Contributions to the Conceptualization of Love in John

Donne’s Poems: From Physical to Metaphysical.

TFG Estudis Anglesos

Supervisor: Dr Joan Curbet

Sara Nogueras Expósito

June 2016
 Acknowledgements

First and foremost I would like to express my appreciation to my tutor Dr. Joan Curbet

for his kindest support and assistance from the very beginning. The production of this paper

could not have been possible without his guidance. Thanks for all the honesty, time and

feedback of this paper.

Special thanks to my friends Jenifer González, Claudia Mas, Ariadna Moreno, Ivan

Pérez and Teodora Toma for their patience and support throughout the process of elaboration of

this paper.

My final words of gratitude are devoted to my family. I would like to express especial

thanks to my aunt who has bore, understood and helped me with my nerves. Finally I would

also like to thank my parents who have always supported me in everything and encouraged me

in every aspect of my life. Thanks to their unconditional love for always and forever.

Sara Nogueras Expósito

i
 Abstract

The aim of this paper is to analyze three representative poems of his early period before
his marriage regarding his personal notion of love. These poems are “The Ecstasy”, “A
Valediction: Forbidding Mourning” and “The Good Morrow”. These poems will be analyzed in
terms of style and in terms of meaning. I will emphasize his witty and direct style in contrast
with the Petrarchan way of writing love poetry. Even in those first love poems the relationship
between physical and metaphysical love are central to his conception of human love. I will
underline the originality of this conception that continues to be a universal matter regardless of
the years. The way in which Donne uses conceits to represent his ideas are still stunning and
groundbreaking nowadays. Firstly, I conclude that Donne was able to combine spirituality and
sexuality in his writing in such a way that one reinforces the other. Secondly, that his elaborate
manner of writing, talking and reflecting his ideas made him a great poet. And thirdly that his
imaginative way of widening minds is still innovative.

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 TABLE OF CONTENTS

Acknowledgements .................................................................................................................i

Abstract ................................................................................................................................... ii

TABLE OF CONTENTS ..................................................................................................... iii

1. INTRODUCTION ..........................................................................................................4

2. JOHN DONNE AND HIS SINGULAR APPROACH TO POETRY ........................6

3. THREE REPRESENTATIVE PIECES OF JOHN DONNE'S STYLE ................... 10

3.1. The Ecstasy................................................................................................... 10

3.2. A Valediction: Forbidding Mourning ............................................................ 13
3.3. The Good Morrow ........................................................................................ 16
4. CONCLUSION............................................................................................................. 19

REFERENCES ..................................................................................................................... 21

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1. INTRODUCTION

The seventeenth century was not known for its permissiveness; in this

period, writing about sex and the pleasures of the body explicitly was often difficult.

The poet John Donne analyzed love as a concept and wrote about it from so many

different perspectives as he could; by studying, exploring and analyzing the concept of

love, this author came up with some of the most passionate poems of his time. Donne

astonished his contemporaries with a new way of approaching this subject in poetry,

but, most importantly, he did it in a very personal way, which combined the physical

with the metaphysical. The present paper will consider the way in which body and soul

are joined together, as concepts, in some of his late Elizabethan works.

Donne used many conceits and metaphors in his verse, a technique that was very

extended among his contemporaries. Poets such as Spenser and Sydney were much

more concerned in idealizing the mistress than in representing her from a direct and

realistic point of view; in contrast to them, the love poetry of Donne seems far more

direct. He also seems to have integrated his personal experiences in his writing (up to

the moment of his marriage). But, at the same time, this does not imply a weakening of

spirituality; on the contrary, in his works it seems as if sexual union and spiritual

connection are different but complementary ways in which love can unfold and manifest

itself.

The aim of this paper will be to explore the way in which John Donne combines

these different aspects of love in his poems; I will try to prove that his

writing deliberately cover the erotic and sensual but also the spiritual and metaphysical,

in such a way that one aspect balances or complements the other. My aim is not to offer

an extensive study but to concentrate on a few representative examples that will allow

us to understand Donne´s originality in treating these subjects. I will also consider the

4
cultural context (specifically, the late Elizabethan era) in order to evaluate the

originality of his approach. In this way, I hope to prove that, as a poet, Donne was

particularly able to move between the physical and the metaphysical.

5
2. JOHN DONNE AND HIS SINGULAR APPROACH TO
POETRY

John Donne (1572-1631) was a major English poet of the late sixteenth and early

seventeenth centuries. In his own days he was highly prized among his small circle of

admirers; however, throughout the eighteenth and much of the nineteenth centuries his

work was scarcely read or appreciated. Some authors from the eighteenth century, such

as Samuel Johnson, regarded him only as an ingenious, clever and intelligent poet, but

nothing more than that; in spite of this, some important authors of the twentieth century

such as T.S. Eliot and William Butler Yeats not only admired his work, but, more

importantly, came to take him as a model in some particular aspects of their own poetry.

In the mid-twentieth century Donne had become again a major name in the tradition and

canon of English poetry, widely read both in academic and extra-academic contexts.

John Donne´s style was radically innovative in his period, because to some

extent he departed from the Petrarchan and courtly models of writing poetry. His work

often seemed to entail a shift from a classical or impersonal level towards the personal;

one of the reasons for this was his capacity to generate a sense of a direct, expressive

style. Sometimes his poems resemble direct conversations, especially in their opening

lines: the sense of intimacy and confidence that he achieves in this way are highly

representative of his writing. In some occasions, Donne makes use, as we will see, of

several Neo-platonic concepts, that enrich the intellectual content of the poems, yet he

does not sustain a full Neo-Platonic doctrine throughout his works, as Ramie Targoff

has stated: “There is little doubt that Donne learned from Neo-Platonism, and that he

deployed it for his own purposes in the poems…Donne was not a Ne-Platonist at heart,

however” (Targoff 2008: 59). As we shall see later in this paper, Donne integrates Neo-

6
Platonism at specific moments, but that does not stop him at all from developing his

own approach to the relationship between mind and body.

Donne is widely known by the use of conceits; he excelled in the use of complex

metaphors that combined two different ideas, or that compared apparently unconnected

objects. Unlike the Petrarchan imagery, which involved fixed comparisons between two

objects that had been long associated with each other in the previous literary tradition,

Donne compares two unlikely objects and gives them an extended and often unexpected

signification. As Carey puts it, “the metaphysical conceit is usually thought of as a

device for establishing similarity between incongruous objects. But Donne is not

ultimately interested in similarity. He uses the conceit, rather, as a means of generating

change, in both the materials and the structure of his poems” (Carey, 1990: xxv). One

clear example of metaphysical conceit is “A Valediction: Forbidding Mourning” in

which a comparison between human love and the arms of a compass is made; at first

glance these two objects have nothing to do with one another, but Donne manages to

show the connection between them to the reader. Moreover, the poet enlarges the notion

of love, analyzing it from every possible angle he can imagine: in this way, he is able to

expand the perception of his readers and their sensibility, through a clever use of

imagery.

Before going on to the analysis of specific poems, it is necessary to

contextualize them in their period and, more specifically, within the trajectory of his

life. Most of the poems that concentrate on love and eroticism correspond to the earlier

period of his poetry that was shaped by his experiences in life. John Donne was the third

of six children, his father died when he was 4 years old, and his mother remarried twice.

He studied at the University of Cambridge but didn‟t obtain the degree because his

Catholicism compelled him not to take the compulsory Oath of Supremacy; however,

7
the torture and death of his brother Henry, because of harboring a Catholic priest, made

him question his Catholic allegiance. He was appointed chief secretary of Sir Thomas

Egerton, the uncle of Anne More, who would become Donne´s wife for the rest of his

life. He secretly married her, who was younger than him, in 1601, and at that moment

both Anne‟s uncle and her father raised legal objections to the unannounced wedding,

and put the poet in prison. He was released shortly after, when the marriage was legally

accepted, but he did not have regular work for thirteen years. He had to survive his

wife‟s death as well as the death of his daughter at the age of eighteen, and this might be

the reason why he wrote some of his famous metaphysical poems about death, including

some of the Holy Sonnets.

As Carey clearly states, John Donne‟s vital experiences influenced several of his

earlier poems:

“For Donne, the young Catholic, the isolation and antagonism

of the elegies and satires expressed his reaction to the Protestant
community which had victimized him. The sexual defiance of
the elegies may seem more explicable as a mode of socio-
religious protest when we recall that the State‟s suppression of
Catholicism made public emasculation of Catholics a feature of
the terrorist executions which we know, from Donne‟s own
account, he had witnessed in his impressionable adolescence.
The frequent obscurity of the poems also enforces the rift
between Donne and society. Obscurity protected his work from
inferior minds, and flattered the intelligence of the chosen few
he admitted to his confidence.” (Carey, 1990: xxi)

Even though most of his secular poems cannot be dated exactly, some critics

think that the more innovative ones were written in the 1590s; unfortunately, there is no

evidence to support this. In all cases the depth of the poems often makes them difficult,

the language he uses, though witty, is accessible. The freshness of his writing comes, at

least in part, from the adventurous and contradictory nature of the poet himself; as a

result of this, his analysis of universal aspects of human experience is extraordinarily

original.

8
 Some of the poets of the seventeenth century were influenced by him, including

Thomas Carew, Richard Lovelace and John Suckling. Carew even once praised “Donne

as the monarch of wit who purg‟d “The Muses garden”, threw away the lazie seeds/ Of

Servile Imitation…And Fresh invention planted”. (Margoliouth cited in Corns, 2004:

123). But, as I have mentioned earlier, his work went into relative obscurity for nearly

two centuries, until it was rediscovered and appreciated again in the twentieth century.

9
3. THREE REPRESENTATIVE PIECES OF JOHN DONNE'S
STYLE

In this part of the paper I have analyzed three representative texts belonging to

Donne´s earliest period, poems that were written before his marriage: “Ecstasy”, “A

Valediction” and “Good Morrow”. These are all poems that belong to his initial, but

already very original, development as a stylist. I have selected these poems primarily

because in them the use of metaphysical conceits is plain to see; and secondly, because

their theme is mutual love. The connection of souls through the contact of bodies, and

the conciliation between the physical and the metaphysical, is made evident in these

three texts.

3.1. The Ecstasy

The origin of the title comes from the Greek word (ἔκστασις: Ek stasis). The

word comes from the Greek ek meaning “outside” and stasis meaning “stand”.

According to the Oxford Advanced Learner’s Dictionaryits meaning corrresponds to a

feeling or state of great happiness. In this state of rapture the soul leaves the body; it is a

state of trance, in which the person who experiences it is transported outside himself or

herself. Making love is no longer a bodily experience, but becomes a spiritual one:

“This ecstasy doth unperplex

(We said) and tell us what we love,
We see by this, it was not sex,
We see, we saw not what did move:”
(Donne, 1990: 122)

This state of ecstasy leaves the person who experiences it “unperplexed”. The

body is a necessary part in the process of transcending; sex is essential in this process,

but it is not only sex, because it directly leads to something greater. The souls of the

lovers seem to emerge from the bodies and go to meet each other, holding an encounter,

or a negotiation, while their bodies lay calmly, almost in funereal silence:

10
 “Our souls, (which to advance their state,
Were gone out), hung „twixt her, and me.
And whilst our souls negotiate there,
We like sepulchral statues lay;
All day, the same our postures were,
And we said nothing, all day”
(Donne, 1990: 121)

Body and soul seem to have separated from each other. While the bodies of the

lovers lie side by side, their souls interweave, communicate and get closer to each other.

Because of this imaginative projection of consciousness into the souls, following a Neo-

Platonic model, a poem that apparently had begun in an erotic encounter becomes

something more sophisticated. Far from representing the mere act of having sex, the

interaction between these bodies becomes the indispensable in-between stage towards a

divine experience. Again, in strict Neo-Platonic fashion, the encounter of two bodies

loving each other opens a further level of experience, and it is on that spiritual level that

different souls can meet and negotiate, and eventually become one. The separation of

the lovers´ souls will take place only when the consciousness returns to their bodies:

“To our bodies turn we then, that so

Weak men on love revealed may look;
Love‟s mysteries in souls do grow
But yet the body is his book.
And if some lover, such as we,
Have heard this dialogue of one,
Let him still mark us, he shall see
Small change, when we‟are to bodies gone.”
(Donne, 1990: 123)

Thus their bodies become a “book” of love: there the lovers can interact

physically, both before and after their sexual encounters, and their sexual intercourse

permits the melding of their souls. Similarly, in a book one writes sentences, one letter

united to another letter uninterruptedly, until they finally become a story with a

message. The comparison between the “book of love” and their bodies is a sustained

metaphor for the effects of love, and it represents very creatively a form of union that

(potentially) everybody can achieve. However, in the following lines (“And if some

11
lover, such as we…”) Donne‟s tone becomes far more arrogant. He assumes that he and

his lover have turned into a paradigmatic example of what love should be, thus implying

that they are superior to all the other lovers, and that others should take them as example

and try to emulate their manner of loving, which has become purer than the rest. This

insolence, which allows him to present himself as a particular example, almost an icon

or a model to be imitated, certainly sounds quite presumptuous.

Margaret Fetzer makes the following point about the poem: “The transference

from soul to body, and of the love mystery to the book progresses smoothly: any

potential bystander can observe the lovers as they move to their bodies, or to the writing

of the book, or indeed to the poem of their love‟s mystery” (Fetzer 201: 38).The act of

loving is regarded here as a means of connecting two different souls, two different

essences becoming something greater: only one being. Making love can be regarded as

an experience of getting to feel all the things that, though existing, are incomprehensible

for the body.This experience –only to be enacted by those who have the capacity and

the sensibility to reach it- is made possible because body and soul are connected. One

could not go through such an experience without the body as means of departure

towards the blending of souls.

“On man heaven‟s influence works not so,

But that it first imprints the air,
So soul into soul may flow,
Though it to body first repair”
(Donne, 1990: 123)

At first sight the poem may seem to be talking about opposite dimensions: the

physical and the spiritual, but in fact both appear to be complementary. Along the same

lines Fetzer suggests the following about the poem: “The Extasie debates the pros and

the cons of spiritual against physical love and here, too, the speaker insists that the two

are intrinsically linked” (Fetzer, 2010:18). This is also comparable to what

AchsachGuibbory states in Thomas Corn‟s book “English Poetry: Donne to Marvell”:

12
 “Transcendence of the physical world and
morality is accomplished not by denial of the
body, but through its fulfillment (...) Donne‟s
poems sometimes insist that transcendence,
spiritual love is also sexual indeed, that lovers
transcend the physical through embracing the
body. (...) Bodies make spiritual love more
lasting. They are also the only means whereby
two souls can fully unite. Souls can only “flow”
into each other through the body, that is,
through sexual love”
(Guibbory cited in Corns, 2004: 137).

Leaving Donne´s pretentiousness apart, the most important aspect in this poem

is the bond between the physical and the spiritual; this is enhanced by the revelation that

these two levels are not two different realities, but rather are complementary to each

other, and may come to work together at their best. The individuality of his experience

makes Donne sound as if he were on an “ego-trip”, but nevertheless he is enriching the

concept of love, expanding its span and adding meaning to it. Taking into account that

in his era the topics of sexuality and pleasure were often understood in very narrow

terms, it is remarkably brilliant that the poet manages to consider them in an original

and subtle manner.

3.2. A Valediction: Forbidding Mourning

This is a well-known piece, but it is also one that directly touches upon the

subject I am exploring in this paper; hence, it deserves a detailed exploration here. The

whole poem is constructed around a single idea: the firm union that true lovers maintain

over the notion of separation. Death, farewell or a temporary separation are not a threat,

since they do not bring fear to those few couples who are fully convinced of their love.

From the beginning of the poem, it is clear that this union is a private affair, which only

concerns the speaker and his beloved, who do not even make external demonstrations of

pain (such as tears or sighs):

13
 “So let us melt, and make no noise,
No tear-floods, nor sigh tempests move,
„Twere profanation of our joys
To tell the laity our love”
(Donne, 1990: 120)

The lover tells the beloved not to cry or sigh, since their bond is so unique that

physical separation cannot separate them spiritually. This separation must be silent and

“make no noise” for it is something that concerns only their private lives. There is a

sense of uniqueness and pride about this complicity; their love is more refined than that

of others who have to give external proof of it:

“But we by a love, so much refined,

That our selves know not what it is,
Inter-assured of the mind,
Care less, eye, lips, and hands to miss”
(Donne, 1990: 120)

Again Donne introduces the concept of a metaphysical love. Love is much more

than just a physical experience; it is spiritual and, as such, eternal. A separation does not

make it “thin”, but allows it to expand. Here Donne introduces, for a moment, the

notion of the refinement of gold that was practiced by alchemists; and we must

remember that gold was considered the purest of all metals (as Eduardo Cirlot has stated

“el oroes la imagen de la luz solar, y porconsiguiente de la inteligenciadivina”,Cirlot

1997: 350).

“Our two souls therefore, which are one,

Though I must go, endure not yet,
A breach, but an expansion,
Like gold to aery thinness beat”
(Donne, 1990: 120)

The lovers not only know but, most strongly, feel that they are connected for

eternity. They do not regard separation as an end, but as an expansion of their common

soul, which will become even holier, close to the purity of gold. In relation to this idea,

AchsachGuibbory states the following: “With its spiritual powers, love seems enduring,

constant, and capable of transcending the physical, mutable world. The poems of mutual

14
love suggest that love may counter the process of change and decay that characterizes

the universe.” (Guibbory in Corns, 2004: 136). When lovers achieve this communion, a

separation is never an end, but a continuation that actually strengthens their connection.

And in this way we reach the central conceit of the poem, the comparison between the

two lovers who separate and the two legs of a compass:

“If they be two, they are two so

As stiff twin compasses are two,
Thy soul, the fixed foot, makes no show
To move, but doth, if the other do.
And though it in the center sit,
Yet when the other far doth roam,
It leans, and hearkens after it,
And grows erect, as that comes home”
(Donne, 1990: 121)

The most surprising aspect here is that the female lover, by being compared with

the firm foot of the compass, acquires several characteristics which would normally be

associated with masculine sexuality. In this way, she “leans”, “hearkens” and “grows

erect”: the development of the conceit, therefore, is surprising, but at the same time it is

very coherent with the idea that has been expressed earlier: that the two lovers are, in

fact, one single being, and one can acquire the characteristics of the other. And in this

way, the union that they have achieved in spiritual terms can communicate itself to their

bodies: these two bodies are one, just like theirs souls are one as well. As Ramie

Targoff has put it, “the lovers are part of a single being, they are connected with each

other whether they are near of far, they lean and hearken in response to one another´s

movements” (Targoff 2008:74).

In this way, the physical and the metaphysical dimensions do not only overlap,

but strengthen one another. Love is something constant that allows the two lovers to

become one, both at the sexual and the spiritual level. Once their spiritual connection

has been accomplished, physical separation is no longer an obstacle: love can persist in

15
spite of it. The conceit that compares both of them to the legs of a compass manages to

emphasize this union of the two levels of experience: the physical and the metaphysical.

3.3. The Good Morrow

This is one of Donne´s best-known poems, and therefore I am not going to

comment it in as much detail as the other two, but it nevertheless deserves a place in

this paper, since it directly touches upon my central subject. The fact that it is so

popular testifies, precisely, to the centrality of the body/soul interaction as a major and

representative theme in Donne´s poetry.

The first stanza of the poem makes reference to the awakening of lovers‟ souls

when they find out what true love means: “I wonder by my troth, what, thou and I,/ Did

till we loved? Were we not wean´d till then?” This opening is very characteristic of the

spontaneity and strength that Donne tries to give to a great number of his erotic poems:

it is a very colloquial beginning, almost conversational. Donne opens this poem in this

direct way in order to get the attention of the reader, and he then proceeds to elaborate

his conceits. At the end of the first stanza, the speaker already introduces Platonic (and,

therefore, spiritual) connotations, when he states that “if ever any beauty I did see/

Which I desired and got, ´twas but a dream of thee”: the beloved already appears here as

the materialization of the dreams, or imaginary constructions, he has had about the

concept of beauty. And then comes the moment of the full awakening:

“And now good-morrow to our waking souls,

Which watch not one another out of fear;
For love, all love of their sights controls,
And makes one little room an everywhere”
(Donne, 1990: 90)

Here we can see how the speaker is combining the physical experience with the

metaphysical level. He speaks of “waking souls”, which suggests that the spiritual parts

16
of the protagonists are experiencing a new awakening, just like their bodies. The erotic

encounter has brought not only a new awareness of their physical nature, but of their

spirituality as well: the souls watch “one another” just as their eyes are doing, and this

implies a continuity of the physical and the spiritual. Love works as an absolute ideal on

the two levels of reality, and these two levels are in total continuity with each other.

By the same token, the world of the lovers is simultaneously reduced and

expanded. On the one hand, the little room in which they have had their sexual

encounter becomes the only place that is necessary for them, the only place they need to

know; on the other, that room seems to widen out into everywhere. Their being together

is sufficient because this is the only world they need; the discovery of each other is, at

the same time, the discovery of everything that is worthy in humanity. Each of them, in

the union of body and soul, constitutes a complete little world.

“Let sea-discoverers to new worlds have gone,

Let maps to other, worlds on worlds have shown,
Let us possess one world, each hath one, and is one.”
(Donne, 1990: 90)

Here the image of navigation is used in order to join together, on the one hand,

the idea of sexual discovery and, on the other, the idea of the exploration of a new

world. The personal perspective is joined with the universal one, so that the speaker can

also be considered a navigator or an explorer in his own way.

“What ever dies, was not mixed equally;

If our two loves be one, or, thou and I
Love so alike, that none do slacken, none can die.”
(Donne, 1990: 90)

For one moment, the language of alchemy reappears: the “mixing” that Donne

refers to here is the correct combination of elements that, according to alchemical

processes, could guarantee stability to a body, whether organic or inorganic. At this

point the two lovers are aware of having become just one entity because their

attachment has created a harmonious union, that makes them one inseparable being.

17
Immortality is a gift given by the creation of such a strong bond between them: if the

juncture of bodies and minds is made with pure love, if the things that are mixed are

equal, then love can endure and never die.

It is important to observe that, in the final lines, the speaker does not distinguish

between the physical and the spiritual: the notion of immortality could apply equally to

both levels. The body has been spiritualized, just as the souls have been able to

communicate through the senses, their sight, feel, taste and touch. Eduardo Cirlot, in his

canonical Diccionario de los Símbolos, statesthatfor the gnostics and radical Christian

sects “el mundo físico es, en cierto modo, un sepulcro…pero pero no deja de contener

todas las imágenes del mundo espiritual, que en él se condensan” (Cirlot 1997: 323).

Donne certainly puts the emphasis on the life of that spiritual world, on the images of

infinity that he extracts from it, and on the sense of plenitude that the sexual experience

has granted to the bodies and souls of the lovers. Not only have they discovered each

other, they have also discovered, through a sincere and heartfelt encounter in spiritual

and in physical terms, the best that they can achieve as human beings: a sense of

connection with the entire universe.

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4. CONCLUSION

As we have seen in the previous pages, Donne´s poetry was able to break with

the previous traditions of love poetry, and very especially with the Petrarchan tradition.

Donne style was direct, lucid and witty, and managed to give a sense of personal

involvement in his poetry. I think that I have been able to show, in the previous pages,

that he was able to combine spirituality and sexuality in his writing, in such a way the

the one reinforced the other. These two elements, for him, were essential aspects of

human experience, and the writer (or any other person, for that matter) need not

renounce the one in order to embrace the other. On the contrary, for Donne, at least in

his early poetry, the two elements can sustain each other.

One way in which Donne changes the literary styles of the period is by using his

original conceits, through which he relates two objects, or two concepts, that are

absolutely disparate and different from one another. Language shapes the world, and

therefore Donne´s particular way of reflecting reality also comes to modify the way in

which other people come into contact with these ideas or concepts. In his case the

dominant concept in his early poetry is that of mutual love. His elaborate manner and

his unique style make him a truly great poet.

He changes it by employing resemblances between unlike objects, thus

materializing a new style. Not only does he manage to change the style but also he

manages to change the way in which the content is gathered. His particular way of using

language so as to relate the poetical voice with his experiences made it possible to have

a reinvention of the content of poems about love. The use of imagery inevitably changes

the way in which those realities are understood in the society. Language shapes the

world therefore Donne‟s particular way of perceiving and reflecting reality in his poetry

19
also modifies the way in which people come in contact with that idea or concept. In

Donne‟scase: Mutual love.

20
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Corns, Thomas N. English poetry: Donne to Marvell. United Kingdom: Cambridge

University Press, 2004.

Fetzer, Margaret. John Donne’s Performances: Sermons, Poems, Letters, and

Devotions, Manchester: Manchester University Press, 2010.

Greenblatt, Stephen. “John Donne, 1572-1631”. In M. H. Abrams, Norton Anthology of

English Literature. New York: Norton, 2012. pp.1370-72.

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http://www.luminarium.org/sevenlit/metaphysical.htm(Accessed January 2016)

Naugle, David. “John Donne‟s Poetic Philosophy of love”. Dbu.edu,

http://www3.dbu.edu/naugle/pdf/donne_philosophy_love.pdf(Accessed January
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