The Holy Sonnets and other Poems by John Donne (1572-1631) as well as the post-modern theatrical production “W;T” by Margaret Edson (1995) explore the enduring themes of the human condition, such as the mortality of man, and the interpersonal bonds that define humanity. These themes manifest in a religious context through Donne’s English Renaissance (1590 – 1710) due to the Calvinist beliefs of his time; such as life after death and an intrinsic potential for human bonds to be spiritual and transcend the physical. On the other hand, Edson’s 20th century society has moved away from these beliefs and onto scientific data and nihilism, espousing instead post-modern literary movements such as Beckett, whom used absurdist performances to comment
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His work draws extensively from the beliefs of the spiritual and transcendent put in place by the Anglican Church, death is not a finality, but a moment of transition and judgement. The sonnet Poisonous Minerals employs wit specifically to engage with the perception that God is merciful to the faithful. “And mercy being easy, and glorious To God, in his stern wrath why threatens he?” The rhetorical positioning of the persona at the absolute mercy of a higher power engages with the contextual belief of surrendering to God in order to be cleansed and forgiven. Furthermore, Donne’s biblical allusion to the rite of sacrament drawn from the canonical beliefs of the Anglican Church, states that “[God]’ hadst seal’d my pardon with thy blood,” which is an inference to the act of sacrifice by Jesus upon the cross which has cleansed all men, and henceforth Donne -of all his sins. Thus for Donne, death is merely a mode of passage, captured in the last two lines of the sestet in Death not be Proud. “One short sleepe past, wee wake eternally,” links pedestrian actions such as sleeping with mortality, disempowering the threat of mortality. Moreover, the continued employment of wit in conversing with ‘Death” through, “And death shall be no more; death, thou shalt die.” Satirically personifies Death as the ironic …show more content…
The connection between individuals is depicted in “Valediction: A Forbidden Mourning” through conceit and wit. This is seen by demonstrating human connection as a metaphor, “A breach, but an expansion, Like gold to airy thinness beat.” The imagery of the “expansion, like Gold” allows Donne to capture both the sanctity of the bond, as well as the great distance to which his feelings remain constant. Furthermore, Donne extends on this relationship through the use of conceit, in which the persona describes his lover and himself “As stiff twin compasses are two.” The use of extended metaphor highlights the intrinsic link between the two lovers. The pivot or joint above the compass legs suggest the spiritual harmony with God, indicating the transcendental structure that defines the bonds between human beings. This is furthered by the use of conceit as the persona states, “Thy firmness makes my circle just, And makes me end where I begun.” By using the extended metaphor of the circle and the compass, Donne draws upon the aesthetic elegance and axioms of mathematics and geometry in the 17th century to depict love
His work draws extensively from the beliefs of the spiritual and transcendent put in place by the Anglican Church, death is not a finality, but a moment of transition and judgement. The sonnet Poisonous Minerals employs wit specifically to engage with the perception that God is merciful to the faithful. “And mercy being easy, and glorious To God, in his stern wrath why threatens he?” The rhetorical positioning of the persona at the absolute mercy of a higher power engages with the contextual belief of surrendering to God in order to be cleansed and forgiven. Furthermore, Donne’s biblical allusion to the rite of sacrament drawn from the canonical beliefs of the Anglican Church, states that “[God]’ hadst seal’d my pardon with thy blood,” which is an inference to the act of sacrifice by Jesus upon the cross which has cleansed all men, and henceforth Donne -of all his sins. Thus for Donne, death is merely a mode of passage, captured in the last two lines of the sestet in Death not be Proud. “One short sleepe past, wee wake eternally,” links pedestrian actions such as sleeping with mortality, disempowering the threat of mortality. Moreover, the continued employment of wit in conversing with ‘Death” through, “And death shall be no more; death, thou shalt die.” Satirically personifies Death as the ironic …show more content…
The connection between individuals is depicted in “Valediction: A Forbidden Mourning” through conceit and wit. This is seen by demonstrating human connection as a metaphor, “A breach, but an expansion, Like gold to airy thinness beat.” The imagery of the “expansion, like Gold” allows Donne to capture both the sanctity of the bond, as well as the great distance to which his feelings remain constant. Furthermore, Donne extends on this relationship through the use of conceit, in which the persona describes his lover and himself “As stiff twin compasses are two.” The use of extended metaphor highlights the intrinsic link between the two lovers. The pivot or joint above the compass legs suggest the spiritual harmony with God, indicating the transcendental structure that defines the bonds between human beings. This is furthered by the use of conceit as the persona states, “Thy firmness makes my circle just, And makes me end where I begun.” By using the extended metaphor of the circle and the compass, Donne draws upon the aesthetic elegance and axioms of mathematics and geometry in the 17th century to depict love