John Donne - Delphi Poets Series

by John Donne

  When thy loose raptures, Donne, shall meet with those

  That do confine

  Tuning unto the duller line,

  And sing not but in sanctified prose,

  How will they, with sharper eyes,

  The foreskin of thy fancy circumcise,

  And fear thy wantonness should now begin

  Example, that hath ceased to be sin!

  And that fear fans their heat; whilst knowing eyes

  Will not admire

  At this strange fire

  That here is mingled with thy sacrifice,

  But dare read even thy wanton story

  As thy confession, not thy glory;

  And will so envy both to future times,

  That they would buy thy goodness with thy crimes.

  To the modern reader, on the contrary, it will seem that there is as much divinity in the best of the love-poems as in the best of the religious ones. Donne’s last word as a secular poet may well be regarded as having been uttered in that great poem in celebration of lasting love, The Anniversary, which closes with so majestic a sweep:

  Here upon earth we are kings, and none but we

  Can be such kings, nor of such subjects be.

  Who is so safe as we, where none can do

  Treason to us, except one of us two?

  True and false fears let us refrain;

  Let us love nobly, and live, and add again

  Years and years unto years, till we attain

  To write three-score: this is the second of our reign.

  Donne’s conversion as a lover was obviously as complete and revolutionary as his conversion in religion.

  It is said, indeed, to have led to his conversion to passionate religion. When his marriage with Sir George More’s sixteen-year-old daughter brought him at first only imprisonment and poverty, he summed up the sorrows of the situation in the famous line — a line which has some additional interest as suggesting the correct pronunciation of his name:

  John Donne; Anne Donne; Undone.

  His married life, however, in spite of a succession of miseries due to ill-health, debt and thwarted ambition, seems to have been happy beyond prophecy; and when at the end of sixteen years his wife died in childbed, after having borne him twelve children, a religious crisis resulted that turned his conventional churchmanship into sanctity. His original change from Catholicism to Protestantism has been already mentioned. Most of the authorities are agreed, however, that this was a conversion in a formal rather than in a spiritual sense. Even when he took Holy Orders in 1615, at the age of forty-two, he appears to have done so less in answer to any impulse to a religious life from within than because, with the downfall of Somerset, all hope of advancement through his legal attainments was brought to an end. Undoubtedly, as far back as 1612, he had thought of entering the Church. But we find him at the end of 1613 writing an epithalamium for the murderers of Sir Thomas Overbury. It is a curious fact that three great poets — Donne, Ben Jonson, and Campion — appear, though innocently enough, in the story of the Countess of Essex’s sordid crime. Donne’s temper at the time is still clearly that of a man of the world. His jest at the expense of Sir Walter Raleigh, then in the Tower, is the jest of an ungenerous worldling. Even after his admission into the Church he reveals himself as ungenerously morose when the Countess of Bedford, in trouble about her own extravagances, can afford him no more than £30 to pay his debts. The truth is, to be forty and a failure is an affliction that might sour even a healthy nature. The effect on a man of Donne’s ambitious and melancholy temperament, together with the memory of his dissipated health and his dissipated fortune, and the spectacle of a long family in constant process of increase, must have been disastrous. To such a man poverty and neglected merit are a prison, as they were to Swift. One thinks of each of them as a lion in a cage, ever growing less and less patient of his bars. Shakespeare and Shelley had in them some volatile element that could, one feels, have escaped through the bars and sung above the ground. Donne and Swift were morbid men suffering from claustrophobia. They were pent and imprisoned spirits, hating the walls that seemed to threaten to close in on them and crush them. In his poems and letters Donne is haunted especially by three images — the hospital, the prison, and the grave. Disease, I think, preyed on his mind even more terrifyingly than warped ambition. “Put all the miseries that man is subject to together,” he exclaims in one of the passages in that luxuriant anthology that Mr. Logan Pearsall Smith has made from the Sermons; “sickness is more than all …. In poverty I lack but other things; in banishment I lack but other men; but in sickness I lack myself.” Walton declares that it was from consumption that Donne suffered; but he had probably the seeds of many diseases. In some of his letters he dwells miserably on the symptoms of his illnesses. At one time, his sickness “hath so much of a cramp that it wrests the sinews, so much of tetane that it withdraws and pulls the mouth, and so much of the gout … that it is not like to be cured…. I shall,” he adds, “be in this world, like a porter in a great house, but seldomest abroad; I shall have many things to make me weary, and yet not get leave to be gone.” Even after his conversion he felt drawn to a morbid insistence on the details of his ill-health. Those amazing records which he wrote while lying ill in bed in October, 1623, give us a realistic study of a sick-bed and its circumstances, the gloom of which is hardly even lightened by his odd account of the disappearance of his sense of taste: “My taste is not gone away, but gone up to sit at David’s table; my stomach is not gone, but gone upwards toward the Supper of the Lamb.” “I am mine own ghost,” he cries, “and rather affright my beholders than interest them…. Miserable and inhuman fortune, when I must practise my lying in the grave by lying still.”

  It does not surprise one to learn that a man thus assailed by wretchedness and given to looking in the mirror of his own bodily corruptions was often tempted, by “a sickly inclination,” to commit suicide, and that he even wrote, though he did not dare to publish, an apology for suicide on religious grounds, his famous and little-read Biathanatos. The family crest of the Donnes was a sheaf of snakes, and these symbolize well enough the brood of temptations that twisted about in this unfortunate Christian’s bosom. Donne, in the days of his salvation, abandoned the family crest for a new one — Christ crucified on an anchor. But he might well have left the snakes writhing about the anchor. He remained a tempted man to the end. One wishes that the Sermons threw more light on his later personal life than they do. But perhaps that is too much to expect of sermons. There is no form of literature less personal except a leading article. The preacher usually regards himself as a mouthpiece rather than a man giving expression to himself. In the circumstances what surprises us is that the Sermons reveal, not so little, but so much of Donne. Indeed, they make us feel far more intimate with Donne than do his private letters, many of which are little more than exercises in composition. As a preacher, no less than as a poet, he is inflamed by the creative heat. He shows the same vehemence of fancy in the presence of the divine and infernal universe — a vehemence that prevents even his most far-sought extravagances from disgusting us as do the lukewarm follies of the Euphuists. Undoubtedly the modern reader smiles when Donne, explaining that man can be an enemy of God as the mouse can be an enemy to the elephant, goes on to speak of “God who is not only a multiplied elephant, millions of elephants multiplied into one, but a multiplied world, a multiplied all, all that can be conceived by us, infinite many times over; nay (if we may dare to say so) a multiplied God, a God that hath the millions of the heathens’ gods in Himself alone.” But at the same time one finds oneself taking a serious pleasure in the huge sorites of quips and fancies in which he loves to present the divine argument. Nine out of ten readers of the Sermons, I imagine, will be first attracted to them through love of the poems. They need not be surprised if they do not immediately enjoy them. The dust of the pulpit lies on them thickly enough. As one goes on reading them, however, one becomes suddenly aware of their florid
and exiled beauty. One sees beyond their local theology to the passion of a great suffering artist. Here are sentences that express the Paradise, the Purgatory, and the Hell of John Donne’s soul. A noble imagination is at work — a grave-digging imagination, but also an imagination that is at home among the stars. One can open Mr. Pearsall Smith’s anthology almost at random and be sure of lighting on a passage which gives us a characteristic movement in the symphony of horror and hope that was Donne’s contribution to the art of prose. Listen to this, for example, from a sermon preached in St. Paul’s in January, 1626:

  Let me wither and wear out mine age in a discomfortable, in an unwholesome, in a penurious prison, and so pay my debts with my bones, and recompense the wastefulness of my youth with the beggary of mine age; let me wither in a spittle under sharp, and foul, and infamous diseases, and so recompense the wantonness of my youth with that loathsomeness in mine age; yet, if God withdraw not his spiritual blessings, his grace, his patience, if I can call my suffering his doing, my passion his action, all this that is temporal, is but a caterpillar got into one corner of my garden, but a mildew fallen upon one acre of my corn: the body of all, the substance of all is safe, so long as the soul is safe.

  The self-contempt with which his imagination loved to intoxicate itself finds more lavish expression in a passage in a sermon delivered on Easter Sunday two years later:

  When I consider what I was in my parents’ loins (a substance unworthy of a word, unworthy of a thought), when I consider what I am now (a volume of diseases bound up together; a dry cinder, if I look for natural, for radical moisture; and yet a sponge, a bottle of overflowing Rheums, if I consider accidental; an aged child, a grey-headed infant, and but the ghost of mine own youth), when I consider what I shall be at last, by the hand of death, in my grave (first, but putrefaction, and, not so much as putrefaction; I shall not be able to send forth so much as ill air, not any air at all, but shall be all insipid, tasteless, savourless, dust; for a while, all worms, and after a while, not so much as worms, sordid, senseless, nameless dust), when I consider the past, and present, and future state of this body, in this world, I am able to conceive, able to express the worst that can befall it in nature, and the worst that can be inflicted on it by man, or fortune. But the least degree of glory that God hath prepared for that body in heaven, I am not able to express, not able to conceive.

  Excerpts of great prose seldom give us that rounded and final beauty which we expect in a work of art; and the reader of Donne’s Sermons in their latest form will be wise if he comes to them expecting to find beauty piecemeal and tarnished though in profusion. He will be wise, too, not to expect too many passages of the same intimate kind as that famous confession in regard to prayer which Mr. Pearsall Smith quotes, and which no writer on Donne can afford not to quote:

  I throw myself down in my chamber, and I call in, and invite God, and his angels thither, and when they are there, I neglect God and his Angels, for the noise of a fly, for the rattling of a coach, for the whining of a door. I talk on, in the same posture of praying; eyes lifted up; knees bowed down; as though I prayed to God; and, if God, or his Angels should ask me, when I thought last of God in that prayer, I cannot tell. Sometimes I find that I had forgot what I was about, but when I began to forget it, I cannot tell. A memory of yesterday’s pleasures, a fear of to-morrow’s dangers, a straw under my knee, a noise in mine ear, a light in mine eye, an anything, a nothing, a fancy, a chimera in my brain troubles me in my prayer.

  If Donne had written much prose in this kind, his Sermons would be as famous as the writings of any of the saints since the days of the Apostles.

  Even as it is, there is no other Elizabethan man of letters whose personality is an island with a crooked shore, inviting us into a thousand bays and creeks and river-mouths, to the same degree as the personality that expressed itself in the poems, sermons, and life of John Donne. It is a mysterious and at times repellent island. It lies only intermittently in the sun. A fog hangs around its coast, and at the base of its most radiant mountain-tops there is, as a rule, a miasma-infested swamp. There are jewels to be found scattered among its rocks and over its surface, and by miners in the dark. It is richer, indeed, in jewels and precious metals and curious ornaments than in flowers. The shepherd on the hillside seldom tells his tale uninterrupted. Strange rites in honour of ancient infernal deities that delight in death are practised in hidden places, and the echo of these reaches him on the sighs of the wind and makes him shudder even as he looks at his beloved. It is an island with a cemetery smell. The chief figure who haunts it is a living man in a winding-sheet. It is, no doubt, Walton’s story of the last days of Donne’s life that makes us, as we read even the sermons and the love-poems, so aware of this ghostly apparition. Donne, it will be remembered, almost on the eve of his death, dressed himself in a winding-sheet, “tied with knots at his head and feet,” and stood on a wooden urn with his eyes shut, and “with so much of the sheet turned aside as might show his lean, pale, and death-like face,” while a painter made a sketch of him for his funeral monument. He then had the picture placed at his bedside, to which he summoned his friends and servants in order to bid them farewell. As he lay awaiting death, he said characteristically, “I were miserable if I might not die,” and then repeatedly, in a faint voice, “Thy Kingdom come, Thy will be done.” At the very end he lost his speech, and “as his soul ascended and his last breath departed from him he closed his eyes, and then disposed his hands and body into such a posture as required not the least alteration by those that came to shroud him.” It was a strange chance that preserved his spectral monument almost uninjured when St. Paul’s was burned down in the Great Fire, and no other monument in the cathedral escaped. Among all his fantasies none remains in the imagination more despotically than this last fanciful game of dying. Donne, however, remained in all respects a fantastic to the last, as we may see in that hymn which he wrote eight days before the end, tricked out with queer geography, and so anciently egoistic amid its worship, as in the verse:

  Whilst my physicians by their love are grown

  Cosmographers, and I their map, who lie

  Flat on this bed, that by them may be shown

  That this is my south-west discovery,

  Per fretum febris, by these straits to die.

  Donne was the poet-geographer of himself, his mistresses, and his God. Other poets of his time dived deeper and soared to greater altitudes, but none travelled so far, so curiously, and in such out-of-the-way places, now hurrying like a nervous fugitive, and now in the exultation of the first man in a new found land.

  St. Paul’s Cathedral, London — Donne’s final resting place

  Donne’s grave

  Table of Contents

  The Poetry Collections

  SONGS AND SONNETS

  ELEGIES

  DIVINE POEMS

  HOLY SONNETS

  OTHER DIVINE POEMS

  SATIRES

  MARRIAGE SONGS

  VERSE LETTERS

  EPICEDES AND OBSEQUIES

  EPIGRAMS

  INFINITATI SACRUM

  THE ANNIVERSARIES

  LATIN POEMS

  DOUBTFUL VERSES

  The Poems

  LIST OF POEMS IN CHRONOLOGICAL ORDER

  LIST OF POEMS IN ALPHABETICAL ORDER

  The Prose

  BIATHANATOS

  PSEUDO-MARTYR

  IGNATIUS HIS CONCLAVE

  DEVOTIONS UPON EMERGENT OCCASIONS

  PARADOXES

  PROBLEMS

  The Letters

  LIST OF LETTERS

  The Biographies

  THE LIFE OF DR. JOHN DONNE by Izaak Walton

  JOHN DONNE by Arthur Symons

  JOHN DONNE by Robert Lynd

 

 

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