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In Donne’s poetry, language may catch the presence of God in our human dealings. The pun on the poet’s name in ““ registers the distance that the poet’s sins have put between himself and God, with new kinds of sin pressing forward as fast as God forgives those already confessed: “When thou hast done, thou hast not done, / For, I have more.” Then the puns on “sun” and “Donne” resolve these sinful anxieties themselves:

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Biathanatos, edited by Ernest W. Sullivan II (Newark: University of Delaware Press / London: Associated University Presses, 1984). In particolare, durante l'azione di monitoraggio, ci riserviamo il diritto di rimuovere i commenti che: We get some of the key features of John Donne’s love poetry in ‘The Canonization’: the bragging, the sense that (several centuries before Morrissey) the sun shines out of the lovers’ behinds because they have something the rest of the world will never have: they have their love for each other, which is greater than anyone else’s. J. B. Leishman, The Monarch of Wit: An Analytical and Comparative Study of the Poetry of John Donne (London: Hutchinson University Library, 1951). Donne’s poem undoes, or at the very least develops, the usual idea of courtly love by confronting the fact that the courtly love poet, in praising the beautiful woman, ultimately wants to go to bed with her (though often he can’t and never will get the chance).Donne finds some striking images to define this state in which two people remain wholly one while they are separated. Their souls are not divided but expanded by the distance between them, “Like gold to airy thinness beat”; or they move in response to each other as the legs of twin compasses, whose fixed foot keeps the moving foot steadfast in its path:

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Anthony Low, Love's Architecture: Devotional Modes in Seventeenth-Century English Poetry (New York: New York University Press, 1978).The history of Donne’s reputation is the most remarkable of any major writer in English; no other body of great poetry has fallen so far from favor for so long. In Donne’s own day his poetry was highly prized among the small circle of his admirers, who read it as it was circulated in manuscript, and in his later years he gained wide fame as a preacher. For some 30 years after his death successive editions of his verse stamped his powerful influence upon English poets. During the Restoration his writing went out of fashion and remained so for several centuries. Throughout the 18th century, and for much of the 19th century, he was little read and scarcely appreciated. It was not until the end of the 1800s that Donne’s poetry was eagerly taken up by a growing band of avant-garde readers and writers. His prose remained largely unnoticed until 1919. Peter Amadeus Fiore, ed., Just So Much Honor: Essays Commemorating the Four-Hundredth Anniversary of the Birth of John Donne (University Park: Pennsylvania State University Press, 1972). 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: Arnold Stein, John Donne's Lyrics: The Eloquence of Action (Minneapolis: University of Minnesota Press, 1962). This is how one of Donne’s most celebrated poems begins. And it’s gloriously frank – it begins with Donne chastising the sun for peeping through the curtains, rousing him and his lover as they lie in bed together of a morning.

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The Poetical Works of Dr. John Donne, with a memoir, edited by James Russell Lowell (Boston: Little, Brown, 1855). N. J. C. Andreasen, John Donne: Conservative Revolutionary (Princeton: Princeton University Press, 1967). No list of Donne’s best poems would be complete without this one. Like many great metaphysical poems, ‘The Flea’ uses an interesting and unusual conceit to make an argument – in this case, about the nature of physical love. Like Andrew Marvell’s ‘To His Coy Mistress’ (Marvell is another great Metaphysical poet), ‘The Flea’ is essentially a seduction lyric.

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qualche telefonata, lancia una cifra che riempie di soddisfazione il banditore e tacita gli altri. Sara seduta stante viene Joan Bennett, Four Metaphysical Poets: Donne, Herbert, Vaughan, Crashaw (Cambridge: Cambridge University Press, 1934). 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. Marjorie Hope Nicolson, The Breaking of the Circle: Studies in the Effect of the "New Science" upon Seventeenth Century Poetry (Evanston, Ill.: Northwestern University Press, 1950). 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.