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A Sermon Vpon The XV. Verse Of The XX. Chapter Of The Booke Of Ivdges (London: Printed by William Stansby for Thomas Jones, 1622). Theodore Spencer, ed., A Garland for John Donne, 1631-1931 (Cambridge, Mass.: Harvard University Press, 1931). 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.

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Marjorie Hope Nicolson, The Breaking of the Circle: Studies in the Effect of the "New Science" upon Seventeenth Century Poetry (Evanston, Ill.: Northwestern University Press, 1950). In the first two decades of the 20th century Donne’s poetry was decisively rehabilitated. Its extraordinary appeal to modern readers throws light on the Modernist movement, as well as on our intuitive response to our own times. Donne may no longer be the cult figure he became in the 1920s and 1930s, when T.S. Eliotand William Butler Yeats, among others, discovered in his poetry the peculiar fusion of intellect and passion and the alert contemporariness which they aspired to in their own art. He is not a poet for all tastes and times; yet for many readers Donne remains what Ben Jonson judged him: “the first poet in the world in some things.” His poems continue to engage the attention and challenge the experience of readers who come to him afresh. His high place in the pantheon of the English poets now seems secure.Douglas Bush, English Literature in the Earlier Seventeenth Century, 1600-1660 (Oxford: Clarendon Press, 1945). 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. Just as Donne’s love poems are filled with religious imagery, so his holy sonnets are intensely romantic, even erotic. In this poem, one of his most celebrated holy poems, death is personified as a male braggart, like a soldier boasting of all the men he’s slain.

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Exploiting and being exploited are taken as conditions of nature, which we share on equal terms with the beasts of the jungle and the ocean. In “Metempsychosis” a whale and a holder of great office behave in precisely the same way: John Donne's Sermons on the Psalms and Gospels. With a Selection of Prayers and Meditations, edited by Simpson (Berkeley & Los Angeles: University of California Press, 1963).Anthony Low, Love's Architecture: Devotional Modes in Seventeenth-Century English Poetry (New York: New York University Press, 1978).

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Joan Bennett, Four Metaphysical Poets: Donne, Herbert, Vaughan, Crashaw (Cambridge: Cambridge University Press, 1934). The Complete Poetry of John Donne, edited by John T. Shawcross (Garden City, N.Y.: Doubleday, 1967). The Sermons of John Donne, 10 volumes, edited by George R. Potter and Simpson (Berkeley & Los Angeles: University of California Press, 1953-1962). The best affordable edition of Donne’s poetry is John Donne – The Major Works (Oxford World’s Classics) . It comes with very useful annotations and an informative introduction. Donne finds some striking images to define this state in which two people remain wholly one while they are separated. Their souls are not divided but expanded by the distance between them, “Like gold to airy thinness beat”; or they move in response to each other as the legs of twin compasses, whose fixed foot keeps the moving foot steadfast in its path:Edward W. Tayler, Donne's Idea of a Woman: Structure and Meaning in "The Anniversaries" (New York: Columbia University Press, 1991). Arnold Stein, John Donne's Lyrics: The Eloquence of Action (Minneapolis: University of Minnesota Press, 1962). 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). 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.

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Rosalie L. Colie, Paradoxia Epidemica: The Renaissance Tradition of Paradox (Princeton: Princeton University Press, 1966). Hugh I'Anson Fausset, John Donne: A Study in Discord (London: Cape, 1924; New York: Harcourt, Brace, 1925). Izaak Walton, The Lives of Dr. John Donne, Sir Henry Wotton, Mr. Richard Hooker, Mr. George Herbert, and Robert Sanderson (London: Printed by Tho. Newcomb for Richard Marriott, 1670)--the Life of Dr. John Donne first appeared in the 1640 edition of Donne's LXXX Sermons. A Sermon Vpon The VIII. Verse Of The I. Chapter of The Acts Of The Apostles (London: Printed by A. Mat for Thomas Jones, 1622). It’s impossible to be blinded by beauty, of course, but the cleverness of the conceit transforms it from clichéd declaration of love (‘I’m blinded by your beauty’) into something more affecting because, as T. S. Eliot observed, thought and feeling were united in Donne’s poetry.

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Biathanatos, edited by Ernest W. Sullivan II (Newark: University of Delaware Press / London: Associated University Presses, 1984). Merritt Y. Hughes, "Kidnapping Donne," University of California Publications in English, 4 (1934): 61-89. 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. Donne’s love poetry expresses a variety of amorous experiences that are often startlingly unlike each other, or even contradictory in their implications. In “ The Anniversary” he is not just being inconsistent when he moves from a justification of frequent changes of partners to celebrate a mutual attachment that is simply not subject to time, alteration, appetite, or the sheer pull of other worldly enticements. Some of Donne’s finest love poems, such as “ A Valediction: Forbidding Mourning,” prescribe the condition of a mutual attachment that time and distance cannot diminish: The Works of John Donne, D.D., Dean of Saint Pauls 1621-1631, With a memoir of his life, 6 volumes, edited by Henry Alford (London: John W. Parker, 1839).