到目前为止，约翰·多恩（John Donne）最色情的诗，To His Mistress Going to Bed(1669），也称为挽歌19，is composed of 48 lines of rhyming couplets with a meter of iambic pentameter. Not an elegy at all in the traditional sense of a poem written to commemorate a death, it instead celebrates the end of a woman’s resistance to the speaker’s sexual advances. Most critics believe Donne composed it before marriage, during a rather energetic youth. The poem in part parodies the 14th-century Petrarchan emotional romance tradition that objectified women, cataloging their body parts, advancing that tradition by adding explicit references. He follows the lead of popular Continental writers who improved the Petrarchan technique by imbuing it with an intellectual aspect. The tone remains that of a male wooing a female in order to seduce her. The poem involves little romanticism, other than in its figurative language. Donne offers an admirable balance in the poem, evidenced by individually balanced terminology and phrasing, as well as by the fact that the speaker does not request that his lover do anything that he is not also willing to do. By the final couplet the reader learns the speaker has already disrobed in anticipation of his lover’s doing the same, after his very convincing argument.

演讲者开始说：“来吧，夫人，来吧，所有的力量都违背了我的力量， /直到我工作，我在劳动中撒谎。”第二行提供了语言平衡的示例，以及在单词上的巧妙戏剧。劳动一词的首次使用表明了男人的身体工作，而第二个则表示劳动妇女在出生期间经历的类型，也意味着身体和情感工作或痛苦。Donne提出的地址，女士，表示演讲者不处理缺乏经验的少女，反对传统的诱惑诗，而传统的诱惑诗通常集中在处女。他继续牢记平衡，在第三行中写道：“敌人经常有敌人，看不见敌人，虽然他从不打架，但厌倦了站立。”第四行似乎提供了悖论，就像当一个人遇到“敌人”时，通常是在战斗中。但是，演讲者面孔的“战斗”是逻辑之一。他必须说服爱人忽略有关性别行为的传统社会规则，因为这些规则代表了真正的“敌人”。

The speaker then begins ordering the removal of clothing, beginning with “that girdle, like heaven’s zone glistering,” where the区引用的是十二生肖或天堂中的所有星星。但是，他的爱人的腰带是“一个更加公平的世界。”多恩（Donne）从事形而上学诗人和诗歌的夸张或夸张的特征。The speaker also requests she remove her “spangle breastplate,” which he understands she wears in order to stop “th’ eyes of busy fools,” suggesting that she “unlace herself” as the clock’s “harmonious chime” alerts him to “bed-time.” Next she may remove her “happy busk,” or bodice, which he envies “That still can be and still can stand so nigh.” He compares what he views when she removes her gown to the “fl owery meads” revealed when the shadow moves from a hill. Next she must remove “that wiry coronet and show/ The hairy diadem which on you doth grow.” Next he requests removal of her shoes so that she may “safely tread / In this love’s hallowed temple, this soft bed.” He compares her white robe to that of the angels, then notes that she bears with her “A heaven like Mahomet’s paradise,” referring to the reward of beautiful maidens promised to attend dedicated Muslims after death. Donne becomes playful and constructs a passage assuring the lover that their white robes differ from those worn by ghosts, as the nearness of an “evil sprite” sets their hairs “uprite,” but those by worn by angels do the same to their flesh. He refers to the effect of fear in hair-raising moments, and to the effect of an event of awe in causing the reaction commonly referred to as “goose bumps” on one’s flesh. However, psychoanalytic critics might view the reference to rising flesh as a blatant sexual suggestion.

在第25行中，演讲者问他的情人：“许可我的手持双手，让他们走了 /之前，后面，在上方，下方，下方，在下面，下方，上面，”，并结合了一个典型的土地，等待被征服的土地，“我的美国！我的新发现。”他扩大了这种自负，称自己为皇帝，在那里她仍然是他的王国和“珍贵的石头矿山”，所有这些都是“当一个男人的人时最安全的”。Donne插入了另一个文字游戏，但也暗示了一夫一妻制。他建议通过指出另一个悖论：“进入这些债券是免费的；/我的手放在那里，我的印章将是。”Donne带着强烈的色情建议也反映了公民法的观念，通常是由印章正式制作的。

多恩很少写信而没有反思人类的灵魂。他的演讲者接下来大声喊着，好像在唱着赞美诗：“赤裸裸的！所有的欢乐都是归功于你。/随着灵魂的解体，必须穿衣服的身体， /品尝整个快乐。”他仔细地将灵魂死亡的释放与释放服装允许的性自由进行了比较。多恩（Donne）提到了亚特兰大（Atalanta）的神话人物，亚特兰大（Atalanta）是一位女性赛车手，直到爱上了她的希波门尼斯（Hippomenes）挑战一场比赛。在比赛中，他投掷了一些金球来分散她的注意力，使她失去了比赛。然而，多恩扭转了这个故事，宣布女性通过提讯，“像图片或书籍的同性恋封面”来分散男人的注意力。当他的演讲者将女性与必须揭示的“神秘书籍”进行比较时，他扩展了这本书的隐喻。演讲者结束了他的诱惑，他说他想认识自己的爱人，就像“助产士”一样，要求她“全部施放，是的，这是白色的亚麻布，因此 /由于无辜而没有pen悔。” He assures her she need make no penance, or atonement, due to innocence; in other words she is not an innocent maid. His final statement shows his sense of equality as he explains, “To teach thee, I am naked first; why then / What need’st thou have more covering than a man?”

As the Donne expert Helen Gardner has thoroughly discussed, Donne’s love poetry greatly exceeds his religious poetry in style and presentation. While the religious poetry grew from self-conflict, the love poetry does not focus on whether the speaker is right to feel what he does; it focuses on the process of feeling. He seeks to explore a full range of emotions free of the judgment of Christianity or any religious creed. Gardner writes, “As a love poet he seems to owe nothing to what any other man in love had ever felt or said before him; his language is all his own.” Unlike religious truths, the truths Donne uncovers in his love poetry belong to him alone.

参考书目
爱德华兹，大卫·约翰·多恩：肉体和精神的人。密歇根州大急流城：威廉·B·埃德曼斯（William B. Eerdmans），2002年。
加德纳，海伦编辑。约翰·多恩（John Donne）：神诗。牛津：克拉伦登出版社，1969年。

类别：文学批评,俄罗斯乌克兰比分直播,文学,诗歌

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