No More Learning

But the Petrarchian love, which
Shakespeare treats with light and charming irony, the vows and tears
of Romeo and Proteus, Donne openly scoffs. He is one of Shakespeare's
young men as these were in the flesh and the Inns of Court, and he
tells us frankly what in their youthful cynicism (which is often even
more of a pose than their idealism) they think of love, and constancy,
and women.

Of all miracles, Donne cries, a constant woman is the greatest, of all
strange sights the strangest:

If thou findst one, let mee know,
Such a Pilgrimage were sweet;
Yet doe not, I would not goe,
Though at next doore wee might meet,
Though shee were true, when you met her,
And last, till you write your letter,
Yet shee
Will bee
False, ere I come, to two, or three.

But is it true that we desire to find her? Donne's answer is _Woman's
Constancy_:

Now thou hast lov'd me one whole day,
To-morrow when thou leav'st what wilt thou say?

She will, like Proteus in the _Two Gentlemen of Verona_, have no
dearth of sophistries--but why elaborate them?

Vain lunatique, against these scapes I could
Dispute, and conquer, if I would,
Which I abstaine to doe,
For by to-morrow, I may think so too.

Why ask for constancy when change is the life and law of love?

I can love both fair and brown;
Her whom abundance melts, and her whom want betrays;
Her who loves loneness best, and her who masks and plays.
. . . . . . .
I can love her and her, and you and you,
I can love any so she be not true.

It is not often that the reckless and wilful gaiety of youth masking
as cynicism has been expressed with such ebullient wit as in these
and companion songs. And when he adopts for a time the pose of the
faithful lover bewailing the cruelty of his mistress the sarcastic wit
is no less fertile. It would be difficult to find in the language a
more sustained succession of witty surprises than _The Will_. Others
were to catch these notes from Donne, and Suckling later flutes them
gaily in his lighter fashion, never with the same fullness of wit and
fancy, never with the same ardour of passion divinable through the
audacious extravagances.

But to amuse was by no means the sole aim of Donne's 'wit'; gay humour
touched with fancy and feeling is not its only quality. Donne's 'wit'
has many strands, his humour many moods, and before considering how
these are woven together into an effect that is entirely poetical,
we may note one or two of the soberer strands which run through his
_Letters_, _Epicedes_, and similar poems--descriptive, reflective, and
complimentary.

Not much of Donne's poetry is given to description. Of the feeling
for nature of the Elizabethans, their pastoral and ideal pictures of
meadow and wood and stream, which delighted the heart of Izaak Walton,
there is nothing in Donne. A greater contrast than that between
Marlowe's _Come live with me_ and Donne's imitation _The Baite_ it
would be hard to conceive. But in _The Storme_ and _The Calme_ Donne
used his wit to achieve an effect of realism which was something new
in English poetry, and was not reproduced till Swift wrote _The City
Shower_. From the first lines, which describe how

The South and West winds join'd, and as they blew,
Waves like a rolling trench before them threw,

to the close of _The Storme_ the noise of the contending elements is
deafening:

Thousands our noises were, yet we 'mongst all
Could none by his right name, but thunder call:
Lightning was all our light, and it rain'd more
Than if the Sunne had drunke the sea before.
. . . . . . . . .
Hearing hath deaf'd our sailors, and if they
Knew how to hear, there's none knowes what to say:
Compared to these stormes, death is but a qualme,
Hell somewhat lightsome, and the Bermuda calme.

The sense of tropical heat and calm in the companion poem is hardly
less oppressive, and, if the whole is not quite so happy as the
first, it contains two lines whose vivid and unexpected felicity is
as delightful to-day as when Ben Jonson recited them to Drummond at
Hawthornden:

No use of lanthorns; and in one place lay
Feathers and dust, to-day and yesterday.

Donne's letters generally fall into two groups. The first comprises
those addressed to his fellow-students at Cambridge and the Inns of
Court, the Woodwards, Brookes, and others, or to his maturer and more
fashionable companions in the quest of favour and employment at Court,
Wotton, and Goodyere, and Lord Herbert of Cherbury. To the other
belong the complimentary and elegant epistles in which he delighted
and perhaps bewildered his noble lady friends and patronesses with
erudite and transcendental flattery.

In the first class, and the same is true of some of the _Satyres_,
notably the third, and of the satirical _Progresse of the Soule_,
especially at the beginning and the end, the reflective, moralizing
strain predominates. Donne's 'wit' becomes the instrument of a
criticism of life, grave or satiric, melancholy or stoical. Despite
Matthew Arnold's definition, verse of this kind seldom is poetry in
the full sense of the word; but, as Stevenson says in speaking of his
own Scotch verses, talk not song. The first of English poets was a
master of the art. Neither Horace nor Martial, whom Stevenson cites,
is a more delightful talker in verse than Geoffrey Chaucer, and the
archaism of his style seems only to lend the additional charm of a
lisp to his babble. Since Donne's day English poetry has been rich
in such verse talkers--Butler and Dryden, Pope and Swift, Cowper and
Burns, Byron and Shelley, Browning and Landor. It did not come easy to
the Elizabethans, whose natural accent was song. Donne's chief rivals
were Daniel and Jonson, and I venture to think that he excels them
both in the clear and pointed yet easy and conversational development
of his thought, in the play of wit and wisdom, and, despite the
pedantic cast of Elizabethan erudite moralizing, in the power to
leave on the reader the impression of a potent and yet a winning
personality. We seem to get nearer to the man himself in Donne's
letters to Goodyere and Wotton than in Daniel's weighty, but also
heavy, moralizing epistles to the Countess of Cumberland or Sir Thomas
Egerton; and the personality whose voice sounds so distinct and human
in our ear is a more attractive one than the harsh, censorious, burly
but a little blustering Jonson of the epistles on country life and
generous givers. Donne's style is less clumsy, his verse less stiff.
His wit brings to a clear point whatever he has to say, while from
his verse as from his prose letters there disengages itself a very
distinct sense of what it was in the man, underlying his brilliant
intellect, his almost superhuman cleverness, which won for him the
devotion of friends like Wotton and Goodyere and Walton and King, the
admiration of a stranger like Huyghens, who heard him talk as well as
preach:--a serious and melancholy, a generous and chivalrous spirit.

However, keepe the lively tast you hold
Of God, love him as now, but feare him more,
And in your afternoones thinke what you told
And promis'd him, at morning prayer before.

Let falshood like a discord anger you,
Else be not froward. But why doe I touch
Things, of which none is in your practise new,
And Tables, or fruit-trenchers teach as much;

But thus I make you keepe your promise Sir,
Riding I had you, though you still staid there,
And in these thoughts, although you never stirre,
You came with mee to Micham, and are here.

So he writes to Goodyere, but the letter to Wotton going Ambassador to
Venice is Donne's masterpiece in this simpler style, and it seems to
me that neither Daniel nor Jonson nor Drayton ever catches this note
at once sensitive and courtly. To find a like courtliness we must go
to Wotton; witness the reply to Donne's earlier epistle which I have
printed in the notes. But neither Wotton nor any other of the courtly
poets in Hannah's collection adds to this dignity so poignant a
personal accent.

This personal interest is very marked in the two satires which are
connected by tone and temper with the letters, the third of the
early, classical _Satyres_ and the opening and closing stanzas of
the _Progresse of the Soule_. Each is a vivid picture of the inner
workings of Donne's soul at a critical period in his life. The first
was doubtless written at the moment that he was passing from the Roman
to the Anglican Church. It is one of the earliest and most thoughtful
appeals for toleration, for the candid scrutiny of religious
differences, which was written perhaps in any country--one of the
most striking symptoms of the new eddies produced in the stream of
religious feeling by the meeting currents of the Reformation and the
Counter-Reformation.

It was a difficult and dangerous process through which Donne was
passing, this conversion from the Church of his fathers to conformity
with the Church of England as by law established. It would be as
absurd, in the face of a poem like this and of all that we know of
Donne's subsequent life, to call it a conversion in the full sense of
the term, a changed conviction, as to dub it an apostasy prompted
by purely political considerations. Yet doubtless the latter
predominated. The position of a Catholic in the reign of Elizabeth
was that of a man cut off rigorously from the main life of the nation,
with every avenue of honourable ambition closed to him. He had to live
the starved, suspected life of a recusant or to seek service under a
foreign power. Some of the most pathetic documents in Strype's _Annals
of the Reformation_ are those in which we hear the cry of young men of
secure station and means driven by conscientious conviction to abandon
home and country. It is possible that before 1592 Donne himself had
been sent abroad by relatives with a view to his entering a seminary
or the service of a foreign power. His mother spent a great part of
her life abroad, and his own relatives were among those who suffered
most severely under Walsingham's persecution. 'I had', Donne says, 'my
first breeding and conversation with men of suppressed and afflicted
Religion, accustomed to the despite of death, and hungry of an
imagined Martyrdome. ' To a young man of ambition, and as yet certainly
with no bent to devotion or martyrdom, it was only common sense to
conform if he might.

From this dilemma Donne escaped, not by any opportune change of
conviction, or by any insincere profession, but by the way of
intellectual emancipation. He looks round in this satire and sees that
whichever be the true Church it is not by any painful quest of truth,
and through the attainment of conviction, that most people have
accepted the Church to which they may belong. Circumstances and
whim have had more to do with their choice than reason and serious
conviction. Yet it is only by search that truth is to be found:

On a huge hill
Cragged, and steep, Truth stands, and hee that will
Reach her, about must, and about must goe;
And what the hills suddenes resists win so.
Yet strive so, that before age, deaths twilight,
Thy Soule rest, for none can work in that night.

It was not often in the sixteenth or seventeenth century that a
completely emancipated and critical attitude on religious, not
philosophical, questions was expressed with such entire frankness and
seriousness. From this position, Walton would have us believe, Donne
advanced through the study of Bellarmine and other controversialists
to a convinced acceptance of Anglican doctrine. The evidence points to
a rather different conclusion on Donne's part. He came to think that
all the Churches were 'virtual beams of one sun', 'connatural pieces
of one circle', a position from which the next step was to the
conclusion that for an Englishman the Anglican Church was the right
choice (Cujus regio, ejus religio); but Donne had not reached this
conclusion when he wrote the _Satyre_, and doubtless did not till he
had satisfied himself that the Church of England offered a reasonable
_via media_. But changes of creed made on purely intellectual grounds,
and prompted by practical motives, are not unattended with danger to
a man's moral and spiritual life. Donne had doubtless outwardly
conformed before he entered Egerton's service in 1598, but long
afterwards, when he is already in Orders, he utters a cry which
betrays how real the dilemma still was:

Show me, deare Christ, thy spouse, so bright and clear;

and the first result of his 'conversion' was apparently to deepen the
sceptical vein in his mind.

Scepticism and melancholy, bitter and sardonic, are certainly the
dominant notes in the sombre fragment of satire _The Progresse of the
Soule_, which he composed in 1601, when he was Sir Thomas Egerton's
secretary, four months before his marriage and six months after the
death of the Earl of Essex. There can be little doubt, as I have
ventured to suggest elsewhere, that it was the latter event which
provoked this strange and sombre explosion of spleen, a satire of the
same order as the _Tale of a Tub_ or the _Vision of Judgment_. The
account of the poem which Jonson gave to Drummond does not seem to be
quite accurate, though it was probably derived from Donne himself. It
was, one suspects from several circumstances, a little Donne's way in
later years to disguise the footprints of his earlier indiscretions.
According to this tradition the final _habitat_ of the soul which
'inanimated' the apple

Whose mortal taste
Brought death into the world and all our woe,

was to be John Calvin. The tradition is interesting as marking how far
Donne was in 1601 from his later orthodox Protestantism, for Calvin is
never mentioned but with respect in the _Sermons_. A few months
later he wrote to Egerton disclaiming warmly all 'love of a corrupt
religion'. But, though sceptical in tone, the poem is written from a
Catholic standpoint; its theme is the progress of the soul of heresy.
And, as the seventh stanza clearly indicates, the great heretic in
whom the line closed was to be not Calvin but Queen Elizabeth:

the great soule which here among us now
Doth dwell, and moves that hand, and tongue, and brow
Which, as the Moone the sea, moves us.

Donne can hardly have thought of publishing such a poem, or
circulating it in the Queen's lifetime. It was an expression of the
mood which begot the 'black and envious slanders breath'd against
Diana for her divine justice on Actaeon' to which Jonson refers in
_Cynthia's Revels_ the same year. That some copies were circulated in
manuscript later is probably due to the reaction which brought
into favour at James's Court the Earl of Southampton and the former
adherents of Essex generally.

The tone, moreover, of the stanza quoted above suggests that it was
no vulgar libel on Elizabeth which Donne contemplated. Elizabeth, the
cruel persecutor of his Catholic kinsfolk, now stained with the blood
of her favourite, appeared to him somewhat as she did to Pope Sixtus,
a heretic but a great woman. He felt to her as Burke did to the 'whole
race of Guises, Condés and Colignis'--'the hand that like a destroying
angel smote the country communicated to it the force and energy under
which it suffered. ' In a mood of bitter admiration, of sceptical and
sardonic wonder, he contemplates the great bad souls who had troubled
the world and served it too, for the idea on which the poem was to
rest is the disconcerting reflection that we owe many good things to
heretics and bad men:

Who ere thou beest that read'st this sullen Writ,
Which just so much courts thee, as thou dost it,
Let me arrest thy thoughts; wonder with mee,
Why plowing, building, ruling and the rest,
Or most of those arts, whence our lives are blest,
By cursed _Cains_ race invented be,
And blest _Seth_ vext us with Astronomie.
Ther's nothing simply good, nor ill alone,
Of every quality comparison,
The onely measure is, and judge, opinion.

It would have been interesting to read Donne's history of the great
souls that troubled and yet quickened the world from Cain to Arius and
from Mahomet to Elizabeth, but unfortunately Donne never got beyond
the introduction, a couple of cantos which describe the progress of
the soul while it is still passing through the vegetable and animal
planes, the motive of which, so far as it can be disentangled, is to
describe the pre-human education of a woman's soul:

keeping some quality
Of every past shape, she knew treachery,
Rapine, deceit, and lust, and ills enow
To be a woman.

The fragment has some of the sombre power which De Quincey attributes
to it, but on the whole one must confess it is a failure. The 'wit' of
Donne did not apparently include invention, for many of the episodes
seem pointless as well as disgusting, and indeed in no poem is the
least attractive side of Donne's mind so clearly revealed, that aspect
of his wit which to some readers is more repellent, more fatal to
his claim to be a poet, than too subtle ingenuity or misplaced
erudition--the vein of sheer ugliness which runs through his work,
presenting details that seem merely and wantonly repulsive. The same
vein is apparent in the work of Chapman, of Jonson, and even in places
of Spenser, and the imagery of _Hamlet_ and the tragedies owes some of
its dramatic vividness and power to the same quality. The ugly has its
place in art, and it would not be difficult to find it in every phase
of Renaissance art, marked like the beautiful in that art by the
same evidence of power. Decadence brought with it not ugliness but
prettiness.

The reflective, philosophic, somewhat melancholy strain of the poems
I have been touching on reappears in the letters addressed to noble
ladies. Here, however, it is softened, less sardonic in tone, while
it blends with or gives place to another strain, that of absurd and
extravagant but fanciful and subtle compliment. Donne cannot write to
a lady without his heart and fancy taking wing in their own passionate
and erudite fashion. Scholastic theology is made the instrument
of courtly compliment and pious flirtation. He blends in the
same disturbing fashion as in some of the songs and elegies that
depreciation of woman in general, which he owes less to classical
poetry than to his over-acquaintance with the Fathers, with an
adoration of her charms in the individual which passes into the
transcendental. He tells the Countess of Huntingdon that active
goodness in a woman is a miracle; but it is clear that she and the
Countess of Bedford and Mrs. Herbert and Lady Carey and the Countess
of Salisbury are all examples of such miracle--ladies whose beauty
itself is virtue, while their virtues are a mystery revealable only to
the initiated.

The highest place is held by Lady Bedford and Mrs. Herbert. Nothing
could surpass the strain of intellectual and etherealized compliment
in which he addresses the Countess. If lines like the following are
not pure poetry, they haunt some quaint borderland of poetry to which
the polished felicities of Pope's compliments are a stranger. If not
pure fancy, they are not mere ingenuity, being too intellectual and
argumentative for the one, too winged and ardent for the other:

Should I say I liv'd darker then were true,
Your radiation can all clouds subdue;
But one, 'tis best light to contemplate you.

You, for whose body God made better clay,
Or tooke Soules stuffe such as shall late decay,
Or such as needs small change at the last day.

This, as an Amber drop enwraps a Bee,
Covering discovers your quicke Soule; that we
May in your through-shine front your hearts thoughts see.

You teach (though wee learne not) a thing unknowne
To our late times, the use of specular stone,
Through which all things within without were shown.

Of such were Temples; so and such you are;
_Beeing_ and _seeming_ is your equall care,
And _vertues_ whole _summe_ is but _know_ and _dare_.

The long poem dedicated to the same lady's beauty,

You have refin'd me

is in a like dazzling and subtle vein. Those addressed to Mrs.
Herbert, notably the letter

Mad paper stay,

and the beautiful _Elegie_

No Spring, nor Summer Beauty hath such grace
As I have seen in one Autumnall face,

are less transcendental in tone but bespeak an even warmer admiration.
Indeed it is clear to any careful reader that in the poems addressed
to both these ladies there is blended with the respectful flattery of
the dependant not a little of the tone of warmer feeling permitted to
the 'servant' by Troubadour convention. And I suspect that some poems,
the tone of which is still more frankly and ardently lover-like, were
addressed to Lady Bedford and Mrs. Herbert, though they have come to
us without positive indication.

The title of the subtle, passionate, sonorous lyric _Twicknam Garden_,

Blasted with sighs, and surrounded with teares,

points to the person addressed, for Twickenham Park was the residence
of Lady Bedford from 1607 to 1618, and Donne's intimacy with her seems
to have begun in or about 1608. There can, I think, be little doubt
that it is to her, and neither to his wife nor the mistresses of his
earlier, wandering fancy, that these lines, conventional in theme
but given an amazing _timbre_ by the impulse of Donne's subtle and
passionate mind, were addressed. But if _Twicknam Garden_ was written
to Lady Bedford, so also, one is tempted to think, must have been _A
Nocturnall upon S. Lucies Day_, for Lucy was the Countess's name,
and the thought, feeling, and rhythm of the two poems are strikingly
similar.

But the _Nocturnall_ is a sincerer and profounder poem than _Twicknam
Garden_, and it is more difficult to imagine it the expression of a
conventional sentiment. Mr. Gosse, and there is no higher authority
when it comes to the interpretation of Donne's character and mind,
rightly, I think, suggests that the death of the lady addressed is
assumed, not actual, but he connects the poem with Donne's earlier and
troubled loves. 'So also in a most curious ode, the _Nocturnal_ . . . ,
amid fireworks of conceit, he calls his mistress dead and protests
that his hatred has grown cold at last. ' But I can find no note of
bitterness, active or spent, in the song. It _might_ have been written
to Ann More. It is a highly metaphysical yet sombre and sincere
description of the emptiness of life without love. The critics have,
I think, failed somewhat to reckon with this stratum in Donne's songs,
of poems Petrarchian in convention but with a Petrarchianism coloured
by Donne's realistic temper and impatient wit. Any interpretation of
so enigmatical a poem must be conjectural, but before one denied too
positively that its subject was Lady Bedford--perhaps her illness
in 1612--one would need to answer two questions, how far could a
conventional passion inspire a strain so sincere, and what was Donne's
feeling for Lady Bedford and hers for him?

Poetry is the language of passion, but the passion which moves the
poet most constantly is the delight of making poetry, and very little
is sufficient to quicken the imagination to its congenial task.
Our soberer minds are apt to think that there must be an actual,
particular experience behind every sincere poem. But history refutes
the idea of such a simple relation between experience and art. No
poet will sing of love convincingly who has never loved, but that
experience will suffice him for many and diverse webs of song and
drama. Without pursuing the theme, it is sufficient for the moment to
recall that in the fashion of the day Spenser's sonnets were addressed
to Lady Carey, not to his wife; that it was to Idea or to Anne Goodere
that Drayton wrote so passionate a poem as

Since there's no help, come let us kiss and part;

and that we know very little of what really lies behind Shakespeare's
profound and plangent sonnets, weave what web of fancy we will.

Of Lady Bedford's feeling for Donne we know only what his letters
reveal, and that is no more than that she was his warm friend
and generous patroness. It is clear, however, from their enduring
friendship and from the tone of that correspondence that she found in
him a friend of a rarer and finer calibre than in the other poets whom
she patronized in turn, Daniel and Drayton and Jonson--some one whose
sensitive, complex, fascinating personality could hardly fail to touch
a woman's imagination and heart. Friendship between man and woman is
love in some degree. There is no need to exaggerate the situation, or
to reflect on either her loyalty or his to other claims, to recognize
that their mutual feeling was of the kind for which the Petrarchian
convention afforded a ready and recognized vehicle of expression.

And so it was, one fancies, with Mrs. Herbert. She too found in Donne
a rare and comprehending spirit, and he in her a gracious and delicate
friend. His relation to her, indeed, was probably simpler than to
Lady Bedford, their friendship more equal. The letter and the elegy
referred to already are instinct with affection and tender reverence.
To her Donne sent some of his earliest religious sonnets, with a
sonnet on her beautiful name. And to her also it would seem that at
some period in the history of their friendship, the beginning of which
is very difficult to date, he wrote songs in the tone of hopeless,
impatient passion, of Petrarch writing to Laura, and others which
celebrate their mutual affection as a love that rose superior to
earthly and physical passion. The clue here is the title prefixed to
that strange poem _The Primrose, being at Montgomery Castle upon the
hill on which it is situate_. It is true that the title is found
for the first time in the edition of 1635 and is in none of the
manuscripts. But it is easier to explain the occasional suppression
of a revealing title than to conceive a motive for inventing such
a gloss. The poem is doubtless, as Mr. Gosse says, 'a mystical
celebration of the beauty, dignity and intelligence of Magdalen
Herbert'--a celebration, however, which takes the form (as it might
with Petrarch) of a reproach, a reproach which Donne's passionate
temper and caustic wit seem even to touch with scorn. He appears to
hint to Mrs. Herbert that to wish to be more than a woman, to claim
worship in place of love, is to be a worse monster than a coquette:

Since there must reside
Falshood in woman, I could more abide
She were by Art, than Nature falsifi'd.

Woman needs no advantages to arbitrate the fate of man.

In exactly the same mood as _The Primrose_ is _The Blossome_, possibly
written in the same place and on the same day, for the poet is
preparing to return to London. _The Dampe_ is in an even more scornful
tone, and one hesitates to connect it with Mrs. Herbert. But all these
poems recur so repeatedly together in the manuscripts as to suggest
that they have a common origin. And with them go the beautiful poems
_The Funerall_ and _The Relique_. In the former the cruelty of
the lady has killed her lover, but in the second the tone changes
entirely, the relation between Donne and Mrs. Herbert (note the lines

Thou shalt be a Mary _Magdalen_ and I
A something else thereby)

has ceased to be Petrarchian and become Platonic, their love a thing
pure and of the spirit, but none the less passionate for that:

First, we lov'd well and faithfully,
Yet knew not what wee lov'd, nor why,
Difference of sex no more wee knew,
Then our Guardian Angells doe;
Comming and going, wee
Perchance might kisse, but not between those meales;
Our hands ne'r toucht the seales,
Which nature, injur'd by late law, sets free:
These miracles wee did; but now alas,
All measure, and all language, I should passe,
Should I tell what a miracle shee was.

Such were the notes that a poet in the seventeenth century might still
sing to a high-born lady his patroness and his friend. No one who
knows the fashion of the day will read into them more than they were
intended to convey. No one who knows human nature will read them as
merely frigid and conventional compliments. Any uncertainty one may
feel about the subject arises not from their being love-poems, but
from the difficulty which Donne has in adjusting himself to the
Petrarchian convention, the tendency of his passionate heart and
satiric wit to break through the prescribed tone of worship and
complaint.

Without some touch of passion, some vibration of the heart, Donne is
only too apt to accumulate 'monstrous and disgusting hyperboles'. This
is very obvious in the _Epicedes_--his complimentary laments for the
young Lord Harington, Miss Boulstred, Lady Markham, Elizabeth Drury
and the Marquis of Hamilton, poems in which it is difficult to find a
line that moves. Indeed, seventeenth-century elegies are not as a rule
pathetic. A poem in the simple, piercing strain and the Wordsworthian
plainness of style of the Dutch poet Vondel's lament for his little
daughter is hardly to be found in English. An occasional epitaph like
Browne's

May! be thou never grac'd with birds that sing,
Nor Flora's pride!
In thee all flowers and roses spring,
Mine only died,

comes near it, but in general seventeenth-century elegy is apt to
spend itself on three not easily reconcilable themes--extravagant
eulogy of the dead, which is the characteristically Renaissance
strain, the Mediaeval meditation on death and its horrors, the more
simply Christian mood of hope rising at times to the rapt vision of
a higher life. In the pastoral elegy, such as _Lycidas_, the poet
was able to escape from a too literal treatment of the first into a
sequence of charming conventions. The second was alien to Milton's
thought, and with his genius for turning everything to beauty Milton
extracts from the reference to the circumstances of King's death the
only touch of pathos in the poem:

Ay me! whilst thee the shores and sounding Seas
Wash far away, where ere thy bones are hurld,

and some of his loveliest allusions:

Where the great vision of the guarded Mount
Looks towards _Namancos_ and _Bayona's_ hold;
Look homeward Angel now, and melt with ruth.
And, O ye _Dolphins_, waft the hapless youth.

In the metaphysical elegy as cultivated by Donne, Beaumont, and others
there was no escape from extravagant eulogy and sorrow by way of
pastoral convention and mythological embroidery, and this class of
poetry includes some of the worst verses ever written. In Donne all
three of the strains referred to are present, but only in the third
does he achieve what can be truly called poetry. In the elegies on
Lord Harington and Miss Boulstred and Lady Markham it is difficult to
say which is more repellent--the images in which the poet sets forth
the vanity of human life and the humiliations of death or the frigid
and blasphemous hyperboles in which the virtues of the dead are
eulogized.

Even the _Second Anniversary_, the greatest of Donne's epicedes, is
marred throughout by these faults. There is no stranger poem in
the English language in its combination of excellences and faults,
splendid audacities and execrable extravagances. 'Fervour of
inspiration, depth and force and glow of thought and emotion and
expression'--it has something of all these high qualities which
Swinburne claimed; but the fervour is in great part misdirected, the
emotion only half sincere, the thought more subtle than profound,
the expression heated indeed but with a heat which only in passages
kindles to the glow of poetry.

Such are the passages in which the poet contemplates the joys of
heaven. There is nothing more instinct with beautiful feeling in
_Lycidas_ than some of the lines of Apocalyptic imagery at the close:

There entertain him all the Saints above,
In solemn troops, and sweet Societies
That sing, and singing in their glory move,
And wipe the tears for ever from his eyes.

But in spiritual sense, in passionate awareness of the transcendent,
there are lines in Donne's poem that seem to me superior to
anything in Milton if not in purity of Christian feeling, yet in the
passionate, mystical sense of the infinite as something other than
the finite, something which no suggestion of illimitable extent and
superhuman power can ever in any degree communicate.
Think then my soule that death is but a Groome,
Which brings a Taper to the outward roome,
Whence thou spiest first a little glimmering light,
And after brings it nearer to thy sight:
For such approaches does heaven make in death.
. . . . . . .
Up, up my drowsie Soule, where thy new eare
Shall in the Angels songs no discord heere, &c.

In passages like these there is an earnest of the highest note of
spiritual eloquence that Donne was to attain to in his sermons and
last hymns.

Another aspect of Donne's poetry in the _Anniversaries_, of his
_contemptus mundi_ and ecstatic vision, connects them more closely
with Tennyson's _In Memoriam_ than Milton's _Lycidas_. Like Tennyson,
Donne is much concerned with the progress of science, the revolution
which was going on in men's knowledge of the universe, and its
disintegrating effect on accepted beliefs. To him the new astronomy is
as bewildering in its displacement of the earth and disturbance of a
concentric universe as the new geology was to be to Tennyson with the
vistas which it opened into the infinities of time, the origin and the
destiny of man:

The new philosophy calls all in doubt,
The Element of fire is quite put out;
The Sun is lost, and th' earth, and no mans wit
Can well direct him where to look for it.
And freely men confesse that this world's spent,
When in the Planets, and the Firmament
They seeke so many new; they see that this
Is crumbled out againe to his Atomies.

On Tennyson the effect of a similar dislocation of thought, the
revelation of a Nature which seemed to bring to death and bring to
life through endless ages, careless alike of individual and type, was
religious doubt tending to despair:

O life as futile, then, as frail!
. . . . .
What hope of answer, or redress?
Behind the veil, behind the veil.

On Donne the effect was quite the opposite. It was not of religion he
doubted but of science, of human knowledge with its uncertainties, its
shifting theories, its concern about the unimportant:

Poore soule, in this thy flesh what dost thou know?
Thou know'st thy selfe so little, as thou know'st not,
How thou didst die, nor how thou wast begot.
. . . . . . . . .
Have not all soules thought
For many ages, that our body is wrought
Of Ayre, and Fire, and other Elements?
And now they thinke of new ingredients;
And one Soule thinkes one, and another way
Another thinkes, and 'tis an even lay.
. . . . . . . . .
Wee see in Authors, too stiffe to recant,
A hundred controversies of an Ant;
And yet one watches, starves, freeses, and sweats,
To know but Catechismes and Alphabets
Of unconcerning things, matters of fact;
How others on our stage their parts did Act;
What _Cæsar_ did, yea, and what _Cicero_ said.

With this welter of shifting theories and worthless facts he contrasts
the vision of which religious faith is the earnest here:

In this low forme, poore soule, what wilt thou doe?
When wilt thou shake off this Pedantery,
Of being taught by sense, and Fantasie?
Thou look'st through spectacles; small things seeme great
Below; But up unto the watch-towre get,
And see all things despoyl'd of fallacies:
Thou shalt not peepe through lattices of eyes,
Nor heare through Labyrinths of eares, nor learne
By circuit, or collections, to discerne.
In heaven thou straight know'st all concerning it,
And what concernes it not, shalt straight forget.

It will seem to some readers hardly fair to compare a poem like _In
Memoriam_, which, if in places the staple of its feeling and thought
wears a little thin, is entirely serious throughout, with poems which
have so much the character of an intellectual _tour de force_ as
Donne's _Anniversaries_, but it is easy to be unjust to the sincerity
of Donne in these poems. Their extravagant eulogy did not argue any
insincerity to Sir Robert and Lady Drury. It was in the manner of the
time, and doubtless seemed to them as natural an expression of grief
as the elaborate marble and alabaster tomb which they erected to the
memory of their daughter. The _Second Anniversarie_ was written in
France when Donne was resident there with the Drurys. And it was
on this occasion that Donne had the vision of his absent wife which
Walton has related so graphically. The spiritual sense in Donne was
as real a thing as the restless and unruly wit, or the sensual,
passionate temperament. The main thesis of the poem, the comparative
worthlessness of this life, the transcendence of the spiritual, was
as sincere in Donne's case as was in Tennyson the conviction of the
futility of life if death closes all. It was to be the theme of the
finest passages in his eloquent sermons, the burden of all that
is most truly religious in the verse and prose of a passionate,
intellectual, self-tormenting soul to whom the pure ecstasy of love of
a Vondel, the tender raptures of a Crashaw, the chastened piety of a
Herbert, the mystical perceptions of a Vaughan could never be quite
congenial.

I have dwelt at some length on those aspects of Donne's 'wit' which
are of interest and value even to a reader who may feel doubtful as to
the beauty and interest of his poetry as such, because they too
have been obscured by the criticism which with Dr. Johnson and Mr.
Courthope represents his wit as a monster of misapplied ingenuity, his
interest as historical and historical only. Apart from poetry there is
in Donne's 'wit' a great deal that is still fresh and vivid, wit as we
understand wit; satire pungent and vivid; reflection on religion
and on life, rugged at times in form but never really unmusical as
Jonson's verse is unmusical, and, despite frequent carelessness,
singularly lucid and felicitous in expression; elegant compliment,
extravagant and grotesque at times but often subtle and piquant;
and in the _Anniversaries_, amid much that is both puerile and
extravagant, a loftier strain of impassioned reflection and vision. It
is not of course that these things are not, or may not be constituents
of poetry, made poetic by their handling. To me it seems that in Donne
they generally are. It is the poet in Donne which flavours them all,
touching his wit with fancy, his reflection with imagination, his
vision with passion. But if we wish to estimate the poet simply in
Donne, we must examine his love-poetry and his religious poetry. It is
here that every one who cares for his unique and arresting genius will
admit that he must stand or fall as a great poet.

For it is here that we find the full effect of what De Quincey points
to as Donne's peculiarity, the combination of dialectical subtlety
with weight and force of passion. Objections to admit the poetic worth
and interest of Donne's love-poetry come from two sides--from those
who are indisposed to admit that passion, and especially the
passion of love, can ever speak so ingeniously (this was the
eighteenth-century criticism); and from those, and these are his more
modern critics, who deny that Donne is a great poet because with rare
exceptions, exceptions rather of occasional lines and phrases than of
whole poems, his songs and elegies lack beauty. Can poetry be at once
passionate and ingenious, sincere in feeling and witty,--packed with
thought, and that subtle and abstract thought, Scholastic dialectic?
Can love-poetry speak a language which is impassioned and expressive
but lacks beauty, is quite different from the language of Dante
and Petrarch, the loveliest language that lovers ever spoke, or the
picturesque hyperboles of _Romeo and Juliet_? Must not the imagery and
the cadences of love poetry reflect 'l'infinita, ineffabile bellezza'
which is its inspiration?

The first criticism is put very clearly by Steele, who goes so far as
to exemplify what the style of love-poetry should be; and certainly
it is something entirely different from that of _The Extasie_ or the
_Nocturnall upon S. Lucies Day_. Nothing could illustrate better the
'return to nature' of our Augustan literature than Steele's words:

'I will suppose an author to be really possessed with the
passion which he writes upon and then we shall see how he
would acquit himself. This I take to be the safest way to form
a judgement upon him: since if he be not truly moved, he
must at least work up his imagination as near as possible
to resemble reality. I choose to instance in love, which is
observed to have produced the most finished performances in
this kind. A lover will be full of sincerity, that he may be
believed by his mistress; he will therefore think simply; he
will express himself perspicuously, that he may not perplex
her; he will therefore write unaffectedly. Deep reflections
are made by a head undisturbed; and points of wit and fancy
are the work of a heart at ease; these two dangers then into
which poets are apt to run, are effectually removed out of the
lover's way. The selecting proper circumstances, and placing
them in agreeable lights, are the finest secrets of all
poetry; but the recollection of little circumstances is the
lover's sole meditation, and relating them pleasantly, the
business of his life. Accordingly we find that the most
celebrated authors of this rank excel in love-verses. Out of
ten thousand instances I shall name one which I think the most
delicate and tender I ever saw.

To myself I sigh often, without knowing why;
And when absent from Phyllis methinks I could die.

A man who hath ever been in love will be touched by the
reading of these lines; and everyone who now feels that
passion, actually feels that they are true. '

It is not possible to find so distinct a statement of the other view
to which I have referred, but I could imagine it coming from Mr.
Robert Bridges, or (since I have no authority to quote Mr. Bridges in
this connexion) from an admirer of his beautiful poetry. Mr. Bridges'
love-poetry is far indeed from the vapid naturalness which Steele
commended in _The Guardian_. It is as instinct with thought, and
subtle thought, as Donne's own poetry; but the final effect of his
poetry is beauty, emotion recollected in tranquillity, and recollected
especially in order to fix its delicate beauty in appropriate and
musical words:

Awake, my heart, to be loved, awake, awake!
The darkness silvers away, the morn doth break,
It leaps in the sky: unrisen lustres slake
The o'ertaken moon. Awake, O heart, awake!

She too that loveth awaketh and hopes for thee;
Her eyes already have sped the shades that flee,
Already they watch the path thy feet shall take:
Awake, O heart, to be loved, awake, awake!

And if thou tarry from her,--if this could be,--
She cometh herself, O heart, to be loved, to thee;
For thee would unashamed herself forsake:
Awake to be loved, my heart, awake, awake!

Awake, the land is scattered with light, and see,
Uncanopied sleep is flying from field and tree:
And blossoming boughs of April in laughter shake;
Awake, O heart, to be loved, awake, awake!

Lo all things wake and tarry and look for thee:
She looketh and saith, 'O sun, now bring him to me.
Come more adored, O adored, for his coming's sake,
And awake my heart to be loved: awake, awake! '

Donne has written nothing at once so subtle and so pure and lovely
as this, nothing the end and aim of which is so entirely to leave an
untroubled impression of beauty.

But it is not true either that the thought and imagery of love-poetry
must be of the simple, obvious kind which Steele supposes, that any
display of dialectical subtlety, any scintillation of wit, must be
fatal to the impression of sincerity and feeling, or on the other hand
that love is always a beautiful emotion naturally expressing itself in
delicate and beautiful language. To some natures love comes as above
all things a force quickening the mind, intensifying its purely
intellectual energy, opening new vistas of thought abstract and
subtle, making the soul 'intensely, wondrously alive'. Of such were
Donne and Browning. A love-poem like 'Come into the garden, Maud'
suspends thought and fills the mind with a succession of picturesque
and voluptuous images in harmony with the dominant mood. A poem such
as _The Anniversarie_ or _The Extasie_, _The Last Ride Together_ or
_Too Late_, is a record of intense, rapid thinking, expressed in the
simplest, most appropriate language--and it is a no whit less natural
utterance of passion. Even the abstractness of the thought, on
which Mr. Courthope lays so much stress in speaking of Donne and the
'metaphysicals' generally, is no necessary implication of want of
feeling. It has been said of St. Augustine 'that his most profound
thoughts regarding the first and last things arose out of prayer . . .
concentration of his whole being in prayer led to the most abstract
observation'. So it may be with love-poetry--so it was with Dante in
the _Vita Nuova_, and so, on a lower scale, and allowing for the time
that the passion is a more earthly and sensual one, the thought more
capricious and unruly, with Donne. The _Nocturnall upon S. Lucies
Day_ is not less passionate because that passion finds expression in
abstract and subtle thought. Nor is it true that all love-poetry is
beautiful. Of none of the four poems I have mentioned in the last
paragraph is pure beauty, beauty such as is the note of Mr. Bridges'
song, the distinctive quality. It is rather vivid realism:

And alive I shall keep and long, you will see!
I knew a man, was kicked like a dog
From gutter to cesspool; what cared he
So long as he picked from the filth his prog?
He saw youth, beauty and genius die,
And jollily lived to his hundredth year.
But I will live otherwise: none of such life!
At once I begin as I mean to end.

But this sacrifice of beauty to dramatic vividness is a characteristic
of passionate poetry. Beauty is not precisely the quality we should
predicate of the burning lines of Sappho translated by Catullus:

lingua sed torpet, tenuis sub artus
flamma demanat, sonitu suopte
tintinant aures geminae, teguntur
lumina nocte.

Beauty is the quality of poetry which records an ideal passion
recollected in tranquillity, rather than of poetry either dramatic or
lyric which utters the very movement and moment of passion itself.

Donne's love-poetry is a very complex phenomenon, but the two dominant
strains in it are just these: the strain of dialectic, subtle play
of argument and wit, erudite and fantastic; and the strain of vivid
realism, the record of a passion which is not ideal nor conventional,
neither recollected in tranquillity nor a pure product of literary
fashion, but love as an actual, immediate experience in all its
moods, gay and angry, scornful and rapturous with joy, touched with
tenderness and darkened with sorrow--though these last two moods,
the commonest in love-poetry, are with Donne the rarest. The first of
these strains comes to Donne from the Middle Ages, the dialectic of
the Schools, which passed into mediaeval love-poetry almost from
its inception; the second is the expression of the new temper of the
Renaissance as Donne had assimilated it in Latin countries. Donne uses
the method, the dialectic of the mediaeval love-poets, the poets
of the _dolce stil nuovo_, Guinicelli, Cavalcanti, Dante, and their
successors, the intellectual, argumentative evolution of their
_canzoni_, but he uses it to express a temper of mind and a conception
of love which are at the opposite pole from their lofty idealism. The
result, however, is not so entirely disintegrating as Mr. Courthope
seems to think: 'This fine Platonic edifice is ruthlessly demolished
in the poetry of Donne. To him love, in its infinite variety and
inconsistency, represented the principle of perpetual flux in
nature. '[1] The truth is rather that, owing to the fullness of Donne's
experience as a lover, the accident that made of the earlier libertine
a devoted lover and husband, and from the play of his restless and
subtle mind on the phenomenon of love conceived and realized in this
less ideal fashion, there emerged in his poetry the suggestion of
a new philosophy of love which, if less transcendental than that
of Dante, rests on a juster, because a less dualistic and ascetic,
conception of the nature of the love of man and woman.

The fundamental weakness of the mediaeval doctrine of love, despite
its refining influence and its exaltation of woman, was that it
proved unable to justify love ethically against the claims of the
counter-ideal of asceticism. Taking its rise in a relationship which
excluded the thought of marriage as the end and justification of love,
which presumed in theory that the relation of the 'servant' to his
lady must always be one of reverent and unrewarded service, this
poetry found itself involved from the beginning in a dualism from
which there was no escape. On the one hand the love of woman is the
great ennobler of the human heart, the influence which elicits its
latent virtue as the sun converts clay to gold and precious stones. On
the other hand, love is a passion which in the end is to be repented
of in sackcloth and ashes. Lancelot is the knight whom love has made
perfect in all the virtues of manhood and chivalry; but the vision of
the Holy Grail is not for him, but for the virgin and stainless Sir
Galahad.

In the high philosophy of the Tuscan poets of the 'sweet new style'
that dualism was apparently transcended, but it was by making love
identical with religion, by emptying it of earthly passion, making
woman an Angel, a pure Intelligence, love of whom is the first
awakening of the love of God. 'For Dante and the poets of the learned
school love and virtue were one and the same thing; love _was_
religion, the lady beloved the way to heaven, symbol of philosophy and
finally of theology. '[2] The culminating moment in Dante's love for
Beatrice arrives when he has overcome even the desire that she should
return his salutation and he finds his full beatitude in 'those words
that do praise my lady'. The love that begins in the _Vita Nuova_ is
completed in the _Paradiso_.

The dualism thus in appearance transcended by Dante reappears sharply
and distinctly in Petrarch. 'Petrarch', says Gaspary, 'adores not the
idea but the person of his lady; he feels that in his affections there
is an earthly element, he cannot separate it from the desire of the
senses; this is the earthly tegument which draws us down. If not as,
according to the ascetic doctrine, sin, if he could not be ashamed of
his passion, yet he could repent of it as a vain and frivolous thing,
regret his wasted hopes and griefs. '[3] Laura is for Petrarch the
flower of all perfection herself and the source of every virtue in her
lover. Yet his love for Laura is a long and weary aberration of
the soul from her true goal, which is the love of God. This is the
contradiction from which flow some of the most lyrical strains in
Petrarch's poetry, as the fine canzone 'I'vo pensando', where he
cries:

E sento ad ora ad or venirmi in core
Un leggiadro disdegno, aspro e severo,
Ch'ogni occulto pensero
Tira in mezzo la fronte, ov' altri 'l vede;
Che mortal cosa amar con tanta fede,
Quanta a Dio sol per debito convensi,
Più si disdice a chi più pregio brama.

Elizabethan love-poetry is descended from Petrarch by way of Cardinal
Bembo and the French poets of the _Pléiade_, notably Ronsard
and Desportes. Of all the Elizabethan sonneteers the most finely
Petrarchian are Sidney and Spenser, especially the former. For Sidney,
Stella is the school of virtue and nobility. He too writes at times in
the impatient strain of Petrarch:

But ah! Desire still cries, give me some food.

And in the end both Sidney and Spenser turn from earthly to heavenly
love:

Leave me, O love, which reachest but to dust,
And thou, my mind, aspire to higher things:
Grow rich in that which never taketh rust,
Whatever fades but fading pleasure brings.

And so Spenser:

Many lewd lays (Ah! woe is me the more)
In praise of that mad fit, which fools call love,
I have in the heat of youth made heretofore;
That in light wits affection loose did move,
But all these follies now I do reprove.

But two things had come over this idealist and courtly love-poetry by
the end of the sixteenth century. It had become a literary artifice, a
refining upon outworn and extravagant conceits, losing itself at
times in the fantastic and absurd. A more important fact was that this
poetry had begun to absorb a new warmth and spirit, not from Petrarch
and mediaeval chivalry, but from classical love-poetry with its
simpler, less metaphysical strain, its equally intense but more
realistic description of passion, its radically different conception
of the relation between the lovers and of the influence of love in a
man's life. The courtly, idealistic strain was crossed by an Epicurean
and sensuous one that tends to treat with scorn the worship of woman,
and echoes again and again the Pagan cry, never heard in Dante or
Petrarch, of the fleetingness of beauty and love:

Vivamus, mea Lesbia, atque amemus!
Soles occidere et redire possunt:
Nobis quum semel occidit brevis lux
Nox est perpetua una dormienda.

Vivez si m'en croyez, n'attendez à demain;
Cueillez dès aujourd'hui les roses de la vie.

Since brass, nor stone, nor earth, nor boundless sea,
But sad mortality o'er-sways their power,
How with this rage shall beauty hold a plea
Whose action is no stronger than a flower?

Now if we turn from Elizabethan love-poetry to the _Songs and Sonets_
and the _Elegies_ of Donne, we find at once two distinguishing
features. In the first place his poetry is in one respect less
classical than theirs. There is far less in it of the superficial
evidence of classical learning with which the poetry of the
'University Wits' abounds, pastoral and mythological imagery. The
texture of his poetry is more mediaeval than theirs in as far as it is
more dialectical, though a dialectical evolution is not infrequent
in the Elizabethan sonnet, and the imagery is less picturesque, more
scientific, philosophic, realistic, and homely. The place of the

goodly exiled train
Of gods and goddesses

is taken by images drawn from all the sciences of the day, from the
definitions and distinctions of the Schoolmen, from the travels and
speculations of the new age, and (as in Shakespeare's tragedies or
Browning's poems) from the experiences of everyday life. Maps and sea
discoveries, latitude and longitude, the phoenix and the mandrake's
root, the Scholastic theories of Angelic bodies and Angelic knowledge,
Alchemy and Astrology, legal contracts and _non obstantes_, 'late
schoolboys and sour prentices,' 'the king's real and his stamped
face'--these are the kind of images, erudite, fanciful, and homely,
which give to Donne's poems a texture so different at a first glance
from the florid and diffuse Elizabethan poetry, whether romantic epic,
mythological idyll, sonnet, or song; while by their presence and
their abundance they distinguish it equally (as Mr. Gosse has
justly insisted) from the studiously moderate and plain style of
'well-languaged Daniel'.

But if the imagery of Donne's poetry be less classical than that of
Marlowe or the younger Shakespeare there is no poet the spirit of
whose love-poetry is so classical, so penetrated with the sensual,
realistic, scornful tone of the Latin lyric and elegiac poets. If one
reads rapidly through the three books of Ovid's _Amores_, and then
in the same continuous rapid fashion the _Songs_ and the _Elegies_ of
Donne, one will note striking differences of style and treatment.
Ovid develops his theme simply and concretely, Donne dialectically and
abstractly. There is little of the ease and grace of Ovid's verses in
the rough and vehement lines of Donne's _Elegies_. Compare the song,

Busie old foole, unruly Sunne,

with the famous thirteenth Elegy of the first book,

Iam super oceanum venit a seniore marito,
Flava pruinoso quae vehit axe diem.

Ovid passes from one natural and simple thought to another, from one
aspect of dawn to another equally objective. Donne just touches one or
two of the same features, borrowing them doubtless from Ovid, but the
greater part of the song is devoted to the subtle and extravagant, if
you like, but not the less passionate development of the thought that
for him the woman he loves is the whole world.

But if the difference between Donne's metaphysical conceits and Ovid's
naturalness and simplicity is palpable it is not less clear that the
emotions which they express, with some important exceptions to which I
shall recur, are identical. The love which is the main burden of their
song is something very different from the ideal passion of Dante or of
Petrarch, of Sidney or Spenser. It is a more sensual passion. The same
tone of witty depravity runs through the work of the two poets. There
is in Donne a purer strain which, we shall see directly, is of the
greatest importance, but such a rapid reader as I am contemplating
might be forgiven if for the moment he overlooked it, and declared
that the modern poet was as sensual and depraved as the ancient, that
there was little to choose between the social morality reflected in
the Elizabethan and in the Augustan poet.

And yet even in these more cynical and sensual poems a careful reader
will soon detect a difference between Donne and Ovid. He will begin
to suspect that the English poet is imitating the Roman, and that
the depravity is in part a reflected depravity. In revolt from one
convention the young poet is cultivating another, a cynicism and
sensuality which is just as little to be taken _au pied de la
lettre_ as the idealizing worship, the anguish and adoration of the
sonneteers. There is, as has been said already, a gaiety in the poems
elaborating the thesis that love is a perpetual flux, fickleness the
law of its being, which warns us against taking them too seriously;
and even those _Elegies_ which seem to our taste most reprehensible
are aerated by a wit which makes us almost forget their indecency. In
the last resort there is all the difference in the world between the
untroubled, heartless sensuality of the Roman poet and the gay wit,
the paradoxical and passionate audacities and sensualities of the
young Elizabethan law-student impatient of an unreal convention, and
eager to startle and delight his fellow students by the fertility and
audacity of his wit.

It is not of course my intention to represent Donne's love-poetry
as purely an 'evaporation' of wit, to suggest that there is in it
no reflection either of his own life as a young man or the moral
atmosphere of Elizabethan London. It would be a much less interesting
poetry if this were so. Donne has pleaded guilty to a careless and
passionate youth:

In mine Idolatry what showres of raine
Mine eyes did waste? what griefs my heart did rent?
That sufferance was my sinne; now I repent;
Cause I did suffer I must suffer pain.

From what we know of the lives of Essex, Raleigh, Southampton,
Pembroke, and others it is probable that Donne's _Elegies_ come quite
as close to the truth of life as Sidney's Petrarchianism or Spenser's
Platonism. The later cantos of _The Faerie Queene_ reflect vividly the
unchaste loves and troubled friendships of Elizabeth's Court. Whether
we can accept in its entirety the history of Donne's early amours
which Mr. Gosse has gathered from the poems or not, there can be no
doubt that actual experiences do lie behind these poems as behind
Shakespeare's sonnets. In the one case as in the other, to recognize a
literary model is not to exclude the probability of a source in actual
experience.

But however we may explain or palliate the tone of these poems it is
impossible to deny their power, the vivid and packed force with which
they portray a variously mooded passion working through a swift and
subtle brain. If there is little of the elegant and accomplished art
which Milton admired in the Latin Elegiasts while he 'deplored' their
immorality, there is more strength and sincerity both of thought and
imagination. The brutal cynicism of

Fond woman which would have thy husband die,

the witty anger of _The Apparition_, the mordant and paradoxical
wit of _The Perfume_ and _The Bracelet_, the passionate dignity and
strength of _His Picture_,

My body a sack of bones broken within,
And powders blew stains scatter'd on my skin,

the passion that rises superior to sensuality and wit, and takes wing
into a more spiritual and ideal atmosphere, of _His parting from her_,

I will not look upon the quick'ning Sun,
But straight her beauty to my sense shall run;
The ayre shall note her soft, the fire most pure;
Water suggest her clear, and the earth sure--

compare these with Ovid and the difference is apparent between an
artistic, witty voluptuary and a poet whose passionate force redeems
many errors of taste and art. Compare them with the sonnets and
mythological idylls and _Heroicall Epistles_ of the Elizabethans and
it is they, not Donne, who are revealed as witty and 'fantastic' poets
content to adorn a conventional sentiment with mythological fancies
and verbal conceits. Donne's interest is his theme, love and woman,
and he uses words not for their own sake but to communicate his
consciousness of these surprising phenomena in all their varying and
conflicting aspects. The only contemporary poems that have the same
dramatic quality are Shakespeare's sonnets and some of Drayton's later
sonnets.