Real Love Is Like A Compass: Day 1

A Valediction: Forbidding Mourning
John Donne

As virtuous men pass mildly away,
And whisper to their souls to go,
Whilst some of their sad friends do say
The breath goes now, and some say, No:

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.*


This week we shift our attention to John Donne and his metaphysical poetry.  We’ll spend some time discussing metaphysics later this week, but let’s begin with how his view of love differs from the one we saw in Madame Bovary.  If there we saw the fragility of romanticism, here we find the durability of passion.

In Booked: Literature in the Soul of Me Karen Swallow Prior writes:

Yes, Madame Bovary warned me of the dangers of romanticism. But romanticism and passion are not the same. The idealism of romanticism certainly includes strong passion. But passion is much more than romance. Passion has two meanings: suffering and enduring. The first meaning is the one associated with romantic love. It’s the passion emanating from desire, a desire whose source lies in the pursuit itself and wanes once the object of desire is obtained. This is why romances, comedies, and novels traditionally end with the wedding: the object of love has been conquered and whatever follows is insignificant to the story.

But the other aspect of passion, one that is all but forgotten is endurance. The word endure has come to have primarily negative connotations, but this should not be. Something that is durable is of high quality. It continues to exist through the passage of time. It is good and to be valued. A love that cannot endure is no love at all. Real love—and true passion—endures. And it endures much. It is based on more than fleeting feelings or a desire that is subject to passing moods, fancies, and appetites. It is guided by reason because reason knows what feelings often do not.

This chapter presents a version of real love that is markedly different from the romanticized view of love in the previous chapter.  What are some of the differences?

John 1: 1-5

In the beginning was the Word, and the Word was with God, and the Word was God. The same was in the beginning with God. All things were made by him; and without him was not any thing made that was made. In him was life; and the life was the light of men. And the light shineth in darkness; and the darkness comprehended it not.

 

 

D I G  D E E P E R


John Donne

 

John Donne

(1571/2–1631), *Metaphysical poet and Dean of *St Paul’s. He was a member of a RC family, his mother being the sister of the *Jesuit missionary priest Jasper Heywood, and a granddaughter of a sister of Sir Thomas *More. He entered Hart Hall, Oxford, in 1584 and possibly studied after this at Cambridge, or perhaps abroad. He entered Thavies Inn in 1591 and transferred to Lincoln’s Inn in 1592. During this period he was much exercised over the problem of his religious allegiance and for a time, according to I. *Walton, ‘betrothed himself to no Religion that might give him any other denomination than a Christian’. By 1598 he had certainly conformed to the Church of England. In 1596 he accompanied Essex and Raleigh to Cadiz and in 1597 to the Azores; and in 1598 became private secretary to the Lord Keeper, Sir Thomas Egerton, a post from which he was dismissed four years later owing to his secret marriage to Ann More, his master’s wife’s niece, in 1601. During the next years he and his growing family lived in poverty and dependence on the charity of friends. Around this period he composed but did not publish Biathanatos, a casuistic discussion and defence of suicide. He found employment in controversial writing and in 1610 wrote the Pseudo-Martyr to persuade Catholics that they might take the Oath of Allegiance. In the next year he wrote a witty satire on the Jesuits, Ignatius his Conclave. After repeated failures to find secular employment he at last complied with the wish of the King and was ordained in 1615. The reason he himself gave for delay was scruple at accepting orders as a means of making a living. In 1621 he became Dean of St Paul’s, where he preached on all great festivals. He was also a regular preacher at court and a favourite with both James and Charles. During a serious illness in 1623 he wrote his Devotions upon Emergent Occasions (1624), and the famous ‘Hymn to God the Father’. He died in 1631 and was buried in St Paul’s. His monument, showing him standing in his shroud, survived the Great Fire. In the American BCP (1979), and CW, feast day, 31 Mar.

Donne’s secular poetry was mainly written in his youth: satires, love-elegies, and lyrics, though the date of these last is questionable. His religious poetry belongs mostly to his troubled and unhappy middle years of poverty and discouragement. After his ordination his genius found expression in preaching. His fame as a poet suffered eclipse after the Restoration but had a striking revival in the 20th century. His vigorous, dramatic style, his capacity for introspection, and the subtle blend of argument and passion in his love poems and religious poems attracted poets in revolt against the Romantic tradition, most notably T. S. *Eliot. His sermons are masterpieces of the old formal style of preaching, packed with patristic learning and adorned with brilliant images and striking rhetorical effects, but his great strength is as a moral theologian, preaching as a sinner who has found mercy to other sinners. Although the contrast between Jack Donne, the youthful rake, and Dr John Donne, the divine, has been overdrawn, there is no doubt that he was haunted by an intense consciousness of the gravity of sin as he was by the thought of physical death. His great theme as a love-poet was the bliss of union; his great theme as a preacher was God’s mercy. Both themes are given singular force coming from one who wrote so often of a love that was ‘rage’ and not ‘peace’; and knew in experience the meaning of working out one’s salvation with fear and trembling.

F. L. Cross and Elizabeth A. Livingstone, eds., The Oxford Dictionary of the Christian Church (Oxford; New York: Oxford University Press, 2005), 503–504.

*A Valediction: Forbidding Mourning

As virtuous men pass mildly away,
And whisper to their souls to go,
Whilst some of their sad friends do say
The breath goes now, and some say, No:

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.

Moving of th’ earth brings harms and fears,
Men reckon what it did, and meant;
But trepidation of the spheres,
Though greater far, is innocent.

Dull sublunary lovers’ love
(Whose soul is sense) cannot admit
Absence, because it doth remove
Those things which elemented it.

But we by a love so much refined,
That our selves know not what it is,
Inter-assured of the mind,
Care less, eyes, lips, and hands to miss.

Our two souls therefore, which are one,
Though I must go, endure not yet
A breach, but an expansion,
Like gold to airy thinness beat.

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.

Such wilt thou be to me, who must,
Like th’ other foot, obliquely run;
Thy firmness makes my circle just,
And makes me end where I begun.

 

Karen Swallow Prior

Karen Swallow Prior

Karen Swallow Prior is Professor of English at Liberty University and an award-winning teacher. She is a contributing writer for The Atlantic.com and for Christianity Today, where she blogs frequently at Her.meneutics. Her writing has appeared in Relevant, Think Christian, and Salvo. She is a Research Fellow with the Ethics and Religious Liberty Commission of the Southern Baptist Convention, a member of INK: A Creative Collective, and a member of the Faith Advisory Council of the Humane Society of the United States.

Booked: Literature in the Soul of Me

Booked draws on classics like Great Expectations, delights such as Charlotte’s Web, the poetry of Hopkins and Donne, and more. This thoughtful, straight-up memoir will be pure pleasure for book-lovers, teachers, and anyone who has struggled to find a way to articulate the inexpressible through a love of story.