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"The Good-Morrow", although identified by Donne as a sonnet, does not follow this structural layout, although it does follow the thematic one; Donne used "sonnet" simply to refer to any piece of love poetry, ignoring the fact that "The Good-Morrow" was a 21-line work divided into three stanzas. [8]
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).
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. It is included in the Holy Sonnets – a
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]
There is no scholarly consensus regarding the structure of Holy Sonnet XIV; different critics refer to particular parts of this poem either as an octave and a sestet (following the style of the Petrarchan sonnet, with a prominent example being Robert H. Ray's argument [4]), three quatrains and a couplet (the division established by the English sonnet, an example being an article by ...
"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.
The rest of the first chapter is devoted to the close reading of Donne's "The Canonization". Brooks in his interpretation challenges the conception of Donne as being an early example of the use of eccentric metaphor, anticipating Yeats and Eliot, instead asserting that he is an extreme example of what all good poetry exemplifies, namely, paradox.
Fonte's work also quotes directly and indirectly from both Petrarch's "Sonnet 263" and Orlando Furioso. [6] [7] The dialogue style of Fonte's work was influenced by Baldassare Castiglione and Pietro Bembo. [8] Virginia Cox claims that the work was influenced by the changing economy of Italy in the late sixteenth-century. This period was ...