Elements In John Donne's 'Elegy 16'
A pivotal element in John Donne’s “Elegy 16” is his use of the page-disguise motif. By carefully reading the elegy in terms of the technical aspects and implications of Donne’s conception of disguise, it is argued that its non-normative translucence chiefly rests on his own personal politics of power and certainty. Therefore, the resultant realistic deviation, paradigmatic quality in his poetry when bringing into final artisticshape his vast array of experiential raw material. “Elegy 16”, popularly known as “On His Mistris”, is a fine example of John Donne’s love poetry. It is true the relevance of Donne is marked to a large extent by an uninhibited response to hackneyed artistic practices. Donne contravenes what had chiefly grown out of literary tradition and tacit custom. But perhaps intrinsic value of such departure from the norm reaches its height in the mechanics of the motif of the woman in page-disguise as carried out in “Elegy 16”. One of the central contrasts at work in his verse is his profound preoccupation with truth from both personal and contemporary angles. The idea of disguise is being a traditional source of deceit, Donne’s does not fail to bring together his reaction against conventional uses, his disposition towards truthfulness, and the attainment of power. In keeping with this, the organization of the main analytical points will therefore comprise a brief overview of the general principles underlying the device of
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George Gascoigne's For That He Looked Not Upon Her
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