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'Kenneth Muir, ed., Collected Poems of Sir Thomas Wyatt (Cambridge, Mass.:
Harvard Univ. Press, 1949), p. xxix. Joan Bennett, "The Love PoetryofJohn Donne,"
Seventeenth-CenturyStudies Presented to Sir Herbert Grierson (Oxford: Clarendon
Press, 1938), pp. 85-104, still provides the most compelling and sensible defense of
Donne's attitude toward love and women, largelybecause she stressesthe quality of the
relationbetweenthe twolovers,but her positionhas not been universallyaccepted. Silvia
Ruffo-Fiore, for example, in "Donne's Parody of the Petrarchan Lady," CLS 9,4
(December 1972):392-407, is extremelyharshon the earthlywoman's failureto live up to
Donne's Petrarchan ideal. See also Iqbal Ahmad, "Woman in Donne's Love Poetry,"
Essays on John Donne: A Quater Centenary Tribute, ed. Asloob Ahmad Ansari (Ali-
garh: Aligarh Muslim Univ., 1974), pp. 38-58.
2J.E. V. Crofts, "JohnDonne: A Reconsideration," John Donne: A Collection of
CriticalEssays,ed. Helen Gardner (Englewood Cliffs,N.J.: Prentice-Hall, 1962), p. 82.
3The best response is J. B. Leishman, The Monarch of Wit, 7th edn. (London:
Hutchinson, 1965), pp. 208-25, but dismissiveresponsescontinue. PatrickCrutwell,for
example, in "The Love PoetryofJohnDonne: Pedantique Weedes or Fresh Invention?"
Metaphysical Poetry,ed. Malcolm Bradburyand David Palmer (Bloomington: Indiana
Univ. Press, 1971), p. 22, says"So much forthe man: what of the woman? There is less to
be said of her, since . . . all this poetryis composed exclusively,even domineeringly,
fromtheviewpointoftheman. The woman is the partnerin the sexual dance, and thatis
all she is."
The most recent criticismof the Songs and Sonets has attemptedto
humanize Donne's soul, to emphasize feelingsrather than intellect,
psychologyratherthan philosophy.8I hope to contributeto thiseffort,
for I propose a revisionistreading which gives more attentionto the
lady's dynamic, suasive effectupon the speaker's own intensepersonal
moods.9 To my mind, what Donne and his speaker expressed most
intenselywas not egocentricity or intellectualitybut empathy,a quality
all-too-rarelyconsideredbyDonne's critics.JonathanCuller's dynamic
poetics of the lyricprovides an apposite theoreticalmodel, a helpful
correctiveto the emphasesof New Criticismand biographical criticism.
Culler argues that the lyric brings "into being a voice and a force
addressed, and thisrequiresus to considerthe relationshipfromwhich
the qualities of the voice and the forcecould be drawn and to give it a
centralplace withinthepoem."''0In Donne's Songsand Sonets"theforce
addressed" is most oftena woman. We should accordinglyaffordher
and the relationshipshe bringsinto being a more "centralplace" in the
poems. "I
In itssimplestmanifestations,thisargumentseems unexceptionable,
givenDonne's typicaldramaticsituations.Afterall, Donne was capable
of writing"Break of Day" fromthe woman's perspective.And in "A
Valediction: of weeping," when the lady's tears drown the speaker's
carefullycraftedmetaphors, he instantlysacrificeshis argument and
triesanother that reflectsthe lady's feelingsmore accuratelyand thus
"quickly make[s] that, which was nothing,All." When the speaker is
lyingin bed tryingto impressand flatterand entertainthelady, when he
is settingout on a dangerousjourneyand the lady is objectingtearfully,
when he is dreaming a passionate dream and the lady thoughtfully
appears, we mustperforcethinkof her- the forceaddressed- as a real
character who plays an independent and influential,if tacit, role in
Donne's dramas. These momentsare strikingand well-recognized,but I
cite them to illustratea less evident point: the lady's acknowledged
actions are only the most extravagantremindersof the continuingand
even more importantimplied reactionswhichgive her and the speaker's
8See especially essays inJust So Much Honor, ed. Peter Amadeus Fiore (University
Park: Pennsylvania State Univ. Press, 1972), and Barbara Hardy, The Advantage of
Lyric: Essays on Feeling in Poetry,ch. 2, "Thinkingand Feeling in the Songs and Sonnets
of John Donne" (Bloomington: Indiana Univ. Press, 1977), pp. 18-32.
9Silvia Ruffo-Fiore argues that Petrarch made Donne skeptical about the poet's
capacity to understand the lady
I0Culler,StructuralistPoetics: Structuralism,Linguisticsand the Study of Literature
(Ithaca: Cornell Univ. Press, 1975), p. 166.
" By contrast, and typical of Donne's critics,Judah Stampfer,John Donne and the
Metaphysical Gesture (New York: Simon & Schuster, 1970), p. xv, thinksthat "charac-
tersin lyricpoems are embodied impulses. They are what the speaker grasps of them."
Like Hal and Falstaffin Eastcheap, the speaker clearly enjoys this
traditional flyting:your mother is a . . . . Yet the escalating insults and
accumulating questions bespeak more wit and inventionthan convic-
tion.16 We should not be too surprised,therefore,to discoverthat the
entire outburstmay have been provoked by a specific woman whose
threateneddevotionhas threatenedthespeaker'sfreedom:"Must I, who
came to travailethorowyou, / Growyourfixtsubject, because you are
true?" Here the syntax and logic become suddenly, noticeably more
complex, betrayingemotional stressand serious concern that frivolity
has failed to dispel. Must I grow your fixed subject? Why does the
speakerfeelcompelled to ask?Surely,he is not as callous or indifferentas
he has been pretending.
Like manywittyyoungmen, the Indifferent enjoysboastingabout his
sexual exploits,but underneathit all, he is surprisinglytender-hearted.
At his wit'send, he finallyturnsto Venus, and it is onlywiththe help of
thistraditionaldea ex machina thatthepoem ends as lightlyas it began,
or almostas lightly,forthespeaker'shelplessnessshowsthathe is drawn
to take the woman's point of view more seriouslythan his rakishself-
image allows him to admit. In the end, even the titlesuggeststhat "The
Indifferent"is a persona, more temporarythan "fixt."
My theoryabout thesepoems of lustyfrivolity is that again and again
the speaker creates a swashbucklingself-image which he strugglesto
2'Wilbur Sanders, p. 74, notes the problem- "'Where does the real woman come into
the picture?' one will grumble at such moments. 'Why is it that she is the States and
Donne the Princes, and not the other way round?"' -yet fails to see that the speaker
recognizes and answers these veryquestions.
22Sanderscomes closest to my sense of the conclusion when he says about "Sweetest
Love," "there is also the sense one gets that his voice has had to develop a whole new
expressiveregisterto deal withhis acute consciousnessofthewoman's presence" (p. I 1). I
do not agree with Elizabeth Pomeroy'sconclusion, "Donne's Sunne Rising," Explicator
27 (September 1968): item 4, that the poem ends as a "serious validation of subjective
reality."
2"As Stein notes, p. 70, "the past may be thought insulting."
he cannot stop boasting about himself and his conquests. Like the
Indifferent,he seems highlyself-absorbed,and fora momentwe may
again wonder whetherhe is an egocentricsensualistwho ignores the
feelingsof the woman. Yet the great burstsof playfulexuberance, the
shockinglycolloquial, unrefinedlanguage, all suggest an underlying
intimacyand trust;and thatemergesmuch more stronglyin the second
stanza:
24Herethe criticsall seem to agree. For two examples of many see David Daiches, 'A
Reading of the Good-Morrow," JustSo Much Honor, p. 184, and N. J. C. Andreason,
John Donne: ConservativeRevolutionary(Princeton: Princeton Univ. Press, 1967). p.
217.
25Hunt,p. 61.
"At thispoint Legouis, p. 68, stresses"what the man has won and the woman lost."
That is preciselywhat the poem loses when we read it as a seduction poem.
"Not all criticswould agree. A. J. Smith sees the "dialogue of one" as "a weak joke";
Andreason thinks it reveals Donne's irony and exposes the blindness of the lovers'
casuistry.Charles Mitchell, in "Donne's 'The Extasie': Love's Sublime Knot," SEL 8
(Winter 1968):91-101, all but equates "the dialogue of love between man and woman"
with"the speaker talkingto himself."To my mind, that equation is preciselywhere so
much Donne criticismgoes wrong. Rene Graziani, "JohnDonne's 'The Extasie,' and
Ecstasy," RES 19 (May 1968):121-36, concludes that "the dialogue of one is probably
Donne's own invention." I find that the most telling remark of all.
Yet I thoughtthee
(For thou lovesttruth)an Angell, at firstsight,
But when I saw thou sawest my heart,
And knew'stmy thoughts,beyond an Angels art,
When thou knew'stwhat I dreamt, when thou knew'stwhen
Excesse of joy would wake me, and cam'st then,
I must confesse,it could not chuse but bee
Prophane, to thinkethee any thingbut thee.
3?Thispoem has provoked the most scathing critiques of Donne's lady. For example,
C. William Millerand Dan S. Norton,Explicator 4 (February 1946): item24, assume the
lady becomes a "used prostitute"riddled withsyphilis,and William Everson,Explicator
4 (June 1946): item 56, concludes "her degradation is complete." Stanley Freeman,
Explicator 30 (October 1971), item 15, is kinder: he thinks the speaker hopes to
"intimidatethe lady intolovinghim" byplayingon "her femininefearand contrariness."
31Fromthis basic fact, Stampfer,p. xvi, reaches quite the opposite conclusion: "In
Donne's 'Apparition,' the speaker describes some woman; she exists, but only as he
grasps her."
"This has rarelybeen seen as a virtueby Donne's critics.A more common feelingis
described by Helen Gardner, John Donne: the Elegies and The Songs and Sonnets
(Oxford: Clarendon Press, 1965), p. xxx: "the union of lovers is an end in itselfin
Donne's poems, needing no justificationand reaching to nothingbeyond itself.... To
have imagined and given supreme expression to the bliss of fulfillment,and to the
discoveryofthe safetythatthereis in love givenand returned,is Donne's greatestgloryas
a love-poet." See also Pam Ulrey, "The 'One' in Donne's Poetry," RenP
(1958-1960):76-83.