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John Donne (/ d ĘŚ n / DUN; 1571 or 1572 [a] – 31 March 1631) was an English poet, scholar, soldier and secretary born into a recusant family, who later became a cleric in the Church of England. [2]
The Broken Heart is a Caroline era tragedy written by John Ford, and first published in 1633. "The play has long vied with 'Tis Pity She's a Whore as Ford's greatest work...the supreme reach of his genius...." [1] The date of the play's authorship is uncertain, and is generally placed in the 1625–32 period by scholars.
John Donne, A Help to Memory and Discourse, including The Broken Heart and part of "Song" ("Go and catch a falling star ...") [1] Michael Drayton, The Muses Elizium [2] Thomas May, A Continuation of Lucan's Historicall Poem Till the Death of Julius Caesar (see also Lucan's Pharsalia 1626, 1627) [2]
Handwritten draft of Donne's Sonnet XIV, "Batter my heart, three-person'd God", likely in the hand of Donne's friend, Rowland Woodward, from the Westmoreland manuscript (circa 1620) 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).
"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 (1572 – 1631). It is a part of a larger series of poems called Holy Sonnets , comprising nineteen poems in total.
The Holy Sonnets of John Donne is a song cycle composed in 1945 by Benjamin Britten for tenor or soprano voice and piano, and published as his Op. 35. [1] It was written for himself and his life-partner, the tenor Peter Pears , and its first performance was by them at the Wigmore Hall , London on 22 November 1945.
"Sonnet X", also known by its opening words as "Death Be Not Proud", is a fourteen-line poem, or sonnet, by English poet John Donne (1572–1631), one of the leading figures in the metaphysical poets group of seventeenth-century English literature. Written between February and August 1609, it was first published posthumously in 1633.
Donne neatly hits the traditional estimate of love by expressing it in terms of an adventure”. [6] Here, Gransden commends Donne's comparison of sexual intercourse to an adventure, which was a modern way for his speaker to coax the mistress into bed. Donne's metaphysical conceit also dabbles in gendered power dynamics of early modern England.