John Donne Poetry: British Analysis
The traditional dichotomy between Jack Donne and Dr. Donne, despite John Donne’s own authority for it, is essentially false. In the seventeenth century context, the work of Donne constitutes a fundamental unity. Conventional wisdom may expect devotional poetry from a divine and feel a certain uneasiness when faced with love poetry, but such a view misses the point in two different ways. On one hand, Donne’s love poetry is philosophical in its nature and characterized by a texture of religious imagery; and on the other hand, his devotional poetry makes unexpected, bold use of erotic imagery. What Donne presents is two sides of a consistent vision of the world and of the mortality of man.
In the nineteenth century, when Donne’s poetry did occasionally attract some attention from the discerning, it was not for the lyrics but for the satires. The satirical mode seemed the most congenial use that Donne had found for his paradoxical style. This had also been the attitude of the eighteenth century, which, however, valued metrical euphony too highly to accept even the satires. In fact, Alexander Pope tried to rescue Donne for the eighteenth century by the curious expedient of “translating” his satires into verse, that is, by regularizing them. In addition to replacing Donne’s strong lines and surprising caesurae with regular meter, Pope, as Addison C. Bross has shown, puts ideas into climactic sequence, makes particulars follow generalizations, groups similar images together, and untangles syntax. In other words, he homogenizes the works.
Although Donne’s lyrics have become preferred to his satires, the satires are regarded as artistically effective in their original form, although this artistry is of a different order from that of the lyrics. Sherry Zivley has shown that the imagery of the satires works in a somewhat different way from that of the imagery of the lyrics, where diverse images simply succeed one another. With images accumulated from a similarly wide range of sources, the satires build a thematic center. N. J. C. Andreasen has gone even further, discerning in the body of the satires a thematic unity. Andreasen sees Donne as having created a single persona for the satires, one who consistently deplores the encroaching materialism of the seventeenth century.
“Kind pity chokes my spleen”
Satire 3 on religion (“Kind pity chokes my spleen”) is undoubtedly the most famous of the satires. Using related images to picture men as engaging in a kind of courtship of the truth, the poem provides a defense of moderation and of a common ground between the competing churches of the post-Reformation world. Although written in the period of Donne’s transition from the Roman Catholic Church to the Anglican, the poem rejects both of these, along with the Lutheran and the Calvinist Churches, and calls on men to put their trust in God and not in those who unjustly claim authority from God for churches of their own devising.
In addition to the fully developed satires, Donne wrote a small number of very brief epigrams. These mere witticisms are often on classical subjects and therefore without the occasional focus that turns Ben Jonson’s epigrams into genuine poetry. This is the only place where Donne makes any substantial use of classical allusion.
In his own day, Donne’s most popular poems were probably his elegies. Although the term “elegy” is applied only to a memorial poem in modern usage, Donne’s elegies derive their form from a classical tradition that uses the term, as well, for poetry of love complaint written in couplets. Generally longer than the more famous songs and sonnets, the elegies are written on the model of Ovid’s Amores (c. 20 b.c.e. ; English translation, c. 1597). Twenty or more such poems have been attributed to Donne, but several of these are demonstrably not his. On the basis of manuscript evidence, Dame Helen Gardner has suggested that Donne intended fourteen poems to stand as a thematically...
(The entire section is 5,386 words.)