{"title":"愉悦阅读:多恩的《告别,不许哀悼》","authors":"Judith H. Anderson","doi":"10.1086/706522","DOIUrl":null,"url":null,"abstract":"The best-known of Donne’s poems of “Valediction” is a lyric whose analogies of gold and a compass have long been considered touchstones for the so-called metaphysical style. Reading the poem, I have realigned these analogies with the Renaissance practice of making the invisible visible through analogy. In particular, the compass results from a poetic process that is simultaneously intellectual, material, and affective. Its polyphony is amazingly attuned to the multiple pressures and possibilities of Donne’s culture.","PeriodicalId":39606,"journal":{"name":"Spenser Studies","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Pleasurable Reading: Donne’s “Valediction Forbidding Mourning”\",\"authors\":\"Judith H. Anderson\",\"doi\":\"10.1086/706522\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The best-known of Donne’s poems of “Valediction” is a lyric whose analogies of gold and a compass have long been considered touchstones for the so-called metaphysical style. Reading the poem, I have realigned these analogies with the Renaissance practice of making the invisible visible through analogy. In particular, the compass results from a poetic process that is simultaneously intellectual, material, and affective. Its polyphony is amazingly attuned to the multiple pressures and possibilities of Donne’s culture.\",\"PeriodicalId\":39606,\"journal\":{\"name\":\"Spenser Studies\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Spenser Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1086/706522\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q1\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Spenser Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1086/706522","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"Arts and Humanities","Score":null,"Total":0}
The best-known of Donne’s poems of “Valediction” is a lyric whose analogies of gold and a compass have long been considered touchstones for the so-called metaphysical style. Reading the poem, I have realigned these analogies with the Renaissance practice of making the invisible visible through analogy. In particular, the compass results from a poetic process that is simultaneously intellectual, material, and affective. Its polyphony is amazingly attuned to the multiple pressures and possibilities of Donne’s culture.