespeaker’splight

9.Inthesecondstanzathedisseminationof“suchsongs”(line19)leadstowhichof thefollowing?

a. Arenewalofthespeaker’ssorrowb. Theridiculeofthespeaker’slovebyothersc. Animprovementinthespeaker’sreputationasapoetd. Avalidationofthespeaker’spoeticintentionse. Theendofthespeaker’sabilitytolove

10.Incontext,line22isbestinterpretedtomeanthat

a. wisdomcantranscendthepainofloveb. wisdomcanopennewavenuesoffoolishnessc. onlythewisestfoolbelievesinloved. foolsareoftenwiserthantheyappeartobee. evenfoolscanbecomegreatpoets

11.Inthecontextofthepoemasawhole,thespeakercanbecharacterizedasallof thefollowingexcept

a. lucidb. contemplativec. resentfuld. enviouse. self-deprecating

Lovers’Infiniteness

TheinfluenceofDonne’slegaltrainingisveryclearhere.Thepoemisaseriesoftechnicalverbalquibblesofthewordall.Thepoetiscapableofgivingmoreandmoreloveeachday(1-25)andhisladyoughttobeabletogiveever-freshrewards.Thiswouldbepossibleiftheloversthemselveswereinfinite.verse1:ThespeakerplayswithAristotle’sdefinitionofallthatwhichhowevermuchyouhavetaken,thereisalwaysmoretotake.verse2:Speakerconsiderspossibilityshehasgivenallherlove,bymakingheroriginalgiftoflovegeneral.verse3:Speakerrefusestoaccept‘all’sincehislovegrowingeachdayshouldfindnocorrespondingnewloveinthelady.Butthepoemendsonanoptimisticnote:theyhaveamoreliberalway(physicalunion?)thatmakesthemoneanother’sallandgivesthemanewsortofinfiniteness.

TheExtasie

ThisremarkablysubtleworkisperhapsthemostfamousofDonne’slovepoems.Withhischaracteristicblendofpassionandratiocination(reasoning),hereheseekstoconveyhissenseoftheinterdependenceofthespiritualandthephysicalinLove.Noticetherangeofimagery–fromtheoriesonthenatureofsoulstothethreadingofbeadsonastringtothetransplantingofviolets.

EXTASIE:thetemporarydepartureofthesoulfromthebody

Whatisthepoemabout? Itisaboutloveandthenatureoflove.Itanalyseswhatloveis.Itdescribesatranceandexplainslove.Isthereadramaticsetting? Yes.Theloversarelyingdown(orsitting),holdinghandsandlookingintoeachother’seyesatthestartofthepoem.Theactionthenbecomesspiritualandtakesplacebetweenthemastheirsoulsleavetheirbodies.Toneofpoem? Meditative,philosophical...Bestsinglewordtodescribethepoemandlove? Souls.

Donneissayingthatlovebetweentwoindividualsis,atitsmostprofound,aminglingofsoulsbywhichtwoindividualsmergeintoagreatersoul: Whenlove,withoneanotherso Interinanimatestwosouls Thatablersoul,whichthencedoesflow, Defectsoflonelinesscontrols. Thisimageisimportant.Donneoftenseemstobesearchingforunionwithsomeoneelse,withawomanorwithGod.Thegreatpoemsofassertiveloveshowthis.Love,Donneissaying,minglestheeternalpartsoftwopeopletogetherandmakesthemstronger.

8things(sections)toconsiderwhilereadingTheExtasie

1. reproductionmetaphors(bothhumanandplant)atthestartofthepoem;propagationwillbringrenewedstrengthandvitality(andharmony)

2. loversaretightlyfastenedtooneanother–connectedthroughtheeyes(whichweknowis

thegatewaytothesoul)

3. physicalunion–strongerbondproduced;graftingandgraft:considerwhatthesewordssuggest

4. conflictofthesoul:uncertainty,uncertainoutcome

5. alchemy:refinement

6. perfectlovingrelationship

7. ButOalas...

8. weoweourbodythanks:weentertheworldimperfectwhileatthetimepotentialfor

perfection;bodiesareabsolutelynecessarytothesoul’sdevelopment;bodyisalivingtextfromwhichothersmay(readand)learn.

Consider: BODY SOULS SELF PASSIVE ACTIVE sat goneout lay advancetheirstate said negotiate possessions becomestrueself trueselfInitiallywe=body,thenwe=soul;thereforedivisionbetweenbodyandsoulismysterious.(Donne’sfascinationwithChristiandoctrine–body’sresurrection,soulbeingeternallyseveredfromphysicalbody.)

TheSunRising

paraphraseeachstanzaverse1:Youmeddlingold,fool,boorishSun,whydoyoucomeshiningthroughourwindowsandcurtains?Mustloverssticktoyourtimetable?Insolent,nitpickingoaf,goandchaselateschoolboysandmiserableapprentices.GoandtellcourthuntsmenthattheKingwantstoridetoday.Tellcountrybumpkinstobringintheharvest.Loveknowsnotime--everythingisthesametolove—noseasons,noclimate,nohours,days,ormonths–thesearejusttheragsoftime.verse2:Whyshouldyouthinkyourbeamssoreverendandstrong?Icouldeclipseandcloudthemjustbywinking,exceptIdon’twanttolosesightofhersolong.Ifyouhavenotbeenblindedbythebeautyofhereyes,golook,andtomorrow,late,tellmeifboththeEastandWestIndiesarewheretheyoughttobe,oraretheyinherewithus?AskforKingsyousawyesterday,you’llfindthemhere,allinonebed.verse3:Sheisallcountriesintheworld;IamallthePrinces.Nothingelseexists.Princesjustpretendtobeus;comparedtous,allhonourisacharade,allwealthafraud.Yousun,shouldbeatleastashalfashappyaswearebecausetheworldhasbeenshrunklikethis.Youaregettingonandneedtotakethingseasy,andsinceyourdutiesconsistofwarmingtheworld,youcandojustthatbywarmingus.Shinehereonusandyouareeverywhere.Thisbedisyourcentreandthewallsareyourorbit.tone:clever,affirmative,cheeky,funny,contemptuous...HowdoesDonnesucceedinmakingtheloversseemimportantandeverythingelseunimportantinstanza1? Heinsultsthesun,reasonswithhimfordisturbingthem,andsendshimpacking.Callingthesunbusieoldfooleandsaucypedanticwretchisquiteimpertinent.InDonne’sday,itmayhavebeenoutrageous.Heperhapsdoesthisforcomicanddramaticeffect,andbecauseputtingthesuninitsplacemakestheloversleapoutofthepoemwithasudden,startlingsignificance.Donneoftenassumesadismissive,impatienttoneandtheeffectistomakehimself,andwhatheissaying,dominant.HerethesungetsDonne’simperioustreatmentandtheeffectistomakethesun,andallitstandsfor,subservienttothelovers.Donnealsoadoptsacontemptuous,mockingtonetowardsthevariouspeoplehesuggeststhesunshouldbusyhimselfwith.Theyarepresentedassubservientpeople;eventhehuntsmenarecourtierstryingtosuckuptotheKing.Notice,too,thatDonneendsthestanzawithaflourishofacoupletthatemphaticallystateshistheme.Discusstheimageryinstanza2and3. It’sthesortoforiginal,cleverimagerythatwehavealreadyseeninDonne.Forexample,heiscontractingtheworldintoabedjustashecontractedamarriagebed,amarriagetemple,thelovers,andeventheTrinityintotheflea.Donne’simaginationoftenworksinthiscondensingfashion.Theeffecthereistoillustratehistheme:theworldislessthanhislove.

AFever

Asyoureadthroughthepoem,note:

• everythingthatstrikesyouastypicalofDonne’sstyle• allshiftsintone• examplesofcompleximagery

verse1:ThepoemopenssensationallylikemostofDonne’slyrics.Heistalkingtosomeoneandsomethingishappening,awomansick,perhapsdying.Thereisanimmediateemotionalresponse;wecan’thelpfeelinganxiousandhopingshewon’tdie.verse2:Thereisasuddenshiftinthought:Butyetthoucanstnotdie...whichistypicalofDonne.Thisnewthoughtisexplainedinacomplicatedimage: Toleavethisworldbehindisdeath Butwhenthoufromthisworldwiltgo Thewholeworldvaporswiththybreath. Heexplainsthatshecan’tdiebecausedyingmeansleavingtheworldbehind,andwhensheleavestheworld,thewholeworldwillevaporatewithherlastbreath;sinceshecan’tleavetheworldbehind,shewon’tdie. Thismaylooklikeanabsurdargument(itis),butwithinthecontextofthepoem,itisappropriateandtypicalofDonneinfourways:

a. itisobscureanddifficulttounderstandb. itisbasedonafalseargumentc. onceweunderstandit,webelieveitinthecontextofthepoemd. itisusedtoassertwhathewantstohappeninthefaceofthreats;the

imageexpresseshopeinthefaceofdangerverse3:Theimageisexpandedinthisverse,againtypicalofDonnewhooftentakesanimage,extractsmeaningfromit,thenlooksatitfromanotherangleandtakesmoremeaningoutofit.Hesays:iftheworlddoesremainbehindwhenshedies,thenitwillonlystaybehindlikeacorpsebecausesheisthesouloftheworld.Thefairestwomenwilljustbeherghosts;thebestmenwillmerelybeworms.verse4:Donnechangesdirection.Heisnolongertalkingtothewomanbutattackingscholars: Owranglingschoolsthatsearchwhatfire Shallburnthisworld,hadnonethewit Untothisknowledgetoaspire Thatthisherfevermightbeit?Thisimagerelatesbacktotheprecedingimage.Ifsheisthesouloftheworld,her‘fever’isthefirebywhichtheworldwillburn.Notethetypicallydismissivewayinwhichthephilosophersaretreatedandtheimportanceofthewomanandhersituationemphasized.Shemaydie,butifshedoes,thenthewholeworldgoestoo.

verse5:Anotherimagearrives:Andyetshecannotwastbythis...supportedbyanewimage:Forsuchcorruptionneedfulis/tofuelsuchafeverlong.Again,thisimagecomesfromanobscurebranchoflearning.Fever,certainauthoritiesconsidered,arosefromthecorruptioninwhichtheelementsinthebodyburnandconsumeeachother.Heisarguingthatsincehermixtureofelementsisalmostperfect,shecan’thavemuchcorruption;therefore,thefeverwon’tlastlong.Again,auniquebutsuccessfulargumentwhenviewedincontext.verse6:Thisconfidenceisreinforcedbyarelatedimage:Theseburningfitsbutmeteorsbe.Meteorsare,ofcourse,burningthingsthatshootthroughtheheavens.Donnebelievedthateverythingintheheavenswaseternal,unchangeable,andperfect.Hereheissayingthatsheisperfectliketheheavensandliketheheavensiseternal: Thybeauty,andallparts,whicharethee Areunchangeablefirmament.verse7:Havingstruckthispositivenote,Donneexplainstoherwhyitcrossedhismindthatshemightdie–eventhoughthefevercan’tcarryonlong:shemeanssomuchtohimthathewouldratherhaveherforonlyonehourthanallelseever. Thisquickmovementofthought,asifwearehearingthethoughtsflitthroughhishead,istypicalofDonne.Sotooisthemagnificentassertionofthefinaldeclaration: ForIhadratherownerbe Oftheeonehour,thanallelseever.

John Donne, in his shroud, painted a few weeks before his death

TheFuneral

TypicalofDonne’spreoccupationwithphysicaldeath(commoninJacobeanliteratureofthetime);heimagineshimselfbeingburiedwithabraceletofhismistress’haironhisarm.Notethebitter‘joke’inthefinallineofthepoem.

Thispoemisamixtureoflight-heartednessandseriousness.Hisbelovedhasrejectedthepoet.Insheerdesperationandagonyhewishestosacrificehislifeasamartyronthealtarofthegodoflove.Butinthemeantime,hehassecuredatokenoflovefromhisbeloved.Thisisalockofherhairwhichhehaswornroundhisarm.Hethinksthatthebeloved’shairwillpreservehisdeadbodyandpreventitfromdecayanddisintegration.Itisakindofcharmorratheranembodimentoftheoutwardsoulwhichwillgivehimimmortality.Thepoetultimatelywishestodieasamartyrbutfearingthatthehairmaybeworshippedasarelic,hewantsittobeburiedinthegravealongwithhim.Thisactionwillbeasortofrevengeonthecruelbeloved,becausesomepartofherbodywillbeinthegravewhilesheisstillalive.Commentonthetoneofthispoem. TheFuneralmaybeconsidereddisturbingandmacabre.Itisamonologueandthetonevariesasthepoetgoesthroughthreestagesofthought:

1. Heimpliesheisgoingtodiebecauseofunrequitedlove.Thetwistofthelady’shairaroundhiswristwillbehisoutwardsoulandstophiscorpsefromdecayingorputrefying.Sofartheladyisbeingflatteredaswellasreproached,ratherinthePetrarchanstyle.

2. Adisturbingthoughtsuddenlyoccurs:

...exceptshemeantthatI Bythisshouldknowmypain Asprisonersthenaremanacled... Maybeshesentthetwistofhairtoshowwhowasboss.

3. Next,themelancholyisflavouredbybitterness.Ifhe’sgoingtodiebecauseofher,atleasthe’lltakeabitofherwithhim:

So,‘tissomebravery Thatsinceyousavenoneofme,Iburysomeofyou. Atwistofwoman’shairaroundadeadman’sarmisbothstartlingandsad.Itemphasizesthereasonforhisimagineddeath;hehasdiedforlove.Thisimageisextendedinacomplicated,emotional,andphilosophicalmanner,summedupinthesewords:For‘tismyoutwardsoul.

AValediction:ForbiddingMourning--discussionquestions

• Whatisavalediction?• Thefirststanzabeginswithasimile.Whatistheconnectionthespeakermakesbetween"virtuous

menpassingmildlyaway"andthewaythespeakerwantstosaygoodbyetohislove?• Whywouldvirtuousmen"passmildlyaway"?Howdoyousupposeevilmenpassaway?Asthe

hypotheticalvirtuousmendescribedinthepoemaredying,whatisconfusingorbafflingthefriendswhowatchhisdeath?

• Thespeakerwantsthepartingcoupleto"melt"and"makenonoise."Whatdoeshewanttheirpartingtobelike?

• What'satear-floodorasigh-tempest?Whydoesthepoetsayintheaccompanyingstanzahedoesn'twantthesethings?

• Whatisthe"laity,"accordingtoadictionary?Whoarethe"laity"probablyinthispoem?• Whatisthe"movingofth'earth"thatbringsharmsandfears?• Whatisthat"fargreater"trepidationofthespheres?(i.e.,Althoughearthquakesarescary,howisthe

earthconstantlymovingalthoughpeopledon'tnormallysenseit?)Whyisthelattermovement"innocent"incomparisontothatearliermovementthatcausesharmsandfears?

• Whatdoestheword"sublunary"meaninthefourthstanza?HowdoesthisconnectwiththeRenaissanceideaoftheGreatChainofBeing?WhatisthecontrastJohnDonneismakingbetween"sublunarylover'slove"andthe"refined"orheavenlylovebetweenthespeakerandtheimpliedaudience?

• Whyisitthatsublunarylovershavea"dull"loveincontrastwiththeheavenlylove?Whycan'tsublunaryloversstandabsenceorbeingawayfromeachother?Whyisitthatthosewith"refined"lovedon'tcareiftheyareseparatedphysicallyfromeachother?

• Whatqualityaboutthecouple'slovepreventsthemfromunderstandingwhatitis?(i.e.,howdoesthefacttheirloveissopuremakethatloveimpossibletomeasureoranalyzeorunderstand?)

• WhatistheparadoxDonnemakesinstanzasixbetweenthenatureofthetwosoulsandthespeaker'sdeparturetoaseparateexistence?

• Accordingtothespeaker,thecouplewill"endurenotyet/Abreach,butanexpansion,/Likegoldtoaerythinnessbeat."Whatdoesthismean?Howisthewayagoldsmithhammersgoldflatintopaperthinfoilakintothewaytheirsoulwillbehaveasthetwobecomephysicallyfartherandfartherapart?WhatwastheRenaissancebeliefwithrespecttogoldbeattoairythinness?

• Instanzaseven,thespeakerabandonsthemetaphysicalconceitofgoldworkingandturnstoadifferentlineofthoughtinwhichhecomparesageometer'scompasstothenatureoftheirsouls.Explainthemetaphysicalconceitofthecompassandhoweachlegorfootcorrespondstooneloverintherelationship.

• Whichlegorfootofthecompassisthemalespeaker?Whichlegorfootofthecompassisthefemaleaudience?Whyisthisappropriatefortheirsituation?AccordingtoDonne,thefurtherouthe(orthemobilecompasspoint)moves,themoreitwilldowhat?

• Whatwillthespeaker(andhiscorrespondinglegofthecompass)doashegraduallyapproacheshomeward?

• Whatisitthat"makes[his]circlejust"orperfect?Thatistosay,whatforceorthingensuresthatthespeakerwillendhisjourneywherehebegan?

AlchemistsymbolforGOLD: acirclewithonepointlocatedintheexactcentretodemonstrate thecompletesolidarityandtaintlessnatureofthenewelement formed.Goldisoneofthesevenmetalofalchemy(gold,silver, mercury,copper,lead,iron,&tin).Forthealchemist,gold representedtheperfectionofallmatteronanylevel,including thatofthemind,spirit,andsoul.Thesymbolforgoldcouldalso beusedtorepresentthesuninastrology.

Song:SweetestLove,Idonotgo

Inthispoem,alovingrelationshipisseenwithinthecontextsofdeath,time,fortune,wastingaway,andfear.Yetallofthisisdismissedinthefinalfourlines.ThesecouldbeinterpretedasanassertionofLove’spoweroverreality.Explaintheconceitinthelastlinesofstanza1. SinceIamgoingtodieoneday,Ithoughtitbesttopretendtodienow;thatis,beingawayfromyouislikebeingdead,goodtrainingfortherealthing.Beabletoexplainthesunreferenceinstanza2. Thesunhasnodesireorfeeling,norhalfsoshortaway,sodon’tworryaboutme,butpleasebelieveI’llmakequickerjourneysbecauseIhavemoreincentivesthanthesuntoreturn.Stanza3? Wecan’taddtotimewhenthingsaregoingwell,butwhenbadluckcomes,weareabletomakethehoursseemlonger.Welengthenitandbeautifyit,sothatbadluckmarchesoverus.Whatishappeninginstanza4? Theladyiscrying.Donnetellsherthatassheandheareone,whenshesighs,shesighshissoulaway;whensheweepstears,itishislifebloodthatseepsaway.Heasksherhowshecanlovehimassheclaimsifshewasteshim(herself)away.Sheisthebestofhim.Whatishesayingtotheladytowardstheend? Thatwearesocloseinspiritthatwecanneverreallybeparted.AlthoughI’mgoingaway,itwillbejustasifwehadturnedasidetosleep–unabletoseeeachotherbutstillclose.Thispoemisverylight,yetstillquitemetaphysical.How? Itcontainsaseriesofmetaphysicalconceits,thefain’ddeathalreadynoted.Instanza2,thepoetclaimsthatsincethesundisappearedlastnightandreturnedatdawn,hewillbeevenquickerbecausehehasdesire,senses,andspurs(reasons),atypicallyconstructedmetaphysicalargumentwhichsoundsconvincing.Stanza4beginswithtwinconceitsonthethemethat,sincetheloversareoneflesh,hersighsandtearsarewastinghimaway.Hearguesfromthispremisethatifshereallyloveshim,sheshouldstopcrying.

BreakofDay

ModelledontheProvençalAubade(asongorpoemappropriatetoorgreetingthedawn),thispoemisoneofthefewDonnepoemsthatassumesafemininepointofview.Asthepoemprogresses,itbecomesclearthatthisisnottrulyalovesong,butisinsteadacomplaintabouttheman'spriorities.JohnDonnewritesthepoemfromafemalepointofview,somethingthatbecomesapparentforthefirsttimeinthesecondstanza.Thefirststanzaaskswhetherthemanmustgetupandgojustbecauseit'snowdaylight,makingthepointthattheirdecisiontoliedowntogetherwasnotbasedonitbeingdark."Ifwefoundeachotherdespiteitbeingdark,shouldwenotremaintogetherdespiteitbeingdaylight?"isaslightlyupdatevariantofthefinalquestionofthefirststanza. Thesecondstanzafeaturesapersonificationof"light",whichischaracterizedasbeingall-seeing,butincapableofspeech.Iflightcouldspeak,however,(saysthefemalespeaker)theworstitwouldbeabletosayisthatthespeakerwouldhappilystaywithherman,basedonherownprinciplesofloveandhonour,bothofwhicharequalitiesthatsheattributestothemanaswell. Thefinalstanzamakesclearthatthepeopleinvolvedinthepoemarenotnobility,andatleisure,butareworkingfolk:Themanmustriseinordertoattendtohisbusinessconcerns,andisnotatleisuretolove."Lovecanpermitthepoor(meaningthosewhoaren'tgoodatit),thefoul(thosewhoareunpleasant)andthefalse(thosewhoareimpureofheart),butabusymandoesn'thavetimeforit"iswhatthosemiddlelinesaregettingat.Likethecommonplacephrasethat"thelawisajealousmistress",thenotionexpressedinthefinalstanzaisthatbusinessissoconsumingthatamanwhoisdedicatedtohisworktreatshislovedonesinthesamewaythatamarriedmantreatshismistress(presumablywithlessthanfullandardentattention).

AP English R. Guraliuk

JohnDonneMetaphysicalPoetEssayTopics

• AccordingtoT.S.Eliot’scelebrateddictum,themetaphysicalpoetsoftheearly17thcentury(ofwhomDonnewastheprimeexample)hada“unifiedsensibility”,thatis,theythreweverythingintotheirpoems–sex,religion,science,alchemy....ExplainwhatEliotmeant,byshowingthescopeofDonne’squirkishthemesandsomeoftheuniqueconceitswhichseemtoyouparticularlynotable.

• Focussingonthepoemswhichimpressyouthemost,writeanessayonJohnDonneshowinghowheanatomisesandplayswiththethemeoflove.

• CompareandcontrastDonne’splayfulpoemswithhisreligiouspoems.

• AlthoughJohnDonneisaningeniousandwittymetaphysicalpoet,hisclevernessdoesnotprecludedepthoffeeling;onthecontrary,hispoemsshowhowintricatethoughtandgenuinefeelingcanbeusedtocomplementeachother.Demonstratethevalidityofthisclaim.YoumayalsochoosetosupplementyourargumentwithreferencetoworksbyHebertandMarvell,twoothersignificantmetaphysicalpoets.

• OnehallmarkoftheMetaphysicalpoetsistheiruseoftheunexpected:unexpectedsubjectmatter,unexpectedimagery,unexpectedmethodofpresentation.DiscussthisstatementwithreferencetotheworksofJohnDonne.

• Oneofthefascinatingandoftensurprisingthingstoobserveinmetaphysicalpoetryistheapplicationofreligiousimagesandideastohumanlove,andviceversa,theapplicationoflanguagenormallyassociatedwithhumanlovetoreligiousexperience.DiscussthisstatementwithreferencetotheworksofDonne,Marvell,and/orHerbert.

• DiscussJohnDonne’suseofTime,Place,andSpace.

• Atopicofyourownchoosing.Pleaseseemeforapproval.between1,000–1,500wordsmustincludepoemsnotstudiedinclassmustbetypedanddouble-spacedpropercitations/documentation

AP English R. Guraliuk

Planisphere: a plane projection of the globe: Conjunction: state of being in apparent union of heavenly bodies; Opposition: situation of two heavenly bodies where latitudes differ by 180 degrees.

Metaphysical Poetry Sight Passage Test

Read the following poem carefully. Then, in a well-organized essay, analyze how the speaker uses varied imagery of the poem to reveal his attitude towards the nature of love.

Definition of Love – Andrew Marvell

My love is of a birth as rare As ’tis for object strange and high; It was begotten by Despair Upon Impossibility. Magnanimous Despair alone 5 Could show me so divine a thing Where feeble Hope could ne’er have flown, But vainly flapp’d its Tinsel Wing. And yet I quickly might arrive Where my extended soul is fixt, 10 But Fate does iron wedges drive, And always crowds itself betwixt. For Fate with jealous Eye does see Two perfect loves, nor lets them close; Their union would her ruin be, 15 And her Tyrannic pow’r depose. And therefore her Decrees of Steel Us as the distant Poles have plac’d, (Though Love’s whole World on us doth wheel) Not by themselves to be embrac’d; 20 Unless the giddy Heaven fall, And Earth some new Convulsion tear; And, us to join, the World should all Be cramp’d into a Planisphere. As Lines, so loves oblique may well 25 Themselves in every angle greet; But ours so truly parallel, Though infinite, can never meet. Therefore the Love which us doth bind, But Fate so enviously debars, 30 Is the Conjunction of the Mind, And Opposition of the Stars.

John Donne -- Metaphysical Poet – Assignment

Working on your own or with a partner, you are to select one John Donne poem (not taught in class; I will provide a couple of good on-line sites to access the works of Donne) and prepare a comprehensive report on the poem. You will be presenting your poem to the class. Your report can be shaped any way you feel best, but it must contain the following:

• a copy of the poem • a solid paraphrasing of the poem • a discussion of any relevant historical or background information • a thorough analysis of the poems’ literary techniques (include the speaker’s

attitude toward the subject and how the poem is typical of Donne) • your personal response(s) to the poem • something else that is impressive / inspiring

Although our class package focuses on selected love poems by Donne, you are free to select any other poem; it need not be a love poem, but Sonnet 10, Death Be Not Proud, is off limits. Students cannot research the same poems, so all poems will be designated on a first come, first sign up process. You will be given some class time to work on this assignment. All secondary resources must be cited properly. The assignment is worth 20 marks. Remember: be thorough and professional in your presentation. a couple of sites to begin your search: The Poetry Foundation <www.poetryfoundation.org> Luminarium <www.luminarium.org/sevenlit/donne/donnebib.htm>

English12APGuraliuk

You’re not Donne yet: Let’s get metaphysical: find your inner Donne

WebeganourstudyofJohnDonnemetaphysicalpoetrybylookingat,andplayingwith,someuniqueconceitsconnectedtoloveandconcludedbywatchingEmmaThompson’spowerfulperformanceinWit.YourtaskforourfinalDonneassignment(inlieuoftest)istowriteyourownmetaphysicalpoem,usingthestyleandcharacteristicsofmetaphysicalpoetry.Youhaveachoice:1. SelectoneoftheDonnepoemspresentedtoyouinclass,thenrespondtotheideasand/orspeakerofthepoem,followingthestructureoftheoriginalpoem.

2. Createanoriginalmetaphysicalmasterpiece,usingany/allofthecharacteristicsofmetaphysicalpoetry.

(thisassignmentisworth20marks)

John Donne Metaphysical Poetry

sample student metaphysical poems

Trapped So senile an appearance our planet cloaked on, After illness hath your heavenly self drawn, From this world and to the celestial realm, Whose qualities blush humbly, for yours shall whelm. Once magnificent and mighty, Mother Earth Now only possess twice as small a girth. For thou—of same mass—an orb of virtues, Art gone; never again can the two spheres fuse. Such a catastrophe repeated in my heart; Long fled my sanity since thy pulse won’t start. With thy taking, my nature had split in half, Leaving a demented vessel, champ of the riffraff. They claim the rich and poor cannot be mixed; Yet both elements to us so fast affixed: You, peasant, but of benevolence a fortune own, I, aristocrat, but of happiness need a loan. Die! Die! This heinous standard! Who preached the rich must to the poor not flirt? To their foul advice I so foolishly listened, Therefore I, in place of you, should have stiffened. Now I intoxicate myself every day, ‘till booze will my complexion turn to grey. Drunkenness shows more kindness than soberness; It presents to me thy fair visage—a grand bliss. O sacred alcohol, prithee, generously Remove me from this wretched world; kill me. Let the dear horned spirit from this vessel pull And condemn my imperfect, misshapen soul. In jealous rage, the goat-headed deity will shred This cowardly, sinful soul of mine, to stiff, straight threads. Quickly to Elysium will these steal, and become Tangents to thine. Then both souls to hell succumb. This world hath, dear love, insulted your grace By trapping you in this class-divided place. But since thy spirit thought that perfectly fine, Then it would fain rest in Abaddon, lodged in mine. Debbie Liang

Gravity Captivating, mysterious beauty, you needn’t have done anything for the gravity of your presence alone was enough to draw me in a thousand times over when I existed in this cold universe: Floating without aim, colliding without intention. A black hole is what you are, in essence, but this very darkness of your core so appealed to me, an ignorant and inexperienced foo, who believed that feeble love could fill the darkest souls, so I ventured straight into your grasp. As much as I lament your pull on me, the strength of my yearning for you is no less. But I cannot say the same about the results for I am too trivial to move and you are too mighty to be moved. Do not berate me for my choices for it is true what they say: Love is blind, or rather, blinding: Where I once was an outsider and judged strangers’ loves, I am now an extension of the darkness for you have absorbed all my light. Did I ever expect my love to be reciprocated? I cannot remember; I have been spiralling so long down this seemingly endless path. Only half remains, the rest swallowed by your hungry, bottomless pit of a heart. Only when I was beyond the point of no return did I realize this one-way trip to inescapable death. But even now as I head towards my own destruction I cannot help but think: What a wonderful trip this has been. Mary Chung

Separation: To My Dear Partner Unknown, your face is to me And the name I know you by is not a name But a mask—one I too share We exchange voiceless words By the means and absence of light Softly the divine glow reflects within our eyes Clasped to her chest, a heart half full I fill it with my love and she returns a portion Neither heart completely filled with love However both rest equal She is far fairer than the full moon For her light is not borrowed Nor is it harsh and overbearing Like the moon's source Millennia shaped land to divide us Oceans hold us to the New World Winds carry her across the heavens Yet the Moirai toy with our encounters Do not say our fates are ones Bound by such a feeble thing as A red string, so easily cut by Atropos What binds us is intangible, thus unbreakable Despite their meddling, Fate’s power is little What intervenes our encounters The Ouroboros of our human nature Through our minds, we met As comrades in a realm of ascending colour Where we, side-by-side, pit ourselves Against the gods—victorious Thy nature so sweet; all fall in line Naturally, without question as moths to flame Delight at our false images, hastily drawn Bounds across the sky And dances among the Moon and Stars Before reaching my eyes Therefore I plead, my dear partner Allow me to continue my charade If thou came to love me for my soul Then do not search for the cage In which my soul resides Why trade the pure, the truth, For such an imperfect image. Helen Leung

Wayward Runs Your Love As we walk side by side, your shadow encompasses mine. The red thread that affixes us to one another, so tangled and knotted, threatens to disjoin us and our love at any moment. Yet, daringly, I watch as your gelid pinky reaches for mine. Never breaking stride, I fight back the shiver that ensues. I cannot pull away. The biting chill freezes my blood, causing my coppery heart to shrivel. Faithful were both eyes that gazed upon me, but suddenly no more. Now, dazed, you stop and glance invariably between two! Our dying candle sways to the boisterous winds, of mother nature, less willingly than you. I shield the saffron flame, staggering this way and that. Perchance your left ocular (ogling her, oh so longingly) possesses myopia. Alas, revolting how even you cannot see beyond her transcendental beauty. It seems, a stewed prune is more dutiful than you. Reflected behind her eyes that radiate eros is the face of a nü gui. Donned in vermillion, she is the colour of vengeance and even in tears, her eyes brim with the blood of those possessed. Your stiff mien reveals you think not. But, I wonder, is vermillion not a red? Why, this fated love that we share is as destructive as the force of her wrath; her desire for vengeance. In an instant, I snap the ethereal strand between us. The deity that binds us together be gone! I unwind my littlest finger from yours, letting go. I watch transfixed as my heart smothers the flickering flame, putting out the candle. I give you back your right eyepiece and renounce your existence. Fated love be damned — You are now nought in my life.

Michelle Zheng

Masks Wondered, I have, of what chipped at your soul, how, by bits, you died each day Had I known, I would’ve paid the Ferryman his toll for safe passage down damned waterway Imagined, I have, that I’d sing to his Lord win his favour as others have tried Would I’ve earned his approval with each moving chord Bring your pieces back to my side Wondered, for long, what took you from me If dark beamed through spiderweb crack and filled you, and killed you, as one would breathe in sea Dying swallowed my tumulus black If you were half my soul, as they would later sing wouldn’t I’ve felt you at Styx’s bank? If we were bound so tightly, by Fate’s golden string wouldn’t I’ve pulled you back before you sank? Were you corrupted, like old fruits from fungal spores or were you ever truly alive? Were my eyes too rosy, my judgement too poor to see who you truly were inside? Who or what did I love? This stranger or you, who now clambers around in your frame would this have been different, if only I knew exactly who to blame? But who am I to lay fault to night skies, or unravel star woven thread? I’ve no more say in how the sun flies or how mountains make their beds How can I hope to stop howling winds If all I have is a riddled sail? How can I stop or atone your sins when I was rigged to fail? I could not stop, the tearing of walls, that kept in, or out this monster who was once half of whole and I am left alone, pierced, with wrecking doubt over whatever light shone out your soul. Haidee Pangilinan

Rooted Veins Observe this plant – its swelled up limbs and sweating leaves, trapped and rooted in a pot. Doused and overflowing with water, this plant is sinking down to its roots. drowning in the excess, swamped, suffocated. How ironic it is that life pulsing through the veins of this plant becomes poison to its survival. Even in the purest elements, in excess, there is destruction. Alas, I turn to you with the same wretched position. Love, who had once nourished me, has become poison in my veins. O, how feeble a heart and how fragile a body. This gluttonous love engulfing my veins, drowning me. Unable to reciprocate and hold your love the root of my love is wilting, swamped, suffocated, by the excess. Miley Leong

Fictitious Love Lost souls under the bleak heavens, scavenging through Love’s wasteland. Barren, futile, these lost beings travel limitlessly, searching for traces of faith for their hollow souls. How we have fallen, even to a powerless being. Enslaved and chained by Fate, yet, Love’s poison spreads. Intoxicated from illusions of joy, Love’s petrifying screams immobilize us. Mere hearts it holds, devours, destroys, and dismantles. For what reason are we attracted to Love’s immeasurable force when it is nothing but a fool’s excuse for contentment? Those who scavenge for the absence of their souls will only find Love’s fictitious imagery. Garry Li

Man-Made Strings Tying the knot, their strings of Fate intricately intertwine – fastening two souls together by their little fingers. Swerving, swinging, spinning the waltz of marriage tangles the flustered mass of strings yearningly until any pull can draw the two closer. An abundance of mirrors strewn in an enclosed room a world reflecting only their love If this is the only love existing surely this is true love. But Fate derides at the mere sight of their man made strings cheap imitations forged rashly marriage without Fate’s consent is an act of defiance. The inauthenticity infuriates Fate to tighten counterfeit strings Their swelling purple fingers are cuffed, suffocating in a prison. Constant proximity distanced the lovers. Acidic words ate at their hearts. Mirrors reflected their vanity. Eyes scattered with storms and thunder. The lovers were entangled, completely. Strings strangled, viciously. Tense air lingered in the room, waiting patiently for a cry, an outburst – silence. Snip, go the strings.

Queenie Li

Avaunt, Our Love I remember when my hand was in yours, and all I could think about was our aeonian love, knowing that we would triumph over any ephemeral storm. Your dulcet words would soothe me, and the felicity that filled me when I heard your voice or name was none, but true. Your embrace would put me at ease, delicate and tangible. Without you, I felt that I would be no more than an ethereal being, with no body or mind to claim as my own. I pretended I was unaware, when my hand no longer fit in yours, the way it did before. Your gentle words that rested in my cloudless dreams, would more often enrage une orage. Your loving embraces became rigid and hollow, and I was left in an empty, longing sorrow. Vacivity. Your attention and love for me had become concentrated elsewhere. My essence felt dead within me, mephitic, as it began eating at my shrivelling heart, even when I begged for it all to forbear, and devouring whatever remains it could, until there was nothing, but the parts that longed for you- that missed you. I would fain to do anything for you. You claimed me as your own. And even though our mutual desire to remain together is but velleity, I am naught of any form of existence unless you are there beside me, holding my hand like you did when you whispered words to me that, I realise now, were much too sweet. Janice Yung

Apocalypse There’s a new virus and this is the end of the word. Its infectious state is now in my system and beyond help and control – Doctor, you cannot save me. Mindless. Mind. Less. Unthinking. Pure. Desire. I may be mindless but I want to posses yours like you possess mine. My old self is rotting and dying and becoming unrecognized. The world dull and broken as you are full of life; you, alive among the living dead. So let me give you my sickness, the disease of zombies. Together we can demolish the old world and build another, your hand in mine. Do not fret. Let not fear forbid you from my love. The skeptics may have bullets but our kind do nor rest so easily as those of weak impulses and we will let no one get in the way of our desires. Amie Su

My love for you is like Math What if I told you that you were the solution to my problem? That you could replace my X (don’t ask Y) because my never ending love for you is a comparable to π but wait, I am sin2x and you are cos2x because together we’d become one and our love would be like dividing by zero because we cannot define it. Although fractions may be annoying, just let me be your other half and I promise you there will be no limits (limits don’t exist). You may ask what our common factor is, let me tell you in simplest form it is our inequalities that make us strong. Still, my love for you is growing exponentially and since our paths may never intersect, just know that the love from me to you will always be constant. Hauna Wong

Valediction to Love: (or Pillow talk with the Poet) Look not with these moist eyes at me for though I do not claim to love you, dearest, have this assertion: by your side will I always remain. What’s Love, if but four letters? A simple noise we make too proudly? I shall not pour this fatal poison into your unknowing body. And if I have ever loved before, or even thought the word, what lies, what wretched blasphemy, have these past lovers heard? For Love is not eternal nor is it true nor fair, but my affection and devotion are pure and sweet as air. Thus, let my gentle palm and gaze calm your roaming mind. Tomorrow, forget this language’s folly and let our souls take the sky. Alice Shang

Sonnet #3 How is it possible that she could be A presence amazingly heavenly When we two last met and our lips compressed Her soul into mine, allowing the rest The body, soul’s home, to drift into air Proving (again) that our love is so rare: One chamber, two hearts, complete with both souls Yet, absence of body, can love be whole? Though space and absence bond us together And messages sent may last forever To mingle then harmonize in heart’s place (convergence of presence creates new space) Can temporal souls unite really be When, she, alas, denies body from me?

Donne

(finis)