Summary
%is paper starts by stating what metaphysical poetry is, what its characteristics are, and who 
the metaphysical poets are. Later the paper focuses on Emily Dickinson’s poetry and confirms 
the thesis that she can be considered a metaphysical poet. %e third thing the paper deals with 
is to what extent Donne’s and Dickinson’s poetry as well as Donne’s Sermons correspond to the 
Calvinist theology, which is the common credo of the Churches to which they belong. A further 
issue the paper debates about is rhetorical devices in the metaphysical service. 
%e last aspect of Donne’s and Dickinson’s writing that the essay explores is their attitude towards 
truth.
Key words: metaphysical poetry, Calvinism, John Donne, Emily Dickinson, rhetorical 
devices
 Povzetek
Članek v svojem začetku pojasni, kaj je metafizična poezija, katere so njene značilnosti in kdo so 
bili metafizični pesniki. Nato se članek osredotoči na poezijo Emily Dickinson in potrdi tezo, da 
je ona tudi metafizična pesnica. T retja stvar, ki jo esej obravnava je, do katere meje poezija Johna 
Donna in Emily Dickinson odraža kalvinistično teologijo, ki predstavlja skupno veroizpoved 
Cerkva, ki jima oba avtorja pripadata. Naslednja zadeva, ki se je članek loteva,  so retorične oz. 
pesniške figure v službi metafizične književnosti. 
Zadnji vidik, ki je predmet razprave, pa je odnos obeh avtorjev do resnice.
Ključne besede: metafizična poezija, Kalvinizem, John Donne, Emily Dickinson, retorične 
figure
 DOI: 10.4312/elope.7.2.77-90

 As T .S. Eliot (1934, 281–2) acknowledges in his essay “%e Metaphysical Poets,” the revival of 
study of the group of writers now called the metaphysical poets began with Grierson’s anthology 
of 17th century English poems. Eliot finds it difficult not only to define the term “metaphysical 
poetry,” but also to enumerate the poems which show the quality of such writing. It is no easier 
to single out the poets of the school. He, however, finds a potentially common characteristic 
of this kind of poetry, saying: “Donne, and often Cowley, employ a device which is sometimes 
considered characteristically ‘metaphysical’; the elaboration . . . of a figure of speech to the 
furthest stage to which ingenuity can carry it” (ibid., 282).
To enumerate more characteristics of metaphysical poets and their poetry it is wise to turn to 
authors writing less favourably of them, since the features of their writing can be extracted from 
a negative critique too. Johnson writes in his #e Life of Cowley that “the metaphysical poets 
were men of learning, and to show their learning was their whole endeavour” (Hammond 1974, 
50). He detects the poets’ use of wit too, but in an undesirable way. “%e most heterogeneous 
ideas are yoked by violence together; nature and art ransacked for illustrations, comparison and 
allusions; their learning instructs . . .” (ibid., 51). Because, according to Johnson, their poetry 
was all about the rational, they failed to convey a genuine sentiment to the readership. %ey 
were observers of, not partakers in the themes they explored; the poetry was didactic (ibid., 51–
2). Johnson is therefore offended by the ingenuity of bringing incompatible subjects together. 
He has a classical sensibility and looks for decorum. %e metaphysicals, however, appeal to a 
modern reader precisely because they are not classical. %e surprise of near-paradox pleases the 
postmodern palate (Gadpaille 1999–2006). %e four most widely-known metaphysicals were 
John Donne, George Herbert, Henry Vaughan, Richard Crashaw and Andrew Marvell.
If, so far, I have talked about the features of the poetry and poets influenced by Donne, it is 
now time to supply a definition of metaphysical poetry, i.e. the poetry of 17th century England. 
Simple in form, yet extremely rounded is the definition of Grierson. As we are about to see, 
Grierson formed his definition by putting it into the context of the European corpus of literary 
history and history of thought. Grierson (1921, 1) saw metaphysical poetry as poetry that “has 
been inspired by a philosophical conception of the universe and the role assigned to the human 
spirit in the great drama of existence”.     
Moving to more modern critical approaches, let us consider some lucid remarks by another 
scholar in the field. In the introduction to Four Metaphysical Poets, Joan Bennett (1953, 2) states 
that “the word ‘metaphysical’ refers to style, rather than subject matter,” and she adds “but style 
reflects an attitude of experience”. Bennett agrees with other critics of metaphysical poetry that 
these poets reshaped the experience in an intellectual way. %e poets “looked for a connection 
between their emotion and mental concepts.” %ese relations were more often logical rather 

than sensuous. %ey connected the abstract with the concrete, the remote with the near, and the 
sublime with the ordinary (ibid., 3).
%e last aspect of the definition of metaphysical is given by John Donne himself in his April 
20, 1630 sermon, where he speaks about a Christian person thus: “In regenerate man, all is 
Metaphyisicall, supernaturall” (BYU, 18). By regenerate, he means a person rejuvenated in his 
spirit, who has experienced a Resurrection and thus has Easter every day (BYU).
 Emily Dickinson can be classified as a metaphysical poet for reasons of style and subject 
explained by Bennet (see above). Style is crucial to the definition of metaphysical, because 
method and epistemology cohere (Gadpaille 2006). In 1961 Judith Banzer published an essay 
entitled ‘Compound Manner’: Emily Dickinson and the Metaphysical Poets. %e author spots 
the similarity in matter and style between the verses of Donne and Herbert, on the one hand, 
and Emily Dickinson’s, on the other (418). 
Having been brought up in the strict religious atmosphere of her home in Amherst, Dickinson’s 
meditations included topics such as mortality, the temporal presence of God, i.e. God’s effects 
on the material world, and the relationship between a person and God and his creation (417). 
Let us take an example of Dickinson’s poetry to establish initially that her poems deserve to be 
called metaphysical:
 %e daisy follows soft the Sun,
 And when his golden walk is done,
 Sits shyly at his feet.
 He, waking, finds the flower near.
 “Wherefore, marauder, art thou here?”
 “Because, sir, love is sweet!”
 We are the Flower, %ou the Sun!
 Forgive us, if as days decline,
 We nearer steal to %ee, –  
 Enamored of the parting West,
 %e peace, the flight, the amethyst,
 Night’s possibility! (Dickinson 2003, 204)
Read metaphysically, this daisy is an ordinary person with the pious desire to follow God till the 
end of his days. %e figure of speech used in this case is a conceit; it changes a common man 
into a daisy and the Sun into God and by the means of analogy shows what their relationship 
is like. What is more, there is an allusion made to pagan rituals of Sun worship which then, in 
the second stanza, is transformed into the Christian speaker’s everyday practice. %e faithful are 
equated with a “Marauder,” which only adds to the ingenuity of the conceit in the sense that 
this is an extraordinary comparison. It sets up an atmosphere of slight annoyance from the Sun’s 
– that is, God’s – point of view. Surprisingly for a common person, the daisy speaker of the 

second stanza is not repelled by being called this name. %e need to stay in the presence of the 
Sun is so strong that it entails enduring even less favourable remarks. In reading the poem this 
way, one is also able to detect that it is about mortality: “as days decline,” “parting West,” as well 
as about the universal order according to the Christian theology and Pagan practice.
Banzer states that Dickinson shares with the seventeenth century poets their “passionate interest 
in the microcosm of the self, whose ‘polar privacy’ was peopled with thoughts and emotions 
which supplied data of existence and stuff of art.” %e emphasis is on “polar.” It signifies her 
showing two opposite states of mind, two poles, when writing poetry. %e school-of-Donne 
scholars were similarly divided, between “scepticism and faith, desire and renunciation, optimism 
and despair…” %e outcome of contradictory emotions and ideas was the “poetry of paradox, 
argument, and unifying conceits” (417). Dickinson uses the very same elements in her poetry. 
For instance, in the poem “I went to heaven” Dickinson uses an idea that challenges the notion 
of Paradise being a place of eternal bliss:
 Almost contented
 I could be
 ‘Mong such unique
 Society. (Dickinson 2003, 215–6)
%e adverb “almost” expresses the author’s scepticism about heavenly life. It reflects a discrepancy 
between one’s self and the common Christian theological conception of the afterlife.
Doubt and argument were also themes expressed by Donne. In the “Holy Sonnet IX”, the persona 
questions God’s judgement: “If lecherous goats, if serpents envious/Cannot be damn’d; alas, why 
should I bee” (lines 3–4). Goats and serpents stand for the Goat and the Serpent, i.e. the Devil, as 
well for the animals which possess the characteristics named above.  %e speaker, meditating on the 
subject of sinfulness, comes at this stage to a comparison of the ultimate evil (Devil), moderate evil 
(animalistic foulness) and themselves. In the first eight lines the author argues that their being sinful 
is not the reason for their condemnation. %ere is a possible allusion here to Genesis and God’s 
instruction to the two original people: “rule over the fishes of the sea, and the fowls of the air, and 
all living creatures that move upon the earth” (Gen 1:28), and to Jesus’ speech on trust: “Behold 
the birds of the air, for they neither sow, nor do they reap, nor gather into barns: and your heavenly 
Father feedeth them. Are not you of much more value than they?” (Mt 6:26). It is therefore illogical 
for humans to be damned if they are masters of all animals, and more worthy than them, as Jesus 
openly says. No matter how strong the persona’s rational argument might be, they soon sober up 
and retreat to a position that Cefalu calls “filial fear” (2003, 72).
According to Banzer, Dickinson and Donne are alike in their insights and techniques. %ey both 
take delight in the divided joys of earth and non-material phenomena; they both seek to fuse these 
(1961, 418). A typical example from Donne is the final couplet of the “Holy Sonnet XIII”. “T o 
wicked spirits are horrid shapes assign’d/%is Beauteous forme assumes a piteous mind” (13–4). In 
this case a body and a spirit compose an interconnected unit. Or better said, one’s mind (or spirit) 
affects the body. Paraphrasing the statement, this means that people who do good things are also 
beautiful, and the ones who are evil are of “horrid” looks.  If we take the original meaning of the 

Greek word psyche, soul, the cited example shows psychosomatics in its literal sense. %e process 
might be reversed as well, as is done in “Holy Sonnet II”, where the persona addresses God and 
explains what they are in the relationship to him: “I am . . ./%y sheepe, thine Image, and till I 
betray’d/My selfe, a temple of thy Spirit divine (5, 7–8). Here the body is poisoned by sin, and 
therefore the Holy Spirit cannot live in it anymore. %e body, with its attribute of mortality and 
its inclination towards sin, has affected the immortal component. %is fusion of the components 
of a person, and the relationship between a human being and God are common characteristics 
of metaphysical poetry. Microcosm and macrocosm mutually affect each other; God as creator 
controls them both, and a microcosm’s relationship towards its creator is, in works of literature, 
artistically ambivalent. In other words: Dickinson and Donne “addressed God familiarly with 
petulance, awe, and passion as a divine lover”, as Banzer states (1961, 418).
 Although these two authors come from different eras, their writing expresses strikingly similar 
ideas concerning religious belief. After all, they are both Calvinists. One of the key beliefs in the 
life of Calvinists is the conviction that God made a decision at one’s birth as to whether or not 
he would be glorified. %is phenomenon is called predestination. A term that also refers to the 
predestinate status of a person is “election” (Cefalu 2003, 76–7).
Let us consider two examples of this credo in Donne’s writing: “first I was made/By thee, and for 
thee” (Donne, 434, “Holy Sonnet I”, 3–4) and “God . . . hath deign’d to chuse thee by adoption 
. . .” (Donne, “Holy Sonnet XV”, 3, 7). Note the key phrases: “for thee”, “chuse” and “adoption”. 
%ey denote the security of being elected. I shall consider them more closely in order to prove 
this.  Firstly, if someone is made “for” God, they had to be chosen or elected, otherwise “the 
order” for that person’s creation would not have been be placed at all. Secondly, being chosen is 
the result of God’s choosing –  no further debate needed; and thirdly, being adopted here means 
elected, and since adoption is, as well as election, an act of one’s own volition, God’s will was 
done by God himself, and the person is therefore surely predestined to go to heaven.
Even clearer evidence of Donne’s belief in our having a place in heaven, and thus evidently 
having been elected, is in the sermon preached on Whitsunday, a holiday, when the arrival of the 
Holy Spirit is celebrated, from 1630: 
 By this will [he means Christ’s final will, promise] then, . . . having given them [i.e. his
 Apostles] so great a Legacy, as a place in the kingdom of heaven, . . . he gives more, he
 gives them evidence by which they should maintain their right to that kingdom, that is,
 the testimony of . . . the Holy Ghost . . .” (BYU, 1)  
From this excerpt we are able to see that the motifs of election recur in the prose, being stated 
there even more clearly, as prose is usually less metaphorical than poetry. We have here then 
Christ’s promise that we have a place in heaven and that the constant presence of the Holy Spirit 
who will not let us lose our faith and consequently make our booking in heaven invalid.
Dickinson is confident about the reality of election as well:

 Far from love the Heavenly Father
 Leads the chosen child,
 Oftener through realm of briar
 %an the meadow mild.
 Oftener by the claw of dragon
 %an the hand of friend
 Guides the little one predestined
 T o the native land. (Dickinson 2003, 285)
In this case a human being is “chosen” and “predestined”. %e meaning of the adjectives above is 
interchangeable. %e person is by all means meant to be glorified.
However, election is not a guarantee of glorification; it is only the first step. T o reach it one has 
to go through these interdependent, yet discrete stages: first, election, then calling, justification, 
adoption, sanctification, and last comes glorification. Election is explained above. Calling means 
God’s awakening in a person, perhaps by means of feeling desperately sinful. Justification refers to 
God’s assigning one the attribute of righteousness. Adoption is the penitent’s being aware that they 
are a child of God. Sanctification is a gradual repairing of the damaged image of God in the soul, and 
glorification means the total restoration of the image of God in a person (Cefalu 2003, 76–7).
With these stages – perhaps all were not known to Dickinson since she was not ordained – comes 
the fear of not being able to pass them all. Donne especially in his Holy Sonnets is concerned 
about his soul being saved, while Dickinson expresses more optimistic, sometimes even loving 
attitude towards death and eternity. However, they both scrupulously meditate upon these two 
subjects. Donne’s Holy Sonnets are even called Divine Meditations. Fear is one of the emotions 
that the persona in Donne’s as well as Dickinson’s poetry expresses. Cefalu speaks about the two 
types of fear: servile and filial fear. ‘Servile’ fear is “the fear of reprobation that predominates in 
unredeemed sinners but may also be experienced by the saints,” while “reverential or ‘filial’ fear 
[is] the elects’ fear of backsliding during sanctification” (72). While there can be traces of servile 
fear found in the Holy Sonnets, Dickinson lacks these. %e passages below illustrate the type of 
Calvinistic fear and its intensity: 
 I read my sentence steadily,
 Reviewed with my eyes,
 T o see that I made no mistake
 In its extremest clause, –
 %e date, and manner of the shame,
 And then the pious form
 %at “God have mercy” on the soul
 %e jury voted him. 
 I made my soul familiar
 With her extremity,
 %at at last it should not be
 A novel agony . . . (Dickinson 2003, 211)

%is example illustrates filial fear. Dickinson puts her persona in a court of law, where they 
are in the position of the defendant. %ey read the sentence and want to check whether they 
understand its most severe provisions. %e provision we can interpret as the strictest penalty for 
their sins. Later, the persona meditates upon their sins to become fully aware of them, in order 
not to suffer the new pains when death comes. In the Holy Sonnets meditation upon one’s own 
sins is practised all the time; it is essential to one’s forgiveness, since Protestants do not have a 
confessor to go to and tell him their sins. %ese meditations also occur in Protestant journals, as 
evident in Defoe’s Robinson Crusoe, which has the form of one such journal.
Whatever offences Dickinson’s persona has made, the soul does not worry about suffering from 
imminent death. Yet there is anticipation mixed with the fear, since the last stanza begins with 
the anxiety-relieving conjunction “but,” which juxtaposes the whole procedure preceding it:
 But she and Death, acquainted,
 Meet tranquilly as friends,
 Salute and pass without a hint –
 And there the matter ends. (Dickinson 2003, 211)
%ere is relief felt when the transition passes without any problems, and Death does not question 
or punish the soul at all. But this relief speaks for a low degree of filial fear. Cefalu’s servile fear 
is not present. Why is the filial fear so low? Because of self-knowledge. It is this knowledge that 
overrides the fear. In this aspect Dickinson differs from Donne, since he, although aware of his 
defects in the sight of God, is unable to overcome, or lessen the fear and desperation by himself; 
he always asks for divine help, like in this “Holy Sonnet IV”:
 Oh my black soul! Now thou art summoned
 By sicknesse, deaths herald, and champion;
 %ou art like a pilgrim, which abroad hath done
 T reason, and durst not turn to whence hee is fled,
 Or like a thief, which till deaths doome be read,
 Wisheth himself delivered from prison;
 But damn’d and hal’d to exectution,
 Wisheth that still he might be imprisoned;
 Yet grace, if thou repent, thou canst not lacke;
 But who shall give thee that grace to beginne?
 Oh make thyself with holy mourning blacke,
 And red with blushing, as thou art with sinne;
 Or wash thee in Christs blood, which hath this might
 %at being red, it dyes red soules to white. (Donne 1991, 436)
Here Donne is aware of two facts: that his soul is black, i.e. burdened with sin, and that he is 
about to die. He elaborates much more than Dickinson on his soul’s feelings. %ey are embodied 
in a metaphysical conceit, which is in this case expressed through similes. %e soul is compared to 
a pilgrim and a thief. As the pilgrim is afraid to return abroad, because he committed some crime 
there, and the thief wants to stay imprisoned rather than be executed, so is ‘our’ soul afraid to see 
and meet God, and wants to stay as long as possible in a body to avoid the final judgement.

%en comes the turn, which is in Donne’s case the result of the Holy Sonnets’ being Italian 
sonnets; it is the turn in theme and tone after the octave. While the octave is descriptive and 
relatively objective, the sestet changes into a modest plea for forgiveness and divine intervention. 
Dickinson, however, does not use any such poetic form that would by itself induce thematic and 
tonal switches, yet such switches occur in the second part of her poems, as shown in the example 
cited above.
%e filial fear and despair are visible only in the octave, and they gain in intensity by means of 
the extended metaphor. %e two anti-heroes, a pilgrim and a thief, as well as their stories, make 
the woe of the soul twofold, when compared with Dickinson’s legal process, since the soul, in the 
former case, identifies with them. %e legal process is, indeed, a metaphor too; however, it stands 
for a single occasion, which is reading one’s sentence. What Dickinson’s poem lacks in intensity 
of feeling conveyed, it gains in the ingenious ambivalence of chosen vocabulary, and thus makes 
“I read my sentence steadily” (1) one of the best examples of wit. What I have in mind is that 
words “sentence”, “mistake” and “clause” can be understood in the judicial as well as in the 
grammatical context. Each context gives the poem a certain tone, the former a serious one, the 
latter a slightly comic one – as if God additionally punished somebody for making grammar or 
elocution mistakes. On the other hand, punctuation and vocabulary mistakes can indeed alter 
‘both’ sentences and here for the persona the situation becomes serious again. One wishes not to 
be dishonest towards themselves and especially not Death, which is in this case personified and 
consequently made an animate creature with even such a response.
 %e works of Dickinson and Donne should be viewed in a literary context. Basically, literary 
language is metaphorical language. At least two notions are combined in it: the one which 
conveys sincere and personal emotions of authors and personae, and the one, the purpose of 
which is to create literature. %e position of both notions is combined in the phrase “sincere 
insincerity”. %e phrase is borrowed from Veno Taufer’s lecture given in 2000 at the University 
of Ljubljana’s (Slovenia) %eological Faculty in Maribor. %e thought that Taufer wanted to 
present is that, although an author incorporates his/her genuine emotions and thoughts into 
a work of art, the work is insincere because of the nature of such work. It is artificial, because 
it is meant to be such. A thing cannot be natural and art (cultural) at the same time; and 
since the work of art is altered for the sake of artistic values, it cannot be completely sincere. 
By alteration, I mean mainly rhetorical devices, i.e. figures of speech. %ere are also stylistic 
devices present in literature, such as the care for sublime in the poems, as well as the struggle 
towards the refinement of poetry, for instance Carmen Figuratum poems. Figures of speech can 
be studied, but their sensible application requires a craftsman. %e refinement of poetry, on 
the other hand, calls for abilities such as wit, and the sense of decorum; in this case there is an 
artist needed. %e section that follows will try to throw more light on the poetic mechanism 
spoken of above. 
It can be said, with reference to “Holy Sonnet IV” and “I read my sentence steadily”, that 
where Dickinson stops using wit is the place where Donne takes it to the utmost sphere. After 

“but”, Dickinson’s play on words ceases, whereas Donne uses the turning point after the octave 
to bring about a conglomerate of colour imagery and parallelism. Let us dissect this rhetorical 
block. In the sestet we are let known that the persona’s soul is black. In the octave this colour 
imagery recurs. %is speaks for a parallelism and anaclasis: on the one hand, we have a black, 
i.e. sinful soul and on the other, black as the colour of mourning, since black has a different 
meaning in the repetition in the second case, this is a figure of speech called anaclasis. It occurs 
as well in the cases of “red with blushing” and “[red] as thou art with sin” (12), where red 
in the first example stands for embarrassment, while in the second it suggests serious crime 
against God and/or a human being with a possible association with the phrase “red handed” in 
its literal or metaphorical meaning. Certainly ‘red’ in the latter sense implies some connection 
to blood, the blood of wrongdoing. All these contrasting instances of colour imagery create the 
feeling of the illogicality of Christian faith, the climax being the paradox: “%at being red, it 
dyes red soules to white” (14). To a secular eye, blood is something unpleasant to look at, and 
it cannot dye a red thing white; on the contrary, to the faithful it represents the remembrance 
of Christ’s last supper, and his suffering on the cross, and it is drunk symbolically as wine by 
the Catholics, or at least by the priest, during every Holy Communion. In this sense it is a 
soul’s remedy.
Indeed, the above quotation comes very close to that of T ertullian, the African Church Father, 
who stated: “Credo quia absurdum est”, meaning: “I believe because it is absurd”, and thus 
promoted the irrationalistic approach to religious truths (Counterbalance Interactive Library). 
%e couplets of the Holy Sonnets often follow this pattern by singling out the paradoxes: “And 
burne me o Lord, with fiery zeale/Of thee and thy house, which in eating heale” (V , 13–4), 
“One short sleep past, wee wake eternally/And death shall be no more, death, thou shalt die” 
(X, 13–4), “. . . for I/Except you’ enthrall mee, never shall be free/Nor ever chast, except you 
ravish mee” (XIV , 13–4), and, referring to Church, “Who is most trew, and pleasing to thee, 
then/When she’is embrac’d and open to most men” (XVIII, 13–4). All these refer to the Bible or 
to generally accepted Christian religious truths.
Dickinson’s paradoxes are not as clear and dense as Donne’s; hence they are more difficult to 
recognize. %ey can flow through her poems like a fil rouge as in the poems: “Going to heaven!”, 
“A death-blow is a life-blow to some” and “I think just how my shape will rise” (Dickinson 2003, 
208–9, 210–11, 231, ll. 1,1,1).
%e citations of the couplets from the “Holy Sonnets V , X, XIV and XVIII”, which can be 
paraphrased respectively as: the healing power of burning fire, which at the same time destroys; 
the death of the inanimate being “death”, or to kill him, who is undead; to be enslaved and free 
simultaneously, as well as to be violated and to preserve chastity; a bride who is shared with several 
men and is still faithful to the holiest man who has ever lived, are aesthetic dictions of religious 
contemplation. %eir language is formal, elevated, a register from which they rarely digress. Just 
the opposite is true of the poem “Going to heaven!” Its language is simple, colloquial, for such 
suits its purpose, i.e. conversation with a friend. %e addressee, therefore, is no divine being but 
a person of flesh and blood. It can be said that in the religious poetry of Donne and Dickinson 
the language is addressee-conditioned. Donne in those Holy Sonnets, the couplets of which are 

cited above, speaks to God, death, God again, and Christ respectively. %ese elements are by 
their nature such that they demand elevated speech, or at least dictate its appropriateness. It is an 
unwritten poetic decorum. Dickinson’s elocution is supposed to be intimate, private and silent, 
since it is a part of her own experience of death. What is more, she also questions her faith in 
going to heaven, which her strict religious community would not accept. Something like this 
should be discussed tête-à-tête. %e faith in going to heaven is first acknowledged – although 
with awe then denied, and at the end of the poem acknowledged again when the application is 
made to the faith of the deceased she knew; correspondingly: “And yet it will be done”, “I’m glad 
I don’t believe it”, “I am glad they did believe it” (8, 20, 24). It seems that the persona makes 
no real effort to maintain the faith in immortality. %ey will rather enjoy their life on Earth for 
a while. On the other hand, Donne’s persona does not dare to think about letting any of their 
‘faiths’ go. %ey “labour to’admit [him], but Oh, to no end” (XIV , 6); they are desperate, cry 
for help, try desperately to stay in the union with God, but with no success. %e words of the 
sonnet are actually a prayer to God to fight for their soul, a battle that cannot be won by their 
own reasoning, because the mind proves to be “weake and untrue” (8). Here the reference can be 
made to one of his sermons elaborating on the story of Job’s being abandoned by people, and, as 
it seems, by God himself: “. . . God is greater than the heart  . . . If he be . . . a Witnesse for me, 
. . . he is thousands of thousands, millions of millions of witnesses in my behalfe, for there is so 
no condamnation . . . to them that are in him” (April 20, 1630, 17). Here the self-knowledge 
and judicial reasoning of one’s own sins, of “I read my sentence steadily”, bring no salvation or 
peace to the persona. Action from outside must take place, since the persona is trapped inside 
their own microcosm, which is ruled by God’s archfiend. It is obvious, then, that only God, to 
whom Satan was once subdued, can untie the unholy knot. %e persona is therefore in Lucifer’s 
unlawful possession, so the speaker here wants to be delivered by their spouse, God, in a strict, 
authoritative manner. “Take mee to you, imprison mee . . .” (XIV , 12), they cry, for they consider 
themselves God’ property.
Strikingly similar to the “Holy Sonnet XIV” in its vocabulary and theme is Dickinson’s “Given 
in marriage unto thee”. As Donne’s persona in the above-mentioned sonnet is treated as a bride-
to-be, so is Dickinson’s. In both cases there have been betrothals and marriages made before the 
forthcoming divine marriage and which have to be made invalid in order for this holy marriage to 
take place: “Other betrothal shall dissolve/Wedlock of will, decay –”, says Dickinson (Dickinson 
2003, 235,); Donne speaks: “But [I] am betroth’d unto your enemy/Divorce mee, ’untie, or 
breake that knot againe . . .” (Donne 1991, 443). A distinction between these two relationships 
is that in the former example the persona used her own will to get into the previous marriage, in 
the latter case the persona was usurped and forced into engagement; it is the question of free will 
that makes the difference in this argument. However, the bridegroom is the same in both poems: 
“the father and the Son/ . . . [and] the Holy Ghost” in Dickinson (3–4) and “three person’d God 
. . .” in Donne (1), where the three persons stands for the ones Dickinson mentions. Another 
difference between these two poems is shown in the preparations for each of the relationships. 
%e fiancée from Donne’s sonnet asks for severe measures to be applied in order to make the 
bride-to-be new. %ey want from God to “breake, blowe, burn . . .” them. %ere are no such 
methods expected to be used in Dickinson’s persona remake pattern.

Another paradox from Dickinson’s poetry, one that does not require much mental strength to 
detect, is one which at the same time celebrates the afterlife, even as it points to the people who 
lack animate force in their lives. “A death blow is a life blow to some/Who, till they died, did 
not alive become” (1–2). %e next two lines repeat the message of the first two: “Who, had 
they lived, had died, but when/%ey died, vitality begun” (Dickinson 2003, 210–11). It can be 
noticed that the poem takes its inspiration from the joys of the life after earthly life. Dwelling in 
eternity is a hope for those that were in any way prevented from living fully here, on Earth. For 
them, death stands for a new life.
 %e last significant aspect of the religious metaphysical poetry of Donne and Dickinson I would 
like to mention is their attitude towards the notion of truth, whether with reference to a wider 
population or to the speakers themselves. 
One of the gems in professing faith in Christ’s true Church in whatsoever form is Donne’s 
“Holy Sonnet XVIII”. In addition to being a meditation on which Christian Church is the right 
one, it is also, and this is a quite surprising fact, a love poem. %e first evidence in favour of the 
statement above is as follows. Donne asks a question about the Church as institution: “Dwells 
she with us, or like adventuring knights/First travel we to seek, and then make love?” (9–10). 
First, he addresses it with “she”, the personal pronoun assigned to the feminine gender. %e 
Church is then treated like a lady of medieval romances whom knights wooed, and whom they 
loved and made love to. So here is our first love and sexual insinuation, and there are more of 
both to come:
 Betray, kind husband, thy spouse to our sights, 
 And let mine amorous soul court thy mild dove, 
 Who is most true and pleasing to thee then 
 When she is embraced and open to most men. (Donne 1991, ll. 11–4)
In the last four lines of the sonnet the persona, who has a multiple voice – it represents several 
people – asks Christ to “betray”, i.e. reveal, his Church – wife – to the faithful. In Christian, 
Catholic in particular, tradition the Church is considered to be His bride, or, in this case, wife. 
%en the second love suggestion comes, in which the persona, this time as a singular being, 
courts the lady. %e love suggestion is actually the repetition of the one from lines 9–10. %e 
climax, the revelation of the sonnet is given in the final couplet. If we take it in the religious 
sense, it makes a perfect sense: the right Church, and the one with which Christ agrees, is the 
Church which accepts and is accepted by the majority of believers. In this sense, the couplet 
contains a truth which stands even today; or especially today, when Christianity seeks a dialogue 
among various branches of Christianity through the ecumenical movement, and there is not 
only one true Church.
On the other hand, the couplet can also be understood as a paradox; it is ambivalent in its sense, 
and this gives it its freshness, originality of metaphor. Let us take the literal sense of the final two 
lines: they suggest something that today would be called swinging or offering sexual services. In 

Donne’s era this would have been called adultery with the husband’s consent, and therefore a 
sin. %e paradox, however, lies in the fact that adultery and being “true and pleasing” to one’s 
husband cannot coincide. In spite of all the sexual implications, the sonnet remains morally 
unstained if we consider the notion that faith is paradoxical, and what is even more important, it 
is, or should be, people’s greatest love towards one another. %e notion of truth from this sonnet, 
and the fact that Church can also stand for the community of believers, effectively coincides 
with the message of the Apostle Peter, who says: “Above all, love each other deeply, because love 
covers over a multitude of sins” (1 Peter 4:8). %erefore, although the Church might err, love 
diminishes those errors. 
%e poem by Dickinson that deals with truth and alludes to Keats’ “Ode on a Grecian Urn” is “I 
died for beauty, but was scarce”.  
 I died for beauty, but was scarce
 Adjusted in the tomb,
 When one who died for truth was lain
 In an adjoining room.
 He questioned softly why I failed?
 “For beauty,” I replied.
 “And I for truth, – the two are one;
 We brethren are,” he said. (Dickinson 2003, 191)
%is poem delivers the message that beauty and truth are interconnected. When one dies, so 
does the other. %e persona “died for beauty”, and immediately after death another human 
being, a man, is buried in a room next to theirs. %e compatibility of their souls, since they are 
soul-mates, is reflected even in a physical sense. If we presume that the persona is a woman, and 
we already know that the neighbour is a man, they both make an original match – the Genesis 
Adam-and-Eve, man-and-woman match. Why are they soul-mates? It is because the qualities of 
beauty and truth are actually spiritual qualities, and “brethren” stands for spiritual brotherhood, 
as is typical of monks. %e same or similar relationship between them recurs in the third stanza, 
when they are called “kinsmen” (line 9).
It is appropriate to end this paper with the sonnet that most holistically captures the title of this 
section. %is is the “Holy Sonnet III”, where Donne asks woe to return to him, because in the 
past he suffered in vain. Although this seems to be a method of self-torture, he has a plausible 
argument to support his wish. Here is the octave, in which the persona lays out the reason why 
they should redo the whole sufferance. %e reason is, as we are about to see, in the light of 
repentance:
 O!  might those sighs and tears return again 
 Into my breast and eyes, which I have spent, 
 %at I might in this holy discontent 
 Mourn with some fruit, as I have mourn’d in vain. 
 In mine idolatry what showers of rain 

 Mine eyes did waste?  what griefs my heart did rent? 
 %at sufferance was my sin, I now repent; 
 ‘Cause I did suffer, I must suffer pain. (Donne 1991, ll. 1–8)
%e persona therefore cries and is miserable because of “idolatry”, that is, profane love. “%at 
sufferance was my sin” is the contemporary recognition of theirs. %is is, however, an enigmatic 
remark, since sufferance is in most cases understood as paying the debt which resides in the 
sins committed. Since the persona suffered “in the wrong way”, they must, according to their 
conscience, pay for this by suffering “on the right way”. %e right way is godly way. Young sees 
the sonnet as a sonnet about the wrong kind of love and the wrong object of that love.
 Erotic ardor is misplaced love: passion (i.e. suffering) with the wrong motivation and
 goal. Even more than most sins, it is ultimately its own punishment . . .  %e very term
 “passion” suggests what the Petrarchan tradition exhibits, that sinful or disordered love
 is a form of suffering, a self-deluded pursuit of suffering for its own sake. %e simple
 recognition of this contrast between the willful, defiant suffering of profane love and
 suffering with and for Christ in His Passion is an unmistakable indication that the
 speaker has already begun to “Mourne with some fruit.” (Young 2000, 181–2)
%e sestet confirms the mission of the octave, i.e. that the persona cannot seek comfort in the 
“past joys”, since they were no joys at all. What is more, if the speaker sought some comfort 
there, their present penance would make no sense for their plea for God’s forgiveness would not 
be sincere.
Both Donne and Dickinson cherish truth above all; for each, it is the only thing worth dying and 
crying for. %e poem “My cocoon tightens, colors tease” discusses the process of seeking truth. 
%e process runs parallel to the desire to be free, free as a butterfly which is the vehicle in the 
metaphor. Nevertheless, freedom requires a certain procedure in order to be achieved and so does 
truth. %e third and final stanza explains the way to obtain some knowledge, truth, freedom:
 So I must baffle at the hint
 And cipher at the sign,
 And make much blunder, if at last
 I take the clew divine. (Dickinson 2003, 190) 
As one can conclude, the path is not an easy one. Whoever undertakes it accepts the job of a 
code-breaker. %ey sometimes just cannot understand what someone is saying to them, this 
someone presumably being God; they must solve many problems; of course, they err too; it is 
something that accompanies problem solving, and at the end illumination comes. %e one who 
starts the path and finishes it, can be indeed be called a scientist of life.
In spite of differences that originate in Donne’s and Dickinson’s being of different gender, 
regardless of their religious standpoint, the diction in their writing, and, what is crucial to 
understanding of all the above enumerated, the time in which they created their literature, we 
can conclude that they were both poets of profound style and wit, great knowledge of arts and 
science, and persistent explorers of the world beyond the one they lived in. On the other hand, 

both authors share common characteristics which are embodied in the so called metaphysical 
style, and common lyric themes as well. %eir individuality in creativity as such, and their being 
placed among other authors who created literature as well, establishes their true value, i.e. being 
the masters of the craft they practiced in the field of metaphysical poetry.
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Banzer, J. 1961. ‘Compound Manner’: Emily Dickinson and the Metaphysical Poets.   32, no. 4: 417–33.
Bennett, J. 1953. . Cambridge: University Press.
Cefalu, P. 2003. Godly Fear, Sancification, and Calvinist Theology in The Sermons and ‘Holy Sonnets’ of John Donne.  100, no. 1: 71–86. 
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