The force of the petition measures the dire extremity of his struggle with himself and with God’s adversary. Donne pleads with God that he too has an interest in this contention for the sinner’s soul: “Lest the world, flesh, yea Devil put thee out” ( Divine Meditations 17). The drama brings home to the poet the enormity of his ingratitude to his Redeemer, confronting him bodily with the irony of Christ’s self-humiliation for us. In Divine Meditations 11 Donne wonders why the sinner should not suffer Christ’s injuries in his own person: Donne characterizes our natural life in the world as a condition of flux and momentariness, which we may nonetheless turn to our advantage.” The tension of the poetry comes from the pull of divergent impulses in the argument itself. In “A Valediction: Of my Name in the Window,” the lover’s name scratched in his mistress’s window ought to serve as a talisman to keep her chaste; but then, as he explains to her, it may instead be an unwilling witness to her infidelity: John Donne: The Complete English Poems, edited by A. J. Smith (Harmondsworth, U.K.: Penguin, 1971). Six Sermons Vpon Severall Occasions (London: Printed by the Printers to the Universitie of Cambridge, sold by Nicholas Fussell & Humphrey Mosley, 1634).

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In ‘A Valediction: Forbidding Mourning’, Donne likens the relationship between him and his wife to a religious or spiritual bond between two souls: note that he uses the word ‘laity’ to describe other people who cannot understand the love the two of them bear one another.A Sermon Vpon The VIII. Verse Of The I. Chapter of The Acts Of The Apostles (London: Printed by A. Mat for Thomas Jones, 1622). Louis I. Bredvold, "The Naturalism of Donne in Relation to Some Renaissance Traditions," Journal of English and Germanic Philology, 22, no. 4 (1923): 471-502. Donne's Prebend Sermons, edited by Janel M. Mueller (Cambridge, Mass.: Harvard University Press, 1971). Helen Gardner, ed., John Donne: A Collection of Critical Essays (Englewood Cliffs, N.J.: Prentice-Hall, 1962). In the first two decades of the 20th century Donne’s poetry was decisively rehabilitated. Its extraordinary appeal to modern readers throws light on the Modernist movement, as well as on our intuitive response to our own times. Donne may no longer be the cult figure he became in the 1920s and 1930s, when T.S. Eliotand William Butler Yeats, among others, discovered in his poetry the peculiar fusion of intellect and passion and the alert contemporariness which they aspired to in their own art. He is not a poet for all tastes and times; yet for many readers Donne remains what Ben Jonson judged him: “the first poet in the world in some things.” His poems continue to engage the attention and challenge the experience of readers who come to him afresh. His high place in the pantheon of the English poets now seems secure.

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David Novarr, The Disinterred Muse: Donne's Texts and Contexts (Ithaca, N.Y.: Cornell University Press, 1980). A Sermon Vpon The XV. Verse Of The XX. Chapter Of The Booke Of Ivdges (London: Printed by William Stansby for Thomas Jones, 1622).

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Donne’s metaphors are clever: observe the way he takes the idea of being blinded by staring at the sun and turns it on its head, saying that the sun itself may well be blinded by looking upon the eyes of his beloved – they’re that dazzling and beautiful. Marjorie Hope Nicolson, The Breaking of the Circle: Studies in the Effect of the "New Science" upon Seventeenth Century Poetry (Evanston, Ill.: Northwestern University Press, 1950).

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By this self-questioning he brings himself to understand that his suffering may itself be a blessing, since he shares the condition of a world in which our ultimate bliss must be won through well-endured hardship. The physical symptoms of his illness become the signs of his salvation: “So, in his purple wrapped receive me Lord, / By these his thorns give me his other crown.” The images that make him one with Christ in his suffering transform those pangs into reassurance. Thomas O. Sloane, Donne, Milton, and the End of Humanist Rhetoric (Berkeley: University of California Press, 1985).Also titled ‘Elegy XIX’, ‘To His Mistris Going to Bed’ (as it was originally spelt) is another seduction poem, in which a naked Donne undresses his mistress verbally, one item of clothing at a time.