Galen
transferred
these to the
brain.
brain.
John Donne
The term was specially
astronomical, as here. The 'motion natural' of _1633_ is an unusual
order in Donne; the 'natural station' of _1635-69_ is the opposite
of motion. The first was doubtless an intentional alteration by the
editor, which the printer took in at the wrong place; the second a
misreading of 'lation'.
PAGE =95=. ELEGIE X.
The title of this Elegy, _The Dream_, was given it in _1635_, perhaps
wrongly. _S96_ seems to come nearer with _Picture_. The 'Image of
her whom I love', addressed in the first eight lines, seems to be a
picture. When that is gone and reason with it, fantasy and dreams come
to the lover's aid (ll. 9-20). But the tenor of the poem is somewhat
obscure; the picture is addressed in terms that could hardly be
strengthened if the lady herself were present.
l. 26. _Mad with much heart, &c. _ Aristotle made the heart the source
of all 'the actions of life and sense'.
Galen transferred these to the
brain. See note to p. 99, l. 100.
PAGE =96=. ELEGIE XI.
Donne has in this Elegy carried to its farthest extreme, as only a
metaphysical or scholastic poet like himself could, the favourite
Elizabethan pun on the coin called the Angel. Shakespeare is fond of
the same quibble: 'She has all the rule of her husband's purse; she
hath a legion of angels' (_Merry Wives_, I. iii. 60). But Donne knows
more of the philosophy of angels than Shakespeare and can pursue the
analogy into more surprising subtleties. Nor is the pun on angels the
only one which he follows up in this poem: crowns, pistolets, and gold
are all played with in turn. The poem was a favourite with Ben
Jonson: 'his verses of the Lost Chaine he hath by heart' (_Drummond's
Conversations_, ed. Laing).
The text of the poem, which was first printed in _1635_ (Marriot
having been prohibited from including it in the edition of 1633),
is based on a MS. closely resembling _Cy_ and _P_, and differing
in several readings from the text given in the rest of the MSS.
astronomical, as here. The 'motion natural' of _1633_ is an unusual
order in Donne; the 'natural station' of _1635-69_ is the opposite
of motion. The first was doubtless an intentional alteration by the
editor, which the printer took in at the wrong place; the second a
misreading of 'lation'.
PAGE =95=. ELEGIE X.
The title of this Elegy, _The Dream_, was given it in _1635_, perhaps
wrongly. _S96_ seems to come nearer with _Picture_. The 'Image of
her whom I love', addressed in the first eight lines, seems to be a
picture. When that is gone and reason with it, fantasy and dreams come
to the lover's aid (ll. 9-20). But the tenor of the poem is somewhat
obscure; the picture is addressed in terms that could hardly be
strengthened if the lady herself were present.
l. 26. _Mad with much heart, &c. _ Aristotle made the heart the source
of all 'the actions of life and sense'.
Galen transferred these to the
brain. See note to p. 99, l. 100.
PAGE =96=. ELEGIE XI.
Donne has in this Elegy carried to its farthest extreme, as only a
metaphysical or scholastic poet like himself could, the favourite
Elizabethan pun on the coin called the Angel. Shakespeare is fond of
the same quibble: 'She has all the rule of her husband's purse; she
hath a legion of angels' (_Merry Wives_, I. iii. 60). But Donne knows
more of the philosophy of angels than Shakespeare and can pursue the
analogy into more surprising subtleties. Nor is the pun on angels the
only one which he follows up in this poem: crowns, pistolets, and gold
are all played with in turn. The poem was a favourite with Ben
Jonson: 'his verses of the Lost Chaine he hath by heart' (_Drummond's
Conversations_, ed. Laing).
The text of the poem, which was first printed in _1635_ (Marriot
having been prohibited from including it in the edition of 1633),
is based on a MS. closely resembling _Cy_ and _P_, and differing
in several readings from the text given in the rest of the MSS.
