Part 3

Izaak Walton in his short life of Donne has painted a figure of almost seraphic beauty. When Donne was but a boy, he declares, it was said that the age had brought forth another Pico della Mirandola. As a young man in his twenties, he was a prince among lovers, who by his secret marriage with his patron's niece--"for love," says Walton, "is a flattering mischief"--purchased at first only the ruin of his hopes and a term in prison. Finally, we have the later Donne in the pulpit of St. Paul's represented, in a beautiful adaptation of one of his own images, as "always preaching to himself, like an angel from a cloud, though in none; carrying some, as St. Paul was, to Heaven in holy raptures, and enticing others by a sacred art and courtship to amend their lives." The picture is all of noble charm. Walton speaks in one place of "his winning behaviour--which, when it would entice, had a strange kind of elegant irresistible art." There are no harsh phrases even in the references to those irregularities of Donne's youth, by which he had wasted the fortune of £3,000--equal, I believe, to more than £30,000 of our money--bequeathed to him by his father, the ironmonger. "Mr. Donne's estate," writes Walton gently, referring to his penury at the time of his marriage, "was the greatest part spent in many and chargeable travels, books, and dear-bought experience." It is true that he quotes Donne's own confession of the irregularities of his early life. But he counts them of no significance. He also utters a sober reproof of Donne's secret marriage as "the remarkable error of his life." But how little he condemned it in his heart is clear when he goes on to tell us that God blessed Donne and his wife "with so mutual and cordial affections, as in the midst of their sufferings made their bread of sorrow taste more pleasantly than the banquets of dull and low-spirited people." It was not for Walton to go in search of small blemishes in him whom he regarded as the wonder of the world--him whose grave, mournful friends "strewed ... with an abundance of curious and costly flowers," as Alexander the Great strewed the grave of "the famous Achilles." In that grave there was buried for Walton a whole age magnificent with wit, passion, adventure, piety and beauty. More than that, the burial of Donne was for him the burial of an inimitable Christian. He mourns over "that body, which once was a Temple of the Holy Ghost, and is now become a small quantity of Christian dust," and, as he mourns, he breaks off with the fervent prophecy, "But I shall see it reanimated." That is his valediction. If Donne is esteemed three hundred years after his death less as a great Christian than as a great pagan, this is because we now look for him in his writings rather than in his biography, in his poetry rather than in his prose, and in his _Songs and Sonnets_ and _Elegies_ rather than in his _Divine Poems_. We find, in some of these, abundant evidence of the existence of a dark angel at odds with the good angel of Walton's raptures. Donne suffered in his youth all the temptations of Faust. His thirst was not for salvation but for experience--experience of the intellect and experience of sensation. He has left it on record in one of his letters that he was a victim at one period of "the worst voluptuousness, an hydroptic, immoderate desire of human learning and languages." Faust in his cell can hardly have been a more insatiate student than Donne. "In the most unsettled days of his youth," Walton tells us, "his bed was not able to detain him beyond the hour of four in the morning; and it was no common business that drew him out of his chamber till past ten; all which time was employed in study; though he took great liberty after it." His thoroughness of study may be judged from the fact that "he left the resultance of 1,400 authors, most of them abridged and analyzed with his own hand." But we need not go beyond his poems for proof of the wilderness of learning that he had made his own. He was versed in medicine and the law as well as in theology. He subdued astronomy, physiology, and geography to the needs of poetry. Nine Muses were not enough for him, even though they included Urania. He called in to their aid Galen and Copernicus. He did not go to the hills and the springs for his images, but to the laboratory and the library, and in the library the books that he consulted to the greatest effect were the works of men of science and learning, not of the great poets with whom London may almost be said to have been peopled during his lifetime. I do not think his verse or correspondence contains a single reference to Shakespeare, whose contemporary he was, being born only nine years later. The only great Elizabethan poet whom he seems to have regarded with interest and even friendship was Ben Jonson. Jonson's Catholicism may have been a link between them. But, more important than that, Jonson was, like Donne himself, an inflamed pedant. For each of them learning was the necessary robe of genius. Jonson, it is true, was a pedant of the classics, Donne of the speculative sciences; but both of them alike ate to a surfeit of the fruit of the tree of knowledge. It was, I think, because Donne was to so great a degree a pagan of the Renaissance, loving the proud things of the intellect more than the treasures of the humble, that he found it easy to abandon the Catholicism of his family for Protestantism. He undoubtedly became in later life a convinced and passionate Christian of the Protestant faith, but at the time when he first changed his religion he had none of the fanaticism of the pious convert. He wrote in an early satire as a man whom the intellect had liberated from dogma-worship. Nor did he ever lose this rationalist tolerance. "You know," he once wrote to a friend, "I have never imprisoned the word religion.... They" (the churches) "are all virtual beams of one sun." Few converts in those days of the wars of religion wrote with such wise reason of the creeds as did Donne in the lines:

To adore or scorn an image, or protest, May all be bad; doubt wisely; in strange way To stand inquiring right, is not to stray; To sleep or run wrong is. On a huge hill, Cragged and steep, Truth stands, and he that will Reach her, about must and about must go; And what the hill's suddenness resists win so.

This surely was the heresy of an inquisitive mind, not the mood of a theologian. It betrays a tolerance springing from ardent doubt, not from ardent faith.

It is all in keeping with one's impression of the young Donne as a man setting out bravely in his cockle-shell on the oceans of knowledge and experience. He travels, though he knows not why he travels. He loves, though he knows not why he loves. He must escape from that "hydroptic, immoderate" thirst of experience by yielding to it. One fancies that it was in this spirit that he joined the expedition of Essex to Cadiz in 1596 and afterwards sailed to the Azores. Or partly in this spirit, for he himself leads one to think that his love-affairs may have had something to do with it. In the second of those prematurely realistic descriptions of storm and calm relating to the Azores voyage, he writes:

Whether a rotten state, and hope of gain, Or to disuse me from the queasy pain Of being belov'd, and loving, or the thirst Of honour, or fair death, out pusht me first.

In these lines we get a glimpse of the Donne that has attracted most interest in recent years--the Donne who experienced more variously than any other poet of his time "the queasy pain of being beloved and loving." Donne was curious of adventures of many kinds, but in nothing more than in love. As a youth he leaves the impression of having been an Odysseus of love, a man of many wiles and many travels. He was a virile neurotic, comparable in some points to Baudelaire, who was a sensualist of the mind even more than of the body. His sensibilities were different as well as less of a piece, but he had something of Baudelaire's taste for hideous and shocking aspects of lust. One is not surprised to find among his poems that "heroical epistle of Sappho to Philaenis," in which he makes himself the casuist of forbidden things. His studies of sensuality, however, are for the most part normal, even in their grossness. There was in him more of the Yahoo than of the decadent. There was an excremental element in his genius as in the genius of that other gloomy dean, Jonathan Swift. Donne and Swift were alike satirists born under Saturn. They laughed more frequently from disillusion than from happiness. Donne, it must be admitted, turned his disillusion to charming as well as hideous uses. _Go and Catch a Falling Star_ is but one of a series of delightful lyrics in disparagement of women. In several of the _Elegies_, however, he throws away his lute and comes to the satirist's more prosaic business. He writes frankly as a man in search of bodily experiences:

Whoever loves, if he do not propose The right true end of love, he's one that goes To sea for nothing but to make him sick.

In _Love Progress_ he lets his fancy dwell on the detailed geography of a woman's body, with the sick imagination of a schoolboy, till the beautiful seems almost beastly. In _The Anagram_ and _The Comparison_ he plays the Yahoo at the expense of all women by the similes he uses in insulting two of them. In _The Perfume_ he relates the story of an intrigue with a girl whose father discovered his presence in the house as a result of his using scent. Donne's jest about it is suggestive of his uncontrollable passion for ugliness:

Had it been some bad smell, he would have thought That his own feet, or breath, that smell had brought.

It may be contended that in _The Perfume_ he was describing an imaginary experience, and indeed we have his own words on record: "I did best when I had least truth for my subjects." But even if we did not accept Mr. Gosse's common-sense explanation of these words, we should feel that the details of the story have a vividness that springs straight from reality. It is difficult to believe that Donne had not actually lived in terror of the gigantic manservant who was set to spy on the lovers:

The grim eight-foot-high iron-bound serving-man That oft names God in oaths, and only then; He that to bar the first gate doth as wide As the great Rhodian Colossus stride, Which, if in hell no other pains there were, Makes me fear hell, because he must be there.

But the most interesting of all the sensual intrigues of Donne, from the point of view of biography, especially since Mr. Gosse gave it such commanding significance in that _Life of John Donne_ in which he made a living man out of a mummy, is that of which we have the story in _Jealousy_ and _His Parting from Her_. It is another story of furtive and forbidden love. Its theme is an intrigue carried on under a

Husband's towering eyes, That flamed with oily sweat of jealousy.

A characteristic touch of grimness is added to the story by making the husband a deformed man. Donne, however, merely laughs at his deformity, as he bids the lady laugh at the jealousy that reduces her to tears:

O give him many thanks, he is courteous, That in suspecting kindly warneth us. We must not, as we used, flout openly, In scoffing riddles, his deformity; Nor at his board together being set, With words nor touch scarce looks adulterate.

And he proposes that, now that the husband seems to have discovered them, they shall henceforth carry on their intrigue at some distance from where

He, swol'n and pampered with great fare, Sits down and snorts, cag'd in his basket chair.

It is an extraordinary story, if it is true. It throws a scarcely less extraordinary light on the nature of Donne's mind, if he invented it. At the same time, I do not think the events it relates played the important part which Mr. Gosse assigns to them in Donne's spiritual biography. It is impossible to read Mr. Gosse's two volumes without getting the impression that "the deplorable but eventful liaison," as he calls it, was the most fruitful occurrence in Donne's life as a poet. He discovers traces of it in one great poem after another--even in the _Nocturnal upon St. Lucy's Day_, which is commonly supposed to relate to the Countess of Bedford, and in _The Funeral_, the theme of which Professor Grierson takes to be the mother of George Herbert. I confess that the oftener I read the poetry of Donne the more firmly I become convinced that, far from being primarily the poet of desire gratified and satiated, he is essentially the poet of frustrated love. He is often described by the historians of literature as the poet who finally broke down the tradition of Platonic love. I believe that, so far is this from being the case, he is the supreme example of a Platonic lover among the English poets. He was usually Platonic under protest, but at other times exultantly so. Whether he finally overcame the more consistent Platonism of his mistress by the impassioned logic of _The Ecstasy_ we have no means of knowing. If he did, it would be difficult to resist the conclusion that the lady who wished to continue to be his passionate friend and to ignore the physical side of love was Anne More, whom he afterwards married. If not, we may look for her where we will, whether in Magdalen Herbert (already a young widow who had borne ten children when he first met her) or in the Countess of Bedford or in another. The name is not important, and one is not concerned to know it, especially when one remembers Donne's alarming curse on:

Whoever guesses, thinks, or dreams he knows Who is my mistress.

One sort of readers will go on speculating, hoping to discover real people in the shadows, as they speculate about Swift's Stella and Vanessa, and his relations to them. It is enough for us to feel, however, that these poems railing at or glorying in Platonic love are no mere goldsmith's compliments, like the rhymed letters to Mrs. Herbert and Lady Bedford. Miracles of this sort are not wrought save by the heart. We do not find in them the underground and sardonic element that appears in so much of Donne's merely amorous work. We no longer picture him as a sort of Vulcan hammering out the poetry of base love, raucous, powerful, mocking. He becomes in them a child Apollo, as far as his temperament will allow him. He makes music of so grave and stately a beauty that one begins to wonder at all the critics who have found fault with his rhythms--from Ben Jonson, who said that "for not keeping accent, Donne deserved hanging," down to Coleridge, who declared that his "muse on dromedary trots," and described him as "rhyme's sturdy cripple." Coleridge's quatrain on Donne is, without doubt, an unequalled masterpiece of epigrammatic criticism. But Donne rode no dromedary. In his greatest poems he rides Pegasus like a master, even if he does rather weigh the poor beast down by carrying an encyclopædia in his saddle-bags.

Not only does Donne remain a learned man on his Pegasus, however: he also remains a humorist, a serious fantastic. Humour and passion pursue each other through the labyrinth of his being, as we find in those two beautiful poems, _The Relic_ and _The Funeral_, addressed to the lady who had given him a bracelet of her hair. In the former he foretells what will happen if ever his grave is broken up and his skeleton discovered with

A bracelet of bright hair about the bone.

People will fancy, he declares, that the bracelet is a device of lovers

To make their souls at the last busy day Meet at the grave and make a little stay.

Bone and bracelet will be worshipped as relics--the relics of a Magdalen and her lover. He conjectures with a quiet smile:

All women shall adore us, and some men.

He warns his worshippers, however, that the facts are far different from what they imagine, and tells the miracle seekers what in reality were "the miracles we harmless lovers wrought":

First we loved well and faithfully, Yet knew not what we lov'd, nor why; Difference of sex no more we knew Than our guardian angels do; Coming and going, we Perchance might kiss, but not between those meals; Our hands ne'er touch'd the seals, Which nature, injur'd by late law, sets free: These miracles we did; but now, alas! All measure, and all language I should pass, Should I tell what a miracle she was.

In _The Funeral_ he returns to the same theme:

Whoever comes to shroud me do not harm Nor question much That subtle wreath of hair that crowns my arm; The mystery, the sign you must not touch, For 'tis my outward soul.

In this poem, however, he finds less consolation than before in the too miraculous nobleness of their love:

Whate'er she meant by it, bury it with me, For since I am Love's martyr, it might breed idolatry, If into other hands these relics came; As 'twas humility To afford to it all that a soul can do, So, 'tis some bravery, That, since you would have none of me, I bury some of you.

In _The Blossom_ he is in a still more earthly mood, and declares that, if his mistress remains obdurate, he will return to London, where he will find a mistress:

As glad to have my body as my mind.

_The Primrose_ is another appeal for a less intellectual love:

Should she Be more than woman, she would get above All thought of sex, and think to move My heart to study her, and not to love.

If we turn back to _The Undertaking_, however, we find Donne boasting once more of the miraculous purity of a love which it would be useless to communicate to other men, since, there being no other mistress to love in the same kind, they "would love but as before." Hence he will keep the tale a secret:

If, as I have, you also do, Virtue attir'd in woman see, And dare love that, and say so too, And forget the He and She.

And if this love, though placed so, From profane men you hide, Which will no faith on this bestow, Or, if they do, deride:

Then you have done a braver thing Than all the Worthies did; And a braver thence will spring, Which is, to keep that hid.

It seems to me, in view of this remarkable series of poems, that it is useless to look in Donne for a single consistent attitude to love. His poems take us round the entire compass of love as the work of no other English poet--not even, perhaps, Browning's--does. He was by destiny the complete experimentalist in love in English literature. He passed through phase after phase of the love of the body only, phase after phase of the love of the soul only, and ended as the poet of the perfect marriage. In his youth he was a gay--but was he ever really gay?--free-lover, who sang jestingly:

How happy were our sires in ancient time, Who held plurality of loves no crime!

But even then he looks forward, not with cynicism, to a time when he

Shall not so easily be to change dispos'd, Nor to the arts of several eyes obeying; But beauty with true worth securely weighing, Which, being found assembled in some one, We'll love her ever, and love her alone.

By the time he writes _The Ecstasy_ the victim of the body has become the protesting victim of the soul. He cries out against a love that is merely an ecstatic friendship:

But O alas, so long, so far, Our bodies why do we forbear?

He pleads for the recognition of the body, contending that it is not the enemy but the companion of the soul:

Soul into the soul may flow Though it to body first repair.

The realistic philosophy of love has never been set forth with greater intellectual vehemence:

So must pure lovers' souls descend T' affections and to faculties, Which sense may reach and apprehend, Else a great Prince in prison lies. To our bodies turn we then, that so Weak men on love reveal'd may look; Love's mysteries in souls do grow But yet the body is the book.

I, for one, find it impossible to believe that all this passionate verse--verse in which we find the quintessence of Donne's genius--was a mere utterance of abstract thoughts into the wind. Donne, as has been pointed out, was more than most writers a poet of personal experience. His greatest poetry was born of struggle and conflict in the obscure depths of the soul as surely as was the religion of St. Paul. I doubt if, in the history of his genius, any event ever happened of equal importance to his meeting with the lady who first set going in his brain that fevered dialogue between the body and the soul. Had he been less of a frustrated lover, less of a martyr, in whom love's

Art did express A quintessence even from nothingness, From dull privations and lean emptiness,

much of his greatest poetry, it seems to me, would never have been written.

One cannot, unfortunately, write the history of the progress of Donne's genius save by inference and guessing. His poems were not, with some unimportant exceptions, published in his lifetime. He did not arrange them in chronological or in any sort of order. His poem on the flea that has bitten both him and his inamorata comes after the triumphant _Anniversary_, and but a page or two before the _Nocturnal upon St. Lucy's Day_. Hence there is no means of telling how far we are indebted to the Platonism of one woman, how much to his marriage with another, for the enrichment of his genius. Such a poem as _The Canonisation_ can be interpreted either in a Platonic sense or as a poem written to Anne More, who was to bring him both imprisonment and the liberty of love. It is, in either case, written in defence of his love against some who censured him for it:

For God's sake, hold your tongue, and let me love.

In the last verses of the poem Donne proclaims that his love cannot be measured by the standards of the vulgar:

We can die by it, if not live by love, And if unfit for tombs or hearse Our legend be, it will be fit for verse; And, if no piece of chronicle we prove, We'll build in sonnets pretty rooms; As well a well-wrought urn becomes The greatest ashes as half-acre tombs, And by these hymns all shall approve Us canoniz'd by love: