A Valediction: Forbidding Mourning

Last updated

A Valediction: Forbidding Mourning
by John Donne
John Donne by Isaac Oliver.jpg
John Donne, who wrote "A Valediction: Forbidding Mourning"
Written1611 or 1612
Country Kingdom of England
LanguageEnglish language
Publication date1633

"A Valediction: Forbidding Mourning" is a metaphysical poem by John Donne. Written in 1611 or 1612 for his wife Anne before he left on a trip to Continental Europe, "A Valediction" is a 36-line love poem that was first published in the 1633 collection Songs and Sonnets , two years after Donne's death. Based on the theme of two lovers about to part for an extended time, the poem is notable for its use of conceits and ingenious analogies to describe the couple's relationship; critics have thematically linked it to several of his other works, including "A Valediction: of my Name, in the Window", Meditation III from the Holy Sonnets and "A Valediction: of Weeping".

Contents

Donne's use of a drafting compass as an analogy for the couple—two points, inextricably linked—has been both praised as an example of his "virtuoso display of similitude", [1] and also criticised as an illustration of the excesses of metaphysical poetry; despite detractors, it remains "the best known sustained conceit" in English poetry. [2] As well as citing this most famous example, literary critics point to Donne's use of subtlety and precise wording in "A Valediction", particularly around the alchemical theme that pervades the text.

Background

John Donne was born on 22 January 1572 to John Donne, a wealthy ironmonger and one of the wardens of the Worshipful Company of Ironmongers, and his wife, Elizabeth. [3] Donne was four when his father died and, instead of being prepared to enter a trade, he was trained as a gentleman scholar; his family used the money his father had made from ironmongering to hire private tutors who taught him grammar, rhetoric, mathematics, history and foreign languages. Elizabeth soon remarried to a wealthy doctor, ensuring that the family remained comfortable; as a result, despite being the son of an ironmonger and portraying himself in his early poetry as an outsider, Donne refused to accept that he was anything other than a gentleman. [4] After study at Hart Hall, Oxford, Donne's private education eventually saw him study at Lincoln's Inn, one of the Inns of Court, where he occupied his time with history, poetry, theology and "Humane learning and languages". [5] It was at Lincoln's Inn that Donne first began writing poetry, looking upon it as "a life-sign or minor irritation" rather than something which defined him. [6]

In November 1597, he became chief secretary to Thomas Egerton, and soon after met Egerton's niece, Anne More. [7] After meeting in 1599, the two conducted a heated love affair in the summer of 1600; letters exchanged between the two reveal the growing suspicion of Anne's father, Sir George More, and Donne's pledge to pick Anne over the favour of his patron, Egerton. [8] The two secretly married, and when More discovered this in 1602, he had Donne sent to Fleet Prison for violating canon law. After many demands, Egerton also consented to Donne's dismissal. After Donne wrote to Egerton, he was released from prison, and during his trial at the Court of Audience the marriage was validated and Donne absolved of any canon law violation. [9] "A Valediction" was written to a heavily pregnant Anne, in 1611 or 1612, [10] [11] as Donne prepared to travel to Continental Europe with Sir Robert Drury. It was later published in 1633 as part of the collection Songs and Sonnets , following his death. [12]

Poem

36 lines long, [13] the poem opens with:

Original TextModern Adaption

As virtuous men passe mildly away,
  And whisper to their soules, to goe,
Whilst some of their sad friends doe say,
  The breath goes now, and some say, no:

So let us melt, and make no noise,
  No teare-floods, nor sigh-tempests move,
T'were prophanation of our joyes
  To tell the layetie our love. [14]

Stanzas 1-2 (lines 1-8)

As virtuous men pass mildly away,
  And whisper to their souls to go,
Whilst some of their sad friends do say
  The breath goes now, and some say, No:

So let us melt, and make no noise,
  No tear-floods, nor sigh-tempests move;
'Twere profanation of our joys
  To tell the laity our love. [15]

Stanzas 1-2 (lines 1-8)

In these stanzas, Donne compares the parting of two lovers to a death, desiring the lovers' parting to be quiet, without struggle, and voluntary even though it is inevitable. At the same time, he considers the separation of lovers to be equivalent to the soul separating from the body on death. Ramie Targoff argues that this is not because he sees the separation of the lovers as permanent, like death, but that as with death Donne finds the challenge with separation to be ensuring the relationship's continuity in the future. [16]

Moving of th'earth brings harmes and fears,
  Men reckon what it did and meant,
But trepidation of the spheares,
  Though greater farre, is innocent. [14]

Stanza 3 (lines 9-12)

Moving of th' earth brings harms and fears,
  Men reckon what it did, and meant;
But trepidation of the spheres,
  Though greater far, is innocent. [15]

Stanza 3 (lines 9-12)

Writing in Texas Studies in Literature and Language, Peter L. Rudnytsky notes the "imagery of extraordinary complexity" in this stanza. "Moving of th' earth" is interpreted not to refer to earthquakes, but to the then-recent theories about the movement of Earth. This theory is supported by the use of the phrase "trepidation of the spheres", an obsolete astronomical theory used in the Ptolemaic system. [17]

Dull sublunary lovers love
  (Whose soul is sense) cannot admit
Absence, because it doth remove
  Those things which elemented it.

But we by a love, so much refin'd,
  That our selves know not what it is,
Inter-assured of the mind,
  Care lesse, eyes, lips and hands to misse. [14]

Stanzas 4-5 (lines 13-20)

Dull sublunary lovers' love
  (Whose soul is sense) cannot admit
Absence, because it doth remove
  Those things which elemented it.

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. [15]

Stanzas 4-5 (lines 13-20)

Theresa M. DiPasquale notes the use of "refined" as a continuation of an alchemical theme set in the earlier stanzas, with the phrase "so much refined" ambiguous as to whether it is modifying "love", or the couple themselves are being refined by the love they share. [18]

Our two soules therefore, which are one,
  Though I must goe, endure not yet
A breach, but an expansion,
  Like gold to ayery thinnesse beate. [14]

Stanza 6 (lines 21-24)

Our two souls therefore, which are one,
  Though I must go, endure not yet
A breach, but an expansion,
  Like gold to airy thinness beat. [15]

Stanza 6 (lines 21-24)

These lines use a piece of gold to describe the love between the writer and the subject of the poem. While beating the gold ever-thinner spreads it out, widening the distance between the couple, the gold now covers more room—it has spread and become pervasive. Beating it to "aery thinness"—distributing it throughout the air—means that the love is now part of the atmosphere itself. [19]

If they be two, they are two so
  As stiffe twin compasses are two,
Thy soule the fixt foot, makes no show
  To move, but doth, if th'other doe.

And though it in the centre sit,
  Yet, when the other far doth rome,
It leanes, and hearkens after it,
  And grows erect, as that comes home.

Such wilt thou be to mee, who must
  Like th'other foot, obliquely runne;
Thy firmnes makes my circle just,
  And makes me end, where I begunne. [14]

Stanzas 7-9 (lines 25-36)

If they be two, they are two so
  As stiff twin compasses are two;
Thy soul, the fixed foot, makes no show
  To move, but doth, if the other do.

And though it in the centre sit,
  Yet, when the other far doth roam,
It leans and hearkens after it,
  And grows erect, as that comes home.

Such wilt thou be to me, who must,
  Like th' other foot, obliquely run;
Thy firmness makes my circle just,
  And makes me end where I begun. [15]

Stanzas 7-9 (lines 25-36)

The analogy here—of a pair of compasses in the process of drawing a circle—draws contrasts between the two lovers, where one is fixed and "in the centre sit[s]" while the other roams; despite this, the two remain inextricably connected and interdependent, staying inseparable despite the increasing distance between the two compass hands. [20] Achsah Guibbory identifies a pun in "the fix'd foot... Thy firmness makes my circle just"; a circle with a dot in the middle is the alchemical symbol for gold, an element referred to in a previous stanza. [21]

Themes

Thematically, "A Valediction" is a love poem; Meg Lota Brown, a professor at the University of Arizona, notes that the entire poem (but particularly the compass analogy in the final three stanzas) "ascribe to love the capacity to admit changing circumstances without itself changing at the same time". [22] Achsah Guibbory highlights "A Valediction" as an example of both the fear of death that "haunts" Donne's love poetry and his celebration of sex as something sacred; the opening draws an analogy between the lovers' parting and death, while, later on, the poem frames sex in religious overtones, noting that if the lovers were "to tell the layetie [of] our love" they would profane it. [23]

Targoff argues that "A Valediction" follows on from Donne's earlier poem "A Valediction: of my Name, in the Window" in theme, with the opening stanza of one, like the closing stanza of the other, concerning itself with dying men, [24] while J.D. Jahn, writing in the journal College Literature, compares it to Donne's Meditation III, from the Holy Sonnets . [25] Carol Marks Sicherman, however, draws parallels between it and another Valediction—"A Valediction: of Weeping", saying that "The speaker of "Mourning" begins where his "Weeping" colleague ends; he knows at the outset that "teare-floods" and "sigh-tempests" do not suit the climate of love he and his lady enjoy". [26]

Critical response

Considering it Donne's most famous valedictory poem, [24] Theodore Redpath praises "A Valediction" for its "lofty and compelling restraint, and the even tenor of its movement". [11] Targoff maintains that what distinguishes "A Valediction: Forbidding Mourning" from Donne's other "Valedictions" is what Donne leaves for his lover: "Donne does not leave his beloved either a physical or spiritual piece of himself. Instead, he leaves her the power of his poetic making. What is meant to prevent her "mourning" is not her possession of his name or book or heart or soul. It is the possession of his metaphors, metaphors of their union that seem invulnerable to division". [27] Guibbory uses "A Valediction" to highlight Donne's status as "master of the monosyllable, the small word that holds the line taut" with his use of the word "beat" rather than "spun" in the analogy of beaten gold, [28] while Ian Ousby uses the compass metaphor as an example of Donne's skill at weaving conceits "sometimes extended throughout an entire poem in a virtuoso display of similitude". [1] This view is seconded by Geoffrey Galt Harpham, who refers to it as "the best known sustained conceit". [2]

Sicherman writes that "A Valediction" is an example of Donne's writing style, providing "[a] confident opening, a middle in which initial certainties give way gradually to new perceptions, and a conclusion manifesting a clear and profoundly rooted assurance". [29] At the same time, she considers it "a poem whose development is so subtle, whose conclusion so perfect, that one may remain unaware of while responsive to the pattern of discovery". [26] The analogy of beaten gold was heavily criticised by T. S. Eliot as not being based on a statement of philosophical theory; Targoff argues that this is incorrect — that Donne had a consistent philosophy, and that the analogy of beaten gold can be traced to the writings of Tertullian, one of Donne's greatest religious influences. [30] Another critic of Donne, Samuel Johnson, noted that the poem's compass analogy highlights the "violence" used by metaphysical poets to "[force] the most heterogeneous ideas together". [31]

Related Research Articles

<span class="mw-page-title-main">John Donne</span> English poet and cleric (1572–1631)

John Donne was an English poet, scholar, soldier and secretary born into a recusant family, who later became a cleric in the Church of England. Under royal patronage, he was made Dean of St Paul's Cathedral in London (1621–1631). He is considered the preeminent representative of the metaphysical poets. His poetical works are noted for their metaphorical and sensual style and include sonnets, love poems, religious poems, Latin translations, epigrams, elegies, songs and satires. He is also known for his sermons.

Tertium comparationis is the quality that two things which are being compared have in common. It is the point of comparison which prompted the author of the comparison in question to liken someone or something to someone or something else in the first place.

<span class="mw-page-title-main">Metaphysical poets</span> Term used to describe a loose group of British lyric poets of the 17th century

The term Metaphysical poets was coined by the critic Samuel Johnson to describe a loose group of 17th-century English poets whose work was characterised by the inventive use of conceits, and by a greater emphasis on the spoken rather than lyrical quality of their verse. These poets were not formally affiliated and few were highly regarded until 20th century attention established their importance.

An extended metaphor, also known as a conceit or sustained metaphor, is the use of a single metaphor or analogy at length in a work of literature. It differs from a mere metaphor in its length, and in having more than one single point of contact between the object described and the comparison used to describe it. These implications are repeatedly emphasized, discovered, rediscovered, and progressed in new ways.

In literature, an author uses contrast when they describe the difference(s) between two or more entities. According to the Oxford Dictionary, contrast is comparing two things in order to show the differences between them. It is common in many works of Literature. For example, in The Pearl by John Steinbeck, a clear contrast is drawn between the Lower Class and the Upper Class residents of the society presented in the text. The Lower Class citizens live in brush houses, their economic activity is fishing and are sociable. These ones are represented by Kino, the main character and the fishermen. On the other hand, the Upper Class citizens live in plastered buildings, they engage in reputable economic activities such as medicine and are more focused to their economic activities as opposed to social interactions.

Western literature, also known as European literature, is the literature written in the context of Western culture in the languages of Europe, and is shaped by the periods in which they were conceived, with each period containing prominent western authors, poets, and pieces of literature.

<span class="mw-page-title-main">Sonnet 116</span> Poem by William Shakespeare

William Shakespeare's sonnet 116 was first published in 1609. Its structure and form are a typical example of the Shakespearean sonnet.

<i>Holy Sonnets</i> Series of 19 poems by John Donne

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. They are written predominantly in the style and form prescribed by Renaissance Italian poet Petrarch (1304–1374) in which the sonnet consisted of two quatrains and a sestet. However, several rhythmic and structural patterns as well as the inclusion of couplets are elements influenced by the sonnet form developed by English poet and playwright William Shakespeare (1564–1616).

<span class="mw-page-title-main">The Canonization</span> Poem by John Donne

"The Canonization" is a poem by English metaphysical poet John Donne. First published in 1633, the poem is viewed as exemplifying Donne's wit and irony. It is addressed to one friend from another, but concerns itself with the complexities of romantic love: the speaker presents love as so all-consuming that lovers forgo other pursuits to spend time together. In this sense, love is asceticism, a major conceit in the poem. The poem's title serves a dual purpose: while the speaker argues that his love will canonise him into a kind of sainthood, the poem itself functions as a canonisation of the pair of lovers.

Devotions Upon Emergent Occasions, and severall steps in my Sicknes is a prose work by the English metaphysical poet and cleric in the Church of England John Donne, published in 1624. It covers death, rebirth and the Elizabethan concept of sickness as a visit from God, reflecting internal sinfulness. The Devotions were written in December 1623 as Donne recovered from a serious but unknown illness – believed to be relapsing fever or typhus. Having come close to death, he described the illness he had suffered from and his thoughts throughout his recovery with "near super-human speed and concentration". Registered by 9 January, and published soon after, the Devotions is one of only seven works attributed to Donne which were printed during his lifetime.

Pseudo-Martyr is a 1610 polemical prose tract in English by John Donne. It contributed to the religious pamphlet war of the time, and was Donne's first appearance in print. It argued that English Roman Catholics should take the Oath of Allegiance of James I of England. It was printed by William Stansby for Walter Burre.

The Passion is an unfinished ode by John Milton that was possibly written in 1630 and was first published in 1645 or 1646. The poem connects Christ's Crucifixion with his Incarnation. It is linked to two other poems of Milton: On the Morning of Christ's Nativity and Upon the Circumcision

"Elegy XIX: To His Mistress Going to Bed", originally spelled "To His Mistris Going to Bed", is a poem written by the metaphysical poet John Donne.

Nationality words link to articles with information on the nation's poetry or literature.

<i>Conceit</i> (novel) 2007 novel by the Mary Novik

Conceit is a novel by the Canadian author Mary Novik, published in 2007 by Doubleday Canada.

<span class="mw-page-title-main">The Good-Morrow</span> Poem from 1633 by John Donne

"The Good-Morrow" is a poem by John Donne, published in his 1633 collection Songs and Sonnets.

"The Flea" is an erotic metaphysical poem by John Donne (1572–1631). The exact date of its composition is unknown, but it is probable that Donne wrote this poem in the 1590s when he was a young law student at Lincoln's Inn, before he became a respected religious figure as Dean of St Paul's Cathedral. The poem uses the conceit of a flea, which has sucked blood from the male speaker and his female lover, to serve as an extended metaphor for the relationship between them. The speaker tries to convince a lady to sleep with him, arguing that if their blood mingling in the flea is innocent, then sexual mingling would also be innocent. His argument hinges on the belief that bodily fluids mix during sexual intercourse.

"Holy Sonnet XIV" – also known by its first line as "Batter my heart, three-person'd God" – is a poem written by the English poet John Donne. It is a part of a larger series of poems called Holy Sonnets, comprising nineteen poems in total. The poem was printed and published for the first time in Poems in 1633, two years after the author's death. In the 1633 edition the sequence of the poems was different from that found in Herbert Grierson’s edition from 1912; that is why Holy Sonnet XIV features as Holy Sonnet X in older publications. However, the majority of twentieth-century and later editions of Donne's Holy Sonnets are found to prefer and use the order proposed by Grierson and thus include the sonnet as the fourteenth in the cycle.

"Sonnet II", also known by its opening words as "As Due By Many Titles", is a poem written by John Donne, who is considered to be one of the representatives of the metaphysical poetry in English literature. It was first published in 1633, two years after Donne’s death.

Holy Sonnet VIII – also known by its opening words as If Faithful Souls Be Alike Glorified – is a poem written by John Donne, an English metaphysical poet. It was first published in 1633, two years after the author's death.

References

  1. 1 2 Ousby 1993, p. 198.
  2. 1 2 Harpham 2009, p. 54.
  3. Carey 2008, p. 15.
  4. Stubbs 2007, p. xvii.
  5. Stubbs 2007, p. 5.
  6. Stubbs 2007, p. 28.
  7. Colclough 2003, p. 51.
  8. Colclough 2003, p. 54.
  9. Colclough 2003, p. 61.
  10. Brown 1995, p. 134.
  11. 1 2 Redpath 1967, p. xxvii.
  12. Redpath 1967, p. 261.
  13. DiPasquale 2001, p. 214.
  14. 1 2 3 4 5 Donne 1912, pp. 49–51.
  15. 1 2 3 4 5 O'Brien, Liam. "A Valediction: Forbidding Mourning". LitCharts. LitCharts LLC. Retrieved 13 March 2020.
  16. Targoff 2008, p. 72.
  17. Rudnytsky 1982, p. 190.
  18. DiPasquale 2001, p. 217.
  19. Tiempo 1993, p. 96.
  20. Tiempo 1993, p. 97.
  21. Guibbory 2006, p. 170.
  22. Brown 1995, p. 133.
  23. Guibbory 2006, p. 143.
  24. 1 2 Targoff 2008, p. 71.
  25. Jahn 1978, p. 36.
  26. 1 2 Sicherman 1971, p. 79.
  27. Targoff 2008, p. 73.
  28. Guibbory 2006, p. 106.
  29. Sicherman 1971, p. 78.
  30. Targoff 2008, p. 73–4.
  31. Guibbory 2006, p. 236.

Bibliography