Editing John Donne (section)

==Style==
His work has received much criticism over the years, especially concerning his metaphysical form. Donne is generally considered the most prominent member of the [[metaphysical poets]], a phrase coined in 1781 by [[Samuel Johnson]], following a comment on Donne by [[John Dryden]]. Dryden had written of Donne in 1693: "He affects the metaphysics, not only in his satires, but in his amorous verses, where nature only should reign; and perplexes the minds of the fair sex with nice speculations of philosophy, when he should engage their hearts, and entertain them with the softnesses of love."{{sfn|Dryden|1693|p=}}

In ''Life of Cowley'' (from Samuel Johnson's 1781 work of biography and criticism ''[[Lives of the Most Eminent English Poets]]''), Johnson refers to the beginning of the 17th century in which there "appeared a race of writers that may be termed the metaphysical poets". Donne's immediate successors in poetry therefore tended to regard his works with ambivalence, with the [[Neoclassical poets]] regarding his conceits as abuse of the [[metaphor]]. However, he was revived by [[Romantic poets]] such as [[Coleridge]] and [[Robert Browning|Browning]], though his more recent revival in the early 20th century by poets such as [[T. S. Eliot]] and critics like [[F. R. Leavis]] tended to portray him, with approval, as an anti-Romantic.{{sfn|Bloom|2004|pp=138–139}}

Donne is considered a master of the [[metaphysical conceit]], an extended metaphor that combines two vastly different ideas into a single idea, often using imagery.{{sfn|Greenblatt|2006|pp=600–602}} An example of this is his equation of lovers with saints in "[[The Canonization]]". Unlike the conceits found in other Elizabethan poetry, most notably [[Petrarchan]] conceits, which formed clichéd comparisons between more closely related objects (such as a rose and love), [[metaphysical]] conceits go to a greater depth in comparing two completely unlike objects. One of the most famous of Donne's conceits is found in "[[A Valediction: Forbidding Mourning]]" where he compares the apartness of two separated lovers to the working of the legs of a [[Compass (drafting)|compass]].

Donne's works are also witty, employing [[paradox]]es, [[pun]]s and subtle yet remarkable analogies. His pieces are often ironic and cynical, especially regarding love and human motives. Common subjects of Donne's poems are love (especially in his early life), death (especially after his wife's death) and religion.{{sfn|Greenblatt|2012|pp=1370–1372}}

John Donne's poetry represented a shift from classical forms to more personal poetry. Donne is noted for his [[poetic metre]], which was structured with changing and jagged rhythms that closely resemble casual speech (it was for this that the more classical-minded [[Ben Jonson]] commented that "Donne, for not keeping of accent, deserved hanging").{{sfn|Greenblatt|2012|pp=1370–1372}}

Some scholars believe that Donne's literary works reflect the changing trends of his life, with love poetry and satires from his youth and religious [[sermon]]s during his later years. Other scholars, such as [[Helen Gardner (critic)|Helen Gardner]], question the validity of this dating—most of his poems were published posthumously (1633). The exception to these is his ''Anniversaries'', which were published in 1612 and ''[[Devotions upon Emergent Occasions]]'' published in 1624. His sermons are also dated, sometimes specifically by date and year.