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M. Thomas Hester, Kinde Pitty and Brave Scorn: John Donne's Satyres (Durham, N.C.: Duke University Press, 1982). The title is from the Greek ekstasis, ex stasis, literally ‘outside standing’ – i.e. standing outside of oneself, or apart from oneself. A truly ‘ecstatic’ experience is always, to some extent, an out-of-body experience. Donne’s poem, then, is about the separation of the body and soul, which is immediately odd, since elsewhere his poetry explores the idea that the soul and the body are, in fact, one. It begins:

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Theodore Spencer, ed., A Garland for John Donne, 1631-1931 (Cambridge, Mass.: Harvard University Press, 1931). Sir Arthur Quiller-Couch, Studies in Literature (Cambridge: Cambridge University Press, 1920), pp. 96-117. Charles Monroe Coffin, John Donne and the New Philosophy (New York: Columbia University Press, 1937). John R. Roberts, ed., Essential Articles for the Study of John Donne's Poetry (Hamden, Conn.: Archon, 1975).Donne’s sonnet also ends with a very daring declaration of desire that God ‘ravish’ him – much as he had longed for the women in his life to ravish him in his altogether more libertine youth.

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Gli scatti iniziali del progetto che sarebbe successivamente diventato “Belles Mômes” sono stati realizzati in uno studio dove Odette aveva avuto modo di posare come modella per alcuni artisti. Dopo aver fotografato il primo soggetto, Sylviane, Odette si è resa conto che questi materiali potevano tornare utili per rassicurare le altre potenziali modelle: “Penso sia evidente che non c’è nulla di degradante nelle mie immagini.” Encænia. The Feast of Dedication. Celebrated At Lincolnes Inne, in a Sermon there upon Ascension day, 1623 (London: Printed by Aug. Mat. for Thomas Jones, 1623). We get some of the key features of John Donne’s love poetry in ‘The Canonization’: the bragging, the sense that (several centuries before Morrissey) the sun shines out of the lovers’ behinds because they have something the rest of the world will never have: they have their love for each other, which is greater than anyone else’s.

The English writer and Anglican cleric John Donne is considered now to be the preeminent metaphysical poet of his time. He was born in 1572 to Roman Catholic parents, when practicing that religion was illegal in England. His work is distinguished by its emotional and sonic intensity and its capacity to plumb the paradoxes of faith, human and divine love, and the possibility of salvation. Donne often employs conceits, or extended metaphors, to yoke together “heterogenous ideas,” in the words of Samuel Johnson, thus generating the powerful ambiguity for which his work is famous. After a resurgence in his popularity in the early 20th century, Donne’s standing as a great English poet, and one of the greatest writers of English prose, is now assured. Conclaue Ignati (London, 1611); translated as Ignatius his Conclaue (London: Printed by N. O. for Richard More, 1611). Anne Ferry, All in War with Time: Love Poetry of Shakespeare, Donne, Jonson, Marvell (Cambridge, Mass.: Harvard University Press, 1975).

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By this self-questioning he brings himself to understand that his suffering may itself be a blessing, since he shares the condition of a world in which our ultimate bliss must be won through well-endured hardship. The physical symptoms of his illness become the signs of his salvation: “So, in his purple wrapped receive me Lord, / By these his thorns give me his other crown.” The images that make him one with Christ in his suffering transform those pangs into reassurance. Donne characterizes our natural life in the world as a condition of flux and momentariness, which we may nonetheless turn to our advantage.” The tension of the poetry comes from the pull of divergent impulses in the argument itself. In “A Valediction: Of my Name in the Window,” the lover’s name scratched in his mistress’s window ought to serve as a talisman to keep her chaste; but then, as he explains to her, it may instead be an unwilling witness to her infidelity: John R. Roberts, John Donne: An Annotated Bibliography of Modern Criticism, 1912-1967 (Columbia: University of Missouri Press, 1973). The Complete Poetry of John Donne, edited by John T. Shawcross (Garden City, N.Y.: Doubleday, 1967). This is how one of Donne’s most celebrated poems begins. And it’s gloriously frank – it begins with Donne chastising the sun for peeping through the curtains, rousing him and his lover as they lie in bed together of a morning.His place in the Egerton household also brought him into acquaintance with Egerton’s domestic circle. Egerton’s brother-in-law was Sir George More, parliamentary representative for Surrey. More came up to London for an autumn sitting of Parliament in 1601, bringing with him his daughter Ann, then 17. Ann More and Donne may well have met and fallen in love during some earlier visit to the Egerton household; they were clandestinely married in December 1601 in a ceremony arranged with the help of a small group of Donne’s friends. Some months elapsed before Donne dared to break the news to the girl’s father, by letter, provoking a violent response. Donne and his helpful friends were briefly imprisoned, and More set out to get the marriage annulled, demanding that Egerton dismiss his amorous secretary. Rosalie L. Colie, Paradoxia Epidemica: The Renaissance Tradition of Paradox (Princeton: Princeton University Press, 1966). Six Sermons Vpon Severall Occasions (London: Printed by the Printers to the Universitie of Cambridge, sold by Nicholas Fussell & Humphrey Mosley, 1634).

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In the writing of Donne’s middle years, skepticism darkened into a foreboding of imminent ruin. Such poems as the two memorial Anniversariesand “To the Countess of Salisbury” register an accelerating decline of our nature and condition in a cosmos that is itself disintegrating. In “The First Anniversary” the poet declares, “mankind decays so soon, /Weare scarce our fathers’ shadows cast at noon.” Yet Donne is not counseling despair here. On the contrary, the Anniversaries offer a sure way out of spiritual dilemma: “thou hast but one way, not to admit / The world’s infection, to be none of it” (“The First Anniversary”). Moreover, the poems propose that a countering force is at work that resists the world’s frantic rush toward its own ruin. Such amendment of corruption is the true purpose of our worldly being: “our business is, to rectify / Nature, to what she was” (“To Sir Edward Herbert, at Juliers”). But in the present state of the world, and ourselves, the task becomes heroic and calls for a singular resolution. Biathanatos, edited by Ernest W. Sullivan II (Newark: University of Delaware Press / London: Associated University Presses, 1984).Donne’s metaphors are clever: observe the way he takes the idea of being blinded by staring at the sun and turns it on its head, saying that the sun itself may well be blinded by looking upon the eyes of his beloved – they’re that dazzling and beautiful.