Academic literature on the topic 'Donne, John, Love poetry, English'
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Journal articles on the topic "Donne, John, Love poetry, English"
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Markova, Maryana V. "Petrarchan Contexts of John Donne�s Spiritual Lyrics." Alfred Nobel University Journal of Philology 1, no. 21 (2021): 10–18. http://dx.doi.org/10.32342/2523-4463-2021-1-21-1.
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The article is devoted to the connection of the famous English poet, prose writer and preacher John Donne�s (1572�1631) works with the Petrarchan discourse of the European literature. The purpose of the investigation is to reveal and interpret the elements of Petrarchism in spiritual lyrics of the author on the basis of systematic approach with the use of the genealogical and comparative typological methods. The most prominent cases of the traditional Petrarchan themes, motives and images usage in John Donne�s religious texts and the specifity of their functioning have been examined in this article. Our attention has been paid to the genetic interconnection between the courtly rhetoric, which had been inherited by Francesco Petrarch and his numerous followers from the Provencal troubadours, and the traditions of the European mysticism that causes the harmony of the Petrarchan interpretive contexts according to the spiritual lyrics of the writer. Already in his earliest works, in particular in the book �Songs and Sonnets�, John Donne did not avoid mixing the sacred and the profane, quite intensively using religious images and motifs in love poetry. But his Petrarchism is most notable in his �Holly Sonnets�. The poetry of this cycle is not about God at all, but about the author himself in his relationship with Lord. In these sonnets the writer describes his feelings for God in almost the same way as Francesco Petrarch described his love for Laura. In general, if we talk about Petrarchism in relation to the spiritual lyrics of John Donne, it should be noted that for the writer it was not only a convenient source of the �ready� artistic images, motifs or means of expression but a kind of a perfect artistic technique for expressing secret, deeply personal thoughts and emotions. The conclusion has been done that such typically Petrarchan ideas such as: the dedicated service to the object of feelings, slavish adoration, obedience and dependence on its inconstant wishes John Donne has managed to adapt to the special needs of the sacred genres in such a way that his texts look surprisingly attractive, interesting and clear to different readers. Despite his worldwide fame John Donne is still one of the least researched literary figures in Ukrainian science. The article is directed to study only one of many aspects of his many-sided artistic heritage which needs the comprehensive professional analysis of the literary theorists and historians. So this article can be used for the further investigation of the problems, connected with the Petrarchan discourse generally in English literature and particularly in John Donne�s works and the scientific results proposed in it can be used in writing course works, graduation works and thesis on the related themes.
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Mascetti, Yaakov A. "Tokens of Love." Common Knowledge 27, no. 1 (January 1, 2021): 1–39. http://dx.doi.org/10.1215/0961754x-8723023.
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Contextualist scholars working on the rhetoric of corporeal presence in seventeenth-century English religious lyrics have naturally focused their attention on sacramental discourse of the Reformation era. As part of the Common Knowledge symposium on the future of contextualism, this full-length monograph, serialized in installments, argues that the contextualist focus on a single and time-limited “epistemic field” has resulted in a less than adequately ramified understanding of the poetry of John Donne, George Herbert, Aemilia Lanyer, and John Milton. What the contextualist approach misses is that even the religious discourses of the period were tied to a long and in no way local epistemological debate about signs and their meaning, whose roots are to be found in Greek and Latin rhetorical theory. This first installment of “Tokens of Love” commences a discussion of the role of classical pagan sign-theory in the development of Reformation sacramental discourse.
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Javed, Noveen, Ezzah Shakil, and Fiza Ali Beenish. "A Stylistic Analysis of The Good-Morrow by John Donne." Global Language Review V, no. III (September 30, 2020): 258–66. http://dx.doi.org/10.31703/glr.2020(v-iii).26.
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The present paper aims to analyze John Donne's poem "The Good-Morrow" stylistically. Being a branch of applied linguistics, Stylistics scrutinizes the literary and non-literary texts in terms of their tonal and linguistic style. Donne's poem, being rich in hyperboles and conceits, depicts the universal theme of undying love where Donne welcomes new dawn and is optimistic for upcoming years of adoration and is exuberant over the magical union of two soulmates. The paper in hand adopts the stylistic analysis as a research methodology to unveil the basic theme of the poem and analyses the poem on the grammatical, phonological and graphological levels. The theoretical framework incorporates the main tenets of Geoffrey N. Leech (1969) from his well-known work "A Linguistic Guide to English Poetry", and also this work focuses on the notions of Mick Short (1996). Stylistic analysis of the chosen poem portrays how the poet, via the use of striking stylistic devices, communicates the central concept of the poem and how the poet has adorned the poem with various elements of style on the levels of grammar phon and graphology.
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Young, R. V. "Love, Poetry, and John Donne in the Love Poetry of John Donne." Renascence 52, no. 4 (2000): 251–73. http://dx.doi.org/10.5840/renascence20005246.
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Alareer, Refaat, Noritah Omar, and Hardev Kaur. "A Bakhtinian Reading of John Donne’s Parody Poem “The Bait”." Advances in Language and Literary Studies 8, no. 1 (February 1, 2017): 200. http://dx.doi.org/10.7575/aiac.alls.v.8n.1p.200.
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While conventional critics seek the comic aspect of parody, modernist critics credit parody with questioning mainstream literary trends and subverting literary production. For instance, Mikhail Bakhtin believes in parody’s power to create “a decrowning double” by turning the official worldview up-side-down. For experimental poets like John Donne, parody transcends mere comical imitation into a serious practice. Donne, having lived in the heyday of the Renaissance with its overemphasis on decorum and courtly love, sought refuge in parody to resist and disturb existing norms of versification and offer an alternative worldview. This paper examines John Donne’s parody poem “The Bait” in the light of Bakhtin’s concept of parody as a decrowning double. The analysis shows that not only had Donne resorted to parody to criticize the society, but he also employed it to undermine established rules of poetry. The study concludes that Donne used parody to create an important platform to liberate poetry from dominant modes of versification, invite readers, often by means of defamiliarisation, to reconsider their stance and literary taste, and promote experimental styles; thus, Donne transcends the norms of prevalent courtly love poetry once and for all.
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Zare-Behtash, Esmail. "Images of ‘Love’ and ‘Death’ in the Poetry of Jaláluddin Rumi and John Donne." International Journal of Applied Linguistics and English Literature 6, no. 2 (January 4, 2017): 97. http://dx.doi.org/10.7575/10.7575/aiac.ijalel.v.6n.2p.97.
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The purpose of this study is to compare the lives and literary careers of two great poets from the East and the West to find common grounds in their lives and writings. In comparing the poetic works of these two great poets, the study will focus on love and death as two major images in the poetry of these two great poets. Jaláluddin Moláná Rumi as he is called in the West, was a Persian poet-philosopher, and John Donne was a metaphysical poet-preacher from England. These two poets wrote much about their ideas with lucidity and wit. Love and death were both of supreme concern for these poets and a preoccupation of their hearts. Nothing is possible in “love” without “death”. Life for Donne is love, the love of women in his early life, then of his wife and finally the love of God. Love for Rumi is sweet madness, healing all infirmities and the physician of pride and self-conceit. Death for Donne is nothing but a transitory passage from here to the hereafter and union with God. Death for Rumi is also a wedding; it is a change from one stage to another as a seed planted in the earth dies in one form in order to be born in another. Both believe that we are from Him, and to Him we shall return.Keywords: Rumi, Donne, love, death, metaphysical poetry, Sufism
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Kumar, Dr Rajiv. "John Donne : A Great Poet." SMART MOVES JOURNAL IJELLH 7, no. 12 (December 28, 2019): 8. http://dx.doi.org/10.24113/ijellh.v7i12.10230.
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John Donne is one of the greatest of English religious poets, and the poets of the 17th century on whom his influence was most deep and lasting than all religious poets. As Joan Bennett tells us this is so because his temperament was essentially religious. A man of religious temperament is constantly aware, constantly perceiving the underlying unity, the fundamental oneness of all phenomena, and the perception of such a relationship, such an inherent principle of unity, is revealed even by the imagery of the earliest poetry of Donne. No doubt Donne's religious poetry belongs to the later part of his career, to the period after his ordination, and the gloom, despair and frustration which resulted from the death of his wife, poverty, and ill-health. The earliest of his religious poems are the sonnet-sequence called La Corona and The Litanie; the best of his religious poetry is contained in the Holy Sonnets, the Divine Poems and The Three Hymns. The best of Donne's religious poetry was written only during the last phase of his career, but the nature of his imagery, even the early one, clearly indicated that his genius was religious and he was bound to take to religious poetry and to the pulpit.
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Neji, Rachid. "John Donne’s Poetry between the Petrarchan Tradition and Postmodern Philosophy: A Case Study- “The Canonization”." Journal of Humanities and Social Sciences Studies 3, no. 1 (January 30, 2021): 51–56. http://dx.doi.org/10.32996/jhsss.2021.3.1.6.
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This paper sheds light on the way John Donne’s poetry (1572-1631) deconstructs the familiar notions and foreshadows a literary area of postmodern contemplation and meditation. It may be true that Donne was influenced by the medieval ideas, but in his mature years he was persuaded that literature and poetry should submit to deep changes. In fact, the centrality of love and religion in Donne’s poetry seduces him to explore and discover the tenor of the universe theoretically and practically. The journey of discovery and exploration provides him with efforts to decode the inner spirituality by accepting the subversive, ambiguous, unfamiliar, and rebellious poetic concepts. Bearing all this in mind, this article yearns to scrutinize the fact that Donne seeks to devise a poetic platform to liberate literature and poetry from conventional modes of versification. The explanation of this attitude seems to be simple and easy understandable, but also rather surprising and complicated. The analysis will show that Donne’s poetry resorts to the sacred and profane in order to criticize social perspectives, and undermine established rules of poetry. The illustration of this attitude requires a deep analysis of his love and religious poems.
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Chauhan, Dr Jaideep. "Treatment of Love in the Poetry of John Donne and Walt Whitman." POETCRIT 33, no. 1 (January 2, 2020): 23–27. http://dx.doi.org/10.32381/poet.2020.33.01.4.
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Carnes, Natalie. "‘That Cross's Children, Which Our Crosses Are’:Imitatio Christi, Imitatio Crucis." Scottish Journal of Theology 69, no. 1 (January 25, 2016): 63–80. http://dx.doi.org/10.1017/s0036930615000782.
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AbstractHow does one rightly name and discernimitatio Christi, imitatio crucis, and the relation between them? In one provocative attempt to answer this question, John Howard Yoder identifies Christ-imaging in vulnerable enemy love and rejects all other criteria. This essay reads the iconoclasm of Yoder's approach through poetry of the cross by William Mure and John Donne. It then proceeds to repair Yoder's Mure-like posture with Donne, as well as the writings of Margaret Ebner and Margery Kempe. These texts destabilise the dichotomies that sustain Yoder's iconoclasm and illustrate the inadequacy of a single criterion forimitatio Christi.Yet Kempe and Ebner's texts are also infected with violence such that they, too, need repair. Vulnerable enemy love thus returns as a negative condition for Christ-imaging, and Yoder's strong iconoclasm is moderated to a weaker iconoclasm that breaks images purporting to be Christ-like but are, in fact, violent.
Dissertations / Theses on the topic "Donne, John, Love poetry, English"
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Lipson, Daniel B. "Tradition. Passio. Poesis. Retreat: Comments around “The Gallery”." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/690.
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Although Andrew Marvell wrote and published relatively little, his poetry collects from the full range of “schools” and idiosyncratic styles present in the seventeenth century: echoes of Herbert, Donne, Milton, Traherne, Herrick, Lovelace, and Jonson, among others, permeate throughout his work. Although much of his imagery seems novel, if not strange, it is clear that Marvell has a deep engagement with several important long-running traditions. His work is conversation with Ovid, Horace, and Theocritus as much as it responds directly to the poets whose lives overlapped with his own. In his engagement with such varied sources, Marvell demonstrates an astounding degree of poetic flexibility. He is a master of imitating voice and style.
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Benard, Clementine. "John Donne : de la satire à l'humour." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR076/document.
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Cette étude s'attache à démontrer comment les écrits satiriques du poète élisabéthain John Donne (1572-1631) lui permettent de développer une esthétique propre, qui ne se cantonne pas qu'au corpus satirique strict mais trouve également une résonance dans le reste de son œuvre. Traditionnellement considérée comme une tendance marginale dans sa poésie, la satire chez Donne s'exprime à travers d'autres textes, laissant ainsi transparaître un « esprit satirique ». Le jeu et la prise de distance du poète vis-à-vis des conventions littéraires, sociales et religieuses de son époque nous permettent de mettre au jour une poétique dominée par le doute et la mélancolie. Cette humeur noire, selon la théorie médicale des humeurs, nous conduit vers l'humour et le comique : fort peu examinés chez Donne, ces concepts transparaissent pourtant à la lecture des textes les moins explorés par la critique, dévoilant ainsi une esthétique qui donne sa cohérence au corpus. John Donne n'est pas que le chef de file de la poésie métaphysique : son statut de satiriste lui confère également celui d'humoristeThis study aims to show how the satiric writings of Elizabethan poet John Donne (1572-1631) display a specific aesthetics, which is also to be found in all his work and not only in his satiric texts. Although it has traditionally been considered as a fringe element in Donne's poetry, satire appears in other writings, thus disclosing a ''satiric spirit''. By playing and distancing himself from the literay, social and religious standards of his time, the poet's work reveals an aesthetics ruled by doubt and melancholy. According to the system of medicine called ''humorism'', melancholy is a black fluid that brings us to humour and comedy : even though they have been rarely examined in Donne studies, these concepts do stand out after a close reading of the least sought-after poems. It thus unites and makes the whole of Donne's poetry coherent. Not only is he the best representative of the metaphysical poets, he is also a satirist as well as a humorist
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Cruickshank, Frances. ""The highest matter in the noblest forme" : religious poetics in George Herbert and John Donne /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19372.pdf.
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Grodd, Elizabeth Stafford. "The Love Poems of John Clare and John Keats: A Comparative Study." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4907.
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This study addresses lesser known works of romantic poets John Clare and John Keats--Clare's Child Harold and Keats's poems to Fanny Brawne--which I refer to as their love poems because the works are informed by intense feelings the poets had for women they loved. Although these works have been the brunt of negative criticism because Clare was considered insane at the time of the composition of Child Harold and Keats was accused of using the poems to give vent to his personal sufferings, nonetheless I argue that the love poems are significant for several reasons. They are a reflection of the poets' personal experiences and also demonstrate their remarkable and surprisingly similar creative abilities in the way they use poetry as a means of devising new strategies for dealing with the painful realities of their disturbing lives. And because I feel it is important to understand Clare's and Keats's feelings for the women they love in order to understand their poetry (since the poetry is, after all, based on real life experiences), I provide chapters describing the poets's lives and loves, as well as their poetic processes, to serve as a framework for examining the poems. In the remaining chapters, I show how the poets incorporate highly sophisticated metaphor in attempting to reconcile the apparent conflicts the speakers in their poems are experiencing between their subjective responses to, and their rational assessment of human existence. In the process, the speakers experience various states of emotional upheaval ranging from what I refer to as periods of limbo, purgatory, and paradise, and they create personal thresholds and undergo differing states of self-awareness. In the final chapter I provide a summary of how these different emotional states are metaphorically effected, and then attempt to explain the value of Clare's and Keats's poetic achievements in the poems from a current perspective.
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Kohlhepp, Adam John. ""Tis nature's law to change" : the Earl of Rochester in the hands of his readers /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Cowell, Emma Mildred. "Dialogues with the Past: Musical Settings of John Donne's Poetry." Youngstown State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1339692006.
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Fiorussi, Lavinia Silvares. "No man is an island: John Donne e a poética da agudeza na Inglaterra no século XVII." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-30032009-161853/.
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Esta tese se propõe examinar a poesia de John Donne (1572-1631) na perspectiva de um âmbito mais amplo de práticas representativas dos meios letrados das cortes do século XVII. Pressupondo a vigência de uma instituição retórica cujos preceitos condicionavam a prática poética, adota-se uma metodologia de pesquisa que flexibiliza os limites classificatórios da historiografia oitocentista posteriormente impostos aos poetas do século XVII. Assim, procede-se a uma análise retórico-poética da poesia de Donne, particularmente, mas também de seus coetâneos George Chapman, Fulke Greville, William Shakespeare e outros considerando os gêneros e estilos de suas composições, as espécies de agudeza que efetuavam, a adequação dos conceitos que formulavam como ornato dialético enigmático e a legibilidade que constituíam nas obras. Propõe-se uma investigação dos pressupostos doutrinários vigentes na época que significam as práticas representativas e as categorias que a envolvem, como a conceituação de que a poesia vernacular culta se define como prática de emulação da poesia greco-latina em seu elenco de autoridades; de que a preceituação vernacular analogamente se define como prática de emulação da preceitução antiga em seus postulados diversos; que a prática de emulação é ativa e não pressupõe cópia servil, mas variação dos argumentos de um mesmo lugar de invenção e variação do tópico elocutório, assumindo a versatilidade das operações retórico-poéticas como prova de engenho e arte. Tendo como força determinante a valoração do wit (engenho; ingenio; ingegno) nos meios letrados do século XVII, esta tese considera sempre que pode as práticas poéticas e preceptivas continentais, cruzando-as com suas contrapartes inglesas, buscando definir os critérios variados de recepção da poesia e os preceitos em uso que constituem a poética da agudeza.This Ph.D. thesis examines the poetry of John Donne (1572-1631) in the light of the representative practices in the learned circles of 17th century courts. Presuming that there was an effective presence of a rhetorical institution at that time, which conditioned poetical production, I have adopted a critical methodology that displaces the classificatory limits of 19th century historiography later imposed on the poets of the early 17th century. I have specifically made a rhetorical-poetical analysis of the poetry of Donne, but also of George Chapman, Fulke Greville, William Shakespeare and others, considering the genres and the styles of their composition, the types of wit they used, the aptness of the conceits formulated as enigmatic dialectical ornaments, and the legibility of their works. I have also investigated the doctrinal conjectures current at the time which then signified the representative practices, such as the concept that cultivated vernacular poetry was defined as an emulation of Greek and Latin poetry; that the vernacular doctrines of rhetoric were also defined as emulation of ancient doctrines; and that the practice of emulation was an active force, and did not imply servile imitation, but rather a variation of the places of argument and the elocutory topic, taking on the diversity of rhetorical and poetical procedures as proof of wit and art. Taking as a determining force the value given to wit (engenho; ingenio; ingegno) in the learned circles of the early 17th century, this thesis also takes into consideration continental poetical and rhetorical practices, cross-examining them with English ones, in an attempt to define the diverse criteria of poetry reception and the precepts then extant which ultimately constituted the poetics of wit.
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McCarthy, Erin Ann. "“Get me the Lyricke Poets”: Poetry and Print in Early Modern England." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338379173.
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"Consummation of sexuality and religion in the love and divine poetry of John Donne." 2006. http://library.cuhk.edu.hk/record=b5892762.
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Ng Pui Lam.Thesis submitted in: November 2005.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2006.
Includes bibliographical references (leaves 94-96).
Abstracts in English and Chinese.
Chapter Chapter 1 --- Introduction --- p.1
Chapter Chapter 2 --- The Secular-Divine Seduction in Donne's Seductive Poems --- p.16
Chapter Chapter 3 --- The Sexual Elements in Donne's Religious Poems --- p.34
Chapter Chapter 4 --- "Death: “The Worst Enemy""" --- p.61
Conclusion --- p.91
Bibliography --- p.94
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Irvine, Judith A. "Christ in Speaking Picture: Representational Anxiety in Early Modern English Poetry." 2014. http://scholarworks.gsu.edu/english_diss/124.
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This dissertation explores the influence of Reformation representational anxiety on early seventeenth-century poetic depictions of Christ. I study the poetic shift from physical to metaphorical portrayals of Christ that occurred after the English Reformation infused religious symbols and visual images with transgressive power. Contextualizing the juncture between visual and verbal representation, I examine the poetry alongside historical artifacts including paternosters, a painted glass window, an emblem, sermons, and the account of a state trial in order to trace signs of sensory “loss” in the verse of John Donne, George Herbert, Aemilia Lanyer, and John Milton.
The introduction provides a historical and poetic overview of sixteenth-century influences on religious verse. The first chapter contrasts Donne’s sermons—which vividly describe Christ—with his poems, in which Christ’s face is often obscured or avoided. In the chapter on George Herbert’s The Temple, I show how Herbert’s initial, physical portraits of Christ increasingly give way to metaphorical images as the book progresses, paralleling the Reformation’s internalization of images. The third chapter shows that Aemilia Lanyer’s Salve Deus Rex Judaeorum makes use of pastoral conventions to fashion Christ as a shepherd-spouse, the divine object of desire. In the final chapter I argue that three poems from John Milton’s 1645 volume can be read as containing signs of Milton’s emerging Arianism.
Depictions of Christ in the poetry of Donne, Herbert, Lanyer, and Milton reveal the period’s contestation over images; the sensory strain of these metaphorical representations results in memorable, vivid verse.
Books on the topic "Donne, John, Love poetry, English"
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Desiring Donne: Poetry, sexuality, interpretation. Cambridge, Mass: Harvard University Press, 2006.
Find full textBook chapters on the topic "Donne, John, Love poetry, English"
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McDowell, Sean H. "Heaney, Donne, and the Boldness of Love." In John Donne and Contemporary Poetry, 123–44. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55300-9_14.
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Cefalu, Paul. "States of Exception and Pauline Love in John Donne’s Sermons and Poetry." In English Renaissance Literature and Contemporary Theory:, 33–67. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230607491_2.
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Guibbory, Achsah. "John Donne." In The Cambridge Companion to English Poetry, Donne to Marvell, 123–47. Cambridge University Press, 1993. http://dx.doi.org/10.1017/ccol0521411475.006.
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Wilding, Michael. "John Milton." In The Cambridge Companion to English Poetry, Donne to Marvell, 221–41. Cambridge University Press, 1993. http://dx.doi.org/10.1017/ccol0521411475.011.
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Corns, Thomas N. "Thomas Carew, Sir John Suckling, and Richard Lovelace." In The Cambridge Companion to English Poetry, Donne to Marvell, 200–220. Cambridge University Press, 1993. http://dx.doi.org/10.1017/ccol0521411475.010.
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Lockwood, Tom. "Donne, By Hand." In Proceedings of the British Academy Volume 167, 2009 Lectures. British Academy, 2011. http://dx.doi.org/10.5871/bacad/9780197264775.003.0014.
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This chapter presents the text of a lecture on John Donne's poetry given at the British Academy's 2009 Chatterton Lecture on History. This text analyses the claims made in H.J.C. Grierson's The Poems of John Donne that John Donne is a manuscript poet for the twentieth century and a poet of, and for, the new university discipline of English. It argues that subsequent understandings of Donne and his works, in manuscript and print, and by different audiences, are necessary elements of the poet we read today.
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Worden, Blair. "Milton: Literature and Life." In John Milton. British Academy, 2010. http://dx.doi.org/10.5871/bacad/9780197264706.003.0001.
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In 1660, upon the Restoration of Charles to the English throne, John Milton went into hiding. His treatises Eikonoklastes and Defensio were condemned and burned. Milton faced the prospect of public execution, but escaped with a brief imprisonment. Three-quarters of a century later, the Milton once vilified for his political polemics was embraced by the public for his verses, which had risen high in England's favour. This chapter discusses Milton's purposes and priorities. The ideal of teaching is, according to Milton, through the ‘delight’ of poetry; for him poetry must function to deplore the general Relapses of Kingdoms and States from justice and God's true worship. Just as with poetry, he looked at prose to instruct the readers by affording them delight, and by calming the perturbation of mind that can impede their reception of truth. Milton believed that just as poetry can impart virtue through charm and smoothness of sounds, prose draws on eloquence to charm the multitude to love what is truly good. In his writings, he pursued the conception of liberty, the strife between good and evil, the principle of free choice, and the sinfulness of the popery. Milton tailored his Restoration poems as bulwarks against the wickedness of the court and nation. His poems served as sharp checks and sour instructions, in the absence of which, many people would have been lost if they were not speedily reclaimed. Some of Milton's works of enlightenment and corrections were Paradise Lost, The Reason of Church Government, and History of Britain.
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Pulham, Patricia. "Statuephilia and the Love of the Impossible." In The Sculptural Body in Victorian Literature, 147–82. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693429.003.0004.
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This chapter considers how sculpture channels Edmund Gosse’s homoerotic desire for the sculptor Hamo Thornycroft, enabling the memorialisation of their relationship in his poetry and prose. It then proceeds to explore how sculpture facilitates complex vortices of libidinal energies in poems by Oscar Wilde and Olive Custance. It argues that Wilde’s ‘Charmides’ (1881) enables a phantasmatic congress between Wilde and his dead ‘beloved’, the poet John Keats, and that a similar process is at work in Olive Custance’s statue poems, which are in dialogue with Wilde’s own life and poetry. Drawing on the work of French and English Parnassian poets, Custance’s poems additionally develop a sculptural aesthetic that expresses a complicated negotiation of her ambiguous sexuality.
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Burt, Stephanie. "Elizabeth Bishop at the End of the Rainbow." In Reading Elizabeth Bishop, 321–36. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474421331.003.0023.
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‘Bishop’s poetry is a concern of the present and the recent past, rather than of the future.’ That’s not actually anything anyone has said, verbatim, about Bishop; it is T. Eliot on John Donne, in 1931, but it articulates a suspicion that many critics have had about Bishop. This chapter explains, first, how that suspicion arose, and then why Bishop is still a concern, indeed an available influence, for the English language poetry of the near future.
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Sanchez, Melissa E. "On Erotic Accountability." In Queer Faith, 200–244. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479871872.003.0006.
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This chapter focuses on lyrics written from the point of view of the unfaithful lover. Theological concepts of charity, forgiveness, and confession can inform secular discussions of erotic accountability: what we owe those we love and those who love us. Understanding accountability in the dual senses of responsibility and narration illuminated by Judith Butler, this chapter considers how aesthetic creation—the struggle to tell a coherent story of the self and its desires—constitutes an unattainable ethical obligation. The devotional and libertine poetry of John Donne, like the writings of Augustine, Luther, and Calvin before him, represents confession not as what Michel Foucault called an act of truth, but as an imaginative acknowledgment of guilt in potentia. Donne’s attention to the entanglement of matter and spirit resists the ideals of romance and rationality that have often been deemed the signal characteristics of “human” sexuality; instead, he writes from the perspective of a being coopted by foreign forces within and without. Counterintuitively, Donne is at his most religious when he defends promiscuous, impermanent, and impure intimacies. For the indiscriminate desire that Donne’s speakers pursue is a secular approximation of divine forgiveness and caritas, the arbitrary yet generous love for imperfect creatures regardless of merit.