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Just as Donne’s love poems are filled with religious imagery, so his holy sonnets are intensely romantic, even erotic. In this poem, one of his most celebrated holy poems, death is personified as a male braggart, like a soldier boasting of all the men he’s slain. 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. Donne’s metaphors are clever: observe the way he takes the idea of being blinded by staring at the sun and turns it on its head, saying that the sun itself may well be blinded by looking upon the eyes of his beloved – they’re that dazzling and beautiful. Donne’s sonnet also ends with a very daring declaration of desire that God ‘ravish’ him – much as he had longed for the women in his life to ravish him in his altogether more libertine youth. Claude J. Summers and Ted-Larry Pebworth, eds., The Eagle and the Dove: Reassessing John Donne (Columbia: University of Missouri Press, 1986).

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A Sermon, Preached To The Kings M tie. At Whitehall, 24. Febr. 1625 (London: Printed for Thomas Jones, 1626). N. J. C. Andreasen, John Donne: Conservative Revolutionary (Princeton: Princeton University Press, 1967). The publication in 1919 of Donne’s Sermons: Selected Passages, edited by Logan Pearsall Smith, came as a revelation to its readers, not least those who had little taste for sermons. John Bailey, writing in the Quarterly Review(April 1920), found in these extracts “the very genius of oratory ... a masterpiece of English prose.” Sir Arthur Quiller-Couch, in Studies in Literature(1920), judged the sermons to include “the most magnificent prose ever uttered from an English pulpit, if not the most magnificent prose ever spoken in our tongue.” The title is from the Greek ekstasis, ex stasis, literally ‘outside standing’ – i.e. standing outside of oneself, or apart from oneself. A truly ‘ecstatic’ experience is always, to some extent, an out-of-body experience. Donne’s poem, then, is about the separation of the body and soul, which is immediately odd, since elsewhere his poetry explores the idea that the soul and the body are, in fact, one. It begins: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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A Sermon Vpon The VIII. Verse Of The I. Chapter of The Acts Of The Apostles (London: Printed by A. Mat for Thomas Jones, 1622).Ti invitiamo ad utilizzare un linguaggio rispettoso e non offensivo, anche per le critiche più aspre Rosemond Tuve, Elizabethan and Metaphysical Imagery: Renaissance Poetic and Twentieth-Century Critics (Chicago: University of Chicago Press, 1947). Gli scatti iniziali del progetto che sarebbe successivamente diventato “Belles Mômes” sono stati realizzati in uno studio dove Odette aveva avuto modo di posare come modella per alcuni artisti. Dopo aver fotografato il primo soggetto, Sylviane, Odette si è resa conto che questi materiali potevano tornare utili per rassicurare le altre potenziali modelle: “Penso sia evidente che non c’è nulla di degradante nelle mie immagini.” DigitalDonne: the Online Variorum, general editor Gary A. Stringer, Texas A&M University, http://digitaldonne.tamu.edu Arnold Stein, John Donne's Lyrics: The Eloquence of Action (Minneapolis: University of Minnesota Press, 1962).

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The Poetical Works of Dr. John Donne, with a memoir, edited by James Russell Lowell (Boston: Little, Brown, 1855).Donne’s love poetry expresses a variety of amorous experiences that are often startlingly unlike each other, or even contradictory in their implications. In “ The Anniversary” he is not just being inconsistent when he moves from a justification of frequent changes of partners to celebrate a mutual attachment that is simply not subject to time, alteration, appetite, or the sheer pull of other worldly enticements. Some of Donne’s finest love poems, such as “ A Valediction: Forbidding Mourning,” prescribe the condition of a mutual attachment that time and distance cannot diminish: A Sermon Vpon The XV. Verse Of The XX. Chapter Of The Booke Of Ivdges (London: Printed by William Stansby for Thomas Jones, 1622). The best affordable edition of Donne’s poetry is John Donne – The Major Works (Oxford World’s Classics) . It comes with very useful annotations and an informative introduction. Donne's Prebend Sermons, edited by Janel M. Mueller (Cambridge, Mass.: Harvard University Press, 1971).

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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.

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’. Merritt Y. Hughes, "Kidnapping Donne," University of California Publications in English, 4 (1934): 61-89. Thomas O. Sloane, Donne, Milton, and the End of Humanist Rhetoric (Berkeley: University of California Press, 1985). 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.