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EN
This article reveals the exceptional union of two metaphysical poems by John Donne, so far regarded as separate entities. By conducting a thorough linguistic analysis, the author gradually shows subtle links between The good-morrow and The Flea on the lexical, thematic, and structural levels. Their existence provides evidence that J. Donne’s works may form meaningful assemblages and should therefore be interpreted only in the context of the whole manuscript. The Flea and The good-morrow clearly comment on one another and together complete the vision of the world which emerges from their verses. Thanks to their autotelic character – the material form that itself conveys a message − the reader experiences this lyrical diptych as an observable phenomenon and an intellectual puzzle. The poet deliberately breaks existing patterns and rules to expose chosen elements. It is the irregularities in the composition of the verses and stanzas, frequently perceived as imperfections, that open the door to deeper levels of his metaphysical concept.
EN
It seems that J. Donne’s metaphysical vision of the world has been described in detail. However, there still remains an aspect of his poetry that is not fully appreciated, which results from the separation of his love lyrics (Songs and Sonnets) from the religious sonnets (Holy Sonnets). In this article I aim to reveal the structural and thematic bonds between Donne’s poems from both collections. They definitely reinterpret one another and together complete the picture of the world in which immortality is achieved through love and unity. Thanks to the exceptional fusion of structure and sense, Donne’s works become a phenomenon that can be observed and an intellectual puzzle. The poet’s creative genius carries the reader to deeper and deeper levels of interpretation, constantly leaving them with a sense of incompleteness and the need to search the stanzas for another element, which may bring them a little closer to the concept of Death, be not proud […] or The Canonization. Donne not only creates a poetic world in which death is not „mighty and dreadful”, but also allows the reader to experience it through the composition of his verses.
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