A valediction
John Donne A Valediction Forbidding Mourning
Lecture 6The 17th CenturyThe Period of Revolution and Restoration(II)John Donne ---A V alediction: Forbidding MourningI. Teaching Aims1. The literal meaning of the poem2.The theme3.The imagery4. The unity of the form and the contentII. Key Points:The imageryIII. Difficulties:The metaphorsIV. Teaching methods:1.Direct Method & Communicative Method2.Authorware PresentationV. Teaching Procedures:1.Check the assignment2.Authorware Presentation.3.Read the poem and explain3.1 The reasoning process in the nine quatrains(see Textbook)The theme: The wholeness, oneness and unity of love.The style---The regular form go well with the loyalty of love.The other aspect (cf. Song)of Donne---loyal and serious to love .4.The circle imagery on three levels4.1Theme---Traveling Modestarting ---destination---ending(the starting and the ending points coincide to make a circle) 4.2 Structure---The beginning and the ending echo with circle imagesThe beginning : a virtual circle image---dying(living)-death-rebirth(活-死-活)---endless, eternal4.3 Specific images: gold beaten to extreme thinness to form a circle without the circumference5.The attribute of a circle?Endless, constant, cyclical(无始无终, 连绵不绝, 周而复始)---wholeness, oneness and unity of love6. Discussion1.The circle imagery and the metaphorical meaning2. Why is the form regular?VI. HomeworkGet ready for the mid-term exam.References :1. 李正栓等, 英国文学学习指南, 北京: 清华大学, 20002. Encyclopedia Britannica V ol 33.卞之琳.卞之琳译文集[C].合肥：安徽教育出版社，2000.4.T. S. Eliot. The Metaphysical poets[A]. In William R. Keast (ed.) Seventeen Century English Poetry[C] . OUP , 1962.。
A Valediction_John Donne英美文学选读张伯香
约翰·多恩《别离辞·莫悲伤》JOHN DONNE (1572-1631)A V ALEDICTION: FORBIDDING MOURNINGAs virtuous men pass mildly away, 正如有德行的人安详别逝And whisper to their souls, to go, 轻声向灵魂辞安Whilst some of their sad friends do say, 悲伤的友人或伤逝"The breath goes now," and some say, "No:" 叹其气，绝其魂，亦有说不然So let us melt, and make no noise, 就让我们轻声说话，不要喧哗，No tear-floods, nor sigh-tempests move; 不要泪涌如潮，不要凄声哀鸣；'Twere profanation of our joys 那是对我们欢乐的亵渎，To tell the laity our love. 让俗人知道我们的爱。
Moving of th' earth brings harms and fears; 地动带来伤害，叫人害怕，Men reckon what it did, and meant; 人们推其为断其意But trepidation of the spheres, 天体震动，虽然威力更大Though greater far, is innocent. 却对什么都没有损伤。
Dull sublunary lovers' love 乏味的凡情俗爱(Whose soul is sense) cannot admit （感官为上）最忌Absence, because it doth remove 别离，因为情人分开，Those things which elemented it. 爱的根基就会破碎支离。
a valediction forbidding mourning
Whilst some of their sad friends do say,
―Now his breath goes,‖ and some say, ―No.‖ B
indistinct onomatopoeia
Symbolism: “death‖
君子安详辞世的时候，
会对自己的灵魂轻轻地道一声：走， 有些悲伤的朋友会说：
1.2 Life Experience
1615 Ordained into the Church of England; awarded an honorary doctorate（荣誉博士） in divinity from Cambridge University;
became a Royal Chaplain(牧师);
就让我们默哀吧，肃穆， 没有泪眼汪汪，没有嚎啕大哭； 把我们的爱情告诉俗人 无异于对我们的欢愉进行亵渎。
※ Line 7-8:
•
• •
’Twere= it were
Profanation: desecration(亵渎) Laity: lay people, commoners
3. Analysis
※ Line 3-4: • The debate of friends
“断气了，”而有些则会说“还没有。”
3. Analysis
Analysis
※ Line 5-6: • So: ―analogy & metaphor‖ Melt & tear-floods & sightempest: ―nature metaphors‖ • Tear-floods & sigh-tempest: ―hyperbole‖
John Donne’s A Valediction
On John Donne’s A Valediction: Forbidding MourningBy AnnieA Valediction: Forbidding Mourning is a magnificent poem written in 1611 by John Donne, one of famous Elizabethan poets. It’s said that John Donne wrote it to his wife as a farewell speech when he was about to travel to France and Germany. The poem tenderly comforts the speaker's lover at their temporary parting, asking that they separate calmly and quietly, without tears or protests. The speaker justifies the desirability of such calmness by developing the ways in which the two share a holy love, both sexual and spiritual in nature. Donne treats their love as sacred, elevated above that of ordinary earthly lovers. He argues that because of the confidence the ir love gives them, they are strong enough to endure a temporary separation.The most outstanding linguistic feature of this poem is its innovative metaphysical conceit. As we know, in English literature conceit is generally associated with the 17th century metaphysical poets, an extension of contemporary usage. In the metaphysical conceit, metaphors have a much more purely conceptual, and thus tenuous, relationship between the things being compared. Helen Gardner observed that “a conceit is a comparison whose ingenuity is more striking than its justness” and that “a comparison becomes a conceit when we are made to conce de likeness while being strongly conscious of unlikeness.”Reading through the whole poem, it’s not difficult to find there is bizarre and unexpected imagery and symbolism used by Donne. At the beginning of this poem, the poet compared his departing with his lover to the death of the noble man. “As virtuous men pass mildly away, And whisper to their souls, to go”. As a virtuous man dies, he knows that he has reconciled himself to God and will therefore be accepted into heaven. Thus he dies in peace and calm, and the people surrounding him at his deathbed are sad, but not anguished. In the same way, when two virtuous lovers part, there is no pain, because they know that each will be true to the other, even when they are apart. The people surrounding the dying man are quiet partly so as not to disturb him. In the same way, Donne said that too much outward show of emotion on the part of one lover would just disturb the other. He presented his own opinion of departing for the first time in this poem: true love can endure the trial of departing. And the departing between lovers should be calm and peaceful, “So let us melt, and make no noise”, because true love is built on the communication of the two souls but not on physical connection. Although departing is bitter, the souls of the two have melt together. They should separate from each other by making no noise and not explain love by tear-flood and sigh-tempest just as the laity do.In the third stanza, the poet used two peculiar images to describe the difference between true love and love of the laity. To the common people, separation with the lovers is like the moving of the earth, which means the end of everything including love. The poet compared the departing between true loves to the movement of the celestial bodies. Although its influence is bigger than the moving of the earth, it is mysterious.In the sixth stanza, “A breach, but an expansion, Like gold to airy thinness beat”.Here we may find the important symbolism of gold. The poet used the properties of gold as a symbol to tell the reader that gold is very malleable which means it can be beaten to airy thinness. It is also the most precious of all the metals, the least reactive of all metals, which ties in with Donne's placing of the lovers above the emotional “laity”. In terms of alchemy, gold is also the most noble metal, and the most difficult to destroy.Finally, “A V alediction: Forbidding Mourning” ends with one of Donne's most famous metaphysical conceit, in which he argued for the lovers' closeness by comparing their two souls to the feet of a drawing compass. The two lovers are likened to the two points of a compass. At first it seems ridiculous, but Donne showed how it made sense. As far as we know, a compass has two legs. When we are drawing a circle, one leg of the compass is standing on one location and the other turn around the standing one until it come back to the starting point. The poet used the very feature of the compass to describe the true love. The lovers are dependent on each other, and as long as they cooperate with each other perfectly, can they draw the circle that stands for perfect love. At the same time, the poet explained the main idea of this poem more clearly: departing is not the end of love buy the evaporation of the love’s emotions.。
A Valediction forbidding Mourning
DONNE’S POETRYJohn Donne“A Valediction: forbidding Mourning”page 1 of 2SummaryThe speaker explains that he is forced to spend time apart from his lover, but before he leaves, he tells her that their farewell should not be the occasion for mourning and sorrow. In the same way that virtuous men die mildly and without complaint, he says, so they should leave without “tear-floods”and “sigh-tempests,”for to publicly announce their feelings in such a way would profane their love. The speaker says that when the earth moves, it brings “harms and fears,”but when the spheres experience “trepidation,”though the impact is greater, it is also innocent. The love of “dull sublunary lovers”cannot survive separation, but it removes that which constitutes the love itself; but the love he shares with his beloved is so refined and “Inter-assured of the mind”that they need not worry about missing “eyes, lips, and hands.”Though he must go, their souls are still one, and, therefore, they are not enduring a breach, they are experiencing an “expansion”; in the same way that gold can be stretched by beating it “to aery thinness,”the soul they share will simply stretch to take in all the space between them. If their souls are separate, he says, they are like the feet of a compass: His lover’s soul is the fixed foot in the center, and his is the foot that moves around it. The firmness of the center foot makes the circle that the outer foot draws perfect: “Thy firmness makes my circle just, / And makes me end, where I begun.”FormThe nine stanzas of this Valediction are quite simple compared to many of Donne’s poems, which utilize strange metrical patterns overlaid jarringly on regular rhyme schemes. Here, each four-line stanza is quite unadorned, with an ABAB rhyme scheme and an iambic tetrameter meter.Commentary“A Valediction: forbidding Mourning”is one of Donne’s most famous and simplest poems and also probably his most direct statement of his ideal of spiritual love. For all his erotic carnality in poems, such as “The Flea,”Donne professed a devotion to a kind of spiritual love that transcended the merely physical. Here, anticipating a physical separation from his beloved, he invokes the nature of that spiritual love to ward off the “tear-floods”and “sigh-tempests”that might otherwise attend on their farewell. The poem is essentially a sequence of metaphors and comparisons, each describing a way of looking at their separation that will help them to avoid the mourning forbidden by the poem’s title.First, the speaker says that their farewell should be as mild as the uncomplaining deaths of virtuous men, for to weep would be “profanation of our joys.”Next, the speaker compares harmful “Moving of th’earth”to innocent “trepidation of the spheres,”equating the first with “dull sublunary lovers’love”and the second with their love, “Inter-assured of the mind.”Like the rumbling earth, the dull sublunary (sublunary meaning literally beneath the moon and also subject to the moon) lovers are all physical, unable to experience separation without losing the sensation that comprises and sustains their love. But the spiritual lovers “Care less, eyes, lips, and hands to miss,”because, like the trepidation (vibration) of the spheres (the concentric globes that surrounded the earth in ancient astronomy), their love is not wholly physical. Also, like the trepidation of the spheres, their movement will not have the harmful consequences of an earthquake.The speaker then declares that, since the lovers’two souls are one, his departure will simply expand the area of their unified soul, rather than cause a rift between them. If, however, their souls are “two”instead of “one”, they are as the feet of a drafter’s compass, connected, with the center foot fixing the orbit of the outer foot and helping it to describe a perfect circle. The compass (the instrument used for drawing circles) is one of Donne’s most famous metaphors, and it is the perfect image to encapsulate the values of Donne’s spiritual love, which is balanced, symmetrical, intellectual, serious, and beautiful in its polished simplicity.Like many of Donne’s love poems (including “The Sun Rising”and “The Canonization”), “A Valediction: forbidding Mourning”creates a dichotomy between the common love of the everyday world and the uncommon love of the speaker. Here, the speaker claims that to tell “the laity,”or the common people, of his love would be to profane its sacred nature, and he is clearly contemptuous of the dull sublunary love of other lovers. The effect of this dichotomy is to create a kind of emotional aristocracy that is similar in form to the political aristocracy with which Donne has had painfully bad luck throughout his life and which he commented upon in poems, such as “The Canonization”: This emotional aristocracy is similar in form to the political one but utterly opposed to it in spirit. Few in number are the emotional aristocrats who have access to the spiritual love of the spheres and the compass; throughout all of Donne’s writing, the membership of this elite never includes more than the speaker and his lover—or at the most, the speaker, his lover, and the reader of the poem, who is called upon to sympathize with Donne’s romantic plight.。
论约翰·邓恩的诗歌写作特点
论约翰·邓恩的诗歌写作特点约翰.邓恩（John Donne 1572-1631）被公认为是伊丽莎白一世和詹姆斯一世统治时期英国最著名的诗人。
他是玄学派诗歌的创始人和主要代表人物，是现代派诗歌的先驱。
他打破了传统诗歌所采用的彼待拉克式的甜美、娇柔的诗风，对诗歌进行了大胆的变革，“通过逻辑、类比、科学参照的暗示，运用独创性的比喻复杂事物意象的手法，展现了沉博绝丽的诗歌形式和起伏跌宕的节奏”。
他的诗歌凝聚着智慧、幽默、激情、哲理；语言生动、格律多变、意象夸张，具有浓厚的思辨特征。
托马斯.德.昆西（Thomas De Quincey）认为邓恩“以极富热情的庄严感融合了别人不曾做到过的------辩证之精妙和谈吐的最高升华。
”玄学奇喻（metaphysical conceit）是邓恩的诗歌最显著和最出名的特征。
所谓玄学奇喻，也就是“将很明显的两个毫不相关的主题以一种奇妙的、匪夷所思的方式联系在一起，进行比喻”，即“a combination of dissimilar images,or discovery of occult resemblances in things apparently unlike.”（塞缪尔.约翰逊Samuel Johnson），如他将夫妻比喻为圆规的两个腿；将死亡和拯救比喻为地图上的东方和西方，甚至将跳蚤比喻为恋人的婚床、婚姻的殿堂等。
邓恩的诗歌类比独特，诡异新颖。
不同的思想、情感、意象的交织，赋予了他的诗歌一种清新、独特、奇异的美。
本文拟以邓恩在诗歌中的戏剧性独白的元素及口语体为视角，探讨邓恩的玄学奇喻所带来的戏剧性对比及语言口语化的效果。
一、新颖的比喻、奇特的意象约翰·邓恩的诗歌以想象大胆、独特，比喻新颖、别致而著称。
奇思妙喻（metaphysical conceit）是其诗歌最显著的特征。
诗人从自然界和人类社会各个领域中可知可感的具体事物中获取意象，并借助于它们来表达抽象的思想和情感。
关于悲伤的英文诗歌阅读
关于悲伤的英⽂诗歌阅读 诗歌朗读、学习诗歌、并进⾏诗歌创作和翻译过程中都是⼀种美的感受,能够让学⽣体会其特有的韵律美,尽情发挥想象,驰骋在诗歌的海洋中。
店铺整理了关于悲伤的英⽂诗歌，欢迎阅读! 关于悲伤的英⽂诗歌篇1 A Valediction: Forbidding Mourning 别离辞：莫悲伤 As virtuous men pass mildly away 正如贤⼈安然辞世 And whisper to their souls to go 轻声呼唤灵魂离去 Whilst some of their sad friends do say 悲伤的有⼈或伤逝 "Now his breath goes," and some say "no" 叹其⽓绝魂离，亦⼜说不然 So let me melt, and make no noise 就让我们悄然别离，不要喧哗 No tear-floods, nor sigh-tempests move 不要泪涌如潮，不要凄声叹息 They were profanation of our joys 那是对我们欢乐的亵渎 To tell the laity of our love 向俗⼈宣⽰我们的爱 Moving of the earth brings harms and fears 地动带来伤害与恐惧 Men reckon what it did, and meant ⼈们推其为断其义 But trepidation of the spheres ⽽天体运转震动，威⼒虽⼤ Though greater far, is innocent 却对什么都没损伤 Dull sublunary lovers' love 乏味的烦情俗爱 -whose soul is sense- cannot admit 建⽴在感官之上，⽆法承受 Of absense, 'cause it doth remove 别离，因为别离 The things which elemented it 使爱的根基破碎⽀离 But we by a love so much refined 但我和你拥有如此纯洁的爱 Though ourselves know not what it is 连我们都⽆法理解 Inter-assured of the mind ⼼⼼相印、相许 Careless，eyes,lips and hands to miss 岂在乎眼、唇和⼿的交融 Our two souls therefore, which are one 我们俩的灵魂合⽽为⼀ Tought I must go, endure not yet 我纵须远离 A breach, but an expansion ⾮违爱诺，实是延展 Like gold aery thinness beat 宛若黄⾦锤炼成轻飘韧箔 If there be two, they are two so 若我们的灵魂⼀分为⼆ As stiff twin compasses are two 应如坚定的圆规般 Thy suol, the fied foot, makes no show 你的⼼灵是定脚，坚守不移 To move, but doth, if the other do 但另⼀只脚起步，你便随之旋转 And though it in the centre sit 尽管⼀直端坐中央 Yet, when the other far doth roam 但当另⼀只脚四周漫游 It leans, and hearkens after it 它亦会侧⾝，细听周详 And grows erect, when that comes home 待它归来，便挺直如旧 Such wilt thou be to me, who must 这便是你之于我，我⼀直 Like the other foot, obliquely run 如同那另⼀只脚，侧⾝转圈 Thy firmness makes my circle just 你的坚贞使我的轨迹浑圆 And makes me end where it begun 也让我的漫游在起跑线终⽌ 关于悲伤的英⽂诗歌篇2 On Joy and Sorrow By Kahill Gilbran 欢乐与忧伤---纪伯伦 Then a woman said, “Speak to us of Joy and Sorrow.” And he answered: Your joy is your sorrow unmasked. And the selfsame well from Which your laughter rises was oftentimes filled with your tears. ⼀位妇⼈说：请给我们谈谈欢乐和忧伤。
Metaphysical Poetry complete 李婷
What is Metaphysics?
Metaphysics is a traditional branch of philosophy concerned with explaining the fundamental nature of being and the world.
What is metaphysical poetry？
complex logic that governs a poetic passage or entire poem. It usually sets up an analogy between one entity’s spiritual qualities and an object in the physical world.
George Herbert: is called “the saint of the Metaphysical school”. He is a devout Anglican clergyman who believes that a poet should sing the glory of God. His works: The Altar《祭坛》 Easter Wings 《复活节的翅膀》
Origin
Time : 17th century
Leading figure: John Donne
Other metaphysical poets：George Herbert，Andrew Marvell and Richard Crashaw. Metaphysical poetry is a derogatory(贬损的 term invented by John Dryden 最早使用“玄学”这个词的人是德莱顿(John Dryden),他在 1693年评论邓恩时写道:“他喜弄玄学,不仅在他的讽刺诗中,在爱情 诗中也如此。爱情诗本应言情,他却用哲学的微妙的思辨,把女性们的 头脑弄糊涂了“。
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∙ A VALEDICTION: FORBIDDING MOURNING. (别离辞：节哀)∙[The poem contains nine quatrains of iambic tetrameter (四步抑扬格). The rhyming scheme of each quatrain is abab. The title means: A Farewell: Don’t Grieve over my Leave-taking]by John DonneAS virtuous men pass mildly away (die peacefully),And whisper to their souls to go,(As men are dying, they whisper to their souls,asking the souls to leave the world with their bodies.Here the image of the body and the soul is referring tothe relation between the poet and his lover.They are as inseparable as the soul is inseparable from the body)Whilst some of their sad friends do say,"Now his breath goes,"(They have died) and some say, "No."So let us melt, and make no noise,(The love between the poet and his lover is so intense that they melt into each other. The image of “death” in the previous stanza is taken over by the word “melt”)No tear-floods, nor sigh-tempests move (stir up);(The exaggerated expressions are conceitsthat were popular during the time of Donne.The meaning of the sentence isthat the lovers ought to part like virtuous menbidding farewell to the world, without any outward show of grief)'Twere profanation(blasphemy) of our joysTo tell the laity our love.(laity: one, who is not a clergyman.Here the poet is regarding love as a sacred thing.)Moving of th' earth brings harms and fears;(Moving of th' earth: Earthquake. In Donne’s time,earthquakes were believed to be caused by God’s anger.)Men r eckon (count up, calculate) what it did, and meant; But trepidation of the spheres,[a libration (抖动、摇动) of one of the celestial spheres (天体)adduced under the Ptolemaic (托勒密) system toexplain small changes in position of the ecliptic (太阳轨迹) and the stars.“trepidation” means “trembling”.]Though greater far, is innocent (harmless).(The trepidation of the spheres is a far greater happeningin nature than the earthquake.)Dull sublunary lovers' love(sublunary: below the moon, i.e., earthly.The poet regards the love of other lovers as earthbound, gross, and physical.) —Whose soul is sense(physical)—cannot admit(stand)Of absence, 'cause it(absence) doth remove Those things which elemented it.(Those things: things that are related to senses.elemented: composed. it: physical love)But we by a love so much refined(purified),That ourselves know not what it is,Inter-assurèd(Mutually assured) of the mind,Care less, eyes, lips and hands to miss.(The regular order of the sentence is“Care less, to miss eyes, lips, and hands”,meaning “We do not care much to miss eyes, lips, and hands.)Our two souls therefore, which are one,Though I must go, endure not yet(endure not yet :yet not suffer. The objects of “endure” are“breach” and “expansion” in the following line.)A breach, but an expansion,(breach: breaking: here separation.expansion: The simile of beating gold into very thin sheetsis used to describe the parting.)Like gold to airy thinness beat.(Like gold beaten into extremely thin sheets, which weigh as lightly as air.)If they be two, they are two so(in such a way)(they: the souls of the poet and his lover)As stiff twin compasses are two ;( As stiff as the two legs of a compass .)Thy soul, the fixed foot, makes no show(the fixed foot: the fixed foot remains at the center of the circle)To move, but doth(moves), if th' other do.(if th' other do: if the foot that draws the circumference of the circle moves.)And though it in the centre sit,Yet, when the other far doth roam,It leans, and hearkens after it,(The first and second “it” refers to the fixed foot at the center of the circle. hearken: leans to as if listening to attentively)And grows erect, as that comes home.(The third “it” and “that” refer to the foot that draws the circumference of the circle.)Such wilt thou be to me, who must,Like th' other foot, obliquely run;(th' other foot: the foot that draws the circumference obliquely: slantingly)Thy firmness makes my circle just (complete), And makes me end where I begun.(The foot that draws the circumference returns to the foot sitting at the center of the circle after a circle is drawn. The implied meaning is that the poet will return to his lover after he ends his journey.)。