I can love her, and her, and you, and you ; I can love any, so she be not true. She went, examined, and return'd ere long, And said, "Alas! But I have told them, 'Since you will be true, You shall be true to them who're false to you. What merchant's ships have my sighs drown'd? Who says my tears have overflow'd his ground? When did my colds a forward spring remove? Grief brought to numbers cannot be so fierce, For he tames it, that fetters it in verse.
I F yet I have not all thy love, Dear, I shall never have it all ; I cannot breathe one other sigh, to move, Nor can intreat one other tear to fall ; And all my treasure, which should purchase thee, Sighs, tears, and oaths, and letters I have spent ; Yet no more can be due to me, Than at the bargain made was meant. Or if then thou gavest me all, All was but all, which thou hadst then ; But if in thy heart since there be or shall New love created be by other men, Which have their stocks entire, and can in tears, In sighs, in oaths, and letters, outbid me, This new love may beget new fears, For this love was not vow'd by thee.
Love Songs and Sonnets
But think that we Are but turn'd aside to sleep. Yet I found something like a heart, But colours it, and corners had ; It was not good, it was not bad, It was entire to none, and few had part ; As good as could be made by art It seem'd, and therefore for our loss be sad. I meant to send that heart instead of mine, But O!
O, wilt thou therefore rise from me?
By this author
Why should we rise because 'tis light? Did we lie down because 'twas night? Love, which in spite of darkness brought us hither, Should in despite of light keep us together. Light hath no tongue, but is all eye ; If it could speak as well as spy, This were the worst that it could say, That being well I fain would stay, And that I loved my heart and honour so That I would not from him, that had them, go.
Must business thee from hence remove? He which hath business, and makes love, doth do Such wrong, as when a married man doth woo. Who is so safe as we?
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While the meter risks becoming repetitive when the nonsense begins to sound like just so much nonsense, this makes the moments that cut through it all the more devastating. Gizzi is interested in the vocal, the musical, the blur between poetry and song, and the human voice as an instrument that plays upon written words.
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Because of the absence of personal detail, these intensely private poems read, not as elegies for specific loved ones, but as elegies about how to elegize and what it means to mourn. They find their register in the cosmic and the ordinary, the celestial seen in terms of the everyday.
These song poems are interested in the slippages and shimmers between words, in misreadings and mishearings. The ellipsis both omits and extends. In Threshold Songs , Gizzi creates a lexicon for darkness. Orpheus, a figure of singing and mourning, crops up throughout Threshold Songs.
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Sacer interpresque deorum , how about a good bray, a laugh track in sync with your lyre? Perhaps Gizzi, as interested in mishearing as hearing, is playing a game with the reader. The threshold between the world of the living and the underworld was more permeable to the ancients, a literal gateway that the living could pass and return through. Gizzi is particularly interested in prefixes and how they can unmake language, not as a negative force, but a widening one. The sudden storm over the house, the sudden. A chromosome has 26 letters, a gene just 4.
One is a nation. The other a poem. There are moments in Threshold Songs that observe too opaquely. They begin to lose focus and pile up language without being particularly interesting. When Threshold Songs works and it almost always works it approaches the transcendent.
I have always been awake beneath glances, past doorways, corridors. I never see through you but through you the joy of all that is there anyway, singing. According to scholar A. Smith, the Holy Sonnets "make a universal drama of religious life, in which every moment may confront us with the final annulment of time. The poems are "suffused with the language of bodily decay" expressing a fear of death that recognizes the impermanence of life by descriptions of his physical condition and inevitability of "mortal flesh" compared with an eternal afterlife.
It is said that Donne's sonnets were heavily influenced by his connections to the Jesuits through his uncle Jasper Heywood , and from the works of the founder of the Jesuit Order, Ignatius Loyola. Several British composers have set Donne's sonnets to music. Hubert Parry included one of the sonnets, "At the round earth's imagined corners", in his collection of six choral motets , Songs of Farewell. Benjamin Britten — set nine of the sonnets for soprano or tenor and piano in his song cycle Holy Sonnets of John Donne , Op.
Britten was shocked by the experience and Pears later asserted that the horrors of the Bergen-Belsen concentration camp were an influence on the composition. According to Britten biographer Imogen Holst , Britten's ordering of Donne's sonnets indicates that he "would never have set a cruel subject to music without linking the cruelty to the hope of redemption"  Britten's placement of the sonnets are first those whose themes explore conscience, unworthiness, and death Songs 1—5 , to the personal melancholy of the sixth song "Since she whom I loved" written by Donne after the death of his wife, and the last three songs 7—9 the idea of resurrection.
The third in the series he wrote as a schoolboy, and the first two settings were inspired by the death of his maternal grandmother. It is thought that theoretical physicist and Manhattan Project director J. Robert Oppenheimer — , regarded as the "father of the Atomic Bomb", named the site of the first nuclear weapon test site "Trinity" after a phrase from Donne's Sonnet XIV.
At the time of the preparations for the test on 16 July Oppenheimer reportedly was reading Holy Sonnets.
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In , Lieutenant General Leslie Groves — wrote to Oppenheimer about the origin of the name, asking if he had chosen it because it was a name common to rivers and peaks in the West and would not attract attention. I did suggest it, but not on that ground Why I chose the name is not clear, but I know what thoughts were in my mind.
There is a poem of John Donne, written just before his death, which I know and love. From it a quotation: Historian Gregg Herken believes that Oppenheimer named the site in reference to Donne's poetry as a tribute to his deceased mistress, psychiatrist and physician Jean Tatlock — —the daughter of an English literature professor and philologist—who introduced Oppenheimer to the works of Donne. The history of the Trinity test, and the stress and anxiety of the Manhattan Project's workers in the preparations for the test was the focus of the opera Doctor Atomic by contemporary American composer John Adams , with libretto by Peter Sellars.
From Wikipedia, the free encyclopedia. John Donne — at Poetry Foundation www. Retrieved 2 July Genre and the Religious Construction of the Self. Oxford University Press, , The Literary Culture of the Reformation: Oxford University Press,