Even then he had doubts as to what was the one true Church, and this is reflected in some of his religious poetry.
However, it has been confirmed only in the early 20th century. 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. Commentators followed Samuel Johnson in dismissing his work as no more than frigidly ingenious and metrically uncouth.
His prose remained largely unnoticed until Its extraordinary appeal to modern readers throws light on the Modernist movement, as well as on our intuitive response to our own times.
Donne may no longer be the cult figure he became in the s and s, when T. Eliot and William Butler Yeatsamong others, discovered in his poetry the peculiar fusion of intellect and passion and the alert contemporariness which they aspired to in their own art.
He is not a poet for all tastes and times; yet for many readers Donne remains what Ben Jonson judged him: His high place in the pantheon of the English poets now seems secure.
For instance, a lover who is about to board ship for a long voyage turns back to share a last intimacy with his mistress: Let sea-discoverers to new worlds have gone, Let maps to others, worlds on worlds have shown, Let us possess one world, each hath one, and is one.
Oh stay, three lives in one flea spare, Where we almost, nay more than married are.
This poem moves forward as a kind of dramatic argument in which the chance discovery of the flea itself becomes the means by which they work out the true end of their love. The incessant play of a skeptical intelligence gives even these love poems the style of impassioned reasoning.
The poetry inhabits an exhilaratingly unpredictable world in which wariness and quick wits are at a premium. Exploiting and being exploited are taken as conditions of nature, which we share on equal terms with the beasts of the jungle and the ocean.
He hunts not fish, but as an officer, Stays in his court, as his own net, and there All suitors of all sorts themselves enthral; So on his back lies this whale wantoning, And in his gulf-like throat, sucks everything That passeth near.
The tension of the poetry comes from the pull of divergent impulses in the argument itself. So complex or downright contradictory is our state that quite opposite possibilities must be allowed for within the scope of a single assertion, as in Satire 3: Should the corrupted state of religion prompt our anger or our grief?
What devotion do we owe to religion, and which religion may claim our devotion? May the pagan philosophers be saved before Christian believers? What obligation of piety do children owe to their fathers in return for their religious upbringing?
The mode of reasoning is characteristic: Donne calls in a variety of circumstances, weighing one area of concern against another so that we may appraise the present claim in relation to a whole range of unlike possibilities: Yet the poet never gives the impression of forcing a doctrine upon experience.
On the contrary, his skepticism sums up his sense of the way the world works. But we by a love, so much refined, That our selves know not what it is, Inter-assured of the mind, Care less, eyes, lips, and hands to miss.
Donne finds some striking images to define this state in which two people remain wholly one while they are separated. A supple argument unfolds with lyric grace. It must be borne in mind that the poems editors group together were not necessarily produced thus. Donne did not write for publication.
No more than seven poems and a bit of another poem were published during his lifetime, and only two of these publications were authorized by him.
The poems he released were passed around in manuscript and transcribed by his admirers singly or in gatherings. Some of these copies have survived.
When the first printed edition of his poems was published intwo years after his death, the haphazard arrangement of the poems gave no clue to the order of their composition. Many modern editions of the poetry impose categorical divisions that are unlikely to correspond to the order of writing, separating the love poetry from the satires and the religious poetry, the verse letters from the epithalamiums and funeral poems.
The Elegies and Satires are likely to have been written in the early s. The two memorial Anniversaries for the death of Elizabeth Drury were certainly written in and ; and the funeral elegy on Prince Henry must have been written in The Songs and Sonnets were evidently not conceived as a single body of love verses and do not appear so in early manuscript collections.Poetry Analysis: "Ode On a Grecian Urn" - The twenty-four old romantic poet John Keats, “Ode on a Grecian Urn” written in the spring of was one of his last of six odes.
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Climbing My Grandfather by Andrew Waterhouse is a poem written in 27 verses, which describes about the speaker’s ascent from his grandfather’s toe to head.
This poem is unbroken in stanza; the speaker’s grandfather is described as a mountain on which the speaker starts his climbing from his grandfather’s feet to head. John Donne was known as a metaphysical poet. Metaphysical poets were 17th century British and European writers who were known for their unique writing style of wit, intellectualism, imagery, and.
The best and most essential poems by John Donne () John Donne’s poetry is a curious mix of contradictions. At once spiritual and metaphysical, it is also deeply embedded in the physicality of bodies: love as a physical, corporeal experience as well as a spiritual high.