The Holy Sonnets—also known as the Divine Meditations or Divine Sonnets—are a series of nineteen poems by the English poet John Donne (1572–1631). The sonnets were first published in 1633—two years after Donne’s death. Summary from Wikipedia. [chương_files]
Elizabeth Drury, daughter of Donne’s patron, Sir Robert Drury, died in 1610. A year later Donne laments her hyperbolically as the soul of the created universe. In “An Anatomy of the World: The First Anniversary,” he poetically scrutinizes that year-old corpse, the world, as if he were performing an autopsy (an “anatomy”). He finds it corrupt in every part, the dead woman having carried with her every spark of goodness it once contained. To commemorate the second anniversary of Miss Drury’s death, Donne’s “Progress of the Soul” (1612) celebrates her liberation from this world, urges readers to follow her example, and performs a cheerful spiritual meditation upon the process of death, burial, and corruption—cheerful because death frees us from the inconveniences of this life and serves as a portal to the next. Each poem is introduced by an encomium that, though purporting to be written by another hand, appears to be the poet’s own work. (Summary by Thomas Copeland) [chương_files]
Donne’s Style In John Donne’s day, a satire was such a poem as a satyr might compose. Satyrs were rough, savage creatures in Greek mythology, human to the waist but goat from there down. That is the reason that Donne’s style in these poems exceeds his normal difficulty in syntax, vocabulary, thought, and meter. His age enjoyed untangling such puzzles, and some poets cultivated obscurity as an art, called asprezza. Wordplay like “while bellows pant below” (Satyre 2), where the same syllables, stressed differently, produce two different words almost side by side, entertained them. An acoustical analogue to obscurity, Donne’s rhymes are often deliberately lame, while his rhythms nearly defy scansion and yet refuse to become mere prose. By keeping the drum beat just barely audible, he makes us feel that we are stumbling, out of step—neither marching nor merely walking. Why was this abuse of the reader enjoyable? Perhaps for the same reason that grafitti appeals to some people. At first glance Donne appears lax, but in fact he is naughty; not undisciplined but rebellious; he does not fail to abide by the rules but rather gives the impression of breaking them. Metempsychosis The poem appears to be incomplete, its “First Song” having no counterpart, no “Second Song.” Similarly its promise to end by identifying what celebrity the soul in question now inhabits is never fulfilled. On the contrary, the poem’s initial epic pretentions founder at the second generation of mankind rather than tracing human history from the Garden […]
Aspects Of Love is an anthology of poetic explorations on the theme of erotic love – though one of the “poets” represented here is better known, even than as a dramatist, as the philosopher, Plato. His Symposium heads off this set of erotic explorations. In The Symposium’s philosophic play, he depicts a scene of men cosing together over dinner, each describing what he finds in his experience of love. I have followed this pattern in the choice of works for this anthology – in a similar manner, each of these works deals in a radically different way with the discovery of love. Whether philandering or married, heterosexual, lesbian or gay, under cover of friendship or as flagrant delight, from Plato through Donne, Whitman, Shakespeare or Sappho. we will not cease from exploration till we reach at last, as The Symposium does, a vision of the union of love as a discovery of the Divine. Surely there must be something here for everyone. – Summary by Tony Addison [chương_files]
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