No More Learning

But to conform, and even to take a part as a free-lance
in theological controversy was one thing, to enter the ministry
another. When this was pressed upon him by Morton or by the King it
brought him into conflict with something deeper and more fundamental
than theological doctrines, namely, a temperament which was rather
that of the Renaissance than that either of Puritan England or of the
Counter-Reformation, whether in Catholic countries or in the Anglican
Church--the temperament of Raleigh and Bacon rather than of Milton or
Herbert or Crashaw.

The simple way of describing Donne's difficulty is Walton's, according
to whom Donne shrank from entering the ministry for fear the notorious
irregularities of his early years should bring discredit on the sacred
calling. But there was more in Donne's life than a youth of pleasure,
an old age of prayers. It is not the case that all which was best and
most serious in Donne's nature led him towards Holy Orders. In his
earliest satires and even in his 'love-song weeds' there is evidence
enough of an earnest, candid soul underneath the extravagances of
wit and youthful sensuality. Donne's mind was naturally serious and
religious; it was not naturally devout or ascetic, but worldly and
ambitious. But to enter the ministry was, for Donne and for all
the serious minds of his age, to enter a profession for which the
essential qualifications were a devotional and an ascetic life.
The country clergy of the Anglican Church were often careless and
scandalous livers before Laud took in hand the discipline of the
Church; but her bishops and most eminent divines, though they might
be courtly and sycophantic, were with few exceptions men of devout and
ascetic life. When Donne finally crossed the Rubicon, convinced that
from the King no promotion was to be hoped for in any other line of
life, it was rather with the deliberate resolution that he would make
his life a model of devotion and ascetic self-denial than as one drawn
by an irresistible attraction or impelled by a controlling sense of
duty to such a life. Donne was no St. Augustine whose transition from
libertinism to saintliness came entirely from within. The noblest
feature of Donne's earlier clerical life was the steadfast spirit in
which he set himself to realize the highest ideals of the calling
he had chosen, and the candour with which he accepted the contrast
between his present position and his earlier life, leaving to
whosoever wished to judge while he followed the path of duty and
penitence.

But such a spirit will not easily produce great devotional poetry.
There are qualities in the religious poetry of simpler and purer souls
to which Donne seldom or never attains.
The natural love of God which
overflows the pages of the great mystics, which dilates the heart
and the verses of a poet like the Dutchman Vondel, the ardour and
tenderness of Crashaw, the chaste, pure piety and penitence of
Herbert, the love from which devotion and ascetic self-denial come
unbidden--to these Donne never attained. The high and passionate joy
of _The Anniversary_ is not heard in his sonnets or hymns. Effort is
the note which predominates--the effort to realize the majesty of God,
the heinousness of sin, the terrors of Hell, the mercy of Christ.
Some of the very worst traits in Donne's mind are brought out in
his religious writing. _The Essays on Divinity_ are an extraordinary
revelation of his accumulations of useless Scholastic erudition, and
his capacity to perform feats of ingenious deduction from traditional
and accepted premises. To compare these freakish deductions from the
theory of verbal inspiration with the luminous sense of the _Tractatus
Theologico-Politicus_ is to realize how much rationalism was doing
in the course of the century for the emancipation and healing of the
human intellect. Some of the poems, and those the earliest written,
before Donne had actually taken Orders, are not much more than
exercises in these theological subtleties, poems such as that _On
the Annunciation and Passion falling in the same year_ (1608), _The
Litany_ (1610), _Good-Friday_ (1613), and _The Cross_ (_c. _ 1615)
are characteristic examples of Donne's intense and imaginative wit
employed on traditional topics of Catholic devotion to which no
change of Church ever made him indifferent. Donne never ignored in his
sermons the gulf that separated the Anglican from the Roman Church, or
the link that bound her to the Protestant Churches of the Continent.
'Our great protestant divines' are one of his courts of appeal,
and included Luther and Calvin of whom he never speaks but with the
deepest respect. But he was unwilling to sacrifice to a fanatical
puritanism any element of Catholic devotion which was capable of
an innocent interpretation. His language is guarded and perhaps not
always consistent, but it would not be difficult to show from his
sermons and prose-writings that many of the most distinctively
Catholic tenets were treated by him with the utmost tenderness.

But, as Mr. Gosse has pointed out, the sincerest and profoundest of
Donne's devotional poetry dates from the death of his wife. The loss
of her who had purified and sweetened his earliest love songs lent
a new and deeper _timbre_ to the sonnets and lyrics in which he
contemplates the great topics of personal religion,--sin, death,
the Judgement, and throws himself on the mercy of God as revealed in
Christ. The seven sonnets entitled _La Corona_ have been generally
attributed to this period, but it is probable that they were composed
earlier, and their treatment of the subject of Christ's life and death
is more intellectual and theological than spiritual and poetical.