Paradox and spiritual conflict in John Donne's metaphysical poetry

¶ … Metaphysical Poetry of John Donne

Donne's life and work are filled with occurrences that are reflected as paradoxical images in his work. The secret marriage with his wife, Ann for example resulted in Donne's imprisonment as a result of the disapproval of her father. Donne also loses his powerful political position as a result of this and years of financial hardship follow. The couple is however extremely happy together and the death of Donne's wife in 1617 left him with seven surviving children from a total of twelve (Winny 35). This event left Donne with a spiritual crises that is exacerbated by his declining health in later years. A theme through much of his religious poetry is therefore the conflict that exists between his physical and his spiritual self. Donne lives with a continual feeling of spiritual inadequacy. This is especially shown in his later religious poetry, where the poet shows a kind of terror at the thought of being judged for what he sees as his own mortal and helpless sinfulness[1].

The paradox that is part of Donne's life is thus depicted most accurately in his religious poetry, whereas his love poetry depicts a more passionate reality that is free of the conflict of religious convention.

It is thus clear that Donne's poetry reflects the paradoxical complexity of his life. On the one hand he is the devoted Christian, and on the other he is the ambitious materialist. This paradox would plague Donne throughout his life. Below Donne's work is discussed in terms of this complexity, depicted by means of his metaphysical wit, his religious devotion and the violent yoke for which he has been often criticized by his contemporaries.

In fact, throughout Donne's Holy Sonnets, there is a lack of the spontaneous passion found in his love poetry. Instead his religious poems are filled with a paradigm of effort (Gardner 133).

Metaphysical Wit

Donne's metaphysical wit was most often displayed in his love poetry. This is brilliantly meshed with the paradoxical element in his poem "Canonization" (Brooks 48). The central paradox in this poem is Donne's treatment of "profane" love, or love between man and woman as if it is divine love. The poet speaks to a listener who is critical and contemptuous of the love that he feels for another human being. The poet however maintains that the physical love depicted in the poem can be as profound as a divine love.

There are many parallels that can be drawn throughout the poem between divine and the secular love depicted here. In the same way as a religious devotee would be entirely separated from the world in favor of religion, the lovers in the poem choose each other in favor of the world. Thus the physical pleasure derived from their love paradoxically becomes spiritual.

The wit in this poem resides in the way that the love paradox is treated. The poet acknowledges that absurd Patrarchan metaphors are often associated with the secular love that is the central theme of the poem. The poet appears to mock the very love that he defends by using these very absurdities in his lines (Brooks 51). Furthermore he parodizes religious canonization by applying it to secular love. The lovers are canonized as saints to be examples to all lovers of the future. Thus death becomes the gateway to a more intense love which is consciously chosen in favor of love[2]. The poem thus becomes an affirmation of value in things that are seen by some as trite, worldly and unworthy. Donne's wit serves to bring across a serious theme.

Donne's love poetry thus appears to fulfill the ideal that he could never reach in his religious consciousness.

Donne furthermore demonstrates with in the poems "The Flea" and "Love's Infiniteness." The central image in "The Flea" appears trivial, and in the end the poet uses it to justify his enjoyment from physical love. "Love's Infiniteness" on the other hand again depicts love as the ultimate extremity that can never be satisfied. The poem is filled with irony and a sense of near hopelessness for the requirements of a love so vast that it can never be fulfilled[3].

The above demonstrates Eliot's (181) point that the metaphysical poets, and Donne in particular, use language as vehicles of sensation and experience. Donne, especially in his love poetry, uses words in order to depict what he feels. This accords for the extreme passion found in these works. The language used in his religious poetry however depicts a far less emotional state.

The Violent Yoke

John Donne was often criticized by his contemporaries for a technique of language referred to as "the violent yoke." This is the connection between two images in a poem which appear to be completely unconnected. Sometimes this connection is so absurd that it is perceived as "violent." comparison is carried to the furthest boundaries, only limited by the imagination of the poet (Eliot 282). Dissimilar images, such as compasses and lovers (in "A Valediction") are for example combined to achieve a certain effect.

This poem is again juxtaposed with the extreme spiritual optimism of "A Valediction Forbidding Mourning," where the poet affirms the faith he has struggled through a lifetime to acquire. It is the completeness of both romantic love and spiritual truth.

This is also done in "The Flea," where the poet compares human life and death to the "murder" of a flea. The image appears trivial, but combined with the importance of human life, the effect is profound. Donne here finds meaning and perfection in the smallest thing, and even in repulsive things. The almost sexual image of the flea mixing the blood of lovers in its belly is conceivably repulsive to the 17th century reader. This may be tied in once again with the poet's profound insecurity in established rules of religion. By breaking the "rules" prevalent in the poetic genre of the time, Donne can be seen to rebel in the only way he is able to against the spiritual constraints that have been part of his whole life.

It is interesting that Donne's love poetry forms such a contrast with his religious poetry. It is as if in love Donne was able to express himself much more sincerely and profoundly than in his love for God. Like the lovers in "The Canonization"[6] the poet appears to be able to separate completely the concept of romantic love from both life in general and from religion. It was thus for him something pure and completely untainted by either death or sin.

It can thus be said that poetically John Donne found a much more fulfilling aspect of life in his relationship with his wife than in his relationship with God. The two relationships were however also intermingled, as Anne was for him the inspiration towards holiness. The fact remains that all of the poems created by this artist retains a profound beauty, and captures the spirit of his age with a depth that will be meaningful in the centuries to come.

The apparent parody of this poem can then also be seen as a "violent yoke." Lovers are placed on the same level as saints, who are by definition free of the constraints of romantic and physical love.